IT’S A WONDERFUL LIFEA Musical

LIBRETTOBOOK AND LYRICS BY

JOHN DONALD O’SHEA AND ANN BOADEN

MUSIC BY

JOAN BEAUMONT AND JOHN DONALD O’SHEA

LIBRETTO ADAPTED FROM THE SCREENPLAY BY FRANCES GOODRICH, ALBERT HACKETT, FRANK CAPRA AND JO SWERLING by JOHN DONALD O'SHEA

Copyright 2013John Donald O’Shea, Ann Boaden and Joan Beaumont

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“IT’S A WONDERFUL LIFE”

SYNOPSIS

This play follows the movie screenplay of the beloved movie,

“It’s a Wonderful Life,” very faithfully. That well-known story

goes as follows:

On Christmas Eve, in Bedford Falls, Uncle Billy Bailey goes to

Potter’s Bank to make an $8000 deposit of the Bailey Building

and Loan’s cash. Billy’s nephew, Harry Bailey, has just won the

Congressional Medal of Honor. Knowing Potter’s visceral hatred

of the entire Bailey family and the Bailey Building and Loan,

Billy gloats, and taunts Potter. But in the process of thrusting

a newspaper article about Harry and his medal into Potter’s

hand, Uncle Billy unwittingly hands Potter the $8000 in cash, as

well.

When Potter discovers the cash in the newspaper minutes later,

he decides to keep it. Then, when Billy undertakes to deposit

the cash, he finds that he doesn’t have it. He frantically

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searches for it, but never realizes that he has handed it to the

unprincipled Potter.

When Billy returns to the Building and Loan to further search

for the cash, he does not find it. When he tells his nephew

George Bailey, the Executive Secretary of the Building and Loan,

that he has lost the $8000, the news could not come at a more

inopportune time. Indeed, at that very moment, Mr. Carter, the

bank examiner, is pouring over the organizations books!

George, a man who has spent his entire life giving of himself to

the people of Bedford Falls, understands that he will be blamed

for the $8000 shortage, and perceives that the shortage will

mean financial ruin and loss of reputation.

When George goes home to spend Christmas with his wife, Mary,

and his children and family, he cannot overcome his sense of

helplessness. He behaves uncharacteristically toward Mary and

the children, and realizing he is hurting them, he leaves his

home, considering committing suicide.

Mary and the children ask Heaven to help George. When Mary calls

Uncle Billy to try to discover what is bothering George, Billy

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tells her, and the word of George’s plight spreads quickly.

Soon, his friends join their prayers with those of Mary and the

children.

Joseph, the Guardian Angel on duty, notes the disorder in the

universe and the prayers rising to heaven, and reports to

Franklin, his superior, that a man named George Bailey is

is contemplating taking his own life. Franklin decides to give

Clarence, an angel second-class (as yet without his wings) a

chance to earn his wings by helping George.

Joseph then replays George’s life for Clarence so that Clarence

can get to know the man he is attempting to save.

We see how George, save his brother Harry’s life when Harry

broke through the river ice while sledding, how he save Mr.

Gower, the pharmacist, when Gower inadvertently put poison

instead of medicine into a prescription, and how George gave up

all his dreams (except marrying Mary) to take over as Executive

Secretary of the Building and Loan, and to keep it going

contrary to Potter’s machinations, after the death of Peter

Bailey, George’s father.

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Clarence, after initial difficulty, succeeds in dissuading

George from committing suicide, by showing George the “wonderful

life” he has lived, the people he has helped, and the bleakness

that would have been had he never been born.

When George realizes how important he is to his family, he

changes his mind and goes home, ready to face the music over the

misplaced $8000. When he arrives, he finds the Sheriff and

Carter, at Potter’s instigation, waiting with an arrest warrant.

But his family and friends are present also present - with

enough donated cash in hand to cover the loss. The sheriff

forgoes arresting George, wanting first to acquaint the judge

with knowledge of the “additional facts.” Therefore, besides

being a “wonderful life,” it is also a “wonderful Christmas

Eve.”

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CAST OF CHARACTERSNamed Adult Characters: M = 31; F = 13

Child characters: M = 2; F = 2

Mr. Gower Owner of Pharmacy

Guiseppe Martini Restaurant Owner

Mrs. (‘Mother,” “Ma”) Bailey George’s Mother

Bert A Cop

Mary Hatch Later, Mrs. George Bailey

Janie Bailey George’s 8-year-old Daughter

Zuzu Bailey George’s Daughter

Franklin The Supervising Guardian Angel

Joseph A Guardian Angel, acting as officer of the day

Clarence Angel, Second Class

George Bailey The main character

Violet Bick George’s friend; a beautician

Uncle Billy Bailey George’s Uncle; a Building and LoanEmployee

Cousin Tilly A Building and Loan Employee

Peter (“Pop”) Bailey George’s Father. Executive Secretary of The Bailey Building and Loan

Henry F. Potter Wealthiest man in town; the antagonist

Potter’s Goon Potter’s assistant

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Harry Bailey George’s Younger Brother

Sam Wainwright George’s Friend

Marty Hatch Mary’s Hatch’s Older Brother

Dr. Campbell Town Doctor/B & L Board Member

Real Estate Man B & L Board Member

Lawyer B & L Board Member

Cousin Eustace A Building and Loan Employee

Ruth Bailey Harry’s Wife

Mrs. Hatch Mary’s Mother

Ernie Taxi Driver

Paul Announces Bank Run

Mrs. Hanks }}

Mr. Phillips }}

Ed }}

Charlie }} B & L Customers

Tom }}

Randall }}

Mrs. Thompson }}

Mrs. Ferguson }}

Mrs. Davis }

Maria Martini Guiseppe Martini’s wife

Reineman Potter’s Rent Collector and an Insurance Man

Potter’s Secretary Potter’s Secretary

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Mr. Carter The Bank Examiner

Teller Teller at Potter’s Bank

Pete Bailey George’s 9-year-old Son

Tommy Bailey George’s 3-year-old Song

Mr. Welch Husband of Zuzu’s teacher

Nick Bartender at Martini’s Restaurant

Toll-keeper Toll-keeper

Cop Another cop

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IT’S A WONDERFUL LIFE - LISTING OF SCENES

PROLOGUE (p. 1) (Below 2nd Traveler)PRAYERS FOR GEORGE

ACT I

SCENE 1 (p. 2)(Traveler 2/3)GOWERS PHARMACY AND A PLACE ABOVE THE FIRMAMENT

SCENE 2 (p. 12)(Traveler 3/4)INTERIOR OF THE BAILEY BUILDING AND LOAN

Lobby and Peter Bailey’s Office

SCENE 3 (p. 18) (Traveler 2/3)GOWERS PHARMACY AND A PLACE ABOVE THE FIRMAMENT

SCENE 4 (p.20) (Traveler 2/3)INTERIOR OF THE “POP” BAILEY HOME

SCENE 5 (p. 27) (3rd Drop)HIGH SCHOOL GYMNASIUM DANCE

SCENE 6 (p. 33) (1st Drop)GEORGE WALKS MARY HOME FROM DANCE - GRANVILLE HOUSE

SCENE 7 (p. 38) (Traveler 3/4)INTERIOR OF BUILDING AND LOAN MEETING & A PLACE ABOVE THE

FIRMAMENT GEORGE INVITED TO MANAGE

SCENE 8 (p. 45) (Traveler 2/3)POP (MA) BAILEY’S LIVING ROOM

HARRY RETURNS FROM SCHOOL - MARRIEDMA BAILEY POINTS GEORGE IN MARY’S DIRECTION

GEORGE MEETS VIOLET EN ROUTE

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SCENE 9 (p. 51) (Traveler 2/3)GEORGE PROPOSES TO MARY IN HER LIVING ROOM

SCENE 10 (p. 60) (Traveler 2/3)WEDDING RECEPTION - MARY’S LIVING ROOM

SCENE 11 (p.62)BANK CRISIS AT BUILDING AND LOAN - INTERIOR OF BUILDING AND LOAN

AND BUILDING AND LOAN BANK AFTER RUN WEATHERED

ACT II

SCENE 1 (P. 75) (1st Drop)EXTERIOR OF THE GRANVILLE HOUSE - GEORGE AND MARY

SCENE 2 (P.78) (2nd Small Drop)BAILEY PARK

THE MARTINI FAMILY MOVES INTO THEIR NEW HOME

SCENE 3 (P. 81) (Traveler 3/4)INTERIOR OF BANK - POTTER’S OFFICE - REINMAN’S WARNING

SCENE 4 (P. 83)INTERIOR OF BANK - POTTER’S OFFICE - POTTER’S OFFER

SCENE 5 (P. 87)LIVING ROOM OF OLD GRANVILLE HOUSE - NOW GEORGE AND MARY’S

HOUSE.AS GEORGE PONDERS, MARY ANNOUNCES HER PREGNANCY

SCENE 6 (P. 89)THE OFFICE OF THE GUARDIAN ANGELS - A PLACE ABOVE THE FIRMAMENT

CROSS OVER SCENE

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SCENE 7 (P. 90)INTERIOR OF BUILDING AND LOAN AND BUILDING AND OFFICE OF THE

GUARDIAN ANGELS HARRY WINS CMH. CARTER APPEARS.

SCENE 8 (P. 93)INTERIOR OF BANK - UNCLE BILLY ACCIDENTALLY GIVES POTTER THE

BUILDING AND LOAN’S $8000

SCENE 9 (P. 97)INTERIOR OF BUILDING AND LOAN AND BUILDING - UNCLE BILLY RETURNS

HAVING LOST THE $8000 - GEORGE LOSES HIS TEMPER

SCENE 10 (P. 103)INTERIOR OF GEORGE AND MARY’S HOUSE - THE OLD GRANVILLE HOUSE

GEORGE COMES HOME IN GREAT DISTRESS AND EXPLODES

SCENE 11 (P. 111)INTERIOR OF BANK - POTTER’S OFFICE - GEORGE ASKS POTTER FOR HELP

- POTTER TURNS HIM DOWN

SCENE 12 (P. 115)INTERIOR OF MARTINI’S ITALIAN RESTAURANT

SCENE 13 (P. 119)THE BRIDGE IN BEDFORD FALLS, AND THE TOLL-KEEPERS HOUSEGEORGE GOES TO COMMIT SUICIDE - CLARENCE INTERVENES

THEY DRY OFF IN TOLL-KEEPERS HOUSE

SCENE 14 (P. 129) MAIN STREET, POTTERSVILLE, (FORMERLY BEDFORD FALLS)

MA BAILEY’S BOARDING HOUSE, THE FORMER BAILEY BUILDING AND LOAN, AND THE LIBRARY

SCENE 15 (P. 139)INTERIOR OF GEORGE AND MARY’S HOUSE - THE OLD GRANVILLE HOUSE

GEORGE COMES HOME FOR CHRISTMAS - HIS FRIENDS JOIN HIM

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IT’S A WONDERFUL LIFE

MUSICAL NUMBERSACT I

#1. Overture page 1

#2. “Silent Night and Prayers for George” page 1

(Mrs. Bailey, Mr. Gower, Zuzu, Mary, Bert, Janie, Mr. Martini and Ernie)

#3. “I Love You, George Bailey” page 7(Mary)

#4. “He Works for a Rabble of Deadbeats” page 16(Potter and his Goon)

#5. “George Will Come Out on Top” page 24(Mr. and Mrs. Peter Bailey)

#6. “Do I Love Him?” page 29(Violet)

#7. “I Want To Be a Flapper” page 31(Violet and Ensemble)

#8. “Buffalo Gals” page 33 (George and Mary)

#9. “Buffalo Gals (Continues)” page 35(George and Mary)

#10. “One Moment” page 36(George and Mary)

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#11. “You’re Off!” page 42(Cousin Eustace, Cousin Tilly, Uncle Billy and Ernie)

#12 Do I Love Him (Reprise) page 50(Violet)

#13. “Buffalo George” (Reprise) page 53(Mary)

#14. “Your Arms Are Warm and Wonderful” page 59(Mary and George)

#15. “Bedford Falls, Bedford Falls” page 69(George and Ensemble)

#16. Pop the Cork! Pour the Wine! page 72(Cousin Eustace, Cousin Tilly, Uncle Billy)

ACT II

#17. Entracte page 75

#18. “I Love You, George Bailey” (Reprise) page 76(Mary)

#19. ‘O Sole Mio page 79(Mr. and Mrs. Martini)

#20. “How I Cringe at the Vile Name of Bailey” page 82(Potter)

#21. “How I Cringe at the Vile Name of Bailey” page 86(Potter)

#22. “Buffalo George” (Reprise) page 87(Mary)

#23. “One Moment” page 88(George and Mary)

#24. “Let’s See! Where Ever Can It Be?” page 95

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(Uncle Billy)

#25. “Think, Think! That’s What He Says to Do” page 101(Uncle Billy)

#26. “You Can’t Hide” page 114(Potter and Goon)

#27. “What Do You Do?” page 118(George)

#28. “Sunrise Nudges Her Way Through the Darkness” page 124(Clarence)

#29. “It’s a Wonderful Life” page 135(Clarence)

#30. It’s a Fine Christmas Eve page 144(Uncle Billy, George, Ensemble)

#31. Come my Friends, Join With Me! page 146(Martini and Ensemble)

32. “It’s a Wonderful Life” page 148(George, Mary and Ensemble)

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SONG #1

OVERTURE

Prologue

(The curtain opens to a dark empty stage. The scene is played in front of the second traveler. Offstage carolers softly sing “Silent Night.” There are eight people at prayer. Some pray alone; Mary and her children are grouped. As each in turn prays or sings (director’s choice) his or her prayer, the individuals or groups are lighted by a “follow-spot.” After they each prays or sings, the light leave them. The song (or underscoring) suggest that there is disorder in the world this night. The prayers of the eight “who care” rise to heaven amid the chaos, disorder and discord. It is the earnestness of their prayers that gains heaven’s attention.

In the alternative, all could sing their prayers on a dark stage, or the prayers could be, at the Director’s choice, heard as voiceovers, during the opening number)

SONG #2

“SILENT NIGHT AND PRAYERS FOR GEORGE

ENSEMBLESilent Night, Holy Night, All is calm, All is bright.

GOWER'S VOICEI owe everything to George Bailey. Help him, dear Father.

ENSEMBLERound yon Virgin, mother and child, Holy infant so tender and mild.

MARTINI'S VOICEJoseph, Jesus and Mary. Help my friend George.

ENSEMBLE Sleep in heavenly peace,

MRS. BAILEY'S VOICEHelp my son George tonight.

ENSEMBLESleep in Heavenly peace,

BERT'S VOICE

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He never thinks about himself, God; that's why he's in trouble.

ENSEMBLESilent Night, Holy Night, Shepherds quake at the sight.

ERNIE'S VOICEGeorge is a real good guy. Give him a break, God.

ENSEMBLEGlories stream from heaven afar. Heav’nly hosts sing Alleluia.

MARY'S VOICEI love him, Lord. Watch over him tonight.

ENSEMBLESleep in heavenly peace,

JANIE'S VOICEPlease, God. Something's the matter with my Daddy.

ENSEMBLESleep in heavenly peace

ZUZU'S VOICEPlease bring Daddy home.

ENSEMBLESleep in Heavenly peace.

(Lights Down to black)

SCENE 1 GOWERS PHARMACY AND A PLACE ABOVE THE FIRMAMENT

(“Silent Night” continues softly as underscoring. The 2nd traveler opens. The office of the Guardian Angels (see below) is moved into place below the second traveler in the dark.

As the lights come up, we discover (a) Mr. Gower’s Drug Store and (b) the Office of the Guardian Angels, that is, -a “Place above the Firmament.”

At first, the Pharmacy is dimly lighted, but the Office of the Guardian Angels is lightedwith a follow spot or other full lighting.

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The drug store is the principal set; the Office of the Guardian Angels is the secondary, detachable, and moveable set which seems to hover over a corner of the drug store. It is suggested that the floor of the Office of the Guardian Angels be raised four or more feet above the floor of the drug store proper, so as to give the appearance of angles hovering slightly above the drug store, and observing what occurs therein. It is suggested that the floor and “walls” of the Office of the Guardian Angels be made of clear plastic, glass or other transparent material so that the platform appears as invisible as possible, so as to give the feeling that the angels are indeed hovering over and watching over the action. It should be easily and quietly moveable.

A second alternative: iI the theatre has a “side-stage” or a stage-left thrust off the main stage, as the song continues softy as an underscoring, the scene would shift to, and the lights come upon, the Office of the Guardian Angels - a “Place above the Firmament,” on the side-stage or stage -left thrust.

FRANKLIN(Franklikn's offstage voice is heard. Joesph is seated in his office.) Hello, Joseph. Trouble?

JOSEPHYes, Sir –– a lot of people are asking for help for a man named George Bailey. Shall we send someone?

FRANKLINGeorge Bailey. Yes, tonight's his crucial night. Yes, send someone. Whose turn is it?

JOSEPHIt's that clock-maker's turn again. Clarence's.

FRANKLINOh –– Clarence. Hasn't got his wings yet, has he? We've passed him up right along.

JOSEPH'S VOICEBecause, you know, sir, he's got the I.Q. of a rabbit.

FRANKLINYes, but he's got the faith of a child. Joseph, send for Clarence.

(Joseph makes a small gesture to summon Clarence. The light fades for just an instant to denote passage of a brief instant.

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The light then comes back up. A small star twinkles as Clarence speaks)

CLARENCE(Entering, hopefully) You sent for me, sir?

JOSEPH(Rising) Yes, Clarence. A man named George Bailey needs our help.

CLARENCESplendid! Is he sick?

JOSEPHNo, worse. He's discouraged. At exactly ten-forty-five tonight, Earth time, George Bailey will be thinking seriously of throwing away God's greatest gift.

CLARENCEHis life! Oh, dear! Then I've only got an hour to dress. What are they wearing now?

JOSEPHYou will spend that hour getting acquainted with George Bailey.

CLARENCE(Cautiously) Sir . . . If I should accomplish this mission –– might I perhaps win my wings? I've been waiting for over two hundred years, sir.

JOSEPHClarence, you do a good job with George Bailey, and you'll get your wings.

CLARENCEOh, thank you, sir. Thank you.

JOSEPHClarence, sit down.

CLARENCESit down?

JOSEPHIf you're going to help a man, you want to know something about him, don't you?

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CLARENCEWell, naturally. Of course.

JOSEPHWell, then, keep your eyes open.

(Lights come up slowly to illuminate the interior of Mr. Gower’s Drug Store. As the drug store is fully lighted, the lighting slowly dims a bit on the Office of the Guardian Angels, to allow the focus to shift to the drug store. It’s an old-fashioned pharmacy with a sofa bar and stools. George enters and crosses over to the soda fountain, at which Mary Hatch, a young girl, is seated, watching him. George goes to get his apron from behind the fountain)

CLARENCEHey, who's that?

JOSEPHThat's your problem, George Bailey.

CLARENCEA boy?

JOSEPHThat's him when he was twelve, back in 1919. Something happened a few weeks before that you will need to remember.

(By now, the pharmacy is in full light, and the Office of the Guardian Angels is in half-light)

GEORGE (Calling toward back room) It's me, Mr. Gower. George Bailey.

(Mr. Gower, the druggist, peers from the pharmacy proper - the room set aside for preparing prescriptions - through the window where the customer would come to pick up their prescriptions. We see him take a drink from a bottle)

GOWERYou're late.

(George behind soda fountain, puts on his apron)

GEORGE

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Yes, sir.

(Violet Bick enters the drugstore and sits on one of the stools at the fountain. She is the same height as Mary and the same age, but she is infinitely older in her approach to people)

VIOLET (With warm friendliness) Hello, George. (Then, flatly, as she sees Mary)'Lo, Mary.

MARY (Primly) Hello, Violet.

(George regards the two of them with manly superiority and disgust. They are two kids to him, and a nuisance)

GEORGE(To Violet) Two cents worth of shoelaces?

VIOLET

Please, Georgie.

(George goes over to the candy counter)

VIOLET (To Mary) I like him.

MARYYou like every boy.

VIOLET

(Happily) What's wrong with that?

GEORGE

Here you are.

(George gives Violet a paper sack containing licorice shoelaces. Violet gives him the money)

VIOLET (The vamp) Help me down?

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GEORGE (Disgusted) Help you down!

(Violet jumps down off her stool and exits. Mary, watching, sticks out her tongue as she passes)

GEORGEMade up your mind yet?

MARYI'll take chocolate.

(George puts some chocolate ice cream in a dish)

GEORGEWith coconuts?

MARYI don't like coconuts.

GEORGEYou don't like coconuts! Don't you know where coconuts come from? Lookit here - (He pulls a magazine from his pocket and shows it to her) - from Tahiti –– Fiji Islands, the Coral Sea! Look!

(He leans down to to scoop out the ice cream, his deaf ear toward her. Mary leans over, whispers softly:)

MARYIs this the ear you can't hear on?

(Finding that he doesn’t hear what she has just said, she singsto that ear. As she does, Georges hunts us the whipped cream and a cherry, etc., working on the sundae to Mary finishes her song)

SONG #3 I LOVE YOU GEORGE BAILEY!

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MARYI

George Bailey, George Bailey,

I’ve made up my mind.

Although you don’t know it,

We’re two of a kind.

You may be a dreamer -

That's all right with me.

Yes, you’ve just found your soul mate.

In time you’ll agree.

I love you, George Bailey,

and will ‘til I die.

Al- though you are clue- less,

You’re my kind of guy.

Per- haps you’re Quixotic?

If so, we shall see.

But you make life exotic,

Exciting for me.

II

I know that you can’t hear me.

That’s better for me.

My planning can go on -

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I’ll plot secretly.

Perhaps I’m deluded

If so, we shall see

But for now I’ve concluded

George Bailey’s for me!

The picture that you’re painting

of places we’ll see -

The bold strokes you’re using,

Intoxicate me.

Where ever your going,

You’re gonna take me.

For although you don’t know it,

You’re gonna love me.

George Bailey! Yeah!

MARYGeorge Bailey, I'll love you till the day I die.

(George finishes up the sundae as if he didn’t hear a word. Mary draws back quickly and looks down, terrified at what she has said. George then abruptly turns to her)

GEORGEI'm going out exploring some day, you watch.

(He turns back to the cash register, whistling)

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(Gower appears in the window of the prescription room at end of fountain. He is bleary-eyed,and unshaven. His manner is gruff and mean. It is evident he has been drinking.

GOWERGeorge!

GEORGEYes, sir.

GOWERYou're not paid to be a canary.

GEORGENo, sir.

(George turns back to the cash register where he notices an open telegram on the shelf. He is about to toss it aside when he starts to read it.

GEORGE(He first reads it to himself) Mary listen to this: (George reads aloud to Mary) "We regret to inform you that your son, Robert, died very suddenly this morning of influenza, stop. Everything possible was done for his comfort stop. We await instructions from you." George Pemberton Dunn, Pres. HAMMERTON COLLEGE."

(George puts the telegram down. A goodness of heart expresses itself in a desire to do something for Gower. He gives the ice cream to Mary without comment and sidles back toward Gower)

(Gower, drunk, is working on the ledge of the window, intent on putting some capsules into a box or bottle)

GEORGEMr. Gower, do you want something . . . Anything?

GOWERNo.

(George looks curiously at Gower, realizing that he is quite drunk. Gower fumbles and drops some of the capsules to the floor)

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GEORGEI'll get them, sir.

(He picks up the capsules and puts them in the box. Gower waves George aside. George turns a bottle around from which Gower has taken the powder for the capsules. Its label reads "POISON." George stands still, horrified)

GOWERTake these capsules over to Mrs. Blaine's. She's waiting for them.

George picks up the capsule box, not knowing what to do or say. His eyes are drawn to the bottle labeled poison. George's fingers fumble.

GEORGEYes, sir.

(Lights dim to half-light on pharmacy. Lighting comes up to full to illuminate Office of the Guardian Angels. If it has been situated upstage, it will move downstage to allow the traveler to close and the set to change)

CLARENCEIs George deaf? He didn’t seem to hear a word she said?

JOSEPHRemember that I just told you that something happened to George when he was twelve?

CLARENCEYes. What?

JOSEPHAa few weeks earlier, George, his little brother, Harry, and five other boys went sledding on the hill down by the river. They would shoot down the hill and then out onto the river ice.

FRANKLIN(Franklin enters) Harry, who had never done it before, didn’t want to go.

JOSEPHBut when George and the others said Harry was “chicken,” Harry overcame his fear.

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FRANKLIN

Harry went past the other boys’ stopping points, and onto the thin ice at the bend of the river.

JOSEPHThe ice broke, and Harry disappeared into the water.

FRANKLIN

George and the boys made a human chain, and George went in andrescued Harry.

JOSEPHGeorge saved his brother's life. But he caught a bad cold which infected his left ear. Cost him his hearing in that ear.

CLARENCEAnd that’s why he couldn’t hear Mary?

JOSEPHYes.

(END OF SCENE -- LIGHTS DOWN on Office of the Guardian Angels. Their “platform” is taken behind traveler or into the

wings.)

SCENE 2 INTERIOR OF THE BAILEY BUILDING AND LOAN

Lobby and Peter Bailey’s Office

(THE INTERIOR OF THE BAILEY BUILDING AND LOAN. The offices are “ancient” and a bit on the rickety side. There are two rooms,

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separated by a half-wall, with a door connecting. The larger of the two (SL) is the lobby where the public comes to do business. There is a counter with a grill - rather like a bank. The door to the outside [imaginary] is SL. The door to Peter Bailey’s smaller office is through the half-wall on the SR side of the lobby. A sign on the door states: PETER BAILEY, PRIVATE. William “Uncle Billy” Bailey’s office is through a door USL. The interior office is never seen and is off stage.

(George's Uncle Billy stands, obviously trying to hear what is going on inside. He is a very good-humored man of about fifty, in shirt-sleeves. With him at the door, also listening, are Cousin Tilly Bailey, a waspish-looking woman, who is the telephone operator, and Cousin Eustace Bailey, the clerk. The office vibrates with an aura of crisis as George enters and proceeds directly toward his father's office. As George is about to enter his father's office, uncle Billy stops him)

UNCLE BILLYAvast, there, Captain Cook! Where you headin'?

GEORGEGot to see Pop, Uncle Billy.

UNCLE BILLYSome other time, George.

GEORGEIt's important.

UNCLE BILLYThere's a squall in there that's shapin' up into a storm.

During the foregoing, Cousin Tilly has answered the telephone, and now she calls out:

COUSIN TILLYUncle Billy . . . telephone.

UNCLE BILLYWho is it?

COUSIN TILLYBank examiner.

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On Uncle Billy's left hand, There are pieces of string tied around two of the fingers - obviously to remind him of things he has to do. Uncle Billy looking at his hand.

UNCLE BILLYBank examiner! I should have called him yesterday. Switch it inside.

He enters a door USL marked WILLIAM BAILEY, PRIVATE. George stands irresolute a moment, aware of a crisis in the affairs of the Bailey Building and Loan Association, but aware more keenly of his personal crisis. He opens the door of his father's office and enters.

George's father, Peter Bailey, is seated behind his desk, nervously drawing swirls on a pad. He looks tired and worried. He is a gentle man in his forties, an idealist, stubborn only for other people's rights. Nearby, in a throne-like wheelchair, behind which stands the goon who furnishes the motive power, sits Henry F. Potter, his squarish derby hat on his head. The following dialogue is fast and heated, as though the argument had been in process for some time.

BAILEY(Very emotional) I'm not crying, Mr. Potter.

POTTER(Disdainfully) Well, you're begging, and that's a whole lot worse.

BAILEYJust thirty short days. I'll dig up that five thousand somehow.

GEORGE(Entering and interrupting) Pop!

POTTERHave you put any real pressure on those people of yours to pay those mortgages?

BAILEYJust a minute, son. (To Potter) Times are bad, Mr. Potter. A lot of these people are out of work.

�14

POTTERThen foreclose!

BAILEYI can't do that. These families have children.

GEORGEPop!

POTTERThey're not my children. Are you running a business or a charity ward?

BAILEYMr. Potter, what makes you such a hard-skulled character? You have no family –– no children. You can't begin to spend all the money you've got.

POTTERSo I suppose I should give it to miserable failures like you and that idiot brother of yours to spend for me.

(George cannot listen any longer to such slander about his father. He comes around to his father’s side of the desk)

GEORGEHe's not a failure! You can't say that about my father! (To his dad) You're the biggest man in town!

BAILEYRun along.

(He rises and gently pushes and escorts George toward the door. George stops at door and turns back to Potter)

GEORGEBigger'n him!

(As George starts towards Potter's wheelchair, the goon puts out a restraining hand)

GEORGEBigger'n everybody.

POTTER

�15

(To his goon, sarcastically) Bigger'n everybody! Gives you an idea of the Baileys. Get me out of here.

(The goon pushes Potter’s wheelchair out the door, and then through the lobby - to and through the front door. George watches Potter leave from just inside the door of hisfather’s office, with the capsules in his hand. Then turns back to Peter Bailey)

GEORGEDon't let him say that about you, Pop.

BAILEYAll right, son, thanks. I'll talk to you tonight.

(As the goon pushes Potter out the front door of the Building and Loan, they move down stage. The first traveler closes. Potter now in front of the traveler sings. This “crossover” allows a scene change behind the traveler)

SONG #4

HE WORKS FOR A RABBLE OF DEADBEATS!

POTTER

He works for a rabble of deadbeats, (He lectures his goon)

Who haven’t a red cent among ‘em.

Like fools who have plenty, he squanders good money.

On wastrels who’ll never repay him.

(Mockingly) In “thirty short days” he’ll repay me.

With money that he’ll pick from a tree!

GOON

(Spoken) Can he really do that?

POTTER

�16

His Building and Loan’s not a business!

It is run like a charity ward!

He will not foreclose when his deadbeats default

Because evicting children’s untoward.

POTTERHe shills for a rabble of deadbeats.

GOON(Echoing) He shills for a rabble of deadbeats.

POTTERNot one’s paid a dime on his mortgage!

GOON(Echoing) Not one’s paid a dime on their mortgage!

POTTERHe begs my forbearance.

GOON(Echoing) He begs your forbearance.

POTTERDoes the fool think that I’m in my dotage?

GOON:(Harmony) Does the fool think you’re in your dotage?

GOON:(Spoken) What does “dotage” mean?

END OF SCENE -- LIGHTS DOWN

�17

SCENE 3 GOWERS PHARMACY AND A PLACE ABOVE THE FIRMAMENT

(The lights come up on the pharmacy. Dim lighting on Office of the Guardian Angels. Gower talking on the telephone. George enters and stands in the doorway. Mary is at the soda fountain counter)

GOWER(Drunkenly) Why, that medicine should have been there an hour ago. It'll be over in five minutes, Mrs. Blaine.

(He hangs up the phone and turns to George)

GOWER (Cont'd) Where's Mrs. Blaine's box of capsules? (He grabs George by the shirt. Shaking him) Did you hear what I said?

GEORGE (Frightened) Yes, sir, I . . .

(Gower starts hitting George about the head with his open hands. George tries to protect himself as best he can)

GOWERWhat kind of tricks are you playing, anyway? Why didn't you deliver them right away? Don't you know that boy's very sick?

GEORGE (In tears) You're hurting my sore ear.

(Mary is still seated at the soda fountain. Each time she hears George being slapped, she winces)

GOWERYou lazy loafer!

GEORGE (Sobbing) Mr. Gower, you put something wrong in those capsules. You got that telegram, and you were upset. You put something bad in those capsules, Mr. Gower.

(George pulls the little box out of his pocket. Gower savagely rips it away from him, breathing heavily, staring at the boy venomously)

�18

GEORGE (Cont'd) Look at the bottle you took the powder from. It's poison! It's poison! I know you feel bad . . . and .. .

(George falters off, cupping his aching ear with a hand. Gower looks at the large brown bottle which has not been replaced on the shelf. He tears open the package, shakes the powder out of one of the capsules, cautiously tastes it, then abruptly throws the whole mess to the table and turns to look at Georgeagain. The boy is whimpering, hurt, frightened. Gower steps toward him)

GEORGE (Cont'd) Don't hurt my sore ear again.

(But this time Gower sweeps the boy to him in a hug and, sobbing hoarsely, crushes the boy in his embrace. George is crying too)

GOWER (Sobbing) Oh, George, George . . .

LIGHTS DOWN ON DRUGSTORE - LIGHTS UP ON JOSEPH AND CLARENCE

(The traveler closes on the pharmacy to allow a set change. The scene continues the Office of the Guardian Angels in a “Place above the Firmament.”)

CLARENCE'S VOICEWhat did you stop it for?

JOSEPH'S VOICEDid you get a good look at the young boy’s face?

CLARENCE'S VOICEYes.

JOSEPH'S VOICEGood. Well, what’s your impression?

CLARENCE'S VOICEIt's a good face. I like George Bailey.... Did he ever marry the girl? Did he ever go exploring?

�19

JOSEPH'S VOICEWell, wait and see.

LIGHTS DOWN - END OF SCENE.

SCENE 4INTERIOR OF THE “POP” BAILEY HOME

(As the traveler opens, we enter the parlor/dining room areaof the Bailey family home. Stairs come down into the parlor.There is a front door and a kitchen door. It’s dinner time. Pop Bailey is seated at the dinner table. Mrs. Bailey entering from the kitchen and looks up toward the vibrating ceiling. There are SOUNDS of terrific banging and scuffling upstairs)

MOTHERGeorge! Harry! Come down to dinner this minute. Everything's getting cold.

GEORGE'S VOICEOkay, Mom.

(George and Harry descend stairs and enter)

HARRYI've eaten.

GEORGEBoy, oh, boy –– my last meal at the old Bailey boarding house.

HARRYPop, can I have the car? I'm going to take over a lot of plates and things.

MOTHERWhat plates?

�20

HARRYOh, Mom –– I'm chairman of the eats committee and we only need a couple of dozen.

MOTHEROh, no you don't, Harry. Not my best Haviland.

(She follows Harry into the kitchen, leaving Pop and George. As she goes...)

GEORGEOh, let him have the plates, Mother.

(George and his father, eating at the table. There is a great similarity and a great understanding between them)

POPHope you have a good trip, George. Your mom and I haven’t had time to travel. We don’t have any luggage. You’ll probably have to get yourself a good suit case.

GEORGEI’ve got one. A gift from my old boss, Mr. Gower. It’s huge! I’ll be able to use it as a raft in case the boat sinks.

POPUncle Billy and I are going to miss you.

GEORGEPop. What's the matter? You look tired.

POPOh, I had another tussle with Potter today.

GEORGEOh . . .

POPI thought when we put him on the Board of Directors, he'd ease up on us a little bit.

GEORGEI wonder what's eating that old money-grubbing buzzard anyway?

POP

�21

Oh, he's a sick man. Sick in his mind, sick in his soul - if he has one. Hates everybody that has anything that he can't have. Hates us mostly, I guess.

(Harry and his mother come out of the kitchen, Harry carrying a pie in each hand and balancing one on his head)

HARRYGangway! Gangway! So long, Pop.

POPSo long, Harry.

MOTHERPut my dishes in the car - carefully!

HARRYOkay, Mom. You coming later, George?

GEORGEAnd be bored to death?

POPNo gin tonight, son.

HARRYJust a little?

POPNo, son, not one drop.

(Mother opens the front door for him. Harry exits via front door)

GEORGEDid I act like that when I graduated from high school?

POPPretty much. You know, George, we wish we could send Harry to college with you.

GEORGEWe have that all figured out. You see, Harry'll take my job at

�22

the Building and Loan, work there four years, and then he'll go.

POPHe's pretty young for that job.

GEORGEWell, no younger than I was.

MOTHERMaybe you were born older, George.

GEORGEHow's that?

POP(Pop just smiles) So, what you're going to do when you get out of college?

GEORGEOh, well, you know what I've always talked about –– build things . . . design new buildings –– plan modern cities ...

POPYou wouldn't consider coming back to the Building and Loan, would you?

GEORGENow, Pop, I couldn't face being cooped up for the rest of my life in a shabby little office.

He stops, realizing that he has hurt his father.

GEORGE (Cont'd) Oh, I'm sorry, But this business of nickels and dimes and spending all my life trying to figure out how to save three cents on a length of pipe . . . I'd go crazy.

POP (Quietly) George, we are doing something important. We're satisfying a fundamental urge. A man to wants his own roof and walls and fireplace. We're helping him get those things in our shabby little office.

GEORGE

�23

(Unhappily) I know, Dad. But most of my friends have already finished college. I just feel like if I don't get away, I'll bust.

POPYes . . . Yes . . . You're right, son.

MOTHERThis town is no place for any man unless he's willing to crawl to Potter.

POPYou've got talent, son. Get yourself an education. Then get out of here.

GEORGEPop, do you want a shock? I think you're a great guy.

POPThank you, son. When you get back, we’ll talk.

GEORGEFair enough. You know, I think I will go over to Harry's party.

(George heads up the stairs)

MOTHERHave a good time, son.

(During the song, Peter and Ma Bailey move below the traveler, to allow the set to change)

SONG #5

“GEORGE WILL COME OUT ON TOP”

I

PETER BAILEYWhen tragedies surround him.

MRS. “MA” BAILEYWhen bad luck seems to hound him.

�24

PETER BAILEY When it's a rotten day,

MRS. “MA” BAILEY When trouble comes his way.

PETER BAILEY That’s when our George gets going.

MRS. “MA” BAILEY Charging, his color’s showing ...

PETER BAILEY He’ll overcome the challenge, come what may!

MRS. “MA” BAILEY He’ll beat the odds and have a banner day.

PETER BAILEY When life hammers them, and most men stop ...

MRS. “MA” BAILEY When the fury of battle makes most men drop.

PETER BAILEY My George...

MRS. “MA” BAILEY Our son George....

PETER BAILEY George will come out on top.

MRS. “MA” BAILEY Oh yes! George will come out on top.

II

MRS. “MA” BAILEYWhen his friends just stood around ...

�25

PETER BAILEYWhen his brother nearly drowned,

MRS. “MA” BAILEYAs the ice broke apart,

PETER BAILEYGeorge displayed his lion's heart.

BOTHThat's when our George got going...

Risk- ing death, courage showing.

George passed his greatest test that winter’s day,

Never considering the price he’d pay

PETER BAILEYWhen Potter bullies and threatens doom.

George will al-ways be the last man in the room

My George...

MRS. “MA” BAILEYOur son George....

PETER BAILEY George will come out on top.

MRS. “MA” BAILEY Oh yes! George will come out on top.

BOTHGeorge will come out on top.

LIGHTS DOWN - END OF SCENE

�26

SCENE 5HIGH SCHOOL GYMNASIUM DANCE

(A drop or a painted traveler closes. The painted traveler depicts a wall of the high school gym, with bleachers. We discover the site of the high school gymnasium dance. Harry have just dropped off the dishes at an upstage table)

SONG #5

“DO I LOVE HIM?”

(UNDERSCORING AND DANCE MUSIC)

(The orchestra begins playing, “Do I Love Him?” Couples begin dancing. The first few measurers are played before the lights come up. The music continues as underscoring.Marty is seen briefly with his sister, Mary Hatch, talking. Marty sees Harry and Georgeworking their way downstage and crosses downstage to intercept them. He is on a "on mission" on Mary's behalf. Harry and George work their way downstage through the dancing couples. Harry leads and George follows. Harry see Sam Wainright . Knowing that George feels out of place because of his age, to help make him comfortable, Harry "introduces" him to Sam, who, of course, is George's friend and already knows George.)

HARRY (Hailing Sam) Sam, you know my “kid brother,” George. I'm going to put him through college.

(Sam Wainwright waggles his hands at his ears as he talks)

SAMHi’ya, George. Hee-haw!

(George costs to Sam, delighted toes Sam. Sam is assured and breezy, wearing very collegiate clothes)

GEORGESam Wainwright! How are you? When did you get here?

SAMOh, this afternoon. I thought I'd give the kids a treat.

GEORGEOld college graduate now, huh?

�27

SAMYeah –– old Joe College Wainwright, they call me.

(Sam sees Harry and leaves George in the middle of a gesture)

SAM (To Harry) Harry! You're the guy I want to see. Coach has heard all about you.

HARRYHe has?

SAMYeah. He's followed every game and his mouth's watering. He wants me to find out if you're going to come along with us.

HARRYWell, I gotta make some dough first.

SAMWell, you better make it fast. We need great ends like you –– not broken down old guys like this one.

VIOLET(Seeing her chance to be with George) Hey, George . . .

GEORGEHello, Violet.

VIOLETDance with me, George?

(Marty Hatch, in furtherance of his mission, makes his move to block Violet's move and further his sister's interests)

MARTYGeorge.

GEORGEHi ya, Marty. Well, it's old home week.

(George’s attention shifts from Violet to Marty. Stage lights dim. The couples continue to dance. George and Marty “talk”

�28

silently and with little movement. A follow-spot lights a frustrated Violet, as she sings)

SONG #6

“DO I LOVE HIM?”

VIOLET

Do I love him? Maybe, maybe not.

Could I love him? Maybe, maybe not.

What attracts me? I really can’t say.

I know he won't give me the time of day.

And yet, there’s something ‘bout him,

That makes me want to spend my life making love to him

Although, he barely grunts when I walk by, and though he barely sees me.

I always do my best to catch his eye, but still he doesn't see.

I don’t know why I crave his company.

And if he noticed, would the dope love me?

Well, prob’ly not. Prob’ly not.

Do I love him? Probably not.

And yet I melt when I hear him say, “Violet.”

(The light goes out on Violet. The stage lights come back up. The couples dance as George and Marty converse. The orchestra,continues to play “Do I Love Him? as underscoring)

MARTYDo me a favor, will you, George?

GEORGE

�29

What's that?

MARTYWell, you remember my kid sister, Mary?

GEORGEOh, yeah, yeah.

MARTYDance with her, will you?

GEORGEOh . . . me? Oh, well, I feel funny enough already, with all these kids.

MARTYBe a sport. Just dance with her one time and you'll give her the thrill of her life.

SAMAw, go on.

MARTY (Calling off) Hey, sis.(Coming up to Mary and interrupting) You remember George? This is Mary. (He fades away)

GEORGEWell .... Well .... Well, hello.

MARYHello. You look at me as if you didn't know me.

GEORGEWell, I don't.

MARYYou've passed me on the street almost every day.

GEORGEMe?

MARYUh-huh.

GEORGEThat wasn't you. That was a little girl named Mary Hatch.

�30

(A WHISTLE is heard, and the MUSIC stops. Harry on the orchestra platform, whistle in hand)

HARRYOyez –– oyez –– oyez . . . The big Charleston contest. The prize? A genuine loving cup. Those not tapped by the judges will remain on the floor. Let's go!

SONG #7“I WANT TO BE A FLAPPER” (Underscoring)

(As the MUSIC starts and couples, and then more couples begin dancing once more, they look at each other)

GEORGEI'm not very good at this.

MARYNeither am I.

GEORGEThere’s a really nice moon. What do you think?

MARYWhat can we lose? (Mary and George exit. As the do, Violet leads the dance)

SONG #7“I WANT TO BE A FLAPPER”

VIOLET and WOMEN

I want to be a flapper.

I want to be - desper't’ly - while I'm young, a flapper!

The "Gibson girl" rage,

Has died of old age.

�31

So I'm gonna be a flapper.

The humdrum life of at stay-home wife

holds no allure for me.

Phooey!

MEN

Hey, Mama, can I have a flapper?

A shingle bob, flapper dress, rumble seat, sort of flapper?

Who'll kiss and pet. And won't get upset,

If I don't say, "please," when I try to squeeze -

A lovely thing just about nineteen who will teach me the shimmy,

And shimmy ‘til dawn.

WOMEN

Look at me, and you'll see a flapper!

MENGlory be! Do I see? Can this be, a flapper?

WOMENI have dropped my waist

MENThat appeals to my taste!

WOMENThen come shimmy with me!

MENSay the word and we'll dance til three!

WOMENI have to take my chance; got to live and dance.

�32

MENThis is my dream come true; gotta be with you!

WOMENI'm gonna be a flapper.

MENMa, look at me and you’ll see I found me a flapper!

(Lights Down - End of Scene)

SCENE 6GEORGE WALKS MARY HOME FROM DANCE - GRANVILLE HOUSE

(The Scene is played in front of a painted drop/traveler. It is night time. We discover a tree-lined residential street, and the old Granville House. George and Mary cross. The night is warm with a bright moon. During the scene change, we hear the intro and verse of “Buffalo Gals” as underscoring. As they enter, we hear them singing:)

SONG #8 “BUFFALO GALS

GEORGE AND MARY

(Singing) Buffalo Gals can't you come out tonight?

Can't you come out tonight?

Can't you come out tonight?

Buffalo Gals can't you come out tonight,

and dance by the light of the moon?

(Music continues as underscoring)

GEORGEYou know, you look wonderful.... Why, if it wasn't me talking I'd say you were the prettiest girl in town.

�33

MARYWell, why don't you say it?

GEORGEI don't know. Maybe I will say it. How old are you anyway?

MARYEighteen.

GEORGEEighteen? Why, it was only last year you were seventeen.

MARYToo young or too old?

GEORGEOh, no. Just right.

MARY(Mary turns away from him, happily singing softly "Buffalo Gals") And dance by the light of the moon!. . .

(George looks after her; then picks up a rock from the street)

GEORGEYou know, I think I'll throw this rock at the old Granville house.

MARYOh, no, don't. I love that old house.

(The Granville House is a weather-beaten, old-fashioned two-storied house that once was no doubt resplendent)

GEORGEYou see, you make a wish and then try and break some glass.

MARYOh, no, George, don't. It's full of romance, that old place. I'd like to live in it.

GEORGEIn that place?

�34

MARYUh-huh.

GEORGEI wouldn't live in it as a ghost.

(George hurls the rock at the house. We hear the SOUND of a window breaking)

MARYWhat'd you wish, George?

GEORGEWell, not just one wish. A whole hatful, Mary. I know what I'm going to do tomorrow, and the next day, and the year after that. I'm shaking the dust of this crummy little town off my feet and I'm going to see the world. Italy, Greece, the Parthenon, the Colosseum. Then I'm going to go to college and see what they know . . . and I'm going to build things .... skyscrapers, a hundred stories high ... bridges, a mile long.

(As he talks, Mary has been listening intently. She finally stoops down and picks up a rock, weighting it in her hand)

GEORGE (Cont'd) Are you gonna throw a rock?

(Mary throws her rock, and once more we hear the SOUND of breaking glass)

GEORGE (Cont'd) Hey, that's pretty good. What'd you wish, Mary?

(Mary looks at him provocatively, then turns and shuffles off down the street, singing as she goes. George hurries after her.George joins her singing, as they proceed down the street)

SONG #9 “BUFFALO GIRLS,” Continues

MARY (Singing) Buffalo Gals, can't you come out tonight?

MARY AND GEORGE

�35

Can't you come out tonight?

Can't you come out tonight.

Buffalo Gals can't you come out tonight

and dance by the light of the moon?

GEORGEWhat'd you wish when you threw that rock?

MARY(Coyly, she shakes her head, “no”)

GEORGECome on, tell me.

MARYIf I told you it might not come true.

GEORGEWhat is it you want, Mary? You want the moon? Just say . . .

(A full moon shining through the trees)

GEORGE (Cont'd) . . . the word and I'll throw a lasso around it and pull it down. I'll give you the moon, Mary.

MARYI'll take it. And then what?

GEORGEWell, then .... (George and Mary sing a double soliloquy)

SONG #10 “ONE MOMENT”

GEORGE

One moment! How my life has changed!

�36

One moment! All is rearranged.

Since going to a dance and meeting on the floor.

I’ve known a love I never knew before.

In one moment -- after that moment, nothing is the same.

MARY

One moment! Everything is changed

One moment! Life is rearranged.

When I'm with you there's something special that I feel,

I know it's love, a love I can't conceal.

Now's our moment after this moment, nothing is the same.

BOTH

From this moment -- This moment,

From this moment our two lives have changed.

(George kisses Mary.)

UNCLE BILLY(Entering in haste and interrupting) George! George! Come on home, quick! Your father's had a stroke!

GEORGEMary . . . Mary, I'm sorry. I've got to go.

HARRYCome on, George, let's hurry.

GEORGEDid you get a doctor?

�37

UNCLE BILLYYes, Campbell's there now.

(George and Billy exit. Mary reprises her verse of “One Moment” to allow the set change)

MARY

One moment! Everything is changed

One moment! Life is rearranged.

When I'm with you there's something special that I feel,

I know it's love, a love I can't conceal.

Now's our moment after this moment, nothing is the same.

From this moment -- This moment,

From this moment our two lives have changed.

LIGHTS DOWN - END OF SCENE

SCENE 7INTERIOR OF BUILDING AND LOAN & A PLACE ABOVE THE FIRMAMENT -

GEORGE INVITED TO MANAGE

(Interior of Bailey Building and Loan Office. The Board of Directors are meeting in Peter Bailey’s office. There are about seven directors seated around a table. They are the substantial citizens of Bedford Falls: Dr. Campbell, a lawyer, Reineman [an insurance agent] and a real estate salesman. Also seated with them is Henry F. Potter, with his goon beside his wheelchair. Uncle Billy and George are also seated among the directors. The Chairman of the Board is Dr. Campbell. They have folders and papers before them, on which they have been reporting. Before

�38

each of the directors there are individual reports for them to study. The Office of the Guardian Angels is stage opposite)

(Lights come to full on Peter Bailey’s Office; half-light elsewhere)

DR. CAMPBELLI think that's all we'll need you for, George. I know you're anxious to make a train.

GEORGE (Rising) I have a taxi waiting downstairs.

DR. CAMPBELLI want the Board to know that George gave up his trip to Europe to help straighten things out here these past few months. Good luck to you at school, George.

GEORGEThanks.

DR. CAMPBELLNow we come to the real purpose of this meeting –– to appoint a successor to our dear friend, Peter Bailey.

POTTERMr. Chairman, I'd like to get to my real purpose.

REAL ESTATE MANWait just a minute now!

POTTERWait for what? I claim this institution is not necessary to this town. Therefore, Mr. Chairman, I make a motion to dissolve this institution and turn its assets and liabilities over to a receiver.

UNCLE BILLY (Angrily) George, you hear what that buzzard . . .

LAWYERMr. Chairman, it's too soon after Peter Bailey's death to discuss chloroforming the Building and Loan.

REINEMAN

�39

Peter Bailey died three months ago. I second Mr. Potter's motion.

DR. CAMPBELLVery well. In that case I'll ask the two executive officers to withdraw.

(Dr. Campbell rises from his seat. George and Uncle Billy start to collect their papers and leave the table)

DR. CAMPBELL (Continued) But before you go, I'm sure the whole board wishes to express its deep sorrow at the passing of Peter Bailey.

GEORGEThank you very much.

DR. CAMPBELLIt was his faith and devotion that are responsible for this organization.

POTTERI'll go further than that. I'll say that, to the public, Peter Bailey was the Building and Loan.

(Everyone looks at him surprised)

UNCLE BILLY (Trying to control himself) Oh, that's fine, Potter, coming from you, considering that you probably drove him to his grave.

POTTERPeter Bailey was not a business man. That's what killed him. Oh, I don't mean any disrespect to him, God rest his soul. He was a man of high ideals, so-called, but ideals without common sense can ruin this town.(Picking up papers from table) Now, you take this loan here to Ernie Bishop . . . You know, that fellow that sits around all day on his brains in his taxi. Now . . . I happen to know the bank turned down this loan, but he comes here and we're building him a house worth five thousand dollars. Why?

(George is at the door of the office, holding his coat and papers, ready to leave)

GEORGE

�40

Well, I handled that, Mr. Potter. You have all the papers there. His salary, insurance. I can personally vouch for his character.

POTTER (Sarcastically) A friend of yours?

GEORGEYes, sir.

POTTERYou see, if you shoot pool with some employee here, you can come and borrow money. What does that get us? A discontented, lazy rabble instead of a thrifty working class. And all because a few starry-eyed dreamers like Peter Bailey stir them up and fill their heads with a lot of impossible ideas. Now, I say . . .

(George puts down his coat and comes around to the table, incensed by what Potter has been saying about his father)

GEORGEJust a minute. Now, hold on, Mr. Potter. You're right when you say my father was no business man. Why he ever started this cheap, penny-ante Building and Loan, I'll never know. But neither you nor anybody else can say anything against his character . . . Why, in the twenty-five years since he and Uncle Billy started this thing, he never once thought of himself. Isn't that right, Uncle Billy? He didn't save enough money to send Harry to school, let alone me. But he did help a few people get out of your slums, Mr. Potter. And what's wrong with that? Just remember this, Mr. Potter, that this rabble you're talking about . . . they do most of the working and paying and living and dying in this community. Well, is it too much to have them work and pay and live and die in a couple of decent rooms and a bath? Anyway, my father didn't think so. People were human beings to him, but to you, a warped, frustrated old man, they're cattle. Well, in my book he died a much richer man than you'll ever be!

POTTERI'm not interested in your book. I'm talking about the Building and Loan.

GEORGEI know very well what you're talking about. You're talking about something you can't get your fingers on, and it's galling you.

�41

(To the Board) Well, I've said too much. I . . . You're the Board here. You do what you want with this thing. Just one thing more, though. This town needs this measly one-horse institution if only to have some place where people can come without crawling to Potter. Come on, Uncle Billy!

(Lights up to full on lobby as George exits into the lobby, followed by the jubilant Uncle Billy. Potter's face is grim with hatred. The "frustrated old man" remark was gall in his veins.Lights dim to half light on Peter Bailey’s Office)

POTTER(From Peter Bailey’s Office) Sentimental hogwash! I want my motion . . . (Potter’s goon closes the office door)

UNCLE BILLYBoy, oh, boy, that was telling him, George, old boy.(To Cousin Tilly and Cousin Eustace who have been waiting in lobby) You should have heard him.

COUSIN EUSTACEWhat happened? We heard a lot of yelling.

UNCLE BILLYWell, we're being voted out of business after twenty-five years. Easy come, easy go.

(Ernie, entering from front door)

COUSIN EUSTACEWell, Goodbye, George.

SONG #11YOU’RE OFF!

I

COUSIN EUSTACE,

You’re off!

COUSIN TILLY

�42

You’re off!

UNCLE BILLYYou’re on your way.

ERNIE You’ll have a wonderful time.

ALL FOURYou’re off to get an education.

Free to work towards graduation.

No more dead-end job, it seems.

This is your chance!

You’ve got your chance to chase your dreams.

II

GEORGEI'm off!

EUSTACE, TILLY, BILLY AND ERNIE

This is your chance to chase your dreams

GEORGE

I'm off!

EUSTACE, TILLE, BILLY AND ERNIE

You're off!

UNCLE BILLYHey, you'll miss your train. You're a week late for school already. Go on.You gave up your boat trip. You don't want to miss college too, do you?

(Dr. Campbell comes running into lobby, all excited)

�43

DR. CAMPBELLGeorge! George! They voted Potter down! They want to keep it going!

(Cousin Eustace, Cousin Tilly and Uncle Billy cheer wildly. Dr. Campbell and George shake hands)

(Continuing) DR. CAMPBELL But they've got one condition –– only one condition.

GEORGEWhat's that?

DR. CAMPBELLThey've appointed George here as Executive Secretary to take his father's place.

GEORGEOh, no! I'm leaving. I'm leaving right now. I'm going to school. This is my last chance. Uncle Billy here, he's your man.

DR. CAMPBELLIf you don’t George, they'll vote with Potter.

(LIGHTS DIM ON BUILDING AND LOAN LOBBY. LIGHTS UP ON OFFICE OF ANGELS. The Office moves below the traveler, and it closes.

CROSS-OVER SCENE)

CLARENCESo, what happened?

JOSEPHFrom what you already know about George, what do you think happened?

CLARENCEHe didn't go

JOSEPHNot only that, but he gave his school money to his brother, Harry.

�44

CLARENCEAnd sent him to college. His father was right about him; he wasborn older.

Harry became a football star –– made second team All American.

CLARENCEYes, but what happened to George?

JOSEPH

George got four years older, waiting for Harry to come back and take over the Building and Loan.

LIGHTS DOWN - END OF SCENE

SCENE 8 MA BAILEY’S LIVING ROOM

HARRY RETURNS FROM SCHOOL - MARRIEDMA BAILEY POINTS GEORGE IN MARY’S DIRECTION

GEORGE MEETS VIOLET EN ROUTE

(Harry’s homecoming from College. George and Uncle Billy are waiting in George’s Mother’s living room.

GEORGE(Joyously, rising, as Harry and a young woman enter) There's the professor now! Phi Beta Kappa Bailey! All American!

HARRYWell, if it isn't old George “Geographic Explorer” Bailey!(To Uncle Billy) Uncle Billy, you haven't changed a bit.

UNCLE BILLY(Laughing) Nobody ever changes around here.

GEORGEBoy, am I glad to see you.

HARRYSay, where's Mother?

GEORGE

�45

She's in the kitchen cooking the fatted calf. Come on, let's go.

HARRYOh, wait. Wait . . . Wait a minute.

In the excitement the young woman who has entered with Harry has momentarily been forgotten. Harry turns to introduce her. She stands, smiling, waiting. George notices her)

GEORGEHello.

HARRYRuth Dakin.

RUTHRuth Dakin Bailey, if you don't mind.

GEORGEHuh?

HARRYWell, I wired you I had a surprise. ... Meet my wife.

(George is thunderstruck. He takes Ruth's hand)

UNCLE BILLYWife? Well, what do you know!

GEORGEWell .... Congratulations! What am I doing?

(He kisses Ruth)

GEORGEHarry, why didn't you tell somebody?(To Ruth) What's a pretty girl like you doing marrying this two-headed brother of mine?

RUTH (Smiling) It was purely mercenary. My father offered him a job.

(George stops, with a sinking feeling)

HARRYGeorge . . . I never said I'd take it. You've been holding the bag here for four years, and . . . George. I would like

�46

to . . . Oh, wait a minute. I forgot the bags. I'll be right back.

(He runs out to get the bags, George watches him)

GEORGE (Quietly) Ruth, . . . what about this job?

RUTHOh, my father owns a glass factory in Buffalo. He wants to get Harry started in the research business.

GEORGEIs it a good job?

RUTHOh, yes, very. Not much money, but a good future. ... Harry's a genius at research. My father fell in love with him.

GEORGEAnd you did, too?

(Ruth nods, smiling)

LIGHTS DOWN MOMENTARILY - THEN BACK UP

(The blackout followed by the lights coming back up suggest a brief passage of some time. During the brief blackout, all except George have left the room. The sound of music offstage,a reprise of the instrumental “I Want to Be a Flapper,” indicates that the party has moved to another room. Happy voices are heard softly in the background. George is obviously disturbed about the latest turn of events. As he sits in a chair thinking, his mother enters from behind him, and, from behind, kisses him)

GEORGEHello, Mom.

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

GEORGE

�47

She's swell.

MRS. BAILEYLooks like she can keep Harry on his toes.

GEORGEKeep him out of Bedford Falls, anyway.

MRS. BAILEYDid you know that Mary Hatch is back from school? ... Came back three days ago.

GEORGEHmmmm . . .

MRS. BAILEYNice girl, Mary.

GEORGEHmmmm . . .

MRS. BAILEYKind that will help you find the answers, George.

GEORGEHmmm . . .

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

GEORGESure –– Sam Wainwright.

MRS. BAILEYHmmm?

GEORGEYes. Sam's crazy about Mary.

MRS. BAILEYWell, she's not crazy about him.

GEORGEWell, how do you know? Did she discuss it with you?

MRS. BAILEY

�48

No.

GEORGEWell, then, how do you know?

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

GEORGEOh . . .

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

GEORGEAnd all's fair in love and war?

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

GEORGEAll right, Mother, old Building and Loan pal, I think I'll go out and find a girl and do a little passionate necking.

MRS. BAILEYOh, George!

(As George exits the front door. The lights go to black. The flat with the front door is moved below the traveler, and reversed to become the exterior of the front door, as the traveler closes. George immediately re-enters below the traveler and encounters Violet Bick coming from the other direction, on her way to Harry’s party at Ma Bailey’s)

VIOLETHello, Georgie-Porgie.

GEORGEHello, 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)

�49

VIOLETWhere are you going?

GEORGEOh, I'll probably end up down at the library.... Violet, what are you doing tonight?

VIOLET (Feigned surprise) Not a thing.

GEORGELet's make a night of it.

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

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

VIOLETHuh?

GEORGEThen we can go up to the falls. There's a green pool up there. We can swim in the moonlight. Then we can climb Mt. Bedford....

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

GEORGEOkay, just forget the whole thing.

(As George stalks off, exiting)

SONG #12

“DO I LOVE HIM?” (Reprise)

VIOLET

Do I love him? Maybe, maybe not.

�50

Could I love him? Maybe, maybe not.

What attracts me? I really can’t say.

I know he won't give me the time of day.

And yet, there’s something ‘bout him,

That makes me want to spend my life making love to him

Although, he barely grunts when I walk by, and though he barely sees me.

I always do my best to catch his eye, but still he doesn't see.

I don’t know why I crave his company.

And if he noticed, would the dope love me?

Well, prob’ly not. Prob’ly not.

Do I love him? Probably not.

And yet I melt when I hear him say, “Violet.”

LIGHTS DOWN - END OF SCENE

SCENE 9GEORGE PROPOSES TO MARY

(Cross over in front of first Traveler. George is walking slowly and nervously to the Hatch home. But after a few steps he turns around and starts back home. Then he resumes walking to Mary’s home. It is night time. The traveler opens to Mary’s front door and living room. Mary has turned on the phonograph and put on the record of "Buffalo Gals." She has also put a sketch on her easel. It is a caricature of George throwing a lasso around the moon. Lettering on the drawing says "George Lassos The Moon.")

MARY(Opening the front door and stepping out) George Bailey, What are you doing out there? Picketing?

GEORGE

�51

Hello, Mary. I just happened to be passing by.

MARYUh-huh. I’ve been watching for you. Have you made up your mind?

GEORGEAbout what?

MARYAbout coming in. Your mother just phoned and said you were on your way over to pay me a visit.

(George looks surprised at this)

GEORGEMy mother just called you? Well, how did she know?

MARY(Coyly) Didn't you tell her?

GEORGEI didn't tell anybody. I just went for a walk and happened to be passing by . . .

MARYWell, are you coming in or aren't you?

GEORGEWell, I'll come in for a minute ...

MARY(Knowing better) Uh-huh.

(They enter front door, pass through hall, and into parlor)

GEORGEWhen did you get back?

MARYTuesday.

GEORGEWhere'd you get that dress?

MARYDo you like it?

�52

GEORGEIt's all right. I thought you'd go back to New York like Sam and the rest of them.

MARYOh, I worked there for a couple of vacations, but I don't know . . . I guess I was homesick.

GEORGE (Shocked) Homesick? For Bedford Falls?

MARYYes, and my family and . . . oh, everything. Would you like to sit down?

They move from the doorway into the parlor.

GEORGEAll right, for a minute. ... You know, I didn't tell anybody I was coming here.

MARYWould you rather leave?

GEORGENo, I ....

MARYWell, then, sit down.

(George sees the cartoon on the easel and takes a close look at it)

GEORGE (Indicating cartoon) Some joke, huh?

MARY(George and Mary sit on the divan. George is uncomfortable. Mary tries desperately to keep the conversation alive. There is silence for a moment, then Mary joins in singing with the phonograph record which has been playing all through the above scene) Do you remember the song that went with it?

SONG #13 “BUFFALO GEORGE” (Reprise)

�53

MARY

Buffalo George can't you come out tonight. Can't you come out tonight.

Can't you come out tonight. Buffalo George can't you come out tonight

and dance by the light of the moon.

GEORGEThat song? Oh, yeah . . . yeah . . .

MARY (Desperately) It was nice about your brother Harry, and Ruth, wasn't it?

GEORGEOh . . . sure, sure.

MARYDon't you like her?

GEORGEWell, of course I like her. She's a peach.

MARYOh, it's just marriage in general you're not enthusiastic about, huh?

GEORGENo, marriage is all right for Harry, and Marty, and Sam and you.

(Mrs. Hatch, in a bathrobe, and with her hair in curlers, is leaning over the banister as she calls. They have their backs to her)

MRS. HATCHMary! Mary!

(George and Mary are still seated on the divan)

MRS. HATCHWho's down there with you?

MARYIt's George Bailey, Mother.

�54

MRS. HATCHGeorge Bailey? What does he want?

MARYI don't know. (To George) What do you want?

GEORGE (Indignant) Me? Not a thing. I just came in to get warm.

MARY (To mother) He's making violent love to me, Mother.

(George is aghast)

MRS. HATCHYou tell him to go right back home, and don't you leave the house, either. Sam Wainwright promised to call you from New Yorktonight.

GEORGE (Heatedly) You know I didn't come here to . . . to . . .

MARY (Rising, and annoyed) What did you come here for?

GEORGEI don't know. You're supposed to be the one that has all the answers. You tell me.

MARY (Terribly hurt) Oh, why don't you go home?

GEORGE (Almost shouting) That's where I'm going. I don't know why I came here in the first place! Good night!

(As George begins to exit from the room, the telephone in the hall starts ringing)

MARY (To George) Good night!

MRS. HATCHMary! Mary! The telephone! It's Sam!

�55

MARY (Almost weeping) I'll get it.

(As Mary starts for the telephone, she stops by the phonograph, which is still playing "Buffalo Gals," takes off the record with a jerk, and smashes it against the machine. The phone is still ringing)

MRS. HATCHMary, he's waiting!

MARYHello.

(As Mary picks up the phone, George who hasn’t closed the door,re-enters a step or two)

GEORGEI forgot my hat.

MARY (Feigning enthusiasm) Hee-haw! Hello, Sam, how are you?

(A light comes up on Sam who has a phone in his hand and who is on a small thrust stage. Sam is seated at his desk, with a friend or two nearby, with highballs in their hands. If this is not practical, Sam can be a voiceover)

SAMAw, great. Gee, it's good to hear your voice again.

(George has stopped, hat in hand, and he eavesdrops on Mary)

MARYOh, well, that's awfully sweet of you, Sam. (Glances toward door, to make sure George is still there) There's an old friend of yours here. George Bailey.

SAMYou mean old moss-back George?

MARYYes, old moss-back George.

SAMHee-haw! Put him on.

�56

MARYWait a minute. I'll call him. (Calling) George!

MRS. HATCH(From offstage) He doesn't want to speak to George, you idiot!

MARYHe does so. He asked for him. (Calling) Geo . . . George, Sam wants to speak to you.

(She hands the receiver to George)

GEORGEHello, Sam.

SAM (Into phone) Well, George Baileyoffski! Hey, a fine pal you are. What're you trying to do? Steal my girl?

GEORGE (Into phone) What do you mean? Nobody's trying to steal your girl. Here . . . here's Mary.

SAMNo, wait a minute. I want to talk to both of you. Tell Mary to get on the extension.

GEORGE (To Mary) Here. You take it. You tell him.

MARYMother's on the extension.

MRS. HATCHI am not!

MARYWe can both hear. (To George) Come here.

(Mary takes the telephone from George and holds it so that of necessity George's cheek is almost against hers. He is very conscious of her proximity)

MARY (On phone, with phone between them) We're listening, Sam.

�57

SAMI have a big deal coming up that's going to make us all rich. George, you remember that night you told me you read someplace about making plastics out of soybeans?

GEORGEHuh? Soybeans? Yeah.

SAMWell, Dad's snapped up the idea. He's going to build a factory outside of Rochester.

(Mary is watching George interestedly. George is very conscious of her, close to him)

GEORGERochester? Well, why Rochester?

SAMWell, why not? Can you think of anything better?

GEORGEWell, ... why not right here? You remember that old tool and machinery works? You tell your father he can get that for a song. And all the labor he wants, too. Half the town was thrown out of work when they closed down.

SAMThat so? Well, I'll tell him. Hey, have you got any money?

GEORGEMoney? Yeah . . . well, a little.

SAMWell, now listen. I want you to put every cent you've got into our stock, you hear? And George, I may have a job for you; that is, unless you're still married to that broken-down Building and Loan. This is the biggest thing since radio, and I'm letting you in on the ground floor. Oh, Mary . . . Mary . . .

MARY (Nervously) I'm here.

SAMWould you tell that guy I'm giving him the chance of a lifetime.

�58

(As Mary listens, she turns to look at George, her lips almost on his lips)

MARY (Whispering) He says it's the chance of a lifetime.

(George can stand it no longer. He drops the phone with a crash, grabs Mary by the shoulders and shakes her. Mary begins to cry)

GEORGE (Fiercely) Now you listen to me! I don't want any plastics! I don't want any ground floors, (He hangs up the phone) and I don't want to get married –– ever –– to anyone! You understand that? I want to do what I want to do. And you're . . . and you're . . .

(He pulls her to him in a fierce embrace. Two meant for each other find themselves in tearful ecstasy)

SONG #14“YOUR ARMS ARE WARM AND WONDERFUL”

MARY

Your arms are warm and wonderful.

My heart is soaring through the skies.

The night is crisp, the world is new.

It seems a glimpse of paradise.

GEORGE

I’ve never felt like this before.

Your hair is fresh, your brown [blue?] eyes gleam

And music plays inside my brain

It seems like something from a dream.

MARY

Your arms are wonderful.

�59

GEORGE

Your brown eyes gleam.

BOTH

There’s music in the crisp night air.

Love’s music’s playing everywhere

It seems like something from a dream.

A God-sent dream

GEORGE (Cont'd) Oh, Mary . . . Mary . . .

MARYGeorge . . . George . . . George . . .

GEORGEMary . . .

(Mrs. Hatch is on the stairs. She practically faints at what she sees)

LIGHTS DOWN - END OF SCENE

SCENE 10 WEDDING RECEPTION - MARY’S LIVING ROOM

(George and Mary are about to leave on their honeymoon. The reception has been held at Mary’s home. Family and friends arein the living room. George and Mary are in each other's arms.Uncle Billy is among those present. “Your Arms are Warm andWonderful” continues softly as underscoring.)

ERNIE(Entering) Bert, the cop, sent this over. (He is carrying a case of champaign) He said to float away to Happy Land on the bubbles.

GEORGE

�60

Oh, look at this. Champagne!

MARYGood old Bert.

ERNIEBy the way, where are you two going on your honeymoon?

GEORGEWhere are we going? (Takes out and holds up a fat roll of bills). There's the kitty, Ernie.

MARY(Taking the money from George) I feel like a bootlegger's wife. (Holding up the money) Look!

GEORGEYou know what we're going to do? We're going to shoot the works. A whole week in New York. A whole week in Bermuda. The highest hotels –– the oldest champagne –– the hottest music, and the prettiest wife!

ERNIEThen what?

MARYAfter that, who cares?

(Bert enters with concern and agitation)

BERTI’m sorry to interrupt everything, everybody, but there's something funny going on over at the bank, George, I've never really seen one, but that's got all the earmarks of a run.

DR. CAMPBELL(Entering) Hey, George -- everybody, if you got any money in the bank, you better hurry. (He is followed by Mrs. Hanks and Mr. Phillips)

PAULGeorge, The bank has just closed its doors.

MRS. HANKSYour Building and Loan’s closed, too.

�61

PAULWe can’t get our money.

MRS. HANKSFrom either place!

PAULYou’ve got to open up so we can get our money. We want our money!

GEORGEI’m sorry, Mary. I’ll be back in a minute. I’ve got to find out what’s going on.

MARYGeorge, it can’t be that important. It’s our honeymoon. Let's go!

GEORGEI'll be back in a minute, Mary.

(George exits via the front door, with Dr. Campbell and Bert Paul and Mrs. Hanks behind him. The traveler closes)

SCENE 11BANK CRISIS AT BUILDING AND LOAN - INTERIOR OF SAVING AND LOAN

AND BUILDING AND LOAN BANK AFTER RUN WEATHERED

(George has entered the Building and Loan via a side door. Uncle Billy, Cousin Eustace, and Cousin Tilly are already there. From off stage we hear ab libs: “open the doors” “We want our money.” “We know you’re in there!” Etc. )

GEORGE(Entering) Why didn't you call me?

UNCLE BILLYI just did, but they said you left. This is a pickle, George.

�62

GEORGEWhat happened? How did it start?

UNCLE BILLYHow does any run like this ever start? All I know is the bank called our loan.

GEORGEWhen?

UNCLE BILLYAbout an hour ago. I had to hand over all our cash ... and it was still was less than we owe.

GEORGEHoly mackerel!

UNCLE BILLYAnd then I got scared, George, and closed the doors. I ....

GEORGEThe whole town's gone crazy.

(The telephone rings in George’s office. Uncle Billy goes in and picks it up)

UNCLE BILLYHello? (At the door of office) George . . . it's Potter.

GEORGE(Entering his office and taking phone) Hello?

(Lights also up on side stage, if there is one. Potter seated behind his desk, his goon alongside him. Standing in front of the desk is a distinguished-looking man, obviously the president of the bank. He is mopping his brow with his handkerchief.If there is no side stage or place for Potter’s office, Pottercan be a voiceover)

POTTERGeorge, there is a rumor around town that you've closed your doors. Is that true?

GEORGE

We’re just about to reopen them, Mr. Potter.

�63

POTTEROh, well, I'm very glad to hear that . . . George, are you all right? Do you need any police?

GEORGE (On phone) Police? What for?

POTTERWell, mobs get pretty ugly sometimes, you know. George, I'm going all out to help in this crisis. I've just guaranteed the bank sufficient funds to meet their needs.

GEORGE (To Uncle Billy) He just took over the bank.

POTTER(Continuing) I may lose a fortune, but I'm willing to guarantee your people too. Just tell them to bring their shares over here and I will pay them fifty cents on the dollar.

GEORGE (Furiously) Aw, you never miss a trick, do you, Potter? Well, you're going to miss this one.

(George bangs the receiver down and turns to meet Uncle Billy's anxious look)

POTTERIf you close your doors before six P.M. you will never reopen.

(He suddenly realizes George has hung up, and clicks the phone furiously. Then lights down on Potter’s office)

(An ominous SOUND of angry voices comes from the outside the door. The mob is banging at the door. George emerges from his office and crosses to open the main doors.

GEORGECome on in, everybody. That's right, just come in.

(As he opens the doors, he backs off and the crowd swarms in)

GEORGE

�64

Hello, everybody. Mrs. Thompson, how are you? Charlie? What's the matter here?

ED(As spokesman for the mob) We want our money!

(People have crowded around the counter. Their muttering stops and they stand silent and grim. There is panic in their faces.They await George’s reply to Ed’s demand)

GEORGENow, hold on, everybody. Now, just remember that this thing isn't as black as it appears.

(As George speaks, sirens are heard passing in the street outside. The crowd turn to the windows, then back to George)

GEORGE (Cont'd) I have some news for you, folks. I've just talked to old man Potter, and he's guaranteed cash payments at the bank. The bank's going to reopen next week.

EDBut, George, I got my money here.

CHARLIEDid he guarantee this place?

GEORGEWell, no, Charlie. I didn't even ask him. We don't need Potter over here.

(Mary and Ernie have come into the room during this scene. Mary stands watching silently)

CHARLIEI'll take mine now.

GEORGEYou're thinking of this place all wrong... as if I had the money back in a safe. The money's not here. Your money's in Joe's house . . . (to one of the men). . . right next to yours. And in the Kennedy house, and Mrs. Macklin's house, and a hundred others. Why, you're lending them the money to build, and then, they're going to pay it back to you as best they can. Now what are you going to do? Foreclose on them?

�65

TOMI got two hundred and forty-two dollars in here, and two hundred and forty-two dollars isn't going to break anybody.

GEORGE (Handing him a slip) Okay, Tom. All right. Here you are. You sign this. You'll get your money in sixty days.

TOMSixty days?

GEORGEWell, now that's what you agreed to when you bought your shares.

(There is a commotion at the outer doors. Randall comes in and makes his way up to Tom)

RANDALLTom . . . Tom, did you get your money?

TOMNo.

RANDALLWell, I did. Old man Potter'll pay fifty cents on the dollar for every share you got.(Shows bills)

CROWD (Ad lib) Fifty cents on the dollar!

RANDALLYes, cash!

TOM (To George) Well, what do you say?

GEORGENow, Tom, you have to stick to your original agreement. Now give us sixty days on this.

TOM (Turning to Randall) Okay, Randall.

He starts out.

�66

MRS. THOMPSONAre you going to go to Potter's?

TOMBetter to get half than nothing.

A few other people start for the door. George vaults over the counter quickly, speaking to the people.

GEORGETom! Tom! Randall! Listen . . . now listen to me. I beg of you not to do this thing. If Potter gets hold of this Building and Loan there'll never be another decent house built in this town. He's already taken over the bank. And now he's after us. Why? It's because we're cutting in on his business, that's why. And because he wants to keep you living in his slums and paying the kind of rent he decides.

The people are still trying to get out, but some of them have stood still, listening to him. George has begun to make an impression on them.

GEORGE (Cont'd) Joe, you lived in one of his houses, didn't you? Have you forgotten what he charged you for that broken-down shack? (To Ed) Ed, you remember last year when things weren't going so well, and you couldn't make your payments. You didn't lose your house ... Do you think Potter would have let you keep it? (Turns to address the room again) Don't you see what's happening? Potter isn't selling. Potter's buying! And why? Because we're panicking and he's not. That's why. He's picking up some bargains. Now, we can get through this thing. But we've got to stick together. We've got to have faith in each other.

MRS. THOMPSONBut my husband hasn't worked in over a year, and I need money.

MRS. FERGUSONHow am I going to live until the bank opens?

MRS. BANKSI got doctor bills to pay.

PAULI need cash.

�67

MR. PHILLIPSCan't feed my kids on faith.

(During this scene Mary has moved behind the counter. Suddenly, as the people once more start moving toward the door, she holds up a roll of bills and calls out:)

MARYHow much do you need?

(George jumps over the counter and takes the money from Mary)

GEORGEHey! I got two thousand dollars! This'll tide us over until the bank reopen. (To Tom) All right, Tom, how much do you need?

TOM (Doggedly) Two hundred and forty-two dollars!

GEORGE (Pleading) Aw, Tom, just enough to tide you over till the bank reopens.

TOMI'll take two hundred and forty-two dollars.

(George starts rapidly to count out the money. Tom throws his passbook on the counter)

GEORGEThere you are.

TOMThat'll close my account.

GEORGEYour account's still here. That's a loan.

(Mary turns and slips out through the crowd, followed by Ernie. George hands the two hundred and forty-two dollars to Tom, and speaks to Ed, the next in line)

GEORGE Okay. All right, Ed?

�68

EDI got three hundred dollars here, George.

(Uncle Billy takes out his wallet and takes out all the cash he's got)

GEORGEAw, now, Ed . . . what'll it take till the bank reopens? What do you need?

EDWell, I suppose twenty dollars.

GEORGETwenty dollars. Now you're talking! Fine. Thanks, Ed. Come oneverybody. Bedford Falls will get through this if we just pulltogether. Remember what we’ve got here.

SONG # 15

Bedford Falls, is the Dream

Refrain

George Bedford Falls is the dream

I sold all of you.

If we fight as a team

Then our dreams will still come true.

Verse

If you all go it alone.

You all will lose the homes you own.

So, please don’t run off panicking.

Trust me; we’ll all get through this thing.

Refrain

�69

Ensemble

One for all: all for one

Is the way to go.

If we don’t get this done.

There’ll be no tomorrow.

Verse

If we keep our heads today.

We all can keep “the wolf” away

Yes, we can see this crisis through

Have Faith! Our dreams’ will all come true.

Refrain

Ensemble

One for all: all for one

Is the way to go.

If we don’t get this done.

There’ll be no tomorrow.

One for all, all for one

We can get this done.

If we let your dreams go

There’ll be no tomorrow.

�70

(To Mrs. Thompson, next in line) That’s the spirit. All right, now, Mrs. Thompson. How much do you want?

MRS. THOMPSONBut it's your own money, George.

GEORGENever mind about that. How much do you want?

MRS. THOMPSONI can get along with twenty, all right.

GEORGE (Counting it out) Twenty dollars.

MRS. THOMPSONAnd I'll sign a paper.

GEORGEYou don't have to sign anything. I know you'll pay it back when you can. That's okay. (To woman next in line) All right, Mrs. Davis.

MRS. DAVISCould I have seventeen-fifty?

GEORGESeven . . . (He kisses her) Bless your heart, Of course you can have it. You got fifty cents? (Counting) Seven . . .

(The lights fade to denote the passage of time. The Building and Loan building is now empty, except for George, Billy, Eustace and Tilly. The the lights come back up as the last customer is walking out the door)

UNCLE BILLY (Excitedly) We're going to make it, George. They'll never close us up today!

GEORGE (Counting) Six . . . five . . . four . . . three . . . two . . . one . . . Bingo!

Cousin Eustace slams and locks the door, and scurries around the counter to join the others.

�71

GEORGE (Cont'd) We made it! Look . . . (Holds up two bills) . . . look, we're still in business! We've still got two bucks left! We'll save them for seed. A toast!

(Uncle Billy is taking a drink out of his bottle)

GEORGE (Cont'd) Well, let's have some of that. Get some glasses, Tilly.

(Tilly gets the glasses. They raise their glasses)

GEORGEA toast! A toast to Papa Dollar and to Mama Dollar!

COUSIN TILLYI wish they were rabbits.

COUSIN EUSTACEI wish they were too. Okay, let's put them in the safe and see what happens.

SONG #16

POP THE CORK! POUR THE WINE!

(COUSIN EUSTACE, COUSIN TILLY, UNCLE BILLY)

I.

UNCLE BILLY

Pop the cork! Pour the wine!

COUSIN EUSTACE

Raise your glasses high, boys.

COUSIN TILLY

Raise them to the sky, boys.

UNCLE BILLY

Celebrate our win,

�72

Though it was razor thin.

COUSIN EUSTACE

Kept our business going, boys.

COUSIN TILLY

By his calm cajoling, boys.

ALL

George stayed cool, stopped the bank run.Let's all toast the victory that our George won!

II.

UNCLE BILLY

Pop the cork! Pour the wine!

COUSIN EUSTACE

Made it through the day, boys.

COUSIN TILLY

George showed us the way, boys.

UNCLE BILLY

We survived the run,And it was almost fun.

COUSIN EUSTACE

Kept the doors wide open boys.

COUSIN TILLY

We'll be here tomorrow, boys

ALL

�73

George kept his head, stopped the bank run.Celebrate this victory that our George won!

GEORGE (Startled) Holy mackerel. Where's Mary? Mary . . . (He runs around looking for her) Look, I've got a train to catch. (Looks at his watch) Well, the train's gone. I wonder if Ernie's still here with his taxicab?

(George rushes into his office to look out the window)

COUSIN TILLY (On telephone) George, there's a call for you.

GEORGELook, will you get my wife on the phone?

COUSIN TILLYMrs. Bailey is on the phone.

GEORGEI don't want Mrs. Bailey. I want my wife. Mrs. Bailey! Oh, that is my wife! Here, I'll take it in here. Mary? Hello. Listen, dear, I'm sorry . . . What? Come home? What home? Three-twenty Sycamore? Well, what . . . whose home is that? The Waldorf Hotel, huh?

LIGHTS DOWN - END OF SCENE AND END OF ACT I

�74

ACT II

SONG #17.

Entr'acte

SCENE 1EXTERIOR OF THE GRANVILLE HOUSE - GEORGE AND MARY

(Exterior of old Granville House on the backdrop. Bert and Ernie hold a banner which reads, "Welcome home, Mr. Bailey" The house is old-fashioned, run-down house, unpainted and warped by the weather. It once had class but has not been lived in for years. This is the house that George and Mary will live in from now on. There is underscoring throughout: “I Love You George Bailey.”)

ERNIEHey, Bert, here he comes.

BERTWe got to get this banner up!

ERNIEHurry! Get that ladder.

ERNIEWe don’t have time. We’ll just have to hold it.

(George hurries into scene. He stops to make sure it is the right number before attempting to enter)

ERNIEHiya . . . Good evening, sir.

(As George comes closer, in a dreadful French accent)BERT

Entray, monsieur, entray.

MARY (Tears in her eyes) Welcome home, Mr. Bailey.

�75

(They rush into each other's arms and hold each other in ecstasy)

GEORGEOh, Mary . . .

MARYRemember the night we broke the windows in this old house? This is what I wished for.

GEORGEDarling, you're wonderful.

(During song, Bert and Ernie listen a bit, and then give each other the sign to depart. They exit. The backdrop remainslighted, but in a dimmer light, with George and Mary in afollow-spot that puts the entire focus on them)

SONG #18 I LOVE YOU GEORGE BAILEY! (Reprise)

MARYI

I love you, George Bailey, and will ‘til I die.

I knew in that drug store, You’re my kind of guy.

I know you’re Quixotic? That’s how it should be.

‘Cause you make life exotic, Exciting for me.

Refrain

That day in the drug store, I made up my mind.

I knew at that moment, We’re two of a kind.

I married a dreamer - That’s just fine with me.

‘Cause you married your soul mate. That’s what I will be.

II

�76

I knew you could not hear me. And that left me free.

To tell you I loved you, and plot secretly.

Perhaps I’m deluded - If so, we shall see

But it’s always been, George Bailey’s for me!

Refrain

That day in the drug store, I made up my mind.

I knew at that moment, We’re two of a kind.

I married a dreamer - That’s just fine with me.

‘Cause you married your soul mate. That’s what I will be.

III

The picture that you painted of places we’d see -

The bold strokes you sketched out, still captivate me.

Where ever your going, That’s where I will be.

‘cause I’ll love you forever. Now, say you love me.

GEORGE (Spoken)

Oh, Mary, darling. I’ll love you forever!

MARY

Refrain

That day in the drug store, I made up my mind.

I knew at that moment, We’re two of a kind.

�77

I married a dreamer - That’s just fine with me.

‘Cause you married your soul mate. That’s what I will be.

George Bailey! Yeah!

LIGHTS DOWN - END OF SCENE

SCENE 2 BAILEY PARK

THE MARTINI FAMILY MOVES INTO THEIR NEW HOME

(The lights come up on a third drop in front of the backdrop and nearer the first traveler. We see the Martinis’ new home in Bailey Park. Bailey Park is a district of new small houses, somewhat alike, but each individual. New lawns here and there, and young trees. It has the promise when built up of being a pleasant little middle class section. George and Mary are waiting for the Martini’s, near the front of the house)

(The Martinis enter scene)

GEORGEMr. and Mrs. Martini, welcome home.

(Mary removes a loaf of bread from the sack she carries)

MARYThis is for you. (To Mrs. Martini, giving her loaf of bread) Bread! That this house may never know hunger.

(Mrs. Martini crosses herself)

MARY (Also giving her salt) Salt! That life may always have flavor.

GEORGE (Handing bottle to Martini) And wine! That joy and prosperity may reign forever.

(The Martinis cross themselves)

MARTINI

�78

I own thisa house. Me, Giuseppe Martini. I own my own house. No more we live like pigs in thata Potter's Field. Hurry, Maria.

MARIAYes . . . This is a beautiful day, Mr. Bailey. My hearta wants to sing.

MARTINIThena we sing!

(Martini sings.

SONG #19

‘O Sole Mio

GUISEPPE MARTINI

I

Che bella cosa na iurnata 'e sole,

n'aria serena doppo na tempesta!

Pe' ll'aria fresca pare già na festa...

Che bella cosa na iurnata 'e sole.

Ma n'atu sole

cchiù bello, oje ne'.

O sole mio

sta 'nfronte a te!

O sole

O sole mio

sta 'nfronte a te!

sta 'nfronte a te!

MARIA

�79

(Spoken) Guiseppe, Whya you singing in Italiano? You are in America! Mr. and Mrs. Bailey no speaka Italiano!

MARTINIThena, we botha sing to you - in English.

(Maria joins in) II

GUISEPPE AND MARIA

Our hearts are burst ing with the joy we’re feel- ing.

Our dream has come true, and we must thank you.

The sun is shining, our stars are aligning.

Our dream has now come true, my friend, so, thank you

'O' sole mio! What a fine day!

We feel like singing the day away.

Oh, thank you, our esteemed friend.

This home you give, is a god-send.

MARTINIThanka you, Mr. Bailey ... my friend.

(At the end of the song, Maria embraces and kisses both George and Mary. Martini shakes George’s hand with gusto)

LIGHTS DOWN - PAINTED TRAVELER CLOSES- END OF SCENE

�80

SCENE 3INTERIOR OF BANK - POTTER’S OFFICE - REINEMAN’S WARNING

(Interior of Potter’s Private Office. Potter seated in his wheelchair at his desk, with his goon beside him. His rent collector, Reineman, is talking, pointing to maps spread out on the desk. If there is a side-stage or side-thrust, then Potter’s Office is set there. If not, the scene is the bank scene whichincludes Potter’s Office. It is played close behind the Bailey Park drop to allow Act II, Scene 5 to be set)

REINEMANLook, Mr. Potter, it's no skin off my nose. I'm just your little rent collector. But you can't laugh off this Bailey Park any more. Look at it.

POTTER Go on.

REINEMANFifteen years ago, a half-dozen houses stuck here and there.(Indicating map) There's the old cemetery. Used to hunt rabbits there myself. Look at it today. Dozens of the prettiest little homes you ever saw. All suckers who used to pay rent to you. And every one of these homes is worth twice what it cost the Building and Loan to build it. If I were you, Mr. Potter . . .

POTTER (Interrupting) Well, you are not me.

REINEMAN As I say, it's no skin off my nose. But one of these days this bright young man is going to be asking George Bailey for a job.

POTTERThe Bailey family has been a boil on my neck long enough. (Hitting dictaphone switch).

SECRETARY VOICEOVERYes, sir?

POTTER

Call George Bailey. Tell him I want to see him right away.

�81

SONG #20

“HOW I CRINGE AT THE VILE NAME OF BAILEY”

POTTER

(Half-spoken) How I cringe - at the vile name of Bailey!

How I seethe, and my ulcer flairs-up daily.

I

I was building up a bus’ness, renting tidy little flats

To the “discontented rabble” that you call the “working class.”

I provided them with shelter, and in turn they paid me rent.

Which I raised each time I had the chance, to my fiscal betterment.

Then a starry-eyed Peter Bailey, began cramping my bus’ness daily

Roiling up my tenants with his schemes of home ownership.

(Reineman harmonizes on the following line)

Stealing all my (your) rabble with his schemes of home ownership.

II

But with Peter Bailey’s passing, I thought my war was won.

But I never once imagined, that the fool might have a son

And that son, to my vexation, “didn’t fall far from the tree”

Everyday George Bailey makes more loans, snatching customers from me!

Yes, that starry-eyed young George Bailey, sets my ulcer flaring daily,

Roiling up my tenants with his schemes, of home ownership.

�82

(Reineman harmonizes on the following line)

Stealing all my (your) rabble with his schemes of home ownership.

I once had a monopoly, renting slums to the working stiffs,

Then they came, ruining all my plans. Damn them to hell!

(Reineman exits)

LIGHTS DOWN - END OF SCENE

SCENE 4INTERIOR OF BANK - POTTER’S OFFICE - POTTER’S OFFER

(The interior of Potter’s office. As before, the scene is played on a wing. Potter holds a big cigar. The goon is beside Potter's chair, as usual. He offers a chocolates to George)

GEORGEThank you, sir.

POTTERYou like ‘em? I'll send you a box.

GEORGE (Nervously) Well, I . . . I suppose I'll find out sooner or later, but just what exactly did you want to see me about?

POTTER (Laughs) George, now that's just what I like so much about you.(Pleasantly and smoothly) George, I'm an old man, and most people hate me. But I don't like them either, so that makes us all even. You know that I run practically everything in this town but the Bailey Building and Loan. You know, also, that for a number of years I've been trying to get control of it . . . or kill it. But you have been stopping me. In fact, you have beaten me, George. Take during the depression. You and I were the only

�83

ones that kept our heads. You saved the Building and Loan, and I saved all the rest.

GEORGEYes. Well, most people say you stole all the rest.

POTTERThe envious ones, George, the suckers. Now, I have stated my side very frankly. Now, let's look at your side. Young man, twenty-seven, twenty-eight . . . married, making, say . . . forty a week....

GEORGE (Indignantly interrupting) Forty-five!

POTTERForty-five. Out of which, after supporting your mother, and paying your bills, you're able to keep, say, ten, if you skimp. A child or two comes along, and you won't even be able to save the ten. Now, if George Bailey was a common, ordinary yokel, I'd say he was doing fine. But George Bailey is not a common, ordinary yokel. He's an intelligent, smart, ambitious young man — who hates his job –– who hates the Building and Loan almost as much as I do. A young man who's been dying to get out on his own ever since he was born, but he's trapped. Yes, sir, trapped into frittering his life away playing nursemaid to a lot of garlic-eaters. Do I paint a correct picture, or do I exaggerate?

GEORGE (Mystified) Now what's your point, Mr. Potter?

POTTERMy point? My point is, I want to hire you.

GEORGE (Dumbfounded) Hire me?

POTTERI want you to manage my affairs, run my properties. George, I'll start you out at twenty thousand dollars a year.

(George drops his chocolate in his lap. He nervously picks it up)

GEORGE

�84

(Flabbergasted) Twenty thou . . . twenty thousand dollars a year? ... Now wait .... now wait! You're not talking to somebody else around here, are you? You know, this is me, you remember me? George Bailey.

POTTEROh, yes, George Bailey. Whose ship has just come in –– providing he has brains enough to climb aboard.

GEORGEWell, what about the Building and Loan?

POTTEROh, confound it, man, are you afraid of success? I'm offering you a three year contract at twenty thousand dollars a year, starting today. Is it a deal or isn't it?

GEORGEWell, Mr. Potter, I . . . I . . . I know I ought to jump at the chance, but I . . . I just . . . I wonder if it would be possible for you to give me twenty-four hours to think it over?

POTTERSure, sure, sure. You go on home and talk about it to your wife.

GEORGEI'd like to do that.

POTTER (Offers hand) Okay, George?

GEORGE (Taking his hand) Okay, Mr. Potter.

(As they shake hands, George feels a physical revulsion. Potter's hand feels like a cold mackerel to him. In that moment of physical contact he knows he could never be associated with this man. George drops his hand with a shudder. He peers intently into Potter's face)

GEORGE (Cont'd –– vehemently) No . . . no . . . no . . . no, now wait a minute, here! I don't have to talk to anybody! I know right now, and the answer is no! NO! Doggone it! (Getting madder all the time) You sit around here and you spin your little webs and you

�85

think the whole world revolves around you and your money. Well, it doesn't, Mr. Potter! In the . . . in the whole vast configuration of things, I'd say you were nothing but a scurvy little spider. (He he is about to leave, he and snaps at the goon, impassive as ever beside Potter's wheelchair) . . . And that goes for you too!

(AsGeorge exits, Potter, frustrated, reprises)

SONG #21 (Reprise)

“HOW I CRINGE AT THE VILE NAME OF BAILEY”

POTTER

But with Peter Bailey’s passing, I thought my war was won.

But I never once imagined, that the fool might have a son

And that son, to my vexation, “didn’t fall far from the tree”

Everyday George Bailey makes more loans, snatching customers from me!

Yes, that starry-eyed young George Bailey, sets my ulcer flaring daily,

Roiling up my tenants with his schemes, of home ownership.

Stealing all my rabble with his schemes of home ownership.

I once had a monopoly, renting slums to the working stiffs,

Then they came, ruining all my plans. Damn them to hell!

LIGHTS DOWN - END OF SCENE

SCENE 5LIVING ROOM OF OLD GRANVILLE HOUSE -

NOW GEORGE AND MARY’S HOUSE.

�86

(George enters the refurbished living room of the old Granville House, now George and Mary Bailey’s home. There is a Picture on the wall. It is the sketch of George lassoing the moon that we first saw in Mary's living room. The lettering reads "George Lassos The Moon." It’s late. As George takes off his coat, he stops to look at the picture. We see that George is troubled. The lights are dim. He replays in his mind his conversation with Potter. He paces.)

VOICEOVER OF POTTER'S VOICE“Oh, confound it, man, are you afraid of success? I'm offering you a three year contract at twenty thousand dollars a year...”

(Mary enters from the stairs, and turns up the lights. She is nicely dressed and has been awaiting George.)

SONG #22

BUFFALO GALS (Reprise)

MARY Buffalo Gals, won't you come out tonight,

won't you come out tonight ....

(George realizing the money he has just turned down)

GEORGEHi.

MARYHi.

GEORGEMary Hatch, why in the world did you ever marry a guy like me?

MARYTo keep from being an old maid.

GEORGEYou could have married Sam Wainwright or anybody else in town.

MARY

�87

I didn't want to marry anybody else in town. I want my baby to look like you.

GEORGEYou didn't even have a honeymoon. I promised you . . . (does a double take) . . . Your what?

MARYMy baby.

GEORGE (Incredulously) You mean . . . Mary ...

MARYGeorge Bailey lassos stork.

GEORGELassos the stork! You mean you . . . What is it, a boy or a girl?

(Mary nods her head happily)

SONG #23

“ONE MOMENT”

GEORGE

One moment! How my life has changed

One moment! All is rearranged.

Since going to a dance and meeting on the floor,

I’ve known a love I never knew before.

From that moment -- after that moment, nothing’s been the same.

MARY

One moment! Everything is changed

One moment! Life is rearranged.

You give me love on which I know I can depend.

�88

Don't ever change; I’ll love you without end.

From that moment -- after that moment, nothing’s been the same.

BOTH

From that moment -- That moment,

Since that moment how, our lives have changed!

LIGHTS DOWN - TRAVELER CLOSES - END OF SCENE

END OF FREE PREVIEW

�89

IT’S A WONDERFUL LIFE

PROPS LISTACT I

SCENE I

Small star. (Optional) Twinkles as Clarence speaks in movie version.

Soda jerk apron and hat for George.

Liquor bottle for Gower.

Shoelace candy (licorice strings) for George to give to Violet.

Pennies for Violate to pay George for Shoelace Candy

Chocolate ice cream for George to give to Mary.

Ice cream scoop for George.

Ice cream quart package for George to pack as Mary sings.

Coconut shavings for George to over for Mary’s ice cream.

Old National Geographic Magazine for George to show Mary.

Telegram for George.

Prescription bottle or box for Gower.

Capsules for Gower to fill before putting in prescription bottle.

Bottle marked “POISON” from which Gower mistakenly fills capsules.

SCENE 2

Teller cap for Uncle Billy

Candle stick telephone for Tilly in lobby

Candle stick telephone for Peter Bailey in his office.

�90

Legal Pad for Peter Bailey

Old-fashioned wheel chair for Potter.

Blanket to cover Patter’s legs in wheel chair.

SCENE 3

Old-fashioned phone for Gower.

Bottle or box with capsules for George.

Bottle marked “POISON” from which Gower mistakenly filled capsules.

SCENE 4Apron for Ma Bailey.

Dishes (Haviland china?) for Harry to carry to dance.

SCENE 5

Dishes for Harry to deliver.

Whistle for Harry.

SCENE 6

A couple “rocks” for George and Mary.

SCENE 7

Folders and papers for those at Board Meeting.

Coat for George.

SCENE 8

Bag of popcorn for Ruth

Hat for Ma Bailey to put on George’s head.

SCENE 9

78 rpm. phonograph.

�91

78 rpm. record.

Hat for George.

Drawing (caricature) of George throwing a lasso around the moon.

Candle stick telephone.

Record for Mary to break.

Highball(s) for same and whoever he is with, if not done as a voice-over.

SCENE 10

Case of champaign for Ernie

Roll of bills for George.

SCENE 11

Telephone in George Bailey’s Office (Same one that was in his dad’s office).

Phone and wheelchair for Potter (if not a voice-over).

Money for Ed

Withdraw slip(s)

Money for Randall

Roll of bills for Mary.

Wine bottle for Billey

Watch for George.

Candlestick phone in bank lobby.

�92

ACT II

SCENE 1

Ladder for Bert and Ernie

Banner for Bert and Ernie, "Welcome home, Mr. Bailey."

SCENE 2

Bailey Park sign

Loaf of bread for Mary.

Sack for Mary.

Salt for Mary

Wine for George

SCENE 3

Doctor-type bag for Reineman

Intercom or dictaphone for Potter.

Map for Reioneman.

SCENE 4

Big Cigar (or black dole) for Potter

Two-pound box of candy for George.

Wheelchair for Potter.

SCENE 5

None

SCENE 6

None

�93

SCENE 7

Newspaper for George (Harry Bailey win CMH).

Phone in Lobby.

SCENE 8

Cash and envelope for cash for Uncle Billy

Newspaper for Billy (Harry Bailey wins CMH).

Deposit slip for Billy.

Wheelchair for Potter.

Blanket to cover Potter’s legs in wheel chair.

Bank book for Billy.

Twine for Billy’s fingers.

SCENE 9

Telephone (same one) in lobby.

Letter of recommendation for Violet to give George.

Purse for Violet.

Money for George to give Violet.

Fur and hat for Violet.

Violet wears smudgy lipstick.

Handkerchief for Violet

SCENE 10

“Hark, the Herald Angel Sing” sheet music for Janie.

Bows, tape and Christmas wrapping paper for Mary.

Pencil and pad for Pete.

�94

Toy vacuum for Tommy.

Flower with some loose petals for Zuzu.

Glass of water for Pete, for Zuzu’s flower.

Telephone.

SCENE 11

Insurance policy for George

Phone for Potter.

Wheelchair for Potter.

SCENE 12

Highball glass for George

Beer bottle and glass for Mr. Welch.

Some money for Welch.

Fake blood for George’s mouth.

SCENE 13

Life preserver.

Clothes line.

Mug of Coffee for George.

George’s and Clarence’s clothes on line.

SCENE 14

Billy clubs for Police Officers

Hand cuffs for Bert.

Eyeglasses for Mary.

Fake blood for George’s mouth.

�95

Zuzu’s petals

SCENE 15

Flash Camera (with flash bulbs) for Photographer.

Arrest Warrant for Sheriff to give George.

Mixing-bowl overflowing with cash for Martini.

Shoe boxes, coffee pots, etc. full of money for people coming in.

Change for people to put on table.

Large glass jar filled with money for Gower.

MOney for Violet to return to George.

Telegram for Ernie.

Wine and glasses.

Card (from Clarence).

�96

AUTHOR’S NOTE RE SCENES

The adaptation of a well-known movie into a stage play,

confronts the author [adapter] with an immediate important

choice.

The action of a movie easily moves from place to place. The

camera shoots the scene at the various venues, and the footage

is then spliced to make the movie.

Not so with a play. A play moves from place to place only by

“set changes.”

In the movie, the actions shifts from Gower’s pharmacy, to the

Bailey Building and Loan, back to the pharmacy, then to Hepner’s

luggage shop, etc. Each of these moves involves a set change.

As such, the author of the play was forced to decide how

faithfully his play would follow the movie. The more faithful I

chose to be, the more set changes. Set changes, of course, can

be eliminated by leaving out movie venues, or by combining them.

This author has opted to be as faithful to the movie as is

reasonably possible. But, I have eliminated a few minor scenes,

and moved and combined others.

Because of the number of set changes that remain, however, I

�97

make the following suggestions. (Note: that if the theater has

usable wing or side-stages, I suggest using them for the “Office

of the Guardian Angels” and “Potter’s Office.”)

First, I suggest that the main sets be two-sided. The idea is,

that by rotating, and/or rearranging the 8‘sections [flats]on

casters, that the “sets’ could be quickly and efficiently

changed.

An second suggestion would be (to be used in in conjunction with

the first) be to create light-weight painted drops or cardboard

drops that could be hung on the set walls to quickly give the

impression of the new venue. E. g., the walls of the pharmacy

might be over-hung with light-weight painted drops or cardboard

drops which would quickly be attached to change the Pharmacy

into Pop Bailey’s living room, or the bank.

In addition to physical sets, I also suggest the use of painted

drops/travelers: to depict, for example, the interior of the

gym, the exterior of the old Granville House, Bailey Park and/

or Main Street in Bedford Falls (a/k/a Pottersville).

Flats and furniture can be set behind the drops so as to allow

flats and furniture to be set for the next scene. In that way a

scene can be played in front of the painted drop/traveler, while

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the next seen is set behind the painted drop/traveler. This

makes for faster set changes, and keeps the show moving.

The changing locations, of course, should not be a problem in a

theater with a fly loft or generous wings, but in a theater like

ours (at the Quad City Music Guild in Moline, IL ) without fly

lofts or ample wing space, sets can be a problem. And that is

why I make this note.

John Donald O’Shea

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AUTHOR’S NOTE RE “CUTS”

The movie version of It’s a Wonderful Life runs 132 minutes (2

hours and 12 minutes). When you add music without making any

“cuts,” you add about 60 minutes to the play. Most modern

theaters and audiences expect musicals to run about 2 hours to 2

hours and 15 minutes (exclusive of the intermission). As such I

was forced to make choices - “cuts,” if you will.

As part of that process, I have actually written two version of

my play.

The first version - the longer version - cuts no scenes

from the movie. It relies entirely on a tightening up of the

dialogue and cuts perhaps 10 minutes off the play.

This second version, this version, deletes the following movie

scenes: (a) the scene where Mr. Gower gives George a big suit

case, and explains that it is a “Thank you” from Mr. Gower.

I have also combined other scenes, and further tightened the

dialogue.

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But the screen-writers thought those scenes were important. To

“cut,” so as to not violate their intent, I have added small

bits from the deleted scenes to subsequent scenes to retain the

screen-writers’ intent.

My goal is to bring this shortened version of the play in at a

bit less than 2 hours and 15 minutes.

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