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

LA SCENEGGIATURA

EXTERIOR FRONT PORCH –– BAILEY HOME –– NIGHT

MEDIUM CLOSE SHOT –– Cousin Eustace is taking a photograph of the family group assembled on the porch. Flash bulbs go off, and the group breaks up. The crowd enters the front door of the house, leaving George and Uncle Billy on the porch.

CLOSE SHOT –– George and Uncle Billy. The latter is tipsy. He feels very high.

UNCLE BILLY: Oh, boy, oh boy, oh boy. I feel so good I could spit in Potter's eye. I think I will. What did you say, huh? Oh, maybe I'd better go home.

He looks around for his hat, which is on his head.

UNCLE BILLY (cont'd): Where's my hat? Where's my . . .

George takes the hat from Uncle Billy's head and hands it to him.

UNCLE BILLY (cont'd): Oh, thank you, George. Which one is mine?

GEORGE (laughing): The middle one.

UNCLE BILLY: Oh, thank you, George, old boy, old boy. Now, look –– if you'll point me in the right direction . . . would you do that? George?

GEORGE: Right down here.

They descend the porch steps, and George turns his uncle around and heads him down the street.

UNCLE BILLY: Old Building and Loan pal, huh . . .

GEORGE: Now you just turn this way and go right straight down.

UNCLE BILLY: That way, huh?

He staggers out of the scene, and as George turns away, we hear Uncle Billy singing "My Wild Irish Rose." There is a CRASH of cans and bottles, then:

UNCLE BILLY'S VOICE: I'm all right. I'm all right. " . . . the sweetest flower that grows . . . "

EXTERIOR HOUSE –– NIGHT

MEDIUM CLOSE SHOT –– George is standing at the garden gate. He takes some travel folders from his pocket, looks at them and throws them away. He is obviously disturbed about the latest turn of events. His mother comes out of the house and kisses him.

GEORGE: Hello, Mom.

MRS. BAILEY (as she kisses him): That's for nothing. How do you like her?

She nods toward the house, where Harry and Ruth, among a crowd of other couples, are dancing to the MUSIC of a phonograph, and can be seen through the front door.

GEORGE: She's swell.

MRS. BAILEY: Looks like she can keep Harry on his toes.

GEORGE: Keep him out of Bedford Falls, anyway.

MRS. BAILEY: Did you know that Mary Hatch is back from school?

GEORGE: Uh-huh.

MRS. BAILEY: Came back three days ago.

GEORGE: Hmmmm . . .

MRS. BAILEY: Nice girl, Mary.

GEORGE: Hmmmm . . .

MRS. BAILEY: Kind that will help you find the answers, George.

GEORGE: Hmmm . . .

MRS. BAILEY: Oh, stop that grunting.

GEORGE: Hmmm . . .

MRS. BAILEY: Can you give me one good reason why you shouldn't call on Mary?

GEORGE: Sure –– Sam Wainwright.

MRS. BAILEY: Hmmm?

GEORGE: Yes. Sam's crazy about Mary.

MRS. BAILEY: Well, she's not crazy about him.

GEORGE: Well, how do you know? Did she discuss it with you?

MRS. BAILEY: No.

GEORGE: Well then, how do you know?

MRS. BAILEY: Well, I've got eyes, haven't I? Why, she lights up like a firefly whenever you're around.

GEORGE: Oh . . .

MRS. BAILEY: And besides, Sam Wainwright's away in New York, and you're here in Bedford Falls.

GEORGE: And all's fair in love and war?

MRS. BAILEY (primly): I don't know about war.

GEORGE: Mother, you know, I can see right through you –– right back to your back collar
button . . . trying to get rid of me, huh?

MRS. BAILEY: Uh-huh.

They kiss. Mrs. Bailey puts George's hat on his head.

GEORGE: Well, here's your hat, what's your hurry? All right, Mother, old Building and Loan pal, I think I'll go out and find a girl and do a little passionate necking.

MRS. BAILEY: Oh, George!

GEORGE: Now, if you'll just point me in the right direction . . . This direction?
(as he leaves)
Good night, Mrs. Bailey.

EXTERIOR MAIN STREET BEDFORD FALLS –– NIGHT

CLOSE SHOT –– George is standing in the middle of the street, hands in his pockets. As a girl passes, he turns and watches her for a moment. He is obviously undecided as to what he wants to do.

EXTERIOR VIOLET BICK'S BEAUTY SHOP –– NIGHT

MEDIUM SHOT –– Violet is locking up for the night. A couple of men are crowding around her, each one bent on taking her out. There is laughter, kidding and pawing. She looks up and sees George standing there.

VIOLET (to the two men): Excuse me . . .

MAN: Now, wait a minute.

VIOLET: I think I got a date. But stick around, fellows, just in case, huh?

MAN: We'll wait for you, baby.

CAMERA PANS WITH Violet as she crosses the street to George.

MEDIUM CLOSE SHOT –– George and Violet.

VIOLET: Hello, Georgie-Porgie.

GEORGE: Hello, Vi.

He looks her over. Violet takes her beauty shop seriously and she's an eyeful. She senses the fact that George is far from immune to her attractions. She links her arm in his and continues on down the street with him.

CLOSE MOVING SHOT –– George and Violet.

VIOLET: What gives?

GEORGE: Nothing.

VIOLET: Where are you going?

GEORGE: Oh, I'll probably end up down at the library.

They stop walking and face one another.

VIOLET: George, don't you ever get tired of just reading about things?

Her eyes are seductive and guileful as she looks up at him. He is silent for a moment, then blurts out:

GEORGE: Yes . . what are you doing tonight?

VIOLET (feigned surprise): Not a thing.

GEORGE: Are you game, Vi? Let's make a night of it.

VIOLET (just what she wanted): Oh, I'd love it, Georgie. What'll we do?

GEORGE: Let's go out in the fields and take off our shoes and walk through the grass.

VIOLET: Huh?

GEORGE: Then we can go up to the falls. It's beautiful up there in the moonlight, and there's a green pool up there, and we can swim in it. Then we can climb Mt. Bedford, and smell the pines, and watch the sunrise against the peaks, and . . . we'll stay up there the whole night, and everybody'll be talking and there'll be a terrific scandal . . .

VIOLET (interrupting): George, have you gone crazy? Walk in the grass in my bare feet? Why, it's ten miles up to Mt. Bedford.

GEORGE: Shhh . . .

VIOLET (angrily): You think just because you . . .

By this time a small crowd has collected to watch the above scene. Violet is furious and talking in a loud voice, and George is trying to quiet her. Finally:

GEORGE: Okay, just forget about the whole thing.

As George stalks off, the crowd breaks into laughter, and we: