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

LA SCENEGGIATURA

FADE IN

MONTAGE SEQUENCE: Over the following SERIES OF SHOTS we hear the voices of Joseph and Clarence in Heaven.

EXTERIOR MAIN STREET BEDFORD FALLS –– NIGHT

MEDIUM SHOT –– George is crossing the street, heading for the offices of the Building and Loan.

JOSEPH'S VOICE: Now, you've probably already guessed that George never leaves Bedford Falls.

CLARENCE'S VOICE: No!

INTERIOR HOSPITAL –– DAY

CLOSE SHOT –– nurse holding newborn baby.

JOSEPH'S VOICE: Mary had her baby, a boy.

INTERIOR SITTING ROOM –– DAY

CLOSE SHOT –– Mary sitting on the floor playing with a baby. A little boy is in a playpen nearby.

JOSEPH'S VOICE: Then she had another one –– a girl.

INTERIOR GRANVILLE HOUSE –– DAY

CLOSE SHOTS –– Mary is busy hanging wallpaper and painting the old place.

JOSEPH'S VOICE: Day after day she worked away remaking the old Granville house into a home.

INTERIOR GRANVILLE HOUSE –– NIGHT

CLOSE SHOT –– George has just come into the hall. He is obviously tired and discouraged as he starts up the stairs. The knob on the banister comes off in his hand.

JOSEPH'S VOICE: Night after night George came back late from the office. Potter was bearing down hard.

EXTERIOR RECRUITING GROUNDS –– DAY

MEDIUM LONG SHOT –– A group of men, obviously just drafted, marching along in a camp.

JOSEPH'S VOICE: Then came a war.

INTERIOR RED CROSS WORKROOM –– DAY

CLOSE SHOT –– Mrs. Bailey and other women in Red Cross uniforms busily sewing, etc.

JOSEPH'S VOICE: Ma Bailey and Mrs. Hatch joined the Red Cross and sewed.

EXTERIOR TRAIN IN RAILROAD STATION –– DAY

CLOSE SHOT –– Mary, with portable U.S.O. pushcart, is serving coffee and doughnuts to men leaning from the train.

JOSEPH'S VOICE: Mary had two more babies, but still found time to run the U.S.O.

INTERIOR FACTORY –– DAY

CLOSE SHOT –– Sam Wainwright showing set of blueprints to two Army officers.

JOSEPH'S VOICE: Sam Wainwright made a fortune in plastic hoods for planes.

INTERIOR FACTORY –– DAY

CLOSE SHOT –– Potter is wheeled in toward a long table around which several men are seated.

JOSEPH'S VOICE: Potter became head of the draft board.

POTTER (reading from papers): One-A . . . One-A . . . One-A . . .

EXTERIOR STREET IN BEDFORD FALLS –– DAY

MEDIUM CLOSE SHOT –– Gower and Uncle Billy are conducting a bond rally from the top of an Army tank.

JOSEPH'S VOICE: Gower and Uncle Billy sold war bonds.

EXTERIOR BATTLEFIELD –– NIGHT

MEDIUM CLOSEUP –– Bert, in uniform, moving cautiously with fixed bayonet. Smoke and flashes of gunfire in background.

JOSEPH'S VOICE: Bert the cop was wounded in North Africa. Got the Silver Star.

EXTERIOR SKY –– DAY

LONG SHOT –– Hundreds of planes, flying overhead, with parachutes dropping from them.

JOSEPH'S VOICE: Ernie, the taxi driver, parachuted into France.

EXTERIOR REMAGEN BRIDGE OVER THE RHINE –– DAY

CLOSE SHOT –– Marty in the foreground, beckoning to soldiers to come on.

JOSEPH'S VOICE: Marty helped capture the Remagen Bridge.

INTERIOR READY ROOM ON AIRCRAFT CARRIER –– NIGHT

CLOSE SHOT –– Harry is fastening the helmet of his flying clothes. He waves as he exits through the door.

JOSEPH'S VOICE: Harry . . . Harry Bailey topped them all. A Navy flier, he shot down fifteen planes.

EXTERIOR OCEAN FROM DECK OF CARRIER –– NIGHT

LONG SHOT –– A flaming plane crashes into the sea.

JOSEPH'S VOICE: . . . two of them as they were about to crash into a transport full of soldiers.

CLARENCE'S VOICE: Yes, but George . . .

INTERIOR RATION OFFICE –– DAY

CLOSE SHOT –– George, behind the counter, is trying to quiet a crowd of people all clamoring for more ration points.

GEORGE: George? Four-F on account of his ear, George fought the battle of Bedford Falls.

George shouts.

GEORGE: Hold on . . . hold on . . . hold on now. Don't you know there's a war on?

EXTERIOR STRET –– NIGHT

CLOSE SHOT –– George, in the uniform of an air raid warden, is patrolling his beat.

JOSEPH'S VOICE: Air raid Warden . . .

EXTERIOR HOUSE –– NIGHT

CLOSE SHOT –– man beside lighted window pulls down the shade as George blows his whistle.

EXTERIOR STREET –– DAY

CLOSE SHOT –– George is helping load his old car with scrap paper.

JOSEPH'S VOICE: . . . paper drives . . .

EXTERIOR DUMP –– DAY

CLOSE SHOT –– Wheelbarrow full of junk being dumped onto pile.

JOSEPH'S VOICE: . . . Scrap drives . . .

EXTERIOR STREET –– DAY

MEDIUM CLOSE SHOT –– children wheeling old tires.

JOSEPH'S VOICE: . . . Rubber drives . . .

INTERIOR CHURCH –– DAY

MEDIUM SHOT –– People praying in church.

JOSEPH'S VOICE: Like everybody else, on V-E Day he wept and prayed.

EXTERIOR CHURCH –– Another angle.

MEDIUM CLOSE SHOT –– People entering church.

JOSEPH'S VOICE: On V-J Day he wept and prayed again.

FRANKLIN'S VOICE: Joseph, now show him what happened today.

JOSEPH'S VOICE: Yes, sir.

EXTERIOR BEDFORD FALLS STREET –– WINTER –– DAY

George is walking along the sidewalk reading a newspaper. It is a raw, gusty day, and his overcoat and muffler flap in the breeze. Draped around one arm is a large Christmas wreath. Under his other arm are several more copies of the paper.

JOSEPH'S VOICE: This morning, day before Christmas, about ten A.M. Bedford Falls time . . .

George comes to where Ernie, the taxi driver, is standing on the sidewalk.

GEORGE (holding out paper): Hi, Ernie, look at that.

INSERT: NEWSPAPER. The front page of the paper, the Bedford Falls Sentinel. The headline reads: PRESIDENT DECORATES HARRY BAILEY –– LOCAL BOY WINS CONGRESSIONAL MEDAL OF HONOR. The subhead tells of a plan for a giant jubilee and parade, to be followed by a banquet, in honor of Commander Harry Bailey, U.S.N. on his way home from Washington after receiving the Congressional Medal of Honor. There's a large picture of President Truman pinning the coveted medal on Harry's bosom, in the midst of dignitaries; a picture of the transport which Harry saved. Practically the whole front page is devoted to the story.

CLOSE SHOT –– George and Ernie.

ERNIE (kidding): Gonna snow again.

GEORGE (outraged): What do you mean –– it's gonna snow again? Look at the headlines.

ERNIE: I know –– I know –– I know. I think it's marvelous.

Gower comes running across the street from his drugstore and joins them.

GEORGE (reading): Commander Harry Bailey. Mr. Gower, look at this –– the second page.
(gives them papers)
Now look, this is for you. This is for you, this is for you.
(as he leaves)
See you again.

EXTERIOR STREET –– DAY

MEDIUM LONG SHOT –– Uncle Billy is walking along the street, humming happily to himself. He sees some men decorating the Court House with banners and bunting –– there is a huge sign reading: Welcome Home Harry Bailey.

UNCLE BILLY (calls out): Be sure you spell the name right.

INTERIOR OUTER OFFICE BUILDING AND LOAN –– DAY

FULL SHOT –– The offices are unchanged, still small-time and old-fashioned. The same office force, albeit a few years older: Cousin Tilly and Cousin Eustace. Seated on a chair is a middle-aged man with a brief case. The outer door opens and George enters:

GEORGE: Extra! Extra! Read all about it!

Cousin Tilly and Cousin Eustace are talking on the phone.

COUSIN EUSTACE: George! George! It's Harry now on long distance from Washington!

GEORGE: Harry! What do you know about that?

COUSIN EUSTACE: He reversed the charges. It's okay, isn't it?

GEORGE: What do you mean it's okay? For a hero?
(takes the phone)
Harry! Oh, you old seven kinds of a son of a gun. Congratulations! How's Mother standing it? . . . She did? What do you know . . .
(to Eustace)
Mother had lunch with the President's wife!

COUSIN TILLY: Wait till Martha hears about this.

COUSIN EUSTACE: What did they have to eat?

GEORGE (on phone): What did they have to eat? Harry, you should see what they're cooking up in the town for you . . . Oh, are they?
(to Eustace)
The Navy's going to fly Mother home this afternoon.

COUSIN EUSTACE: In a plane?

GEORGE: What? Uncle Billy?
(to Eustace)
Has Uncle Billy come in yet?

COUSIN TILLY: No, he stopped at the bank first.

GEORGE (on phone): He's not here right now, Harry.

Cousin Eustace has turned away from George and caught a glimpse of the man waiting in the chair. This is Carter, the bank examiner, come for his annual audit of the books of the Building and Loan.

GEORGE (cont'd)
(on phone) But look . . .

COUSIN EUSTACE (interrupting): George . . .

GEORGE (on phone): . . . now tell me about it.

COUSIN EUSTACE (interrupting): . . . George, that man's here again.

GEORGE: What man?

COUSIN EUSTACE (nervously): Bank . . . bank examiner.

GEORGE: Oh . . .
(on phone) Talk to Eustace a minute, will you. I'll be right back.

He gives the phone to Eustace, puts down his wreath and goes over to Carter.

CLOSE SHOT –– George and Carter. They shake hands.

GEORGE: Good morning, sir.

CARTER: Carter –– bank examiner.

GEORGE: Mr. Carter, Merry Christmas.

CARTER: Merry Christmas.

GEORGE: We're all excited around here.
(shows him paper)
My brother just got the Congressional Medal of Honor. The President just decorated him.

CARTER: Well, I guess they do those things. Well, I trust you had a good year.

GEORGE: Good year? Well, between you and me, Mr. Carter, we're broke.

CARTER: Yeah, very funny.

GEORGE: Well . . .
(leading him into office) . . . now, come right in here, Mr. Carter.

CARTER (as they go): Although I shouldn't wonder when you okay reverse charges on personal long distance calls.

COUSIN TILLY: George, shall we hang up?

GEORGE: No, no. He wants to talk to Uncle Billy. You just hold on.

CARTER (in doorway): Now, if you'll cooperate, I'd like to finish with you by tonight. I want to spend Christmas in Elmira with my family.

GEORGE: I don't blame you at all, Mr. Carter, Just step right in here. We'll fix you up.

INTERIOR BANK –– DAY

CLOSE SHOT –– Uncle Billy is filling out a deposit slip at one of the desks.

UNCLE BILLY (writing): December twenty-fourth . . .

He takes a thick envelope from his inside pocket and thumbs through the bills it contains. It is evidently a large sum of money.

UNCLE BILLY (cont'd): Eight thousand . . .

MEDIUM SHOT –– door to street. Potter is being wheeled in by his goon. Various bank officials run over to greet him –– he is reading a newspaper. Uncle Billy has finished filling out his slip, and comes over to taunt Potter, the envelope containing the money in his hand.

UNCLE BILLY: Well, good morning, Mr. Potter. What's the news?

He grabs the paper from Potter's hand.

UNCLE BILLY(cont'd): Well, well, well, Harry Bailey wins Congressional Medal. That couldn't be one of the Bailey boys? You just can't keep those Baileys down, now, can you, Mr. Potter?

POTTER: How does slacker George feel about that?

UNCLE BILLY: Very jealous, very jealous. He only lost three buttons off his vest. Of course, slacker George would have gotten two of those medals if he had gone.

POTTER: Bad ear.

UNCLE BILLY: Yes.

Uncle Billy folds Potter's paper over the envelope containing his money, and flings his final taunt at the old man.

UNCLE BILLY (cont'd): After all, Potter, some people like George had to stay home. Not every heel was in Germany and Japan!

In a cold rage, Potter grabs his paper and wheels off toward his office. Uncle Billy smiles triumphantly and goes toward deposit window with his deposit slip.

CLOSE SHOT –– Uncle Billy and bank teller at the window.

UNCLE BILLY (still chuckling): Good morning, Horace.

Uncle Billy hands the bank book over. The teller opens it, starts to punch it with rubber stamps.

TELLER: I guess you forgot something.

UNCLE BILLY: Huh?

TELLER: You forgot something.

UNCLE BILLY: What?

TELLER: Well, aren't you going to make a deposit?

UNCLE BILLY: Sure, sure I am.

TELLER: Well, then . . it's usually customary to bring the money with you.

UNCLE BILLY: Oh, shucks . . .

Uncle Billy searches through every pocket he has.

UNCLE BILLY (cont'd)
(looks bewildered): I know I had . . .

The teller, knowing the old man's vagaries, points to one of the numerous string tied around his fingers.

TELLER: How about that one there?

UNCLE BILLY: Hmm? Well, I . . .

INTERIOR POTTER'S OFFICE –– DAY

CLOSE SHOT –– Potter is now behind his desk. He spreads the newspaper out in front of him, muttering as he does so.

POTTER: Bailey . . .

He sees the envelope, looks inside at the money. Then, to his goon, indicating the office door:

POTTER (cont'd): Take me back there. Hurry up.
(as they go)
Come on, look sharp.

Potter opens the door just a little, and peers through into the bank.

INTERIOR BANK –– DAY

CLOSE SHOT –– deposit slip desk. Uncle Billy looks around for the money envelope. It is not there. He looks puzzled, thinks hard, then a look of concern creeps into his eyes. He starts thumping his pockets, with increasing panic, and looks in the waste paper basket on the floor. He finally rushes through the door and out into the street.

INTERIOR POTTER'S OFFICE –– DAY

CLOSE SHOT –– Potter watching through the door.

POTTER (to goon): Take me back.

The goon wheels him back to his desk. He is deep in thought, with a crafty expression on his face.

EXTERIOR STREET –– DAY

MEDIUM CLOSE SHOT –– Uncle Billy running across the street in the direction of the Building and Loan.

INTERIOR OUTER OFFICE –– BUILDING AND LOAN –– DAY

CLOSE SHOT –– George coming from room where he has just left the bank examiner.

GEORGE: Just make yourself at home, Mr. Carter. I'll get those books for you.

He sees Violet Bick standing there.

GEORGE (cont'd): Oh, hello, Vi.

VIOLET: George, can I see you for a second?

GEORGE: Why, of course you can. Come on in the office here.

He hears a noise, and sees Uncle Billy entering the office.

GEORGE (cont'd): Uncle Billy, talk to Harry. He's on the telephone.

George and Violet enter his private office. Uncle Billy comes hurrying in.

COUSIN TILLY: Hurry, Uncle Billy, hurry. Long distance, Washington.

COUSIN EUSTACE: Hey, here's Harry on the phone.

COUSIN TILLY: Harry, your nephew, remember?

COUSIN EUSTACE (on phone): Here he is.

Uncle Billy picks up the phone and speaks distractedly, without knowing what he is saying.

UNCLE BILLY (on phone): Hello . . . hello . . . Yes, Harry –– yes . . . everything . . . everything's fine.

He hangs up agitatedly, muttering to himself as he goes into his own office. Cousin Tilly and Cousin Eustace look after him, dumbfounded.

UNCLE BILLY (cont'd): I should have my head examined. Eight thousand dollars. It's got to be somewhere.

INTERIOR GEORGE'S OFFICE –– DAY

CLOSE SHOT –– George and Violet. George has just finished writing something, and is slipping the paper into an envelope.

GEORGE (hands it to her): Here you are.

VIOET (bitterly): Character? If I had any character, I'd . . .

GEORGE: It takes a lot of character to leave your home town and start all over again.

He pulls some money from his pocket, and offers it to her.

VIOLET: No, George, don't . . .

GEORGE: Here, now, you're broke, aren't you?

VIOLET: I know, but . . .

GEORGE: What do you want to do, hock your furs, and that hat? Want to walk to New York? You know, they charge for meals and rent up there just the same as they do in Bedford Falls.

VIOLET (taking money): Yeah –– sure . . .

GEORGE: It's a loan. That's my business. Building and Loan. Besides, you'll get a job. Good luck to you.

She looks at him, then says a strange thing.

VIOLET: I'm glad I know you, George Bailey.

She reaches up and kisses him on the cheek, leaving lipstick. George opens the door for her.

INTERIOR OUTER OFFICE –– DAY

CLOSE SHOT –– As George and Violet come through the door, they are being watched by Cousin Tilly, Cousin Eustace and the bank examiner, who is still waiting to go to work on the books.

GEORGE: Say hello to New York for me.

VIOLET: Yeah –– yeah . . . sure I will.

GEORGE: Now, let's hear from you . . .

Violet sees the lipstick on George's cheek, and dabs at it with her handkerchief.

GEORGE (cont'd): What's the matter? Merry Christmas, Vi.

VIOLET: Merry Christmas, George.

She exits.

MR. CARTER: Mr. Bailey . . .

GEORGE: Oh, Mr. Carter, I'm sorry. I'll be right with you.
(to Cousin Tilly)
Uncle Billy in?

COUSIN TILLY: Yeah, he's in his office.

INTERIOR DOORWAY TO UNCLE BILLY'S OFFICE –– DAY

CLOSE SHOT –– As George opens the door he sees Uncle Billy frantically looking for the missing envelope. The office is in a mess, drawers are opened, and papers scattered on the floor and on the desk.

GEORGE: Unc . . . What's going on? The bank examiner's here, and I . . .

UNCLE BILLY (in dismay): He's here?

GEORGE: Yeah, yeah. He wants the accounts payable . . .

George stops short, suddenly aware of the tragic old eyes looking up at him.

GEORGE (cont'd): What's the matter with you?

Uncle Billy gestures nervously for George to come in. He does so and closes the door.

INTERIOR OUTER OFFICE –– DAY

MEDIUM SHOT –– Cousin Tilly is at her switchboard, and Cousin Eustace standing beside her. Carter is still waiting in the doorway to his office. Suddenly the door opens and George comes striding out. He goes directly to the safe and starts searching, but doesn't find the money. Then he goes to the cash drawer in the counter, and looks through it.

GEORGE: Eustace . . .

EUSTACE: Yeah?

GEORGE: Come here a minute.

Cousin Eustace runs over to George.

GEORGE (cont'd): Did you see Uncle Billy with any cash last night?

COUSIN EUSTACE: He had it on his desk counting it before he closed up.

EXTERIOR MAIN STREET BEDFORD FALLS –– DAY

MEDIUM SHOT –– Uncle Billy and George are retracing the former's steps through the snow, looking everywhere for the missing money. They pause for a moment on the sidewalk.

GEORGE: Now look, did you buy anything?

UNCLE BILLY: Nothing. Not even a stick of gum.

GEORGE: All right. All right. Now we'll go over every step you took since you left the house.

UNCLE BILLY: This way.

They continue on down the street on their search.

EXTERIOR WINDOW OF POTTER'S OFFICE IN BANK –– DAY

CLOSE SHOT –– Potter is peering through the slats of the Venetian blind, watching them as they go.

EXTERIOR MAIN STREET BEDFORD FALLS –– DAY

MOVING SHOT –– George and Uncle Billy continue their search.

INTERIOR UNCLE BILLY'S LIVING ROOM

CLOSE SHOT –– A shabby, old-fashioned, gas-lit room which has been turned almost inside out and upside down in an effort to locate the missing money. Drawers of an old secretary have been pulled out and are on the floor. Every conceivable place which might have been used by Uncle Billy to put the money has been searched. George, his hair rumpled, is feverishly pursuing the search. Uncle Billy is seated behind the desk, his head on his hands.

GEORGE: And did you put the envelope in your pocket?

UNCLE BILLY: Yeah . . yeah . . . maybe . . . maybe . . .

GEORGE (shouts): Maybe –– maybe! I don't want any maybe. Uncle Billy, we've got to find that money!

UNCLE BILLY (piteously): I'm no good to you, George. I . . .

GEORGE: Listen to me. Do you have any secret hiding place here in the house? Someplace you could have put it? Someplace to hide the money?

UNCLE BILLY (exhausted): I've been over the whole house, even in rooms that have been locked ever since I lost Laura.

Uncle Billy starts sobbing hysterically. George grabs him by the lapels and shakes him.

GEORGE (harshly): Listen to me! Listen to me! Think! Think!

UNCLE BILLY (sobbing): I can't think any more, George. I can't think any more. It hurts . . .

George jerks him to his feet and shakes him. Uncle Billy stands before him like a frisked criminal, all his pockets hanging out, empty. George's eyes and manner are almost maniacal.

GEORGE (screaming at him): Where's that money, you stupid, silly old fool? Where's the money? Do you realize what this means? It means bankruptcy and scandal, and prison!

He throws Uncle Billy down into his chair, and still shouts at him:

GEORGE (cont'd): That's what it means! One of us is going to jail! Well, it's not going to be me!

George turns and heads for the door, kicking viciously at a waste basket on the floor as he goes. Uncle Billy remains sobbing at the table, his head in his arms.