INTERIOR DOORWAY - NIGHT CLOSE SHOT - Bert is standing in the entrance, with his gun in his hand. Ernie is a few feet behind him, ready to run.

BERT

All right, put up your hands. No fast moves. Come on out here, both of you.

GEORGE

Bert! Thank heaven you're here!

He rushes toward Bert.

BERT

Stand back.

GEORGE

Bert, what's happened to this house? Where's Mary? Where's my kids?

ERNIE

[warningly] Watch him, Bert.

BERT

Come on, come on.

GEORGE

[bewildered] Bert - Ernie! What's the matter with you two guys? You were here on my wedding night. You, both of you, stood out here on the porch and sung to us, don't you remember?

ERNIE

[nervously] Think I'd better be going.

BERT

Look, now why don't you be a good kid and we'll take you in to a doctor. Everything's going to be all right.

Bert tries to lead George away by the arm, but George struggles with him, trying to explain.

GEORGE

Bert, now listen to me. Ernie, will you take me over to my mother's house? Bert, listen! [gesturing to Clarence] It's that fellow there - he says he's an angel - he's tried to hypnotize me.

BERT

I hate to do this, fella.

Bert raises his gun to hit George on the head. As he does so, Clarence darts in and fixes his teeth in Bert's wrist, forcing him to let George go.

CLARENCE

Run . . . George! Run, George!

George dashes out of the house and down the street, as Bert grapples with Clarence, and they fall to the ground, wrestling. We see Bert kneeling, trying to put handcuffs on Clarence.

CLARENCE [cont'd]

Help! Joseph, help!

BERT

Oh, shut up!

CLARENCE

Help, oh Joseph, help! Joseph!

Suddenly Clarence disappears from under Bert's hands. Bert gets up, amazed by his vanishing.

BERT

Where'd he go? Where'd he go? I had him right here.

Ernie's hair is now standing on end with fright.

ERNIE

[stammering] I need a drink.

He runs out of the scene.

BERT

Well, which way'd they go? Help me find 'em.

EXTERIOR BAILEY HOME - NIGHT MEDIUM SHOT - George runs up the path to the front door of the house and raps on the door. He rings the bell and taps on the glass, when his attention is caught by a sign on the wall reading "Ma Bailey's Boarding House."

MEDIUM CLOSEUP - George at the door. The door opens and a woman appears. It is Mrs. Bailey, but she has changed amazingly. Her face is harsh and tired. In her eyes, once kindly and understanding, there is now cold suspicion. She gives no sign that she knows him.

MA BAILEY

Well?

GEORGE

Mother . . .

MA BAILEY

Mother? What do you want?

It is a cruel blow to George.

GEORGE

Mother, this is George. I thought sure you'd remember me.

MA BAILEY

[coldly] George who? If you're looking for a room there's no vacancy.

She starts to close the door, but George stops her.

GEORGE

Oh, Mother, Mother, please help me. Something terrible's happened to me. I don't know what it is. Something's happened to everybody. Please let me come in. Keep me here until I get over it.

MA BAILEY

Get over what? I don't take in strangers unless they're sent here by somebody I know.

GEORGE

[desperate] Well, I know everybody you know. Your brother-in-law, Uncle Billy.

MA BAILEY

[suspiciously] You know him?

GEORGE

Well, sure I do.

MA BAILEY

When'd you see him last?

GEORGE

Today, over at the house.

MA BAILEY

That's a lie. He's been in the insane asylum ever since he lost his business. And if you ask me, that's where you belong.

She slams the door shut in George's face.

EXTERIOR HOUSE - NIGHT MEDIUM CLOSE SHOT - George stands a moment, stunned. Then he turns and runs out to the sidewalk, until his face fills the screen. His features are distorted by the emotional chaos within him. We see Clarence leaning on the mail box at the curb, holding his volume of "Tom Sawyer" in his hand.

CLARENCE

Strange, isn't it? Each man's life touches so many other lives, and when he isn't around he leaves an awful hole, doesn't he?

GEORGE

[quietly, trying to use logic] I've heard of things like this. You've got me in some kind of a spell, or something. Well, I'm going to get out of it. I'll get out of it. I know how, too. I . . . the last man I talked to before all this stuff started happening to me was Martini.

CLARENCE

You know where he lives?

GEORGE

Sure I know where he lives. He lives in Bailey Park. They walk out of scene.

WIPE TO: EXTERIOR CEMETERY - NIGHT MEDIUM SHOT - George and Clarence approach the tree from which the "Bailey Park" sign once hung. Now it is just outside a cemetery, with graves where the houses used to be.

CLARENCE

Are you sure this is Bailey Park?

GEORGE

Oh, I'm not sure of anything anymore. All I know is this should be Bailey Park. But where are the houses?

The two walk into the cemetery.

CLARENCE

[as they go] You weren't here to build them.

CLOSE MOVING SHOT - George wandering like a lost soul among the tombstones, Clarence trotting at his heels. Again George stops to stare with frightened eyes at:

CLOSE SHOT - a tombstone. Upon it is engraved a name, Harry Bailey. Feverishly George scrapes away the snow covering the rest of the inscription, and we read: IN MEMORY OF OUR BELOVED SON - HARRY BAILEY - 1911-1919.

CLOSE SHOT - George and Clarence.

CLARENCE

Your brother, Harry Bailey, broke through the ice and was drowned at the age of nine.

George jumps up.

GEORGE

That's a lie! Harry Bailey went to war! He got the Congressional Medal of Honor! He saved the lives of every man on that transport.

CLARENCE

[sadly] Every man on that transport died. Harry wasn't there to save them because you weren't there to save Harry. You see, George, you really had a wonderful life. Don't you see what a mistake it would be to throw it away?

CLOSEUP - George and Clarence.

GEORGE

Clarence . . .

CLARENCE

Yes, George?

GEORGE

Where's Mary?

CLARENCE

Oh, well, I can't . . .

GEORGE

I don't know how you know these things, but tell me - where is she?

George grabs Clarence by the coat collar and shakes him.

CLARENCE

I . . .

GEORGE

If you know where she is, tell me where my wife is.

CLARENCE

I'm not supposed to tell.

GEORGE

[becoming violent] Please, Clarence, tell me where she is.

CLARENCE

You're not going to like it, George.

GEORGE

[shouting] Where is she?

CLARENCE

She's an old maid. She never married.

GEORGE

[choking him] Where's Mary? Where is she?

CLARENCE

She's . . .

GEORGE

Where is she?

CLARENCE

[in self-defense] She's just about to close up the library!

George lets Clarence go, and runs off. Clarence falls to the ground, where he rubs his neck.

CLARENCE

[to himself] There must be some easier way for me to get my wings.

WIPE TO: EXTERIOR LIBRARY - NIGHT CLOSE SHOT - Mary comes out the door, then turns and locks it. We see George watching her from the sidewalk. Mary is very different - no buoyancy in her walk, none of Mary's abandon and love of life. Glasses, no make-up, lips compressed, elbows close to body. She looks flat and dried up, and extremely self-satisfied and efficient.

CLOSEUP - George, as he watches her.

CLOSE SHOT - George and Mary, on the sidewalk.

GEORGE

Mary!

She looks up, surprised, but, not recognizing him, continues on.

GEORGE [cont'd]

Mary!

Mary starts to run away from him, and he follows, desperately.

GEORGE [cont'd]

Mary! Mary!

He catches up to her, grabs her by the arms, and keeps a tight grip on her. She struggles to free herself.

GEORGE [cont'd]

Mary, it's George! Don't you know me? What's happened to us?

MARY

[struggling] I don't know you! Let me go!

GEORGE

Mary, please! Oh, don't do this to me. Please, Mary, help me. Where's our kids? I need you, Mary! Help me, Mary!

Mary breaks away from him, and dashes into the first door she comes to, the Blue Moon Bar.

INTERIOR BLUE MOON - NIGHT CLOSE SHOT - Small tables, booths, perhaps a counter. It is crowded. Many of the people are the same who were present during the run on the Building and Loan. Mary comes running in, screaming. The place goes into an uproar. George comes in, practically insane. Some of the men grab and hold on to him.

GEORGE

[shouting] Mary . . . [to men holding him] Let me go! Mary, don't run away!

MAN

Somebody call the police!

ANOTHER MAN

Hit him with a bottle!

ANOTHER MAN

He needs a strait jacket!

MARY

[from back of room] That man - stop him!

GEORGE

[recognizing some of them] Tom! Ed! Charlie! That's my wife!

Mary lets out a final scream, then faints into the arms of a couple of women at the bar.

GEORGE [cont'd]

Mary!

MAN

Oh, no you don't!

GEORGE

[screaming] Mary!

George can't fight through the men holding him. Desperately he thinks of Clarence, and heads for the door.

GEORGE [cont'd]

Clarence! Clarence! Where are you?

EXTERIOR SIDEWALK - NIGHT CLOSE SHOT - Just as George breaks through the door, Bert arrives in his police car. He gets out and heads for the door, to run into George as he comes out.

BERT

Oh, it's you!

He grabs for George, who lets him have one square on the button, knocking him down, then continues running down the street yelling for Clarence. Bert gets up, takes out his gun and fires several shots after the fleeing figure.

BERT

[to crowd] Stand back!

Bert gets into the police car, and, siren screaming, sets off in pursuit of George.

EXTERIOR BRIDGE OVER RIVER - NIGHT MEDIUM SHOT - The same part of the bridge where George was standing before Clarence jumped in. The wind is blowing as it has all through this sequence. George comes running into shot. He is frantically looking for Clarence.

GEORGE

Clarence! Clarence! Help me, Clarence. Get me back. Get me back. I don't care what happens to me. Only get me back to my wife and kids. Help me, Clarence, please! Please! I want to live again!

CLOSEUP - George leaning on the bridge railing, praying.

GEORGE

I want to live again. I want to live again. Please, God, let me live again.

George sobs. Suddenly, toward the end of the above, the wind dies down. A soft, gentle snow begins to fall.

CLOSE SHOT - George sobbing at the railing. The police car pulls up on the roadway behind him, and Bert comes into scene.

BERT

Hey, George! George! You all right?

George backs away and gets set to hit Bert again.

BERT [cont'd]

Hey, what's the matter?

GEORGE

[warningly] Now get out of here, Bert, or I'll hit you again! Get out!

BERT

What the Sam Hill you yelling for, George?

GEORGE

Don't . . . George?

George talks hopefully - George touches Bert unbelievingly - George's mouth is bleeding again.

GEORGE [cont'd]

Bert, do you know me?

BERT

Know you? Are you kiddin'? I've been looking all over town trying to find you. I saw your car piled into that tree down there, and I thought maybe . . . Hey, your mouth's bleeding; are you sure you're all right?

GEORGE

What did . . .

George touches his lips with his tongue, wipes his mouth with his hand, laughs happily. His rapture knows no bounds.

GEORGE [cont'd]

[joyously] My mouth's bleeding, Bert! My mouth's bleed . . . [feeling in watch pocket] Zuzu's petals! Zuzu's . . . they're . . . they're here, Bert! What do you know about that? Merry Christmas!

He practically embraces the astonished Bert, then runs at top speed toward town.

LONG SHOT - George runs away from camera yelling:

GEORGE

Mary! Mary!

WIPE TO: EXTERIOR RESIDENTIAL STREET - NIGHT CLOSE SHOT - George's wrecked car is smashed against the tree. He comes running into shot, sees the car, lets out a triumphant yell, pats the car, and dashes on.

EXTERIOR MAIN STREET BEDFORD FALLS - NIGHT CLOSE SHOT - George sees that the POTTERSVILLE sign is now replaced by the original YOU ARE NOW IN BEDFORD FALLS sign.

GEORGE

Hello, Bedford Falls!

He turns and runs through the falling snow up the main street of the town. As he runs, he notices that the town is back in its original appearance. He passes some late shoppers on the street:

GEORGE [cont'd]

Merry Christmas!

PEOPLE

[ad lib] Merry Christmas! Merry Christmas, George!

EXTERIOR THEATRE - NIGHT PAN SHOT - As George runs by:

GEORGE

Merry Christmas, movie house!

EXTERIOR BEDFORD FALLS EMPORIUM - NIGHT PAN SHOT - as George runs by:

GEORGE

Merry Christmas, emporium!

EXTERIOR BUILDING AND LOAN OFICES - NIGHT PAN SHOT - As George runs by:

GEORGE

Merry Christmas, you wonderful old Building and Loan!

EXTERIOR BANK - NIGHT CLOSE SHOT - George notices a light in Potter's office window, and races across the street.

INTERIOR POTTER'S OFFICE - NIGHT CLOSE SHOT - Potter is seated working at his desk, his goon by his side. George pounds on the window.

GEORGE

[from outside] Merry Christmas, Mr. Potter!

George runs off as Potter looks up from his work.

POTTER

Happy New Year to you - in jail! Go on home - they're waiting for you!

INTERIOR GEORGE'S HOME - NIGHT The lights are on. There is a fire in the fireplace. The Christmas tree is fully decorated with presents stacked around.

INTERIOR ENTRANCE HALL - NIGHT CLOSE SHOT - Carter, the bank examiner, a newspaper reporter and photographer, and a sheriff, are waiting in the hall for George. George comes dashing in the front door.

GEORGE

[excitedly] Mary . . . [sees the men] Well, hello, Mr. Bank Examiner!

He grabs his hand and shakes it.

CARTER

[surprised] Mr. Bailey, there's a deficit!

GEORGE

I know. Eight thousand dollars.

SHERIFF

[reaching into pocket] George, I've got a little paper here.

GEORGE

[happily] I'll bet it's a warrant for my arrest. Isn't it wonderful? Merry Christmas!

The photographer sets off a flash bulb.

GEORGE

Reporters? Where's Mary? [calling] Mary!

George runs to the kitchen. He gets no answer. As he goes:

GEORGE [cont'd]

Oh, look at this wonderful old drafty house! Mary! Mary!

He comes running back to the hall.

GEORGE [cont'd]

Have you seen my wife?

CHILDREN'S VOICES

Merry Christmas, Daddy! Merry Christmas, Daddy!

INTERIOR STAIRS - NIGHT MEDIUM SHOT - The three children are at the top of the stairs. They are in their pajamas.

GEORGE

Kids!

George starts to run up the stairs, and the old familiar knob on the banister comes off in his hand. He kisses it lovingly and puts it back, then continues up the stairs.

GEORGE [cont'd]

Pete - kids - Janie - Tommy. [takes them in his arms] I could eat you up!

INTERIOR TOP OF STAIRS - NIGHT CLOSE SHOT - George and the kids. He is hugging them.

GEORGE

Where's your mother?

JANIE

She went looking for you with Uncle Billy.

Zuzu comes running out of her bedroom. George crushes her to him.

ZUZU

Daddy!

GEORGE

Zuzu - Zuzu. My little gingersnap! How do you feel?

ZUZU

Fine.

JANIE

And not a smitch of temperature.

GEORGE

[laughing] Not a smitch of temp . . .

INTERIOR HALL - NIGHT CLOSE SHOT - As Mary comes through the door, breathless and excited. The four men are watching with open mouths.

GEORGE'S VOICE

Hallelujah!

MARY

[to the men] Hello. [sees George] George! Darling!

INTERIOR STAIRS - NIGHT CLOSE SHOT - Mary races up the stairs, where George meets her in a fierce embrace.

GEORGE

Mary! Mary!

MARY

George, darling! Where have you been?

George and Mary embrace tearfully.

MARY

Oh, George, George, George.

GEORGE

Mary! Let me touch you! Oh, you're real!

MARY

Oh, George, George!

GEORGE

You have no idea what's happened to me.

MARY

You have no idea what happened . . .

He stops her with a kiss. She leads him excitedly down the stairs.

MARY [cont'd]

Well, come on, George, come on downstairs quick. They're on their way.

GEORGE

All right.

INTERIOR LIVING ROOM - NIGHT CLOSE SHOT - Mary leads George, who is carrying a couple of the kids on his back, to a position in front of the Christmas tree.

MARY

Come on in here now. Now, you stand right over here, by the tree. Right there, and don't move, don't move. I hear 'em now, George, it's a miracle! It's a miracle!

She runs toward front door and flings it open. Ad lib SOUNDS of an excited crowd can be heard. Uncle Billy, face flushed, covered with snow, and carrying a clothes basket filled with money, bursts in. He is followed by Ernie, and about twenty more townspeople.

MARY

Come in, Uncle Billy! Everybody! In here!

Uncle Billy Mary and the crowd come into the living room. A table stands in front of George. George picks up Zuzu to protect her from the mob. Uncle Billy dumps the basketful of money out onto the table - the money overflows and falls all over.

UNCLE BILLY

Isn't it wonderful?

The rest of the crowd all greet George with greetings and smiles. Each one comes forward with money. In their pockets, in shoe boxes, in coffee pots. Money pours onto the table - pennies, dimes, quarters, dollar bills - small money, but lots of it. Mrs. Bailey and Mrs. Hatch push toward George. More people come in. The place becomes a bedlam. Shouts of "Gangway - gangway" as a new bunch comes in and pours out its money. Mary stands next to George, watching him. George stands there overcome and speechless as he holds Zuzu. As he sees the familiar faces, he gives them sick grins. Tears course down his face. His lips frame their names as he greets them.

UNCLE BILLY

[emotionally at the breaking point] Mary did it, George! Mary did it! She told a few people you were in trouble and they scattered all over town collecting money. They didn't ask any questions - just said "If George is in trouble - count on me." You never saw anything like it.

Tom comes in, digging in his purse as he comes.

TOM

What is this, George? Another run on the bank?

Charlie adds his money to the pile.

CHARLIE

Here you are, George. Merry Christmas.

Ernie is trying to get some system into the chaos.

ERNIE

The line forms on the right.

Mr. Martini comes in bearing a mixing bowl overflowing with cash.

ERNIE

Mr. Martini! Merry Christmas! Step right up here.

Martini dumps his money on the table.

MARTINI

I busted the juke-a-box, too!

Mr. Gower enters with a large glass jar jammed full of notes.

ERNIE

Mr. Gower!

GOWER

[to George] I made the rounds of my charge accounts.

Violet Bick arrives, and takes out the money George had given her for her trip to New York.

GEORGE

Violet Bick!

VIOLET

I'm not going to go, George. I changed my mind.

Annie, the colored maid, enters, digging money out of a long black stocking.

ANNIE

I've been saving this money for a divorce, if ever I get a husband.

Mr. Partridge, the high school principal, is the next donor.

PARTRIDGE

There you are, George. I got the faculty all up out of bed. [hands his watch to Zuzu] And here's something for you to play with.

MAN

[giving money] I wouldn't have a roof over my head if it wasn't for you, George.

Ernie is reading a telegram he has just received.

ERNIE

Just a minute. Quiet, everybody. Quiet - quiet. Now, this is from London. [reading] Mr. Gower cables you need cash. Stop. My office instructed to advance you up to twenty-five thousand dollars. Stop. Hee-haw and Merry Christmas. Sam Wainwright.

The crowd breaks into a cheer as Ernie drops the telegram on top of the pile of money on the table.

MARY

[calling out] Mr. Martini. How about some wine?

As various members of the family bring out a punch bowl and glasses, Janie sits down at the piano and strikes a chord. She starts playing "Hark! The Herald Angels Sing," and the entire crowd joins in the singing.

We see a SERIES OF SHOTS of the various groups singing the hymn, and some people are still coming in and dropping their money on the table. Carter, the bank examiner, makes a donation; the sheriff sheepishly looks at George and tears his warrant in small pieces. In the midst of this scene, Harry, in Naval uniform, enters, accompanied by Bert, the cop.

HARRY

Hello, George, how are you?

GEORGE

Harry . . . Harry . . .

HARRY

[as he sees the money] Mary - looks like I got here too late.

BERT

Mary, I got him here from the airport as quickly as I could. The fool flew all the way up here in a blizzard.

Mrs. Bailey enters scene.

MRS. BAILEY

Harry, how about your banquet in New York?

HARRY

Oh, I left right in the middle of it as soon as I got Mary's telegram.

Ernie hands Harry a glass of wine.

HARRY [cont'd]

Good idea, Ernie. A toast . . . to my big brother, George. The richest man in town!

Once more the crowd breaks into cheering and applause. Janie at the piano and Bert on his accordion start playing "Auld Lang syne," and everyone joins in.

CLOSE SHOT - George, still holding Zuzu in his arms, glances down at the pile of money on the table. His eye catches something on top of the pile, and he reaches down for it. It is Clarence's copy of "Tom Sawyer." George opens it and finds an inscription written in it "Dear George, remember no man is a failure who has friends. Thanks for the wings, Love Clarence."

MARY

[looking at book] What's that?

GEORGE

That's a Christmas present from a very dear friend of mine.

At this moment, perhaps because of the jostling of some of the people on the other side of the tree, a little silver bell on the Christmas tree swings to and fro with a silvery tinkle. Zuzu closes the cover of the book, and points to the bell.

ZUZU

Look, Daddy. Teacher says, every time a bell rings an angel gets his wings.

GEORGE

[smiling] That's right, that's right.

He looks up toward the ceiling and winks.

GEORGE [cont'd]

Attaboy, Clarence.

The voices of the people singing swell into a final crescendo.

THE END

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