It's a Wonderful Life Page #18

Synopsis: It's a Wonderful Life is a 1946 American Christmas fantasy drama film produced and directed by Frank Capra, based on the short story and booklet The Greatest Gift, which Philip Van Doren Stern wrote in 1939 and published privately in 1943.[2] The film is now among the most popular in American cinema and because of numerous television showings in the 1980s has become traditional viewing during the Christmas season. The film stars James Stewart as George Bailey, a man who has given up his dreams in order to help others, and whose imminent suicide on Christmas Eve brings about the intervention of his guardian angel, Clarence Odbody (Henry Travers). Clarence shows George all the lives he has touched and how different life in his community of Bedford Falls would be had he never been born.
Genre: Drama, Family, Fantasy
Production: Liberty Films
  Nominated for 5 Oscars. Another 6 wins & 1 nomination.
 
IMDB:
8.6
Metacritic:
89
Rotten Tomatoes:
94%
PG
Year:
1946
130 min
2,313 Views


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.

Rate this script:4.7 / 3 votes

Albert Hackett

Albert Maurice Hackett (February 16, 1900 – March 16, 1995) was an American dramatist and screenwriter most noted for his collaborations with his partner and wife Frances Goodrich. more…

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