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

LA SCENEGGIATURA

INTERIOR 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.

INTERIOR 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.

EXTERIOR 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.

EXTERIOR 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.