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.

WIPE TO: INTERIOR GEORGE'S LIVING ROOM - NIGHT CLOSE SHOT - Janie [aged eight] is seated at the piano playing "Hark, the Herald Angels Sing," which she practices during the remainder of this scene. There is a Christmas tree all decorated near the fireplace. At a large table Mary is busy putting cellophane bows and decorations on gift packages. At a small table Pete [aged nine] is seated with pad and pencil in the throes of composition. On the floor Tommy [aged three] is playing with a toy vacuum cleaner. We hear the SOUND of a door open and close. Mary turns and sees George enter the hall, a slight powdering of snow on his head and shoulders.

INTERIOR HALL - NIGHT CLOSE SHOT - As George comes into the house.

MARY

Hello, darling.

CHILDREN

Hello Daddy, hello daddy.

MARY

[indicating tree] How do you like it?

George sneezes violently.

MARY AND CHILDREN

Bless you!

MARY

Did you bring the wreath?

PETE

Did you bring the Christmas wreath?

GEORGE

What? What wreath?

MARY

The Merry Christmas wreath for the window.

GEORGE

[gruffly] No. I left it at the office.

MARY

Is it snowing?

GEORGE

Yeah, just started.

MARY

Where's your coat and hat?

GEORGE

Left them at the office.

Mary stares at him, aware that something unusual has happened.

MARY

What's the matter?

GEORGE

[bitterly] Nothing's the matter. Everything's all right.

INTERIOR LIVING ROOM - NIGHT CLOSE SHOT - George slumps into an armchair and lifts Tommy onto his lap. Mary is helping Pete decorate the Christmas tree.

MARY

Go on, Pete, you're a big boy. you can put the star up. Way up at the top. That's it. Fill in that little bare spot right there. That's it. [to George] Isn't it wonderful about Harry? We're famous, George. I'll bet I had fifty calls today about the parade, the banquet. Your mother's so excited, she . . .

During this scene, George has been sitting in the chair, hugging Tommy to him, and crying quietly. Mary realizes that something is seriously wrong, and breaks off. Janie is thumping away at the piano.

GEORGE

Must she keep playing that?

JANIE

[hurt] I have to practice for the party tonight, Daddy.

PETE

Mommy says we can stay up till midnight and sing Christmas carols.

TOMMY

Can you sing, Daddy?

MARY

[to George] Better hurry and shave. The families will be here soon.

GEORGE

[rising from chair] Families! I don't want the families over here!

Mary leads him out toward the kitchen.

MARY

Come on out in the kitchen with me while I finish dinner.

They exit with Tommy hanging onto George's coat-tails, and pulling at him. CAMERA PANS WITH them.

TOMMY

Excuse me . . . excuse me . . .

INTERIOR HALL - NIGHT CLOSE SHOT - as they go toward kitchen.

MARY

Have a hectic day?

GEORGE

[bitterly] Oh, yeah, another big red letter day for the Baileys.

PETE

Daddy, the Browns next door have a new car. You should see it.

GEORGE

[turns on him] Well, what's the matter with our car? Isn't it good enough for you?

PETE

Yes, Daddy.

TOMMY

[tugging at coat] Excuse me, excuse me . . .

INTERIOR KITCHEN - NIGHT CLOSE SHOT - They come through the door.

GEORGE

[annoyed] Excuse you for what?

TOMMY

I burped!

MARY

All right, darling, you're excused. Now go upstairs and see what little Zuzu wants.

Tommy leaves, and Mary turns to the stove.

GEORGE

Zuzu! What's the matter with Zuzu?

MARY

Oh, she's got a cold. She's in bed. Caught it coming home from school. They gave her a flower for a prize and she didn't want to crush it so she didn't button up her coat.

GEORGE

What is it, a sore throat or what?

MARY

Just a cold. The doctor says it's nothing serious.

GEORGE

The doctor? Was the doctor here?

MARY

Yes, I called him right away. He says it's nothing to worry about.

GEORGE

Is she running a temperature? What is it?

MARY

Just a teensie one - ninety-nine, six. She'll be all right.

George paces about the kitchen, worried.

GEORGE

Gosh, it's this old house. I don't know why we don't all have pneumonia. This drafty old barn! Might as well be living in a refrigerator. Why did we have to live here in the first place and stay around this measly, crummy old town?

MARY

[worried] George, what's wrong?

GEORGE

Wrong? Everything's wrong! You call this a happy family? Why did we have to have all these kids?

PETE

[coming in] Dad, how do you spell "frankincense"?

GEORGE

[shouts] I don't know! Ask your mother!

George goes toward doorway.

MARY

Where're you going?

GEORGE

Going up to see Zuzu.

We hear his footsteps as he leaves. Mary looks after him, puzzled and concerned, then comes over to Pete.

PETE

He told me to write a play for tonight.

MARY

F-R-A-N-K-I-N . . .

INTERIOR HALL - NIGHT MEDIUM CLOSE SHOT - George starts up the stairs. The knob on the banister comes off in his hand, and for a moment he has an impulse to hurl it into the living room. Then, he replaces the knob, and goes on up the stairs.

INTERIOR ZUZU'S BEDROOM - NIGHT FULL SHOT - The SOUND of Janie at the piano can be heard, the same monotonous rhythm over and over. Zuzu [aged six] is sitting up in her bed, the lamp burning beside her. She is holding her prize flower. George tiptoes in. Then, as he sees she's awake, he comes over, sitting on the edge of her bed.

ZUZU

Hi, Daddy.

GEORGE

Well, what happened to you?

ZUZU

I won a flower.

She starts to get out of bed.

GEORGE

Wait now. Where do you think you're going?

ZUZU

Want to give my flower a drink.

GEORGE

All right, all right. Here, give Daddy the flower. I'll give it a drink.

She shakes her head and presses the flower to her. A few petals fall off. She picks them up.

ZUZU

Look, Daddy . . . paste it.

GEORGE

Yeah, all right. Now, I'll paste this together. She hands him the fallen petals and the flower.

He turns his back to Zuzu, pretending to be tinkering with the flower. He sticks the fallen petals in his watch pocket, rearranges the flower, and then turns back to Zuzu.

GEORGE

There it is, good as new.

ZUZU

Give the flower a drink.

George puts the flower in a glass of water on the table beside her bed.

GEORGE

Now, will you do something for me?

CLOSE-UP - George and Zuzu. They whisper.

ZUZU

What?

GEORGE

Will you try to get some sleep?

ZUZU

I'm not sleepy. I want to look at my flower.

GEORGE

I know - I know, but you just go to sleep, and then you can dream about it, and it'll be a whole garden.

ZUZU

It will?

GEORGE

Uh-huh.

She closes her eyes and relaxes on the bed. George pulls the covers over her. He bends down and his lips touch a tendril of the child's hair. Then he gets up and tiptoes out of the room.

INTERIOR LIVING ROOM - NIGHT CLOSE SHOT - Janie is still pounding with grim determination at the piano. Pete is seated at the table writing. Tommy is playing with his toy vacuum cleaner. The telephone rings.

JANIE AND PETE

Telephone.

INTERIOR LIVING ROOM - NIGHT CLOSE SHOT - Mary comes in and picks up the phone.

MARY

I'll get it. [on phone] Hello. Yes, this is Mrs. Bailey.

George enters shot, and stands listening to her.

MARY [cont'd]

Oh, thank you, Mrs. Welch. I'm sure she'll be all right. The doctor says that she ought to be out of bed in time to have her Christmas dinner.

GEORGE

Is that Zuzu's teacher?

MARY

[hands over receiver] Yes.

GEORGE

Let me speak to her. He snatches the phone from Mary.

GEORGE [cont'd]

[on phone] Hello. Hello, Mrs. Welch? This is George Bailey. I'm Zuzu's father. Say, what kind of a teacher are you anyway? What do you mean sending her home like that, half-naked? Do you realize she'll probably end up with pneumonia on account of you?

MARY

[shocked] George!

She puts a restraining hand on his arm. He shakes it off. She cannot know that George's tirade against Mrs. Welch is really a tirade against the world, against life itself, against God. Over the phone we hear Mrs. Welch's voice sputtering with protest.

GEORGE

Is this the sort of thing we pay taxes for - to have teachers like you? Silly, stupid, careless people who send our kids home without any clothes on? You know, maybe my kids aren't the best-dressed kids; maybe they don't have any decent clothes . . .

Mary succeeds in wresting the phone from George's hand.

GEORGE [cont'd]

Aw, that stupid . . .

Mary speaks quickly in to the phone.

MARY

Hello, Mrs. Welch. I want to apologize . . . hello . . . hello . . . [to George] She's hung up.

GEORGE

[savagely] I'll hang her up!

But the telephone is suddenly alive with a powerful male voice calling:

MR. WELCH'S VOICE

Now, who do you think you are?

George hears this and grabs the receiver from Mary.

GEORGE

[to Mary] Wait a minute. [on phone] Hello? Who is this? Oh, Mr. Welch? Okay, that's fine, Mr. Welch. Gives me a chance to tell you what I really think of your wife.

Mary once more tries to take the phone from him.

MARY

George . . .

GEORGE

[raving at her] Will you get out and let me handle this? [into phone - shouting] Hello? Hello? What? Oh, you will, huh? Okay, Mr. Welch, any time you think you're man enough . . . Hello? Any . . .

But before he can think of an insult to top Welch's, we hear a click on the phone.

GEORGE

Oh . . .

He hangs up the receiver, and turns toward the living room. His face is flushed and wet.

PETE

Daddy, how do you spell "Hallelujah"?

GEORGE

[shouts] How should I know? What do you think I am, a dictionary?

He yells at Tommy, noisily playing with his vacuum cleaner.

GEORGE [cont'd]

Tommy, stop that! Stop it!

Janie is still practicing at the piano, monotonously.

GEORGE [cont'd]

[savagely] Janie, haven't you learned that silly tune yet? You've played it over and over again. Now stop it! Stop it!

INTERIOR LIVING ROOM - NIGHT CLOSE SHOT - The room has suddenly become ominously quiet, the only SOUND being George's labored breathing. George goes over to a corner of the room where his workshop is set up - a drawing table, several models of modern buildings, bridges, etc. Savagely he kicks over the models, picks up some books and hurls them into the corner. Mary and the children watch, horrified. George looks around and sees them staring at him as if he were some unknown wild animal. The three children are crying.

GEORGE

[gasping for breath] I'm sorry, Mary, Janie. I'm sorry. I didn't mean . . . you go on and practice. Pete, I owe you an apology, too. I'm sorry. What do you want to know?

PETE

[holding back his tears] Nothing, Daddy.

Mary and the children stare at him, stunned by his furious outburst. There is silence in the room.

GEORGE

What's the matter with everybody? Janie, go on. I told you to practice. [shouts] Now, go on, play!

Janie breaks into sobs.

JANIE

Oh, Daddy . . .

MARY

[in an outburst] George, why must you torture the children? Why don't you . . .

The sight of Mary and the children suffering is too much for George.

GEORGE

Mary . . .

He looks around him, then quickly goes out the front door of the house. Mary goes to the phone, picks it up.

MARY

Bedford, two-four-seven, please.

PETE

Is Daddy in trouble?

JANIE

Shall I pray for him?

MARY

Yes, Janie, pray very hard.

TOMMY

Me, too?

MARY

You too, Tommy. [on phone] Hello, Uncle Billy?

INTERIOR POTTER'S OFFICE IN BANK - NIGHT - 8:00 P.M. MEDIUM CLOSE UP - Potter is seated at his desk, his goon beside him. He is signing some papers. George is seated in a chair before the desk, without a hat or coat, covered lightly with snow.

GEORGE

I'm in trouble, Mr. Potter. I need help. Through some sort of an accident my company's short in their accounts. The bank examiner's up there today. I've got to raise eight thousand dollars immediately.

POTTER

[casually] Oh, so that's what the reporters wanted to talk to you about?

GEORGE

[incredulous] The reporters?

POTTER

Yes. They called me up from your Building and Loan. Oh, there's a man over there from the D.A.'s office, too. He's looking for you.

GEORGE

[desperate] Please help me, Mr. Potter. Help me, won't you please? Can't you see what it means to my family? I'll pay you any sort of a bonus on the loan . . . any interest. If you still want the Building and Loan, why I . . .

POTTER

[interrupting] George, could it possibly be there's a slight discrepancy in the books?

GEORGE

No, sir. There's nothing wrong with the books. I've just misplaced eight thousand dollars. I can't find it anywhere.

POTTER

[looking up] You misplaced eight thousand dollars?

GEORGE

Yes, sir.

POTTER

Have you notified the police?

GEORGE

No, sir. I didn't want the publicity. Harry's homecoming tomorrow . . .

POTTER

[snorts] They're going to believe that one. What've you been doing, George? Playing the market with the company's money?

GEORGE

No, sir. No, sir. I haven't.

POTTER

What is it - a woman, then? You know, it's all over town that you've been giving money to Violet Bick.

GEORGE

[incredulous] What?

POTTER

Not that it makes any difference to me, but why did you come to me? Why don't you go to Sam Wainwright and ask him for the money?

GEORGE

I can't get hold of him. He's in Europe.

POTTER

Well, what about all your other friends?

GEORGE

They don't have that kind of money, Mr. Potter. You know that. You're the only one in town that can help me.

POTTER

I see. I've suddenly become quite important. What kind of security would I have, George? Have you got any stocks?

GEORGE

[shaking his head] No, sir.

POTTER

Bonds? Real estate? Collateral of any kind?

GEORGE

[pulls out policy] I have some life insurance, a fifteen thousand dollar policy.

POTTER

Yes . . . how much is your equity in it?

GEORGE

Five hundred dollars.

POTTER

[sarcastically] Look at you. You used to be so cocky! You were going to go out and conquer the world! You once called me a warped, frustrated old man. What are you but a warped, frustrated young man? A miserable little clerk crawling in here on your hands and knees and begging for help. No securities - no stocks - no bonds - nothing but a miserable little five hundred dollar equity in a life insurance policy. You're worth more dead than alive. Why don't you go to the riff-raff you love so much and ask them to let you have eight thousand dollars? You know why? Because they'd run you out of town on a rail . . .But I'll tell you what I'm going to do for you, George. Since the state examiner is still here, as a stockholder of the Building and Loan, I'm going to swear out a warrant for your arrest. Misappropriation of funds - manipulation - malfeasance . . .

George turns and starts out of the office as Potter picks up the phone and dials.

POTTER [cont'd]

All right, George, go ahead. You can't hide in a little town like this.

George is out of the door by now. CAMERA MOVES CLOSER to Potter.

POTTER [cont'd]

[on phone] Bill? This is Potter.

EXTERIOR MAIN STREET BEDFORD FALLS - NIGHT MEDIUM CLOSE SHOT - George comes out of the bank into the falling snow. He crosses the street, tugs at the door of his old car, finally steps over the door, and drives off.

EXTERIOR MARTINI'S BAR - NIGHT MEDIUM CLOSE SHOT - An attractive little roadside tavern, with the name "Martini's" in neon lights on the front wall.

INTERIOR MARTINI'S BAR - NIGHT CLOSE SHOT - The place is an Italian restaurant with bar. The bottles sparkle. There are Christmas greens and holly decorating the place. It has a warm, welcoming spirit, like Martini himself, who is welcoming new arrivals. The booths and the checkered-cloth-covered tables are full. There is an air of festivity and friendliness, and more like a party than a public drinking place. George is seated at the bar - he has had a great deal to drink, far more than he's accustomed to.

MARTINI'S VOICE

[greeting new customers] Merry Christmas. Glad you came.

MAN'S VOICE

How about some of that good spaghetti?

MARTINI'S VOICE

We got everything.

During this, CAMERA MOVES CLOSER to George. Nick, the bartender, is watching him solicitously. Seated on the other side of George is a burly individual, drinking a glass of beer. George is mumbling:

GEORGE

God . . . God . . . Dear Father in Heaven, I'm not a praying man, but if you're up there and you can hear me, show me the way. I'm at the end of my rope. Show me the way, God.

NICK

[friendly] Are you all right, George? Want someone to take you home?

George shakes his head. Martini comes over to his side.

MARTINI

[worried] Why you drink so much, my friend? Please go home, Mr. Bailey. This is Christmas Eve.

The ugly man next to George, who has been listening, reacts sharply to the name "Bailey."

MAN

Bailey? Which Bailey?

NICK

This is Mr. George Bailey.

Without any warning, the burly man throws a vicious punch at George, who goes down and out. Martini, Nick and several others rush to pick him up.

MAN

[to George] And the next time you talk to my wife like that you'll get worse. She cried for an hour. It isn't enough she slaves teaching your stupid kids how to read and write, and you have to bawl her out . . .

MARTINI

[furious] You get out of here, Mr. Welch!

Mr. Welch reaches in his pocket for money.

WELCH

Now wait . . . I want to pay for my drink.

MARTINI

Never mind the money. You get out of here quick.

WELCH

All right.

MARTINI

You hit my best friend. Get out!

Nick and Martini shove Welch out the door, then run back to help George to his feet. George's mouth is cut and bleeding.

NICK

You all right, George?

GEORGE

[stunned] Who was that?

MARTINI

He's gone. Don't worry. His name is Welch. He don't come in to my place no more.

GEORGE

Oh - Welch. That's what I get for praying.

MARTINI The last time he come in here. You hear that, Nick?

NICK

Yes, you bet.

GEORGE

Where's my insurance policy? [finds it in pocket] Oh, here . . . He starts for the door.

MARTINI

Oh, no, Please, don't go out this way, Mr. Bailey.

GEORGE

I'm all right.

Nick and Martini try to stop him, but he shrugs them off.

MARTINI

Oh, no - you don't feel so good.

GEORGE

I'm all right.

MARTINI

Please don't go away - please!

George opens the door and exits to the street.

WIPE TO: EXTERIOR RESIDENTIAL STREET - NIGHT MEDIUM SHOT - George's car comes along the empty street, through the falling snow, suddenly swerves and crashes into a tree near the sidewalk of a house. George gets out to look at the damage, and savagely kicks at the open door of the car, trying to shut it. The noise brings the owner of the house running out.

OWNER

What do you think you're doing?

CLOSE SHOT - George stands unsteadily near the car, shaken by the accident. The front lights are broken and the fender is ripped. George stands dully looking at the damage. The owner comes up, looking at his tree. He leans over to examine the damages.

OWNER

[with indignation] Now look what you did. My great-grandfather planted this tree.

George staggers off down the street, paying no attention to the man.

OWNER [cont'd]

Hey, you . . . Hey, you! Come back here, you drunken fool! Get this car out of here!

EXTERIOR BRIDGE OVER RIVER - NIGHT MEDIUM LONG SHOT - George is crossing the approach to the bridge when a truck swings around the corner and nearly hits him.

DRIVER

Hey, what's the matter with you? Look where you're going!

The truck turns onto the bridge, and George takes a narrow catwalk at the railing.

CLOSE SHOT - George has stopped by the railing at the center of the bridge. The snow is now falling hard.

EXTERIOR RIVER - NIGHT MEDIUM CLOSE SHOT - CAMERA SHOOTING DOWN from George's angle TO the water, dotted with floating ice, passing under the bridge.

EXTERIOR BRIDGE AT RAILING - NIGHT CLOSEUP - George. He stares down at the water, desperate, trying to make up his mind to act. He leans over looking at the water, fascinated, glances furtively around him, hunches himself as though about to jump.

MEDIUM CLOSE SHOT - From above George a body hurtles past and lands in the water with a loud splash. George looks down, horrified.

VOICE

[from river] Help! Help!

George quickly takes off his coat and dives over the railing into the water.

CLOSER ANGLE - George comes up, sees the man flailing about in the water, and CAMERA PANS WITH him as he swims toward the man.

MAN

Help! Help! Help!

EXTERIOR TOLL HOUSE ON BRIDGE - NIGHT CLOSE SHOT - The toll house keeper, hearing the cries for help, comes running out on the bridge with a flashlight, which he shines on the two figures struggling in the water below.

EXTERIOR RIVER - NIGHT CLOSE SHOT - The man in the water is Clarence, the angel whose voice we have heard speaking from Heaven. George reaches him, grabs hold of him, and starts swimming for shore.

WIPE TO: INTERIOR TOLL HOUSE ON BRIDGE - NIGHT MEDIUM SHOT - George, Clarence, and the tollkeeper. George is seated before a wood-burning stove before which his clothes are drying on a line. He is in his long winter underwear. He is sipping a mug of hot coffee, staring at the stove, cold, gloomy and drunk, ignoring Clarence and the tollkeeper, preoccupied by his near suicide and his unsolved problems. Clarence is standing on the other side of the stove, putting on his undershirt. This is a ludicrous seventeenth century garment which looks like a baby's night shirt - with embroidered cuffs and collar, and gathered at the neck with a drawstring. It falls below his knees. The tollkeeper is seated against the wall eyeing them suspiciously. Throughout the scene he attempts to spit, but each time is stopped by some amazing thing Clarence does or says. Clarence becomes aware that his garment is amazing the tollkeeper.

CLARENCE

I didn't have time to get some stylish underwear. My wife gave me this on my last birthday. I passed away in it.

The tollkeeper, about to spit, is stopped in the middle of it by this remark. Clarence, secretly trying to get George's attention, now picks up a copy of "Tom Sawyer" which is hanging on the line, drying. He shakes the book.

CLARENCE [cont'd]

Oh, Tom Sawyer's drying out, too. You should read the new book Mark Twain's writing now.

The tollkeeper stares at him incredulously.

TOLLKEEPER

How'd you happen to fall in?

CLARENCE

I didn't fall in. I jumped in to save George.

George looks up, surprised.

GEORGE

You what? To save me?

CLARENCE

Well, I did, didn't I? You didn't go through with it, did you?

GEORGE

Go through with what?

CLARENCE

Suicide.

George and the tollkeeper react to this.

TOLLKEEPER

It's against the law to commit suicide around here.

CLARENCE

Yeah, it's against the law where I come from, too.

TOLLKEEPER

Where do you come from?

He leans forward to spit, but is stopped by Clarence's next statement.

CLARENCE

Heaven. [to George] I had to act quickly; that's why I jumped in. I knew if I were drowning you'd try to save me. And you see, you did, and that's how I saved you.

The tollkeeper becomes increasingly nervous. George casually looks at the strange smiling little man a second time.

GEORGE

[offhand] Very funny.

CLARENCE

Your lip's bleeding, George.

George's hand goes to his mouth.

GEORGE

Yeah, I got a bust in the jaw in answer to a prayer a little bit ago.

CLARENCE

[comes around to George] Oh, no - no - no. I'm the answer to your prayer. That's why I was sent down here.

GEORGE

[casually interested] How do you know my name?

CLARENCE

Oh, I know all about you. I've watched you grow up from a little boy.

GEORGE

What are you, a mind reader or something?

CLARENCE

Oh, no.

GEORGE

Well, who are you, then?

CLARENCE

Clarence Odbody, A-S-2.

GEORGE

Odbody . . . A-S-2. What's that A-S-2?

CLARENCE

Angel, Second Class.

The tollkeeper's chair slips out from under him with a crash. He has been leaning against the wall on it, tipped back on two legs. Tollkeeper rises and makes his way warily out the door. From his expression he looks like he'll call the nearest cop.

CLARENCE [cont'd]

[to tollkeeper] Cheerio, my good man.

George rubs his head with his hand, to clear his mind.

GEORGE

Oh, brother. I wonder what Martini put in those drinks?

He looks up at Clarence standing beside him.

GEORGE [cont'd]

Hey, what's with you? What did you say just a minute ago? Why'd you want to save me?

CLARENCE

That's what I was sent down for. I'm your guardian angel.

GEORGE

I wouldn't be a bit surprised.

CLARENCE

Ridiculous of you to think of killing yourself for money. Eight thousand dollars.

GEORGE

[bewildered] Yeah . . . just things like that. Now how'd you know that?

CLARENCE

I told you - I'm your guardian angel. I know everything about you.

GEORGE

Well, you look about like the kind of an angel I'd get. Sort of a fallen angel, aren't you? What happened to your wings?

CLARENCE

I haven't won my wings yet. That's why I'm an angel Second Class.

GEORGE

I don't know whether I like it very much being seen around with an angel without any wings.

CLARENCE

Oh, I've got to earn them, and you'll help me, won't you?

GEORGE

[humoring him] Sure, sure. How?

CLARENCE

By letting me help you.

GEORGE

Only one way you can help me. You don't happen to have eight thousand bucks on you?

CLARENCE

Oh, no, no. We don't use money in Heaven.

GEORGE

Oh, that's right, I keep forgetting. Comes in pretty handy down here, bub.

CLARENCE

Oh, tut, tut, tut.

GEORGE

I found it out a little late. I'm worth more dead than alive.

CLARENCE

Now look, you mustn't talk like that. I won't get my wings with that attitude. You just don't know all that you've done. If it hadn't been for you . . .

GEORGE

[interrupts] Yeah, if it hadn't been for me, everybody'd be a lot better off. My wife, and my kids and my friends. [annoyed with Clarence] Look, little fellow, go off and haunt somebody else, will you?

CLARENCE

No, you don't understand. I've got my job . . .

GEORGE

[savagely] Aw, shut up, will you.

Clarence is not getting far with George. He glances up, paces across the room, thoughtfully.

CLARENCE

[to himself] Hmmm, this isn't going to be so easy. [to George] So you still think killing yourself would make everyone feel happier, eh?

GEORGE

[dejectedly] Oh, I don't know. I guess you're right. I suppose it would have been better if I'd never been born at all.

CLARENCE

What'd you say?

GEORGE

I said I wish I'd never been born.

CLARENCE

Oh, you mustn't say things like that. You . . . [gets an idea] . . . wait a minute. Wait a minute. That's an idea. [glances up toward Heaven] What do you think? Yeah, that'll do it. All right. [to George] You've got your wish. You've never been born.

As Clarence speaks this line, the snow stops falling outside the building, a strong wind springs up which blows open the door to the shack. Clarence runs to close the door.

CLARENCE [cont'd]

[looking upward] You don't have to make all that fuss about it.

As Clarence speaks, George cocks his head curiously, favoring his deaf ear, more interested in his hearing than in what Clarence has said.

GEORGE

What did you say?

CLARENCE

You've never been born. You don't exist. You haven't a care in the world.

George feels his ear as Clarence talks.

CLARENCE [cont'd]

No worries - no obligations - no eight thousand dollars to get - no Potter looking for you with the Sheriff.

CLOSEUP - George and Clarence. George indicates his bad ear.

GEORGE

Say something else in that ear.

CLARENCE

[bending down] Sure. You can hear out of it.

GEORGE

Well, that's the doggonedest thing . . . I haven't heard anything out of that ear since I was a kid. Must have been that jump in the cold water.

CLARENCE

Your lip's stopped bleeding, too, George.

George feels his lip, which shows no sign of the recent cut he received from Welch. He is now thoroughly confused.

GEORGE

What do you know about that . . . What's happened?

MEDIUM CLOSE SHOT - George looks around, as though to get his bearings.

GEORGE

It's stopped snowing out, hasn't it? What's happened here? [standing up] Come on, soon as these clothes of ours are dry . . .

CLARENCE

Our clothes are dry.

George feels the clothes on the line.

GEORGE

What do you know about that? Stove's hotter than I thought. Now, come on, get your clothes on, and we'll stroll up to my car and get . . .

They start dressing. George interrupts himself.

GEORGE [cont'd]

Oh, I'm sorry. I'll stroll. You fly.

CLARENCE

I can't fly. I haven't got any wings.

GEORGE

You haven't got your wings. Yeah, that's right.

WIPE TO: George and Clarence go to Nick's Place.

EXTERIOR STREET - NIGHT MEDIUM SHOT - This is the same empty street where George's car swerved into the tree near the sidewalk. George and Clarence come into shot and up to the spot where George had left his car smashed against the tree. George looks around, but his car is nowhere to be seen, and the tree is undamaged.

CLARENCE

What's the matter?

GEORGE

[puzzled] Well, this is where I left my car and it isn't here.

CLARENCE

You have no car.

GEORGE

Well, I had a car, and it was right here. I guess somebody moved it.

CLOSE SHOT - at curb. The owner of the house passes with some Christmas packages under his arm.

OWNER

[politely] Good evening.

GEORGE

Oh, say . . . Hey . . . where's my car?

OWNER

I beg your pardon?

GEORGE

My car, my car. I'm the fellow that owns the car that ran into your tree.

OWNER

What tree?

GEORGE

What do you mean, what tree? This tree. Here, I ran into it. Cut a big gash in the side of it here.

The owner bends down to examine the trunk of the tree, then straightens up and smells George's breath. He backs away.

OWNER

You must mean two other trees. You had me worried. One of the oldest trees in Pottersville.

GEORGE

[blankly] Pottersville? Why, you mean Bedford Falls.

OWNER

I mean Pottersville. [sharply] Don't you think I know where I live? What's the matter with you?

The owner proceeds toward his house. George is completely bewildered.

GEORGE

Oh, I don't know. Either I'm off my nut, or he is . . . [to Clarence] . . . or you are!

CLARENCE

It isn't me!

GEORGE

Well, maybe I left the car up at Martini's. Well, come on, Gabriel.

He puts his arm around Clarence, and they start off up the road.

CLARENCE

[as they go] Clarence!

GEORGE

Clarence! Clarence!

WIPE TO: INTERIOR NICK'S BAR - NIGHT CLOSE SHOT - It is Martini's place, but almost unrecognizable. The cheerful Italian feeling is gone. It is now more of a hard- drinking joint, a honky-tonk. Same bar, tables have no covers. People are lower down and tougher. Nick the bartender is behind the bar. George and Clarence come in. George does not notice the difference, but Clarence is all eyes and beaming. They go up to the bar.

GEORGE

[as they come in] That's all right. Go on in. Martini's a good friend of mine.

Two people leave the bar as they approach.

GEORGE [cont'd]

There's a place to sit down. Sit down.

MEDIUM CLOSEUP - Nick is wiping off the bar as they sit down.

GEORGE [cont'd]

Oh, hello, Nick. Hey, where's Martini?

NICK

You want a martini?

GEORGE

No, no, Martini. Your boss. Where is he?

NICK

[impatient] Look, I'm the boss. You want a drink or don't you?

GEORGE

Okay - all right. Double bourbon, quick, huh?

NICK

Okay. [to Clarence] What's yours?

CLARENCE

I was just thinking . . . [face puckers up with delicious anticipation] It's been so long since I . . .

NICK

[impatient] Look, mister, I'm standing here waiting for you to make up your mind.

CLARENCE

[appreciatively] That's a good man. I was just thinking of a flaming rum punch. No, it's not cold enough for that. Not nearly cold enough . . . Wait a minute . . . wait a minute . . . I got it. Mulled wine, heavy on the cinnamon and light on the cloves. Off with you, me lad, and be lively!

NICK

Hey, look mister, we serve hard drinks in here for men who want to get drunk fast. And we don't need any characters around to give the joint atmosphere. Is that clear? Or do I have to slip you my left for a convincer?

As he says this, Nick leans over the counter and puts his left fist nearly in Clarence's eye. Clarence is puzzled by this conduct.

CLARENCE

[to George] What's he talking about?

GEORGE

[soothingly] Nick - Nick, just give him the same as mine. He's okay.

NICK

Okay.

Nick turns away to get the drinks.

GEORGE

What's the matter with him. I never saw Nick act like that before.

CLARENCE

You'll see a lot of strange things from now on.

GEORGE

Oh, yeah. Hey, little fellow - you worry me. You got someplace to sleep?

CLARENCE

No.

GEORGE

You don't huh? Well, you got any money?

Nick is listening suspiciously to this conversation.

CLARENCE

No.

GEORGE

No wonder you jumped in the river.

CLARENCE

I jumped in the river to save you so I could get my wings.

Nick stops pouring the drinks, bottle poised in his hand.

GEORGE

Oh, that's right.

A cash register bell rings off stage. Clarence reacts to the SOUND of the bell.

CLARENCE

Oh-oh. Somebody's just made it.

GEORGE

Made what?

CLARENCE

Every time you hear a bell ring, it means that some angel's just got his wings.

George glances up at Nick.

GEORGE

Look, I think maybe you better not mention getting your wings around here.

CLARENCE

Why? Don't they believe in angels?

GEORGE

[looking at Nick] A . . . yeah, but . . . you know . . .

CLARENCE

Then why should they be surprised when they see one?

GEORGE

[to Nick] He never grew up. He's . . . [to Clarence] How old are you, anyway, Clarence?

CLARENCE

Two hundred and ninety-three . . . [thinks] . . . next May.

Nick slams the bottle down on the counter.

NICK

That does it! Out you two pixies go, through the door or out the window!

GEORGE

Look, Nick. What's wrong?

NICK

[angrily] And that's another thing. Where do you come off calling me Nick?

GEORGE

Well, Nick, that's your name, isn't it?

NICK

What's that got to do with it? I don't know you from Adam's off ox. [sees someone come in] Hey, you! Rummy! Come here! Come here!

CLOSE SHOT - a small wreck of a man, with weak, watery eyes. Obviously a broken-down panhandler, his hat in his hand.

CLOSEUP - George. He can hardly believe his eyes. It is Gower the druggist.

BACK TO SHOT - Nick at the bar.

NICK

[to Gower] Didn't I tell you never to come panhandling around here?

Nick picks up a seltzer bottle, and squirts Gower in the face with it. The crowd laugh brutally. Gower smiles weakly as the soda runs off his face.

CLOSE SHOT - George, horrified, leaps up and goes over to Gower.

GEORGE

Mr. Gower! Mr. Gower! This is George Bailey! Don't you know me?

GOWER

No. No.

NICK

[to his bouncers] Throw him out. Throw him out.

The bouncers throw Gower out the front door. George rushes back to the bar.

GEORGE

[bewildered] Hey, what is . . . Hey, Nick, Nick . . . Isn't that Mr. Gower, the druggist?

NICK

You know, that's another reason for me not to like you. That rumhead spent twenty years in jail for poisoning a kid. If you know him, you must be a jailbird yourself. [to his bouncers] Would you show these gentlemen to the door.

BOUNCER

Sure. This way, gentlemen.

EXTERIOR NICK'S BAR - NIGHT CLOSE SHOT - George and Clarence come flying through the door and land in the snow.

INTERIOR NICK'S BAR - NIGHT CLOSE SHOT - Nick at the cash register, busily ringing the bell.

NICK

Hey! Get me! I'm giving out wings!

EXTERIOR NICK'S BAR - NIGHT CLOSE SHOT - George and Clarence lying in the snow. George has a strange, puzzled look on his face. They remain for a moment as they landed, looking at each other.

CLARENCE

You see, George, you were not there to stop Gower from putting that poison into the . . .

GEORGE

What do you mean, I wasn't there? I remember distinctly . . .

George catches a glimpse of the front of the building with the neon sign over the door. It now reads "NICK'S PLACE" instead of "MARTINI'S". George and Clarence get to their feet.

GEORGE

[exasperated] What the . . . hey, what's going on around here? Why, this ought to be Martini's place.

He points to the sign, and looks at Clarence. Clarence sort of hangs his head. George fixes him with a very interested look.

GEORGE [cont'd]

Look, who are you?

CLARENCE

[patiently] I told you, George. I'm your guardian angel.

George, still looking at him, goes up to him and pokes his arm. It's flesh.

GEORGE

Yeah, yeah, I know. You told me that. What else are you? What . . . are you a hypnotist?

CLARENCE

No, of course not.

GEORGE

Well then, why am I seeing all these strange things?

CLARENCE

Don't you understand, George? It's because you were not born.

GEORGE

Then if I wasn't born, who am I?

CLARENCE

You're nobody. You have no identity.

George rapidly searches his pockets for identification, but without success.

GEORGE

What do you mean, no identity? My name's George Bailey.

CLARENCE

There is no George Bailey. You have no papers, no cards, no driver's license, no 4-F card, no insurance policy . . . [he says these things as George searches for them]

George looks in his watch pocket.

CLARENCE [cont'd]

They're not there, either.

GEORGE

What?

CLARENCE

Zuzu's petals.

George feverishly continues to turn his pockets inside out.

CLARENCE [cont'd]

You've been given a great gift, George. A chance to see what the world would be like without you.

George is completely befuddled.

GEORGE

[shaking his head] Now wait a minute, here. Wait a minute here. As, this is some sort of a funny dream I'm having here. So long, mister, I'm going home.

He starts off. Clarence rises.

CLARENCE

Home? What home?

GEORGE

[furious] Now shut up! Cut it out! You're . . . you're . . . you're crazy! That's what I think . . . you're screwy, and you're driving me crazy, too! I'm seeing things. I'm going home and see my wife and family. Do you understand that? And I'm going home alone!

George strides off hurriedly. Clarence slowly follows him, glancing up toward Heaven as he goes.

CLARENCE

How'm I doing, Joseph. Thanks. [pause] No, I didn't have a drink!

EXTERIOR STREET - NIGHT MEDIUM SHOT - George moves into the scene. The sign bearing the name of the town reads "Pottersville." George looks at it in surprise, then starts up the street toward the main part of town. As he goes, CAMERA MOVES WITH him. The character of the place has completely changed. Where before it was a quiet, orderly small town, it has now become in nature like a frontier village. We see a SERIES OF SHOTS of night clubs, cafes, bars, liquor stores, pool halls and the like, with blaring jazz MUSIC issuing from the majority of them. The motion picture theatre has become a burlesque house. Gower's drugstore is now a pawnbroker's establishment, and so on.

CLOSE SHOT - George stops before what used to be the offices of the Building and Loan. There is a garish electric sign over the entrance reading: "Welcome Jitterbugs." A crowd of people are watching the police, who are raiding the place, and dragging out a number of screaming women, whom they throw into a patrol wagon. George talks to one of the cops:

GEORGE

Hey . . . hey. Where did the Building and Loan move to?

COP

The Building and what?

GEORGE

The Bailey Building and Loan. It was up there.

COP

They went out of business years ago.

MEDIUM CLOSEUP - George sees the struggling figure of Violet Bick, arrayed as a tart, being dragged into the patrol wagon.

GEORGE

Hey, Violet! [to the cop] Hey, listen - that's Violet Bick!

COP

I know. I know.

GEORGE

I know that girl!

The cop shoves George to one side. He looks around and sees Ernie's taxi cruising slowly by.

GEORGE [cont'd]

Hey, Ernie - Ernie!

EXTERIOR STREET - NIGHT CLOSE SHOT - Ernie stops the cab, and George enters it.

GEORGE

Ernie, take me home. I'm off my nut!

ERNIE

[a much harder Ernie] Where do you live?

GEORGE

Aw, now, doggone it, Ernie, don't you start pulling that stuff. You know where I live. Three-twenty Sycamore. Now hurry up.

ERNIE

Okay. Three-twenty Sycamore? . . .

GEORGE

Yeah - yeah - hurry up. Zuzu's sick.

ERNIE

All right.

He pulls down the flag on the meter and starts the cab.

INTERIOR CAB - NIGHT MEDIUM CLOSEUP - George and Ernie. Ernie is puzzled by the stranger.

GEORGE

Look here, Ernie, straighten me out here. I've got some bad liquor or something. Listen to me now. Now, you are Ernie Bishop, and you live in Bailey Park with your wife and kid? That's right, isn't it?

ERNIE

[suspiciously] You seen my wife?

GEORGE

[exasperated] Seen your wife? I've been to your house a hundred times.

ERNIE

Look, bud, what's the idea? I live in a shack in Potter's Field and my wife ran away three years ago and took the kid . . . And I ain't never seen you before in my life.

GEORGE

Okay. Just step on it. Just get me home.

Ernie turns to driving, but he's worried about his passenger. As he passes the burlesque house he sees Bert the cop standing beside his police car. Attracting his attention, he motions to Bert to follow him, indicating he has a nut in the back. Bert gets into his car and follows.

WIPE TO: EXTERIOR GEORGE'S HOUSE - NIGHT MEDIUM LONG SHOT - The taxi pulls up to the curb and stops.

MEDIUM CLOSE SHOT - The cab is parked. George gets out and looks at the house.

ERNIE

Is this the place?

GEORGE

Of course it's the place!

ERNIE

Well, this house ain't been lived in for twenty years.

EXTERIOR HOUSE - NIGHT MEDIUM SHOT - George is stopped momentarily by the appearance of the house. Windows are broken, the porch sags, one section of the roof has fallen, doors and shutters hang askew on their hinges. Like a doomed man, George approaches the house.

EXTERIOR CAB - NIGHT MEDIUM CLOSE SHOT - The police car has pulled up beside the cab, and Bert and Ernie stand watching George's actions.

BERT

What's up, Ernie?

ERNIE

I don't know, but we better keep an eye on this guy. He's bats.

Ernie switches on the spotlight on his cab, and turns the beam toward the old house.

INTERIOR HALLWAY GEORGE'S HOUSE - NIGHT CLOSE SHOT - The interior of the house is lit up here and there, ghostlike, by Ernie's spotlight. No furniture, cobwebs, wallpaper hanging and swinging - stairs are broken and collapsed. In a voice that sounds like a cry for help, George yells out:

GEORGE

Mary! Mary! Tommy! Pete! Janie! Zuzu! Where are you?

Clarence suddenly appears leaning against a wall.

CLARENCE

They're not here, George. You have no children.

GEORGE

[ignoring him] Where are you? [then, to Clarence] What have you done with them?

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