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IT’S A WONDERFUL LIFE The Musical

CHARACTERS

(in order of appearance) NOTE: CHARACTER names in BOLD type-face are singing roles in the script. * indicates roles that are easily taken by CHORUS members and/or doubled. CLARENCE, an Angel *MAYOR of Bedford Falls BERT, the cop ERNIE, the taxi driver GEORGE BAILEY, our hero BOY PLAYING BASEBALL, a soloist *JOE HEPNER, shop owner, Building & Loan customer MR. GOWER, the pharmacist MR. MARTINI, immigrant from Italy MRS. MARTINI, his wife HARRY BAILEY, George’s brother VIOLET BICK, George’s friend MOTHER BAILEY, George’s mother UNCLE BILLY, George’s uncle COUSIN TILLY, Billy’s cousin HENRY POTTER, the richest and meanest man in town POTTER’S GOON, moves Potter around in wheelchair, non-speaking *POP BAILEY, George’s father SAM WAINWRIGHT, George’s friend

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*MARTY HATCH, Mary’s brother MARY (HATCH) BAILEY, George’s wife * MRS. HATCH, Mary’s Mother *MR. REINEMAN, Potter’s employee *TOM, Bailey Building & Loan Board member, customer *RUTH DAKIN BAILEY, Harry’s wife *PHOTOGRAPHER *ED, Building & Loan customer *CHARLIE, Building & Loan customer *RANDALL, Building & Loan customer *MRS. THOMPSON, Building & Loan customer *WOMAN 1, Building & Loan customer *WOMAN 2, Building & Loan customer *WOMAN 3, Building & Loan customer *WOMAN 4, Building & Loan customer *MRS. DAVIS, Building & Loan customer PETE BAILEY, age 9 JANIE BAILEY, age 8 TOMMY BAILEY, age 5 ZUZU BAILEY, age 6 *WOMAN 5, on Main Street *MR. CARTER, the Bank Examiner *SHIRLEY, the Bank Teller *SALVATION ARMY MAN CHORUS of Bedford Falls TOWNSPEOPLE

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Musical Synopsis of Scenes

Act One PROLOGUE: Heaven. December 24, 1946. ACT ONE PROLOGUE – “Prayers & Angels” Clarence and Chorus SCENE 1: Bedford Falls, New York. Main Street, center of town. Afternoon, June 1, 1928.

YOU ARE NOW IN BEDFORD FALLS Mayor, Bert, Ernie, George, Boy Solo, Townspeople

THAT’S GEORGE BAILEY Harry, Gower, Mother, Violet, Uncle Billy, Potter, Townspeople SCENE 2: Bailey Dining Room. That same evening. A PLACE TO CALL HOME Pop, Mother, George SCENE 3: Bedford Falls High School Gymnasium. One hour later. WOULD YOU LIKE TO DANCE WITH ME? Harry, Sam, Violet, Kids at dance SCENE 4: A Moonlit Path. One hour later. IF YOU WANT THE MOON George, Mary MY GEORGE BAILEY Mary SCENE 5: Bailey Building & Loan. Three months later, afternoon. CHANCE OF A LIFETIME Sam, Tilly, Uncle Billy, George SCENE 6: Bailey Dining Room. Four years later, Evening. SCENE 7: Mary’s Home Later that same night. MY FUTURE (In Your Eyes) Mary SCENE 8: An Outdoor Wedding. Three months later, noon. SCENE 9: Bailey Building & Loan. Immediately following. WE’VE GOT TO STICK TOGETHER George, Mary, Uncle Billy, Tilly, Townspeople SCENE 10: Bailey Park, The Martini House. Two years later. BLESS YOU, GEORGE BAILEY Mr. Martini, Mrs. Martini SCENE 11: Potter’s Office. The next day, late afternoon. TELL ME WHAT YOU WANT Potter SCENE 12: George & Mary’s Home. Immediately following. IT’S A WONDERFUL LIFE George, Mary, & Offstage Chorus

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Act Two PROLOGUE: Heaven December 24, 1946. ACT II PROLOGUE Clarence SCENE 1: Main Street, center of town. December 24, 1946, noon. CHRISTMAS EVE Townspeople SCENE 2: The Bank. Immediately following. YOU CAN’T KEEP THOSE BAILEY BROTHERS DOWN Uncle Billy, Potter POTTER’S REPRISE Potter SCENE 3: Bailey Building & Loan. Two hours later SCENE 4: George & Mary’s Home. That evening. A PLACE TO CALL HOME (Reprise) Mary, Janie, Pete, Tommy, Zuzu SCENE 5: Potter’s Office. One hour later. GO AHEAD AND RUN Potter SCENE 6: A Bridge. 10:45 p.m. MY LIFE George SCENE 7: A hut outside the bridge. Thirty minutes later. SECOND CLASS ANGEL Clarence, George SCENE 8: Main Street, “Pottersville”. Immediately following. POTTERSVILLE Clarence, George, Gower, Bert, Mr. Martini, Mrs. Martini, Violet & Townspeople

IT’S A WONDERFUL LIFE (Reprise) Clarence SCENE 9: A Bridge. Immediately following. MY LIFE (Reprise) George SCENE 10 & 11: George & Mary’s Home, Main Street Immediately following. FINALE Entire Company

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ACT I Prologue HEAVEN – December 24, 1946

(In the darkness, we hear an angelic chorus singing offstage. The music segues to a lighter, celestial feel. Slowly, and dimly at first, the lights reveal a painted scrim of stars and clouds—we are in Heaven. After the chorus sings, the music continues as we hear offstage voices over the sound system.)

#1 PROLOGUE – “PRAYERS AND ANGELS” (Offstage Chorus)

OFFSTAGE CHORUS AHHHH, AHHHH . . .

GOWER’S VOICE

I owe everything to George Bailey. Help him, dear Father.

MARTINI’S VOICE Oh, dear Jesus, help my friend Mr. Bailey.

MRS. BAILEY’S VOICE Help my son George tonight.

BERT’S VOICE

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

ERNIE’S VOICE George is a good guy. Give him a break, God.

MARY’S VOICE

I love him, dear Lord. Watch over him tonight.

JANIE’S VOICE Please, God. Something’s the matter with Daddy.

ZUZU’S VOICE

Please bring Daddy back.

(The music changes as we begin to hear two angels speaking to one another, JOSEPH and FRANKLIN. They are unseen, but as they speak, we see their individual stars “sparkle” on the scrim—as if the stars were speaking.)

FRANKLIN’S VOICE Hello, Joseph, trouble?

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JOSEPH’S VOICE

Looks like we’ll have to send someone down—a lot of people are asking for help for a man named George Bailey.

FRANKLIN’S VOICE George Bailey. Yes, tonight’s his crucial night. You’re right, we’ll have to send someone down immediately. Whose turn is it?

JOSEPH’S VOICE That’s why I came to see you, sir. It’s Clarence’s turn again.

FRANKLIN’S VOICE Oh . . . Hasn’t got his wings yet, has he? We’ve passed him up right along.

JOSEPH’S VOICE Because, you know, sir, he’s got the IQ of a rabbit.

FRANKLIN’S VOICE Yes, but he’s got the faith of a child—simple. Joseph, send for Clarence.

(Underscore ends. A harp glissando and CLARENCE enters. He is dressed in a white tuxedo and bowler hat.)

CLARENCE

You sent for me, sir?

FRANKLIN’S VOICE Yes, Clarence. A man down on earth needs our help.

CLARENCE Splendid! Is he sick?

FRANKLIN’S VOICE No, worse. He’s discouraged—A man with no hope. At exactly ten-forty-five PM tonight, Earth time, that man will be thinking seriously of throwing away God’s greatest gift.

CLARENCE Oh, dear, dear! His life! I’ve only got an hour to dress. What are they wearing now?

FRANKLIN’S VOICE You will spend that hour getting acquainted with George Bailey.

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CLARENCE Sir . . . If I should accomplish this mission . . . I mean . . . might I perhaps win my wings? I’ve been waiting for over two hundred years now, sir and . . . people are starting to talk.

FRANKLIN’S VOICE Clarence, you do a good job with George Bailey, and you’ll get your wings.

CLARENCE Oh, thank you, sir. Thank you.

JOSEPH’S VOICE Poor George . . . Sit down, Clarence.

CLARENCE Sit down?

(HE sits) What are . . .

JOSEPH’S VOICE If you’re going to help a man, you want to know something about him, don’t you?

CLARENCE Well, naturally. Of course . . .

JOSEPH’S VOICE Keep your eyes open. I’m going to take you back to 1928, Clarence. See the town?

CLARENCE Where? I don’t see a thing.

JOSEPH’S VOICE Oh, I forgot. You haven’t got your wings yet. Now look, I’ll help you out. Concentrate. Begin to see something?

(The lights behind the scrim begin to fade up and we see the town of Bedford Falls—Main Street. It is a beautiful, traditional vision of small-town America, Summer, 1928. We see a prominently displayed white sign—“YOU ARE NOW IN BEDFORD FALLS”.)

CLARENCE Why, yes! This is amazing.

JOSEPH’S VOICE If you ever get your wings, you’ll see all by yourself.

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CLARENCE Oh, wonderful! I can really see something now . . . what a pretty little town.

JOSEPH’S VOICE Clarence . . . you are now in Bedford Falls!

(Immediately, MUSIC BEGINS. The Heaven scrim flies out quickly and the TOWNSPEOPLE enter with much bustling and activity. Immediate segue into the next scene.)

#2 YOU ARE NOW IN BEDFORD FALLS (Mayor, Bert, Ernie, George, Townspeople) ACT I Scene 2 MAIN STREET, BEDFORD FALLS, June 1,1928 in the late afternoon.

TOWNSPEOPLE YOU ARE NOW IN BEDFORD FALLS! WHERE FOLKS ARE FINE AND FRIENDLY, AND THE NEIGHBORS COME TO CALL. (WELCOME NEIGHBORS ONE ANE ALL.) YOU ARE NOW IN BEDFORD FALLS! THE WEATHER IS DELIGHTFUL SUMMER, WINTER, SPRING OR FALL. (SUMMER, WINTER, SPRING OR FALL) IN OUR FAIR CITY OF BEDFORD FALLS.

(During the following chorus, GEORGE BAILEY enters the stage and walks about the square, interacting with the people)

YOU ARE NOW IN BEDFORD FALLS! WE MAY BE RATHER SIMPLE,

MAYOR

BUT WE’RE STANDING STRAIGHT AND TALL!

TOWNSPEOPLE (BUT WE’RE STANDING STRAIGHT AND TALL!) YOU ARE NOW IN BEDFORD FALLS! IT’S NOT LIKE NEW YORK CITY,

WOMAN SOLO

BUT OUR CHILDREN HAVE A BALL!

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TOWNSPEOPLE (NOT CHICAGO OR ST. PAUL,) IT’S A WONDERFUL LIFE IN BEDFORD FALLS!

(Music continues as BERT, the cop, enters with ERNIE, the cab driver. They both approach GEORGE center stage.)

BERT

Avast there, Captain Cook. You got your sea legs yet?

ERNIE Parlez vous francais? Hey, send us some of them picture postcards, will you, George?

BERT Hey, George, don’t take any plugged nickels.

ERNIE George, are you sure you have to go away for so long? We’re gonna miss you here in Bedford Falls . . .

BERT George . . . no matter how far you travel . . . there’s no where else like Bedford Falls. . . you’ll see!

(GEORGE crosses down center to sing with the TOWNSPEOPLE behind him.)

GEORGE

I’M GOING CRAZY IN BEDFORD FALLS! IN ALL THE YEARS I’VE BEEN HERE, NO, IT HASN’T CHANGED AT ALL. I BID FAREWELL TO BEDFORD FALLS. I’VE GOT TO CROSS THE OCEAN BEFORE I CLIMB THE WALLS! AND SAY “GOOD RIDDANCE” TO BEDFORD FALLS.

BERT

THERE’S LOTS OF THINGS TO DO HERE,

ERNIE AND LOTS OF THINGS TO SEE.

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GEORGE BUT I’VE ALREADY DONE THEM ALL THERE’S NOT ENOUGH FOR ME!

TOWNSPEOPLE

YOU ARE NOW IN BEDFORD FALLS! IT’S NOT LIKE NEW YORK CITY,

GEORGE You can say that again!

TOWNSPEOPLE

IT’S NOT LIKE NEW YORK CITY. IT’S A WONDERFUL LIFE! (IT’S A WONDERFUL LIFE!) IT’S A WONDERFUL LIFE! (IT’S A WONDERFUL LIFE!) IN BEDFORD FALLS, BEDFORD FALLS!

(After applause, CAST freezes in pose with GEORGE down center, in a spotlight.) (Lights come up in Heaven.)

CLARENCE Hey . . . what did they stop for?

JOSEPH I want you to take a good look at that face.

CLARENCE Who is it?

JOSEPH George Bailey.

CLARENCE Is he my man?

JOSEPH Yes. That’s your man.

CLARENCE It’s a good face. I like it. I hope I’ll like George Bailey.

JOSEPH Oh, you will.

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CLARENCE But . . .why does he want to get out of this pretty little town? Everyone seems so nice.

JOSEPH Wait and see.

(MUSIC BEGINS. It is a musical playoff for the TOWNSPEOPLE to exit and for Hepner’s Department store to come on. GEORGE crosses to HEPNER and starts speaking as soon as the music ends.)

#3 PLAYOFF – YOU ARE NOW IN BEDFORD FALLS (Orchestra)

GEORGE

Nope. Nope. Nope. Nope. Now, look, Joe . . . I want a BIG one. (HE gestures to show a large size)

Big, see? I don’t want one for one night. I want something for a thousand and one nights, with plenty of room for labels from Italy and Baghdad, Samarkand—a great big one.

JOE

I see, a flying carpet, huh? I don’t suppose you’d like this old second-hand job, would you?

(HE brings a large suitcase up from under the counter)

GEORGE Now you’re talkin’. Gee whiz, I could use this as a raft in case the boat sunk. How much does this cost?

JOE No charge.

GEORGE That’s my trick ear, Joe. It sounded as if you said no charge.

JOE (Indicating GEORGE’S name on suitcase)

That’s right.

GEORGE (As HE sees his name)

What’s my name doing on it?

JOE A little present from old man Gower. Came down and picked it out himself.

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GEORGE (Admiring the bag)

He did? Whatta you know about that —my old boss from the drugstore . . .

(MR. GOWER approaches)

GOWER Say, George, did you get your bag?

GEORGE Mr. Gower . . . Mr. Gower . . . thanks ever so much. It’s just exactly what I wanted.

GOWER Aw, forget it . . . it’s the least I can do, George, after all you’ve done for me.

GEORGE It’s wonderful.

(MR. & MRS. MARTINI enter. They are immigrants from Italy and speak with exaggerated accents.)

MR. MARTINI So, George, I see you gotta you bags. Where you go?

MRS. MARTINI Italy, maybe?

GEORGE Italy, France, Spain . . . you name it.

MRS. MARTINI

Oh, George, if you go to Italy, you have to see my mother.

MR. MARTINI (To HIS wife)

Not before he sees my mother first.

GEORGE I’m probably going to be moving so fast I won’t have time to see either one of them.

(HARRY BAILEY enters hurriedly and approaches GEORGE. MOTHER enters just after HARRY, looking for GEORGE.)

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HARRY You’re not moving too fast right now. Mother just told me we had better get moving if we’re gonna get home for dinner before the graduation dance tonight.

(GEORGE momentarily ignores HARRY and goes to MOTHER, showing her his new suitcase.)

GEORGE

Hey, Mom! Look at the new suitcase Mr. Gower bought for me.

MOTHER It’s perfect!

GEORGE I’m ready to go to Europe!

HARRY But first we’ve got to get home and get ready for the dance. Come on, George!

GEORGE Harry, I told you I wasn’t sure I was going to the dance . . . all those little kids . . .

(VIOLET enters the group. She is attractive. She knows it and shows it. BERT & ERNIE follow her as if she were a magnet.)

VIOLET

You mean little kids like me, George Bailey?

GEORGE Oh, hey, Violet . . . that’s some dress you got there.

VIOLET Oh, this old thing . . . I only wear it when I don’t care how I look. Well . . .

(SHE kisses GEORGE on the cheek) I hope I see ya at the dance tonight . . . with all the other little kids. (All the men’s eyes follow VIOLET as she exits.

Then, involuntarily, MARTINI blurts out loudly.)

MR. MARTINI Mamma-Mia!!!

(At which, MRS. MARTINI hits her husband over the head with her purse and then takes him offstage, nagging all the way. UNCLE BILLY and COUSIN TILLY have made their entrance during this sequence.)

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ERNIE Bert, isn’t there a law against looking like that—I mean, in broad daylight?

MOTHER (Before BERT can answer)

Well, if there’s not, there oughtta be.

TILLY (Approaching GEORGE)

George! I’m so glad I found you! Your father was wondering if you have seen this week’s deposit slips. Mr. Potter was asking to see them – you know, he’s on the Board now.

GEORGE

Sure. I know where they are. I left them with Uncle Billy like always.

TILLY That’s what I was afraid of. Well, Billy . . . I guess we’ll just have to keep looking until we find them.

UNCLE BILLY Sure we will. I bet they’re in the same place as last week’s . . . wherever those are . . . say, George . . . have you seen those, by the way?

TILLY

(Exasperated) Now, Billy . . .

UNCLE BILLY Alright, alright . . . I just thought George might like to help out the old Bailey Building & Loan one last time before his big trip . . . for old times’ sake . . .

GEORGE Now, Uncle Billy, you’ll be fine. Harry here will take good care of you while I’m gone. I figure he’ll have that office working so smooth, you and Dad will soon forget about ole George Bailey.

UNCLE BILLY Now George, I know Harry will do a good job. He’s smart. But we could never forget about you.

(Music begins)

#4 THAT’S GEORGE BAILEY (Harry, Gower, Mother, Violet, Billy, Potter, Townspeople)

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UNCLE BILLY Bedford Falls will never be the same without you, George. Just think about all you’ve done.

HARRY That’s right, Uncle Billy. (HARRY sings to those gathered around)

WHEN I WAS ONLY NINE YEARS OLD

I FELL INTO THE ICE. THE WATER WAS SO DARK AND COLD BUT GEORGE DID NOT THINK TWICE. HE JUMPED RIGHT IN THERE AFTER ME AND SAVED HIS BROTHER’S LIFE. NOW THAT’S GEORGE BAILEY TO ME!

GOWER Don’t you remember, George? (GOWER sings)

WHEN I HAD MADE A HUGE MISTAKE WITH POISON FROM THE SHELF— I SENT IT OUT AS MEDICINE, I COULD BLAME NO ONE ELSE WHY, THIS BRAVE BOY CONFRONTED ME AND SAVED ME FROM MYSELF NOW THAT’S GEORGE BAILEY TO ME!

(Now, everyone onstage is caught up in the spirit. In the midst of this POTTER is rolled in by his GOON to observe. He watches with disgust.)

TOWNSPEOPLE

THAT’S GEORGE BAILEY—

MOTHER A MOTHER’S PRIDE AND JOY!

TOWNSPEOPLE

THAT’S GEORGE BAILEY—

VIOLET A VERY HANDSOME BOY!

TOWNSPEOPLE

THAT’S GEORGE BAILEY—

GOWER A FRIEND FOR LIFE, INDEED!

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TOWNSPEOPLE THAT’S GEORGE BAILEY—

POTTER

HE’S ALL THAT THIS TOWN NEEDS! (Spoken)

I’ll tell you what I think of George Bailey-

POTTER HIS FATHER IS AN IMBECILE,

A FAILURE OF A MAN WHO THINKS IT IS HIS SPECIAL TASK TO LEND A HELPING HAND. AN OBSTACLE, A “DO-GOODER” WHO’S FOILING ALL MY PLANS! NOW THAT’S GEORGE BAILEY TO ME!

UNCLE BILLY That’s enough out of you, Potter! (BILLY sings)

GEORGE BAILEY’S BEEN MY CLOSEST FRIEND SINCE HE WAS JUST A LAD. I’M PROUD TO BE HIS UNCLE; HE IS SO MUCH LIKE HIS DAD. HIS WHOLE LIFE LONG I’VE LOVED HIM LIKE THE SON I NEVER HAD. NOW THAT’S GEORGE BAILEY TO ME!

TOWNSPEOPLE THAT’S GEORGE BAILEY— A MAN THAT YOU CAN TRUST. THAT’S GEORGE BAILEY— WE’RE PROUD HE’S ONE OF US. THAT’S GEORGE BAILEY WE’RE GLAD TO SHAKE HIS HAND THAT’S GEORGE BAILEY

POTTER

I’LL NEVER UNDERSTAND! (POTTER motions for GOON to “get me out of here.”

BILLY follows him off, taunting him.)

TOWNSPEOPLE THAT’S GEORGE BAILEY—

HE’LL ALWAYS TREAT YOU RIGHT THAT’S GEORGE BAILEY— HIS FUTURE LOOKS SO BRIGHT THAT’S GEORGE BAILEY—

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HE SERVES US FAITHFULLY THAT’S GEORGE BAILEY, THAT’S GEORGE BAILEY, THAT’S GEORGE BAILEY TO ME!

(CAST holds final pose gathered around GEORGE for a moment – then – BLACKOUT.) (Lights up immediately in Heaven.)

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Act I Scene 1 A HEAVEN

CLARENCE Everybody sure seems to like George.

JOSEPH’S VOICE Oh, yes. He’s a likable fella—a good man.

CLARENCE Except – who was that man in the wheelchair? Ebenezer Scrooge?

JOSEPH’S VOICE Henry Potter—the richest and the meanest man in town.

CLARENCE What’s he got against George Bailey?

JOSEPH’S VOICE He’s jealous. You see, George is a hero to these people.

CLARENCE Of course he is! Look at all he’s done. Why, he jumped in the ice to save his brother from Harry from drowning.

JOSEPH’S VOICE Yes . . . that’s how he lost his hearing in his left ear. He caught a bad cold and his ear was infected.

CLARENCE Yes, yes . . . and he stopped Mr. Gower from sending out poison as medicine by mistake.

JOSEPH’S VOICE Right again, Clarence. Why, if you keep this up, you might just win your wings.

CLARENCE Oh, I hope so. Now, what about George? Does he ever leave Bedford Falls? What about his trip? Where did he go? (Music begins) #5 ACT I, SCENE 2 (Orchestra)

JOSEPH’S VOICE Wait and see, Clarence. There’s still a lot more to learn about George Bailey.

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ACT I Scene 2 THE BAILEY HOME—DINING ROOM, That same evening.

(Scene change music ends and lights fade up on the interior of the Bailey home—the dining room. POP BAILEY is seated at the table, ready to eat. MOM is finishing preparing the table. SHE turns upstage and yells for HARRY & GEORGE.)

MOTHER

George! Harry! Come down to dinner this minute. Everything’s getting cold and you know we’ve been waiting for you.

HARRY (Offstage)

OK, Mom.

(GEORGE comes in and takes his seat)

GEORGE Boy, oh, boy, oh, boy . . . my last meal at the old Bailey boarding house.

MOTHER (Calls again)

Harry!

HARRY (As HE enters the scene)

No time to eat, Mom. I’ll get something at the dance. Pop, can I have the car? I’m going to take over a lot of plates and things.

MOTHER What plates?

HARRY Oh, Mom—I’m chairman of the eats committee and we only need a couple of dozen.

MOTHER Oh, no you don’t. Harry, now, not my best Haviland. (SHE follows HARRY into the kitchen, leaving POP and GEORGE)

GEORGE Oh, let him have the plates, Mother.

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POP Hope you have a good trip, George. Uncle Billy and I are going to miss you.

GEORGE I’m going to miss you, too, Pop. What’s the matter? You look tired.

POP Oh, I had another tussle with Potter today.

GEORGE Oh . . .

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

GEORGE I wonder what’s eating that old money-grubbing buzzard anyway?

POP Oh, he’s a sick man - frustrated and sick. 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.)

HARRY

Gangway! Gangway! So long, Pop.

POP So long, son.

MOTHER Put those things in the car and I’ll get your tie and studs together.

(SHE exits)

HARRY Okay, Mom. You coming later? You coming later, George?

GEORGE What do you mean, and be bored to death?

HARRY Lots of pretty girls . . .

POP No gin tonight, son.

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HARRY

(As HE exits) Aw, Pop, just a little.

POP No, son, not one drop. Boys and girls and music. Why do they need gin?

GEORGE Father, did I act like that when I graduated from high school?

POP Pretty much. You know, George, wish we could send Harry to college with you. Your mother and I talked it over half the night.

GEORGE We have that all figured out. You see, Harry’ll take my job at the Building and Loan, work there four years, then he’ll go.

POP He’s pretty young for that job.

GEORGE Well, no younger than I was.

POP Maybe you were born older, George.

GEORGE How’s that?

POP I say, maybe you were born older. I suppose you’ve decided what you’re going to do when you get out of college.

GEORGE Oh, well, you know what I’ve always talked about—build things, design new buildings . . . plan modern cities . . . all that stuff I was talking about.

POP Still after that first million before you’re thirty.

GEORGE

No, I’ll settle for half that in cash.

(MOTHER enters to clear some things at the table, but really as an excuse to listen.)

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POP Of course, it’s just a hope, but you wouldn’t consider coming back to the Building and Loan, would you?

(MOTHER stops her work and hovers by GEORGE, awaiting his answer)

GEORGE Mom, why don’t you just pull up a chair? That way, you’d be more comfortable and you could hear everything that’s going on.

MOTHER Don’t mind if I do.

(SHE sits) POP

I know it’s soon to talk about it.

GEORGE Oh, now, Pop, I couldn’t. 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) Oh, I’m sorry, Pop. I didn’t mean that remark, but this business of nickels and dimes and spending all your life trying to figure out how to save three cents on a length of pipe . . . I’d go crazy. I want to do something big and something important.

(Music begins)

#6 A PLACE TO CALL HOME (Pop, Mother, George)

POP You know, George - in our shabby little office - I feel that in a small way we are doing something important. Satisfying a fundamental urge. It’s deep in the race for a man to want his own roof and walls and fireplace, and we’re helping him get those things.

(POP sings gently) POP

A ROOF AND A FIREPLACE, A PORCH AND A SWING, A WHITE PICKET FENCE, A DOORBELL TO RING.

MOTHER A SMALL COZY KITCHEN,

A BEDROOM OR TWO, A GARDEN TO TEND, A ROOM WITH A VIEW.

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MOTHER & POP YOU DON’T NEED A CASTLE

TO FEEL LIKE A KING; YOU JUST NEED A PLACE TO CALL YOUR OWN. TO GATHER TOGETHER ON EACH CHRISTMAS EVE AND THANK GOD THAT YOU’RE NOT ALONE— YOU JUST NEED A PLACE TO CALL HOME. (POP speaks as the music continues)

POP You’ve got talent, son. I’ve seen it. You get yourself an education. But no matter where you go, remember . . . you’ve always got a place to call home.

GEORGE Pop – You’re the biggest man in town. (POP sings)

POP A WONDERFUL FAM’LY, MY CHILDREN, MY WIFE, OUR LOVE MAKES IT ALL A WONDERFUL LIFE.

MOTHER YOUR PLACE AT THE TABLE,

GEORGE

YOUR FACE AT THE DOOR,

MOTHER THESE MEM’RIES WE SHARE, I COULD NOT WANT MORE.

MOTHER & POP

YOU DON’T NEED A CASTLE TO FEEL LIKE A KING— YOU JUST NEED A PLACE TO CALL YOUR OWN.

GEORGE, POP, MOTHER TO GATHER TOGETHER

ON EACH CHRISTMAS EVE AND THANK GOD THAT YOU’RE NOT ALONE— YOU JUST NEED A PLACE TO CALL HOME.

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(Lights fade to black as they embrace) (Scene change music begins.)

#7 ACT I, SCENE 3 (Orchestra) ACT I Scene 3 BEDFORD FALLS HIGH SCHOOL GYM, One hour later.

(A banner hangs from the ceiling that reads BEDFORD FALLS HIGH CLASS OF 1928. The gym is decorated for a dance and there are tables upstage with punch and refreshments. There are several couples in groups talking, dancing, and having a good time. HARRY and VIOLET are center, as SAM WAINWRIGHT enters. VIOLET is standing with her back to SAM. SAM enters and taps her on the shoulder to get her attention.)

SAM

(As VIOLET turns to see him) Hee-Haw! Hee-Haw!

(Gesturing donkey ears)

VIOLET Why, Sam Wainwright! You’ve been acting like that ever since we were little kids.

SAM Acting like what?

HARRY Like a donkey, of course!

VIOLET I thought after four years of college you’d be all grown up.

(Flirting) But, you’re still same old Sam, I guess.

SAM (Knowingly) Hee-Haw!

VIOLET Harry, do you know if George will be here tonight?

27

HARRY I think I just about had him talked into it before I left. He’s been pretty busy getting ready for his trip to Europe.

VIOLET

Oh, I hope he’ll be here. I really like George.

HARRY Yeah. Mom says you like every boy.

VIOLET (Incredulous, but innocent) What’s wrong with that?

SAM (Seeing GEORGE enter)

Here comes George. Hello, Hee-Haw!

GEORGE Sam Wainwright! How are you? When did you get here?

SAM Oh, this afternoon. I thought I’d give the kids a treat.

GEORGE Old college graduate now, huh?

SAM Yeah—old Joe College Wainwright, they call me. Well, Freshman, looks like you’re going to make it after all.

GEORGE Yep – I’m finally gonna get out of this place.

SAM Harry! You’re the guy I want to see. Coach has heard all about you.

HARRY He has?

SAM Yeah. 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.

HARRY Well, I gotta make some dough first.

28

SAM Well, you better make it fast. We need great ends like you—not broken down old guys like this one.

(GEORGE and SAM wiggle their fingers at their ears, saluting each other.)

GEORGE

Hee-Haw!!

SAM Hee-Haw!!

(VIOLET approaches GEORGE)

VIOLET (Moving in for the kill) Hey, George . . .

GEORGE Hello, Violet.

VIOLET Would you like to dance with me?

GEORGE Well, I . . .

VIOLET Come on, Georgie-Peorgie!

(MARTY HATCH comes from behind the group and speaks to GEORGE.)

MARTY George!

GEORGE Hi ya, Marty. Well, it’s old home week.

MARTY Do me a favor, will you, George?

GEORGE What’s that?

MARTY Well, you remember my kid sister, Mary?

29

GEORGE Oh, yeah, yeah.

SAM “Momma wants you, Marty.” “Momma wants you, Marty.” Remember?

MARTY Dance with her, will you?

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

MARTY Aw, come on. Be a sport. Just dance with her one time and you’ll give her the thrill of her life.

SAM Aw, go on.

MARTY (Calling off)

Hey, sis.

GEORGE Well, excuse me, Violet.

VIOLET

But I asked first!

SAM Come on, Violet. I’ll stand in for

(Funny voice) “Georgie-Peorgie.”

(To GEORGE) Hee-Haw!

GEORGE

(To SAM) Hee-Haw! Don’t be long, Marty. I don’t want to be a baby-sitter for—

(GEORGE stops suddenly as he sees MARY, staring at her. She’s in an appropriate and beautiful dress and has poise beyond her years.)

MARTY

You remember George? This is Mary. Well, I’ll be seeing you.

(MARTY goes off with some other friends.)

30

GEORGE Well, hello.

MARY Hello. You look at me as if you didn’t know me.

GEORGE Well, I don’t.

MARY You’ve passed me on the street almost every day.

GEORGE Me?

MARY Uh-huh.

GEORGE Uh-uh. That was a little girl named Mary Hatch. That wasn’t you. (HARRY interrupts, speaking loudly into a cheerleader’s megaphone.)

HARRY Oyez, oyez, oyez . . . The big Charleston contest. The prize? A genuine loving cup. Those not tapped by the judges will remain on the floor.

GEORGE (To MARY)

I’m not very good at this.

MARY Neither am I.

GEORGE

Whad’dya say we get out of here?

MARY OK . . . Where do you want to go? (Music begins) #8 WOULD YOU LIKE TO DANCE WITH ME? (Harry, Sam, Violet, Kids)

31

GEORGE Anywhere.

MARY OK!

(GEORGE and MARY exit as the music begins.) (HARRY moves downstage and sings to VIOLET.)

HARRY

WOULD YOU LIKE TO DANCE WITH ME? WOULD YOU TAKE A CHANCE WITH ME? FIND A NEW ROMANCE WITH ME? WOULD YOU BE MY GIRL?

SAM WOULD YOU LIKE TO DANCE WITH ME?

CHANGE YOUR CIRCUMSTANCE WITH ME? BE FOOTLOOSE AND FANCY FREE— WOULD YOU BE MY GIRL?

SAM & HARRY WE COULD DO THE CHARLESTON,

OR THE JITTERBUG, AND WHEN YOU’RE NOT LOOKIN’—

I MIGHT STEAL A HUG!

VIOLET (Spoken)

And a kiss!

(VIOLET sings) WOULD YOU LIKE TO DANCE WITH ME? SHARE A SECRET GLANCE WITH ME? BOARD A BOAT TO FRANCE WITH ME? LET’S GO FOR A WHIRL!

HARRY, SAM & VIOLET IF YOU’LL PARDON THIS ADVANCE,

I’D SIMPLY LIKE TO ASK, PERCHANCE, WOULD YOU LIKE TO DANCE WITH ME?

MEN WOULD YOU LIKE TO DANCE WITH ME?

WOULD YOU TAKE A CHANCE WITH ME? FIND A NEW ROMANCE WITH ME? WOULD YOU BE MY GIRL?

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WOULD YOU LIKE TO DANCE WITH ME? CHANGE YOUR CIRCUMSTANCE WITH ME? BE FOOTLOOSE AND FANCY FREE— WOULD YOU BE MY GIRL?

MEN & WOMEN WE COULD DO THE CHARLESTON

OR THE JITTERBUG AND WHEN YOU’RE NOT LOOKIN’ I MIGHT STEAL A HUG

WOMEN (Spoken)

And a kiss! WOULD YOU LIKE TO DANCE WITH ME? SHARE A SECRET GLANCE WITH ME? BOARD A BOAT TO FRANCE WITH ME? LET’S GO FOR A WHIRL!

MEN & WOMEN IF YOU’LL PARDON THIS ADVANCE

I’D SIMPLY LIKE TO ASK, PERCHANCE, WOULD YOU LIKE TO DANCE WITH ME?

HARRY (Speaks over music)

It’s time for the big dance contest!

(The dance contest builds to a big finish with everyone dancing variations on “The Charleston.” Final pose and BLACKOUT. Scene change music begins in the applause.)

#9 ACT I, SCENE 4 (Orchestra)

ACT I Scene 4 A MOONLIT PATH, One hour later.

(Scene change music from the dance leads us to the next scene—a moonlit path with a park bench and a streetlight. The music fades out and the lights fade up as we hear GEORGE and MARY singing offstage, then as they enter.)

GEORGE & MARY

BUFFALO GALS CAN’T YOU COME OUT TONIGHT? CAN’T YOU COME OUT TONIGHT? CAN’T YOU COME OUT TONIGHT?

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BUFFALO GALS CAN’T YOU COME OUT TONIGHT? AND DANCE BY THE LIGHT OF THE MOON.

GEORGE Hot dog! Just like an organ.

MARY Beautiful.

GEORGE (HE looks at MARY for a moment)

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

MARY Well, why don’t you say it?

GEORGE I don’t know. Maybe I will say it. How old are you anyway?

MARY Eighteen.

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

MARY Too young or too old?

GEORGE Oh, no. Just right. Your age fits you.

(GEORGE leans in toward her, but is still afraid. HE looks out downstage and sees the old Granville House.)

Tell ya what—think I’ll throw a rock at the old Granville house.

MARY Oh, no, don’t. I love that old house.

GEORGE No. You see, you make a wish and then try and break some glass. You got to be a pretty good shot nowadays.

MARY

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

GEORGE (With disbelief) In that place?

34

MARY

Uh-huh.

GEORGE I wouldn’t live in it as a ghost. Now watch . . . right on the second floor there. (SFX: Glass breaking)

MARY What’d you wish, George?

GEORGE Well, not just one wish. A whole hatful, Mary. I know what I’m going to do tomorrow and the next day and the next year 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 coming back here and go to college and see what they know . . . and then I’m going to build things. I’m gonna build air fields. I’m gonna build skyscrapers a hundred stories high. I’m gonna build 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

Are you gonna throw a rock? (MARY throws her rock) (SFX: Glass breaking)

GEORGE

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.)

MARY (Singing)

BUFFALO GALS, CAN’T YOU COME OUT TONIGHT? (GEORGE joins her, singing harmony, as they proceed down the street.)

MARY & GEORGE

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.

35

GEORGE (Sings/talks on one pitch) What’d you wish when you threw that rock?

MARY

Oh, no.

GEORGE

Come on, tell me.

MARY If I told you it might not come true.

GEORGE What is it you want, Mary? What do you want? You want the moon? Just say the word and I’ll throw a lasso around it and pull it down. Hey, that’s a pretty good idea. I’ll give you the moon, Mary.

MARY I’ll take it. And then what? (Music begins) #10 IF YOU WANT THE MOON (George, Mary)

GEORGE

Well, then you could swallow it and it’d all dissolve, see? And the moonbeams’d shoot out of your fingers and your toes, and the ends of your hair.

(HE sings) IF YOU WANT THE MOON,

I’LL GIVE IT TO YOU. OR MAYBE BRIGHT STARS OR PLANETS, I’LL LASSO THOSE, TOO. JUST TELL ME YOUR WISH, AND I’LL TELL YOU MINE. YOU WILL SEE IN TIME— I’LL GIVE YOU THE MOON IF YOU WANT THE MOON, COME FLY THERE WITH ME. WE’LL SEE THE WHOLE WORLD TOGETHER— JUST LIKE ROYALTY. A KING AND A QUEEN, WE’LL TRAVEL IN STYLE THEN REST FOR A WHILE AND GAZE AT THE MOON.

36

(Music continues)

MARY (Spoken)

George Bailey, you are some talker.

GEORGE It’s not just talk, Mary.

MARY I know.

GEORGE Come on, Mary. What did you wish for? What is it you want?

(MARY smiles and begins to sing)

MARY IF YOU WANT THE MOON,

JUST LOOK IN THE SKY. IT’S ALREADY BRIGHTLY SHINING IN FRONT OF YOUR EYES. SOMETIMES A WISH IS REALLY A PRAYER THE ANSWER IS THERE— RIGHT UNDER THE MOON.

MARY & GEORGE IF YOU WANT THE MOON,

THEN OPEN YOUR HEART.

GEORGE

A WONDERFUL LIFE IS WAITING— LET’S GO MAKE A START! WHENEVER YOU WISH,

MARY WHENEVER YOU DREAM,

MARY & GEORGE YOUR EYES HAVE A GLEAM

THAT’S JUST LIKE THE MOON. (They move closer to each other.)

37

GEORGE WHENEVER YOU WISH,

MARY

WHENEVER YOU DREAM,

MARY & GEORGE YOUR EYES HAVE A GLEAM

THAT’S JUST LIKE THE MOON.

(The song ends tenderly as they embrace. They are just about to kiss when UNCLE BILLY and HARRY enter suddenly, frantically.)

UNCLE BILLY

George! George! Come on home, quick! Your father’s had a stroke!

(Music begins immediately. This song is played downstage to cover the scene change as the Building & Loan set is readied for the next scene.)

#11 MY GEORGE BAILEY (Mary)

GEORGE Mary . . . Mary, I’m sorry. I’ve got to go.

HARRY Come on, George, let’s hurry.

(They exit hurriedly. MARY is left alone onstage, confused, calling after them.)

MARY Oh, George, I’m sorry . . . I’m so sorry. Oh, dear God, please help George . . .

(MARY crosses downstage, lit by a spotlight, as the scene change begins behind her. SHE sings.)

GEORGE BAILEY, DON’T STOP DREAMING, LIFE IS WONDERFUL, YOU’LL SEE. MY THOUGHTS GO WITH YOU NOW, I SEND MY LOVE AND PRAY GODSPEED. FOR I BELIEVE, SOMEDAY, SOMEHOW THAT YOU WILL MARRY ME— YOU ARE MY DESTINY. MY GEORGE BAILEY— I’VE LOVED YOU MY WHOLE LIFE. MY GEORGE BAILEY— ONE DAY I’LL BE YOUR WIFE. MY GEORGE BAILEY—

38

MY DREAMS CAN ALL COME TRUE SHARING MY LIFE WITH YOU.

(Spoken) George Bailey, I’ll love you ‘til the day I die.

(BLACKOUT on MARY. Lights up in the Building & Loan.)

ACT I Scene 5 THE BAILEY BUILDING & LOAN, Three months later, afternoon.

(The lights fade up on the interior of the BAILEY BUILDING & LOAN. There are four directors seated around a long table. The MAYOR, MR. GOWER, TOM and MR. REINEMAN. Prominently seated among them is HENRY F. POTTER, his GOON beside his wheelchair. UNCLE BILLY and GEORGE are seated among the directors. The Chairman of the Board is the MAYOR. They have folders and papers before them, on which they have been reporting. Before each of the directors there are individual reports for them to study.)

MAYOR

I 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.

MAYOR I 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.

GEORGE Thanks.

MAYOR Now we come to the real purpose of this meeting—to appoint a successor to our dear friend, Peter Bailey.

POTTER Mr. Chairman, I’d like to get to my real purpose. 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 the receiver.

UNCLE BILLY (Angrily)

George, you hear what that buzzard—

39

MR. GOWER

(Interjecting) Mr. Chairman, it’s too soon after Peter Bailey’s death to discuss chloroforming the Building and Loan.

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

MAYOR

Very well. In that case I’ll ask the two executive officers to withdraw.

(The MAYOR rises from his seat. GEORGE and UNCLE BILLY start to collect their papers and leave the table. As they walk away, The MAYOR continues)

But before you go, I’m sure the whole board wishes to express its deep sorrow at the passing of Peter Bailey.

GEORGE Thank you very much.

MAYOR It was his faith and devotion that are responsible for this organization.

POTTER

I’ll go further than that. I’ll say that to the public Peter Bailey was the Building and Loan. (Everyone looks at POTTER surprised.)

UNCLE BILLY (HE can hardly control himself)

Oh, that’s fine, Potter, coming from you, considering that you’re the one that probably drove him to his grave!

POTTER Peter Bailey was not a businessman. 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.

(Picks 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. You know . . . 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?

40

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

GEORGE

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?

GEORGE Yes, sir.

POTTER You 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 is saying about his father.)

GEORGE

Just a minute . . . just a minute. Now, hold on, Mr. Potter. You’re right when you say my father was no business man. I know that. 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. 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? (To the Board, appealing to their conscience) You’re all businessmen here. Doesn’t it make them better citizens? Doesn’t it make them better customers? What’d you say just a minute ago? . . . They had to wait and save their money before they even ought to think of a decent home. Wait! Wait for what? Until their children grow up and leave them? Until they’re so old and broken-down that they –

(Frustrated, irritated) Do you know how long it takes a working man to save five thousand dollars? 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!

41

POTTER

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

GEORGE I 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. That’s what you’re talking about, I know.

(To the Board) Well, I’ve said too much. 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!

(GEORGE leaves the room, followed by the jubilant UNCLE BILLY into the outer office area.)

POTTER

Sentimental hogwash! I want my motion . . .

(He is interrupted by a babble of talk, as the directors take up the argument. They continue to discuss, but quieter as the lights fade out on them and up on GEORGE, UNCLE BILLY, COUSIN TILLY and SAM WAINWRIGHT in the outer office area.)

UNCLE BILLY

Boy, oh, boy, that was telling him, George, old boy. You shut his big mouth. (To COUSIN TILLY)

You should have heard him.

TILLY What happened? I heard a lot of yelling.

UNCLE BILLY

Well, we’re being voted out of business after twenty-five years. Easy come, easy go. I can get another job. I’m only fifty-five.

TILLY Fifty-six . . . (looking at newspaper) Here it is, “Help Wanted—Female.”

SAM George. I’m tellin’ ya. You need to get in with me on this plastics business.

GEORGE What are you talking about, Sam?

42

SAM

I have a big deal coming up that’s going to make us all rich. George, you remember that time when you told me you read in that magazine about making plastics out of soybeans?

GEORGE (Obviously distracted, trying to listen to what’s going on in the meeting)

Huh? Yeah-yeah-yeah . . . soybeans. Yeah.

SAM Well, Dad’s snapped up the idea. He’s going to build a factory outside of Rochester. How do you like that?

GEORGE Rochester? Well, why Rochester?

SAM Well, why not? Can you think of anything better?

GEORGE

Oh, I don’t know . . . 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.

SAM That so? Well, I’ll tell him. Hey, that sounds great! Oh, baby, I knew you’d come through. Now listen. Have you got any money?

GEORGE Money? Well, yes . . . I mean . . . no, but, I’m going off to college, Sam and I can’t—

SAM I’m tellin’ ya, George.

(Music begins)

#12 CHANCE OF A LIFETIME (Sam, George, Tilly, Billy, Mayor)

SAM This thing is gonna be bigger than radio. And you can get in on the ground floor!

(SAM sings) THIS IS THE CHANCE OF A LIFETIME!

DON'T MISS THE MOMENT, MY FRIEND. THE MOMENT’S NOW, IT’S THE RIGHT TIME TO MAKE A BREAK FOR IT,

43

JUST FOR THE SAKE OF YOURSELF. YOU’VE GOT THE TALENT AND THE STYLE, OH, YES! I SEE YOU’VE EVEN GOT THE SMILE, SO DON'T MISS IT! IT’S BUSINESS! IT’S PLASTICS! IT’S NEW! THIS IS THE CHANCE OF A LIFETIME BUT THE CHOICE IS UP TO YOU!

UNCLE BILLY (Speaks over music)

George, you better get out of here. You’ll miss your train. You’re a week late for school already. Go on.

GEORGE I wonder what’s going on in there?

TILLY

George, Go on, go on. You gave up your trip, now you don’t want to miss college too, do you?

THIS IS THE CHANCE OF A LIFETIME! THE ONE YOU’VE DREAMED OF SO LONG. THE MOMENT’S NOW, IT’S THE RIGHT TIME TO USE YOUR MIND, LOVE, DON'T BE SOME KIND OF A FOOL!

(Mockingly imitates SAM’s donkey ears) YOU’VE GOT THE BRAINS—YOU’RE MORE THAN SMART, I KNOW WHAT’S BEATING DEEP INSIDE YOUR HEART. SO DON’T MISS IT! IT’S COLLEGE! IT’S HONEST! IT’S TRUE! THIS IS THE CHANCE OF A LIFETIME BUT THE CHOICE IS UP TO YOU!

SAM

WAINWRIGHT & BAILEY— IMAGINE THE NAME, IMAGINE THE MONEY, IMAGINE THE FAME.

UNCLE BILLY

IMAGINE YOUR FATHER, I KNOW WHAT HE’D SAY, “A BAILEY IN COLLEGE, DON’T THROW IT AWAY!”

TILLY, SAM, UNCLE BILLY THE CHANCE OF A LIFETIME DOES NOT COME ALONG EV’RY DAY! (NO, NOT EV’RY DAY!)

44

(Music continues—The MAYOR comes running out, excitedly.)

MAYOR

George! George! They voted Potter down! They want to keep it going! But they’ve got one condition, only one condition. They’ve appointed George here as Executive Secretary to take his father’s place.

GEORGE But . . .

UNCLE BILLY Oh, no George . . .

(BILLY sings as HE tries to move GEORGE toward the door to meet the taxi downstairs.)

UNCLE BILLY

THIS IS THE CHANCE OF A LIFETIME DON’T LET THIS MOMENT PASS BY

MAYOR

(Interrupting, with urgency) If you don’t do it, they’ll vote with Potter!

SAM, UNCLE BILLY, TILLY THE MOMENT’S NOW, IT’S THE RIGHT TIME!

SAM (Pulling GEORGE back, away from BILLY)

WE’LL BOTH BE MILLIONAIRES AND ALL THE SHARES WILL BE OURS-

UNCLE BILLY

BUT WHAT ABOUT YOUR HOPES AND DREAMS?

TILLY DON'T FALL FOR SOMEONE ELSE’S SELFISH SCHEMES

TILLY, SAM, UNCLE BILLY

GEORGE, DON’T MISS IT!

TILLY IT’S SIMPLE!

SAM

IT’S EASY!

GEORGE FOR WHO?!

45

TILLY, SAM, UNCLE BILLY THIS IS THE CHANCE OF A LIFETIME! THIS IS THE CHANCE OF A LIFETIME! THIS IS THE CHANCE OF A LIFETIME!

BUT THE CHOICE IS UP TO YOU! (Final pose—BLACKOUT.) (Lights up immediately in Heaven.)

ACT I Scene 5A HEAVEN

CLARENCE I know. I know. He didn’t go.

JOSEPH’S VOICE That’s right. Not only that, but he gave his school money to his brother Harry, and sent him to college. Harry became a football star—made second-team All-American.

CLARENCE Poor George. He just can’t seem to get a break. What happened to him?

JOSEPH’S VOICE

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

CLARENCE So George never made it to college at all?

JOSEPH’S VOICE No – he sacrificed that dream and sent his brother instead. George was waiting for Harry to come back to Bedford Falls, so that he could finally travel the world, find an exciting job and make his fortune. But, when Harry arrived home, he had a surprise for everyone.

CLARENCE Oh, boy! I love surprises! What was it?

JOSEPH’S VOICE While he was away at college, Harry got married to a lovely girl named Ruth.

CLARENCE Ah . . . young love! But, what about George? Does he ever fall in love? Does he ever get married? What about that girl with the moonbeams shooting out of her hair?

46

JOSEPH’S VOICE Watch and see, Clarence. You’ve got to pay close attention if you want to win those wings. ACT I Scene 6 THE BAILEY HOME - DINING ROOM

(GEORGE, MOTHER, HARRY, RUTH BAILEY and UNCLE BILLY are seated around the dinner table, having just finished their meal.)

MOTHER

(With good humor) Harry Bailey . . . I might forgive you someday for getting engaged and married without telling me first . . . but it certainly helps that you have such a beautiful bride.

RUTH Oh, Mrs. Bailey . . . that’s very sweet of you. But . . . (Smiling warmly at HARRY) I still think I got the best part of the deal.

GEORGE I don’t know about that! I still can’t believe that a pretty girl like you married this two-headed brother of mine. How did he ever talk you into it?

RUTH Well, if you must know . . . it was purely mercenary. My father offered him a job.

(There is a pause of silence. GEORGE and MOTHER are struck by this – they share a troubled glance. HARRY wasn’t ready to share this news yet.)

HARRY Yes, but . . . I haven’t said that I would definitely take it.

RUTH What?

UNCLE BILLY

So, he gets you and a job? Well, Harry’s cup runneth over.

GEORGE (Quietly)

Ruth, this . . . what about this job?

47

HARRY

George, please. I wanted to talk to you first, but—

GEORGE It’s alright, Harry. I’m just curious.

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

GEORGE Is it a good job?

RUTH Oh, yes, very. Not much money, but a good future, you know. Harry’s a genius at research. My father fell in love with him.

GEORGE And you did, too?

RUTH Yes, I sure did.

GEORGE Well, that’s just . . . great.

MOTHER (Stepping in to move things along.) Uncle Billy, why don’t you go help Harry and Ruth get their bags inside and put away. You might even want to show them around town, (to RUTH) if Ruth would enjoy that . . .

RUTH Oh, I’d love to. Harry says Bedford Falls is so quaint.

GEORGE You can say that again.

MOTHER (With a “motherly” tone) George—

48

UNCLE BILLY (Rising) Come on, Harry. Let’s show the newest member of the family around. (HE looks all around for his hat – which is on HIS head.) Where’s my hat? Where’s my hat? (GEORGE nonchalantly reaches up, removes it from his head and hands it to UNCLE BILLY.) Thank you, George. Let’s go! Harry, you go get the bags and I’ll escort the bride. (HARRY exits first, with RUTH and UNCLE BILLY leaving arm in arm. GEORGE sits despondently at the table. MOTHER rises from her seat, goes to GEORGE and kisses him on the cheek.)

MOTHER That’s for nothing. How do you like her?

GEORGE She’s swell.

MOTHER Looks like she can keep Harry on his toes.

GEORGE Keep him out of Bedford Falls, anyway.

MOTHER Did you know that Mary Hatch is back from school?

GEORGE Uh-huh.

MOTHER Came back three days ago.

GEORGE Hmmmm . . .

MOTHER Nice girl, Mary.

GEORGE Hmmmm . . .

MOTHER Kind that will help you find the answers, George.

GEORGE Hmmm . . .

49

MOTHER

Oh, stop that grunting.

GEORGE (Another grunt) Hmmm . . .

MOTHER

Can you give me one good reason why you shouldn’t call on Mary?

GEORGE Sure. Sam Wainwright.

MOTHER Hmmm?

GEORGE Yes. Sam’s crazy about Mary.

MOTHER Well, she’s not crazy about him.

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

MOTHER No.

GEORGE Well then, how do you know?

MOTHER Well, I’ve got eyes, haven’t I? Why, she lights up like a firefly whenever you’re around.

GEORGE Oh . . .

MOTHER And besides, Sam Wainwright’s away in New York, and you’re here in Bedford Falls.

GEORGE Don’t remind me . . .

MOTHER So . . . why don’t you go over there?

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GEORGE

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

MOTHER Yep.

GEORGE

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

MOTHER Oh, George!

GEORGE Now – if you’ll just point me in the right direction.

MOTHER You know the way.

GEORGE Good night, Mrs. Bailey. (Blackout as GEORGE exits and MOTHER laughs to herself.) #13 ACT I, SCENE 7 – Scene Change (Orchestra)

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ACT I Scene 7 MARY’S HOME (The set is designed so that we see a section of the front porch of the Hatch house, as well as the interior of the parlor, or front room. Inside the room, there is a swinging practical door that leads into another room offstage. MARY is on the front porch as GEORGE is walking by.)

MARY What are you doing, picketing? (GEORGE stops, startled, and looks up.)

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

MARY Yeah, so I noticed. Have you made up your mind?

GEORGE How’s that?

MARY Have you made up your mind?

GEORGE About what?

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

GEORGE My mother just called you? Well, how did she know?

MARY Didn’t you tell her?

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

MARY Well, are you coming in or aren’t you?

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GEORGE Well, I’ll come in for a minute, but I didn’t tell anybody I was coming over here. When did you get back?

MARY Tuesday.

GEORGE Where’d you get that dress?

MARY Do you like it?

GEORGE It’s all right. I thought you’d go back to New York like Sam and Ingie, and the rest of them.

MARY Oh, I worked there for a couple of vacations, but I don’t know – I guess I was homesick.

GEORGE (Shocked) Homesick? For Bedford Falls?

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

GEORGE All right, for a minute. I still can’t understand it though. You know I didn’t tell anybody I was coming here.

MARY Would you rather leave?

GEORGE No, I don’t want to be rude.

MARY Well, then, sit down.

GEORGE

Well, I see it still smells like pine needles in here. (HE looks at his watch, as though about to leave.) Well, I . . .

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MARY

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

GEORGE Oh . . . yeah, yeah. That’s all right.

MARY Don’t you like her?

GEORGE Well, of course I like her. She’s a peach.

MARY Oh, it’s just marriage in general you’re not enthusiastic about, huh?

GEORGE No, marriage is all right for Harry, and Marty, and Sam and you.

MRS. HATCH’S VOICE Mary! Mary! Who’s in there with you?

MARY It’s George Bailey, Mother.

MRS. HATCH’S VOICE George Bailey? What’s he want?

MARY I don’t know. (To GEORGE) What do you want?

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

MARY (To MRS. HATCH) He’s making violent love to me, Mother. (GEORGE is aghast.)

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MRS. HATCH’S VOICE (Clearly agitated) You tell him to go right back home, and don’t you leave the house, either. Sam Wainwright promised to call you from New York tonight.

GEORGE (Heatedly) But your mother needn’t . . . you know I didn’t come here to . . . to . . . to . . .

MARY What did you come here for?

GEORGE I don’t know. You tell me. 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 leaves the room, the telephone starts ringing. GEORGE exits to the porch and begins to leave.)

MARY (To GEORGE) Good night!

MRS. HATCH’S VOICE Mary! Mary! The telephone! It’s Sam!

MARY (Almost weeping) I’ll get it. (SHE picks up receiver) Hello. (As MARY picks up the phone, GEORGE comes in from the front porch.)

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GEORGE I forgot my hat.

MARY (Overly enthusiastic) Hee-haw! Hello, Sam, how are you? (If possible, SAM could be visible on another part of the stage in his New York office, or simply be a Voice-Over, as indicated in script.)

SAM’S VOICE Aw, great. Gee, it’s good to hear your voice again. (GEORGE has stopped, hat in hand, to hear the first greetings.)

MARY Oh, well, that’s awfully sweet of you, Sam. (SHE glances toward door, sees GEORGE still there.) There’s an old friend of yours here. George Bailey.

SAM’S VOICE You mean old moss-back George?

MARY Yes, old moss-back George.

SAM’S VOICE Hee-haw! Put him on.

MARY Wait a minute. I’ll call him. (Calling) George! Geo . . . George, Sam wants to speak to you. (SHE hands the instrument to GEORGE.)

GEORGE Hello, Sam.

SAM’S VOICE Well, George Baileyoffski! Hey, a fine pal you are. What’re you trying to do? Steal my girl?

GEORGE What do you mean? Nobody's trying to steal your girl. Here . . . Here’s Mary.

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SAM’S VOICE No, wait a minute. 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.

MARY Mother’s on the extension.

MRS. HATCH’S VOICE I am not! Oh . . . uh . . . (CLICK – SFX MRS. HATCH hanging up.)

MARY We can both hear. 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 We’re listening, Sam.

SAM’S VOICE George, you remember a few years ago how I told you my Dad was going to find a way to make plastics out of soybeans?

GEORGE Yeah, I remember.

SAM’S VOICE Well, it’s taking off! The money’s about to start rolling in, George! I told you - it was the chance of a lifetime! Now, I may have a job for you George – that is, if you’re finally ready to give up on that broken-down Building & Loan. Mary— (A pause. GEORGE and MARY are lost in each other’s eyes.) Mary?

MARY (Nervously) Yes, Sam. I’m here.

SAM'S VOICE Would you tell that guy I’m giving him the chance of a lifetime, you hear? The chance of a lifetime!

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(As MARY listens, she turns to look at GEORGE, her lips almost on his lips.)

MARY

He says it’s the chance of a lifetime. (GEORGE can stand it no longer. He drops the phone with a crash, and grabs MARY by the shoulders.)

GEORGE (With passion) Now you listen to me! I don’t want any plastics! I don’t want any soybeans 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.) Oh, Mary . . . Mary . . .

MARY George . . . George . . . George . . . (GEORGE kisses MARY passionately once, then twice. As they are kissing, MRS, HATCH, in a housecoat and with her hair in rollers, walks in through the swinging door, and sees GEORGE and MARY kissing. She is horrified and blurts out her response.)

MRS. HATCH (With a loud gasp) Jesus, Mary and Joseph!! (This breaks GEORGE and MARY’s embrace and kiss. GEORGE pulls away and waves his hat in front of his face to “cool off.”)

GEORGE Looks like I better be going. I’ll, um . . . call you tomorrow. (GEORGE starts toward the door, but cannot stand to leave just yet. He rushes back to MARY and kisses her again.)

MRS. HATCH (Another loud gasp) In front of your own mother!! (MRS. HATCH runs off, back through the swinging door, in hysterics.)

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GEORGE Tomorrow . . . I’ll call you tomorrow! (HE rushes out.) (MARY follows GEORGE onto the porch, watches him leave, and then sings with excitement, almost breathless at first, as she is still reeling from the sensuality she has just felt with GEORGE.) (MUSIC BEGINS – a single note in the Orchestra.)

#14 MY FUTURE (In Your Eyes) (Mary)

MARY HE KISSED ME! GEORGE BAILEY KISSED ME! AND I KISSED HIM TOO! IT WAS SO EASY TO DO. IT WAS SO HONEST, SO TRUE. HOW I’VE WAITED FOR THIS MOMENT WITH THAT MAN! I REMEMBER WELL THE MOMENT IT BEGAN. (If desired, MARY can move downstage during this number, into a spotlight, as the scene changes behind her for the wedding to follow.) I CAN SEE SILLY LITTLE ME, SITTING AT THE SODA FOUNTAIN. YOU’RE THE BOY, FULL OF LIFE AND JOY, TELLING ME YOUR HIGHEST HOPES AND DREAMS. AND AS YOU SPEAK, THE LIGHT INSIDE ME BEAMS. WITH ONE LOOK, AND SUDDENLY IT SEEMS THAT I CAN SEE MY FUTURE IN YOUR EYES, YES, I CAN SEE MY FUTURE IN YOUR EYES. SOFT MOONLIGHT, GRADUATION NIGHT, SINGING HARMONY TOGETHER. WHO ARE WE? AREN’T WE MEANT TO BE? CAN YOU HEAR MY HEART BEGIN TO BEAT? I KNOW IT’S MORE THAN CHANCE THAT WE SHOULD MEET. WHEN YOU LOOK AT ME, I AM COMPLETE. AND I CAN SEE MY FUTURE IN YOUR EYES, YES, I CAN SEE MY FUTURE IN YOUR EYES. TIME HAS NEVER WEAKENED THE PASSION THAT I FEEL. WITH EV’RY SUNRISE, IT BECOMES MORE REAL. DISTANCE CANNOT DAMPEN MY LONGING FOR YOUR TOUCH, UNTIL TONIGHT, I NEVER KNEW HOW MUCH!

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WITH ONE KISS, REDEFINING BLISS, EV’RY QUESTION HAS BEEN ANSWERED. ALL THINGS NEW, ALL BECAUSE OF YOU! THIS IS MORE THAN MAGIC, MORE THAN FATE. WHEN SOMETHING’S MEANT TO BE, IT’S NEVER LATE. FANTASIES COME TRUE ARE WORTH THE WAIT! TONIGHT I SEE MY FUTURE IN YOUR EYES, TONIGHT I SEE MY FUTURE IN YOUR EYES. (Blackout. “Traditional Wedding March” begins immediately.)

#15 ACT I, SCENE 8 – THE WEDDING (Orchestra)

ACT I Scene 8 AN OUTDOOR WEDDING, Three months later, noon.

(We hear “The Wedding March” played on an organ in the darkness. As the lights fade up, we see GEORGE and MARY facing upstage as bride and groom with a small wedding party, including ERNIE, and family gathered around them. It is a simple and inexpensive affair. MARY is in a nice dress, not a wedding gown, and GEORGE is in a suit. The MAYOR is performing the ceremony.)

MAYOR

I now pronounce you man and wife. George, you may kiss your bride.

(GEORGE and MARY kiss. There is applause and cheering from the people. As the reaction begins to die down, ERNIE approaches GEORGE and speaks.)

ERNIE

George, where are you two going on your honeymoon?

GEORGE Where are we going?

(Takes out a fat roll of bills) Look at this. There’s the kitty, Ernie. Here, come on, count it, Mary.

(HE hands the money to MARY)

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MARY I feel like a bootlegger’s wife.

(Holding up the cash for all to see) Look!

GEORGE

You 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!

ERNIE

Then what?

GEORGE (to MARY)

Then what, honey? MARY

After that, who cares?

(Suddenly, BERT runs onstage with urgency and calls out to GEORGE as HE makes his way to GEORGE.)

BERT

George, there’s something funny going on over there at the bank. I’ve never really seen one, but it’s got all the earmarks of a run.

(Music begins)

#16 ACT I, SCENE 9 (Orchestra)

BERT Ernie, if you got any money in the bank, you better hurry.

MARY

George, let’s not stop there. Let’s go on!

GEORGE (As HE starts to leave)

Just a minute, dear.

MARY Please, let’s not stop, George.

GEORGE (Running offstage) I’ll be back in a minute, Mary. (Everyone follows GEORGE and runs off the stage as the lights fade.

The instrumental music leads us into the next scene.)

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ACT I Scene 9 THE BAILEY BUILDING & LOAN, Immediately following.

(As the lights fade up, selected TOWNSPEOPLE, representing CUSTOMERS, are in line, waiting to see UNCLE BILLY. GEORGE comes in with an assumed cheerful manner. The people look at him silently, half shamefaced, but grimly determined on their rights. In their hearts there is panic and fear. Music fades out as GEORGE begins to speak.)

GEORGE

Hello, everybody. Mrs. Thompson, how are you? Charlie?

UNCLE BILLY George, can I see you a minute?

(GEORGE and UNCLE BILLY move downstage right or left of the crowd as they continue to wait in line.)

GEORGE

Why didn’t you call me?

UNCLE BILLY I just did, but they said you left. This is a pickle, George! This is a pickle!

GEORGE All right now, what happened? How did it start?

UNCLE BILLY How does anything like this ever start? All I know is the bank called our loan.

GEORGE When?

UNCLE BILLY

About an hour ago. I had to hand over all our cash.

GEORGE All of it?

UNCLE BILLY Every cent of it, and it still was less than we owe.

GEORGE

Holy mackerel!

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UNCLE BILLY Potter just called. He’s taken over the bank. They’re gonna open back up in a week. He said he’s willing to guarantee our people, too. We’re supposed to tell them to bring their shares to him at the bank and he’ll pay fifty cents on the dollar.

GEORGE

(Furiously) Aw, he never misses a trick, does he? Well, he’s going to miss this one.

UNCLE BILLY

George, was it a nice wedding? Gosh, I wanted to be there.

GEORGE Yeah . . .

(Gestures to the string on UNCLE BILLY’s finger) You can take that string off now. (GEORGE works his way back to the crowd and begins to speak to them.)

GEORGE Now, just remember that this thing isn’t as black as it appears. I have some news for you, folks. We’ve just talked to old man Potter, and he’s guaranteed cash payments at the bank. The bank’s going to reopen next week.

ED But, George, I got my money here.

CHARLIE Did he guarantee this place?

GEORGE Well, no, Charlie. I didn’t even ask him. We don’t need Potter over here.

(MARY and TILLY have come into the room during this scene. MARY stands watching silently.)

CHARLIE

I’ll take mine now.

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GEORGE No, but you . . . you . . . you’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 . . . 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?

TOM

I 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 paper form)

Okay, Tom. All right. Here you are. You sign this. You’ll get your money in sixty days.

TOM (Incredulous) Sixty days?

GEORGE

Well, 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.)

RANDALL

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

TOM No.

RANDALL Well, I did. Old man Potter’ll pay fifty cents on the dollar for every share you got.

(RANDALL shows bills to CROWD)

CUSTOMERS (Ad libs various responses)

Fifty cents on the dollar! Did you hear that? We need to go to Potter . . .

RANDALL Yes, cash!

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TOM (To GEORGE)

Well, what do you say?

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

TOM (Turning to RANDALL)

Okay, Randall.

MRS. THOMPSON Are you going to go to Potter’s?

TOM Better to get half than nothing.

(A few other people start for the door. GEORGE vaults over the counter quickly, speaking to the people. He is at his persuasive best.)

GEORGE

Tom! Tom! Randall! Now wait . . . now 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 got charge of the bank. He’s got the bus line. He’s got the department stores. And now he’s after us. Why? Well, it’s very simple. 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. Can’t you understand what’s happening here? Don’t you see what’s happening? Potter isn’t selling. Potter’s buying! And why? Because we’re panicky and he’s not. That’s why. He’s picking up some bargains. Now, we can get through this thing all right.

(Music begins)

#17 WE’VE GOT TO STICK TOGETHER (George, Mary, Uncle Billy, Tilly, Townspeople)

GEORGE

We’ve got to stick together, though. We’ve got to have faith in each other. (GEORGE sings)

GEORGE I KNOW THAT THINGS LOOK BAD,

I KNOW THAT THINGS LOOK BLEAK. IT’S ONLY TEMPORARY, JUST GIVE THE BANK ONE WEEK.

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AND DON’T GO RUN TO POTTER BECAUSE YOU’RE IN A BIND, TODAY, HE’LL GIVE YOU MONEY, BUT FROM THEN ON ROB YOU BLIND!

(Spoken) Don’t you see, folks?

(Sings) THAT’S WHY WE’VE GOT TO STICK TOGETHER,

THAT’S WHAT WE HAVE TO DO. JUST LIKE WE’RE ’SIS AND BROTHER, THAT’S HOW WE’LL MAKE IT THROUGH. WE’VE GOT TO STICK TOGETHER, UNTIL WE’RE STUCK LIKE GLUE. HAVE FAITH IN ONE ANOTHER, THAT’S HOW OUR DREAMS COME TRUE. NOW JOE YOU HAD A SHACK, IN THAT OLD POTTER’S FIELD. YOU PAID HIM ALL THAT HIGH RENT FOR SUCH A LOUSY DEAL. SAY, ED, HAVE YOU FORGOTTEN? LAST YEAR WHEN THINGS WEREN’T GREAT YOU COULDN’T MAKE YOUR PAYMENTS BUT I LET YOU MAKE ’EM LATE. (Spoken to ED) You think Potter would’a let you keep that house? Not on your life!

(GEORGE sings and some of the customers start to be swayed and sing along, but not all of them. GEORGE is doing his best to sell them on it.)

GEORGE & A FEW CUSTOMERS

(Joining one by one): COME ON, WE’VE GOT TO STICK TOGETHER. THAT’S WHAT WE HAVE TO DO! JUST LIKE WE’RE SIS AND BROTHER, THAT’S HOW WE’LL MAKE IT THROUGH. WE’VE GOT TO STICK TOGETHER, UNTIL WE’RE STUCK LIKE GLUE. HAVE FAITH IN ONE ANOTHER THAT’S HOW OUR DREAMS COME TRUE.

(Dialogue resumes as music continues underneath.)

MRS. THOMPSON But my husband hasn’t worked in over a year, and I need money.

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WOMAN #1 How am I going to live until the bank opens?

WOMAN #2 I got doctor bills to pay.

WOMAN #3 I need cash.

WOMAN #4 Can’t feed my kids on faith.

(Suddenly, MARY moves into the scene with GEORGE, holding up the roll of bills they had for their honeymoon and hands it to GEORGE.)

MARY

How much do you need?

GEORGE Hey! I got two thousand dollars! Here’s two thousand dollars. This’ll tide us over until the bank reopens.

(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.

TOM I’ll take two hundred and forty-two dollars.

(GEORGE starts rapidly to count out the money. TOM throws his passbook on the counter.)

GEORGE

There you are.

TOM That’ll close my account.

GEORGE

Your account’s still here. That’s a loan.

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(GEORGE hands the two hundred and forty-two dollars to TOM, and speaks to ED, the next in line.)

GEORGE

Okay. All right, Ed?

ED I got three hundred dollars here, George.

GEORGE Aw, now, Ed . . . what’ll it take till the bank reopens? What do you need?

ED Well, I suppose twenty dollars.

GEORGE

Twenty dollars. Now you’re talking. Fine. Thanks, Ed. (To MRS. THOMPSON, next in line) All right, now, Mrs. Thompson. How much do you want?

MRS. THOMPSON But it’s your own money, George.

GEORGE

Never mind about that. How much do you want?

MRS. THOMPSON I can get along with twenty, all right.

GEORGE (Counting it out)

Twenty dollars.

MRS. THOMPSON And I’ll sign a paper.

GEORGE You don’t have to sign anything. I know you’ll pay it back when you can. That’s okay.

(To MRS. DAVIS) All right, Mrs. Davis.

MRS. DAVIS Could I have seventeen-fifty?

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GEORGE Seventeen. . .

(Overcome, GEORGE kisses her) Bless your heart! Of course you can have it!

(Triumphantly, GEORGE, MARY, UNCLE BILLY, TILLY and all the CUSTOMERS begin to sing.)

WE’VE GOT TO STICK TOGETHER,

THAT’S WHAT WE HAVE TO DO. JUST LIKE WE’RE SIS AND BROTHER, THAT’S HOW WE’LL MAKE IT THROUGH. WE’VE GOT TO STICK TOGETHER, UNTIL WE’RE STUCK LIKE GLUE. HAVE FAITH IN ONE ANOTHER, THAT’S HOW OUR DREAMS COME TRUE.

MARY NO ONE IS AN ISLAND

IN THE OCEAN BLUE.

CUSTOMERS WE’VE GOT TO STICK TOGETHER!

GEORGE & MARY

LEARN THIS SIMPLE LESSON: YOU NEED ME AND I NEED YOU!

CUSTOMERS

YOU NEED ME AND I NEED YOU!

EVERYONE WE’VE GOT TO STICK TOGETHER, THAT’S WHAT WE HAVE TO DO. JUST LIKE WE’RE SIS AND BROTHER, THAT’S HOW WE’LL MAKE IT THROUGH. WE’VE GOT TO STICK TOGETHER, UNTIL WE’RE STUCK LIKE GLUE. HAVE FAITH IN ONE ANOTHER, THAT’S HOW OUR DREAMS,

(THAT’S HOW OUR DREAMS,) THAT’S HOW OUR DREAMS, (THAT’S HOW OUR DREAMS,) THAT’S HOW OUR DREAMS COME TRUE!

WE’VE GOT TO STICK TOGETHER! #18 ACT I, SCENE 10 (Orchestra)

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(IMMEDIATELY following the musical number, in the applause, Music begins for the scene change. The lights stay up on the scene as the TOWNSPEOPLE exit. GEORGE, MARY, UNCLE BILLY, and TILLY are joyfully embracing. BILLY shows GEORGE that they’ve got two dollars left which he takes to the safe as the lights fade out on the Building & Loan and then up on Heaven.)

ACT I Scene 9A HEAVEN

CLARENCE They did it! They did it! George really is a hero to these people now!

JOSEPH’S VOICE I told you that you would like George Bailey.

CLARENCE Oh, yes. He’s a fine fellow. And don’t George and Mary make the perfect couple? But, Joseph . . . they gave up their honeymoon money to save the Building & Loan. Do they ever get to go? What about all their plans?

JOSEPH’S VOICE Mary made arrangements for a wonderful honeymoon at the old Granville house.

CLARENCE The old Granville House? Where they threw the rocks?

JOSEPH’S VOICE Right again, Clarence. You’re catching on. Mary decorated the old place up like the Waldorf Astoria for their wedding night. They had a wonderful honeymoon right there in Bedford Falls.

CLARENCE What about their money? Did they ever get it back?

JOSEPH’S VOICE No, they didn’t. But George and Mary went right on. They rolled up their sleeves and worked hard in Bedford Falls. Like his father, George helped folks all over town realize their dreams.

(Lights fade to black and quickly up on the next scene.)

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ACT I Scene 10 BAILEY PARK – OUTSIDE THE MARTINI HOUSE, Two years later.

(As the lights fade up, GEORGE is standing on the front porch of the new home purchased by the Martinis. He is holding a “SOLD” sign. MARY is at his side, beaming. GEORGE hands the “SOLD” sign to MR. MARTINI as he speaks. MRS. MARTINI observes joyfully with dramatic gestures to all that is taking place. There is a large sign downstage that reads: “Welcome to Bailey Park”. The entire scene is played comically as the MARTINI’s become competing Italian Opera Singers and GEORGE is overwhelmed by their expressions of gratitude. MARY finds it all hilarious.)

GEORGE

Mr. and Mrs. Martini, welcome home. She’s all yours!

MR. MARTINI (To MRS. MARTINI)

Mamma Mia! You hear what he say? Me - Giuseppe Martini. I owna my own house!

(Music begins)

#19 BLESS YOU, GEORGE BAILEY (Mr. Martini, Mrs. Martini)

MR. MARTINI No more we live like-uh pigs in Potter’s Field. Now, we have our own home in Bailey Park! (HE sings)

BLESS YOU, GEORGE BAILEY, FOR THE CHANCE YOU GAVE ME TO HAVE MY OWN PLACE YOU TRUSTED THIS-UH FACE. YOU ARE LIKE-UH FAM’LY, I CALL YOU—MARTINI, MY BROTHER AND MY FRIEND UNTIL I DIE. OH HOW I THANK YOU, OH HOW I LOVE YOU. I PRAY, “GOD BLESS YOU!” MY DREAM CAME TRUE. A NICE PLACE TO CALL MY OWN! BLESS YOU, GEORGE BAILEY, FOR HOME, SWEET, HOME.

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(GEORGE, relieved, thinks and hopes the performance is over and starts to leave with MARY. But, it’s a long way from over. Here comes MRS. MARTINI.)

MRS. MARTINI

WE CROSSED THE OCEAN WITH A DEEP DEVOTION TO START A NEW LIFE, JUST A MAN AND HIS WIFE. WE HAD JUSTA ONE WISH AND NOW LOOK—WE HAVE THIS! YOU ARE A GIFT TO US FROM HEAV’N ABOVE. OH HOW I THANK YOU, OH HOW I LOVE YOU. I PRAY, “GOD BLESS YOU!” MY DREAM CAME TRUE. A NICE PLACE TO CALL MY OWN! BLESS YOU, GEORGE BAILEY, FOR HOME, SWEET, HOME.

(GEORGE starts to leave again, but the MARTINIS join in a duet with great gusto.)

MR. & MRS. MARTINI

OH HOW WE THANK YOU, OH HOW WE LOVE YOU. WE PRAY, “GOD BLESS YOU!” OUR DREAM CAME TRUE. A NICE PLACE TO CALL OUR OWN! BLESS YOU, GEORGE BAILEY, FOR HOME, SWEET, HOME! (BLACKOUT. Scene change music begins immediately.) #20 ACT I, SCENE 11 (Orchestra)

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ACT I Scene 11 POTTER’S OFFICE, The next day, late afternoon.

(As the lights come up on POTTER’s office. POTTER seated in his wheelchair at his desk, with his GOON behind him. His rent collector, REINEMAN, is talking, pointing to maps spread out on the desk.)

REINEMAN

Look, 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.

(Points to maps) Fifteen years ago, a half-dozen houses stuck here and there. Look at it today. Dozens of the prettiest little homes you ever saw. Ninety percent owned by suckers who used to pay rent to you. Your Potter’s Field, my dear Mr. Employer, is becoming just that. And are the local yokels making with those David and Goliath wisecracks!

POTTER Oh, they are, are they? Even though they know the Baileys haven’t made a dime out of it.

REINEMAN You know very well why. The Baileys were all chumps. Every one of these homes is worth twice what it cost the Building and Loan to build. If I were you, Mr. Potter . . .

POTTER (Interrupting)

Well, you are not me. Besides, I know how to handle this. The Baileys have been a boil on my neck long enough.

SECRETARY (VOICE-OVER) Mr. Potter, George Bailey is here to see you.

POTTER (Speaks into intercom device)

Fine. Tell him to come right in.

(REINEMAN starts to leave as GEORGE enters and they pass each other.)

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 him . . .

(Indicates GEORGE) . . . for a job.

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(REINEMAN exits. GEORGE is puzzled by his statement.)

POTTER

(Attempting a friendly tone) George, George. Come, have a seat here. It’s so good of you to come so soon. I know you’re busy. Sit down.

(GEORGE anxiously sits down and looks at POTTER. There is an awkward silence before GEORGE speaks.)

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 (POTTER laughs)

George, now that’s just what I like so much about you. (As pleasant and as smooth as a snake can be)

George, I’m an old man, and most people hate me. But I don’t like them either, so that makes it all even. You know just as well as I do 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 I haven’t been able to do it. You have been stopping me. In fact, you have beaten me, George, and as anyone in this county can tell you, that takes some doing. Take during the depression, for instance. You and I were the only ones that kept our heads. You saved the Building and Loan, and I saved all the rest.

GEORGE Yes. Well, most people say you stole all the rest. (Music begins) #21 TELL ME WHAT YOU WANT (Potter)

POTTER The envious ones say that, George, the suckers. Now, I have stated my side very frankly. Now, let’s take a look at your side.

(POTTER sings. His GOON moves him around throughout the song from behind the desk as he seeks to persuade GEORGE.)

LOOK AT YOUR LIFE—

WHAT HAVE YOU GOT? BE HONEST, GEORGE, YOU DON’T HAVE A LOT.

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BROKEN-DOWN HOUSE,

BROKEN-DOWN CAR, BEING SO KIND HASN’T GOTTEN YOU FAR. YOU MAY BE GOOD, YOU MAY BE MEEK, BUT YOU CAN’T SURVIVE ON FORTY A WEEK. AFTER THE BILLS HAVE ALL BEEN PAID NOT MUCH IS LEFT OF WHAT YOU HAVE MADE. WHAT IF MARY HAS A BABY? THERE GOES ANY CHANGE YOU HAD! LISTEN, NOW TO MY PROPOSAL AND THINGS WON’T LOOK SO BAD— TELL ME WHAT YOU WANT, ANYTHING AT ALL. NOTHING IS TOO BIG, AND NOTHING IS TOO SMALL. COME AND WORK FOR ME, I CAN MAKE MAKE YOU RICH. AFTER ALL THESE YEARS, YOU MIGHT JUST FIND YOUR NICHE. JUST USE YOUR IMAGINATION— ANYTHING YOU’D LIKE TO GET? I WILL PAY YOU TWENTY THOUSAND AND I HAVEN’T FINISHED YET! TELL ME WHAT YOU WANT, DON’T BLINK AT THE PRICE. TAKE YOUR WIFE TO PARIS, BUY HER SOMETHING NICE. NOTHING BUT THE BEST, WEAR THE FINEST CLOTHES. PLAY IN NEW YORK CITY, GO TO BROADWAY SHOWS. YOU CAN ENJOY EVERY EVENING AT EXPENSIVE RESTAURANTS. YOU CAN WRITE YOUR TICKET, GEORGE, IF YOU JUST TELL ME WHAT YOU WANT!

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WHAT DO YOU THINK? WHAT DO YOU SAY? LISTEN, MY BOY, IT’S YOUR LUCKY DAY! QUICK, CLOSE YOUR EYES, WHAT DO YOU SEE? IT CAN BE YOURS IF YOU WILL AGREE. NO MORE THE STRESS, NO MORE THE STRAIN, THE BUILDING AND LOAN NO LONGER A PAIN. EV’RYONE ELSE LEFT YOU BEHIND THIS IS YOUR CHANCE TO FIND PEACE OF MIND. I KNOW YOU HAVE MANY WISHES, AND I’M SURE YOU’VE DREAMED SOME DREAMS. YOU CAN TRUST ME WITH YOUR FUTURE I AM A MAN OF MEANS! TELL ME WHAT YOU WANT, LET ME MAKE IT CLEAR— YOU CAN DO A LOT WITH TWENTY GRAND A YEAR! IF THAT’S NOT ENOUGH, MAKE IT TWENTY-FIVE! THE MOMENT YOU HAVE WAITED FOR HAS JUST ARRIVED. I KNOW YOU’RE NOT USED TO MONEY, LIVING WELL IS NOT A SIN. GO AHEAD AND DROP YOUR ANCHOR, GEORGE YOUR SHIP HAS JUST COME IN! TELL ME WHAT YOU WANT, GO FOR SOMETHING NEW. I HAVE MADE MY OFFER, NOW IT’S UP TO YOU I KNOW THAT YOU’RE SMART, IF YOU WANT THE MOON SIGN THE DOTTED LINE AND YOU WILL HAVE IT SOON.

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SOMEDAY YOU MIGHT HAVE A DAUGHTER. SHE COULD BE A DEBUTANTE! DO IT FOR YOUR FAM’LY, DO IT FOR YOURSELF, BUT, COME ON, GEORGE AND TELL ME WHAT YOU WANT!

GEORGE (Shocked - looking around skeptically)

You’re not talking to somebody else around here, are you? You know, this is me, you remember me? George Bailey? What about the Building and Loan?

POTTER (Becoming angry, starts to lose the facade)

Oh, 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?

GEORGE Well, 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?

POTTER (Realizing HE needs to stay calm and smooth)

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

GEORGE I’d like to do that.

POTTER (Offers HIS hand for a handshake)

Okay, George?

GEORGE (Taking POTTER’S 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.)

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GEORGE (A slow-burning anger builds in intensity within GEORGE as he unloads on POTTER.)

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! You sit around here and you spin your little webs and you 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.

(to POTTER’s GOON) And that goes for you too!!!

(GEORGE leaves in a huff)

POTTER

You’ll be sorry, George Bailey—you fool! (BLACKOUT. Scene change music begins) #22 ACT I, SCENE 12 (Orchestra) ACT I Scene 12 GEORGE & MARY’S HOME, Immediately following.

(A slow, melancholy piano solo version of “If You Want the Moon” begins as the scene changes and continues as GEORGE enters his home and the lights fade up. MARY is offstage. GEORGE walks around the room, taking in the simplicity and the age of the house and the furniture. He had wanted so much more. As GEORGE moves along, HE comes by a mirror and stops and looks in it, seeing his reflection. We hear the voice in his mind.)

GEORGE’S VOICE

(Over sound system) I know what I’m going to do tomorrow and the next day and next year 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 . . . And I’m going to build things. I’m going to build air fields. I’m going to build skyscrapers a hundred stories high. I’m going to build a bridge a mile long. What is it you want, Mary? You want the moon? If you do, just say the word; I’ll throw a lasso around it and pull it down for you. (MARY enters. She sees GEORGE and sings their theme song.)

MARY BUFFALO GALS, WON’T YOU COME OUT TONIGHT, WON’T YOU COME OUT TONIGHT, WON’T YOU COME OUT TONIGHT.

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GEORGE

Hi.

MARY Hi.

GEORGE

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

MARY To keep from being an old maid.

GEORGE

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

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

GEORGE You didn’t even have a honeymoon. I promised you . . . (Does a double take) Your what?

MARY My baby.

GEORGE (Incredulously)

You mean . . . Mary, you on the nest?

MARY George Bailey lassos stork.

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

MARY Why, George Bailey, how should I know?

GEORGE Well, . . . it’s your baby!

MARY George . . .

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GEORGE Mary, this is, well, it’s . . . wonderful. I mean, we’ve got so much to do . . . this kid’s gonna be great . . . the greatest ever, and . . . and he’s not gonna have to grow up in this old, ugly, broken down excuse of a house.

MARY George, don’t say that. Remember the night we broke the windows in this old house? This is what I wished for!

GEORGE

Aw, Mary, don’t settle for this. Why . . . I know there’s more out there for me . . . for us . . . this isn’t all there is, I know it, I know it!

MARY But, George, being together with you in this house is all I’ve ever wanted. Besides, I don’t need a whole lot of things to make me happy.

GEORGE

I know you don’t need ’em Mary. But—you sure enough deserve ’em! Now I know that I can make that old Building & Loan profitable yet. I’ll make that twenty thousand dollars Potter was talkin’ about seem like chicken feed. And we’ll have that new house for the kids . . . and nice, fancy clothes . . . and . . . trips to New York . . . or Paris . . . or . . . say . . . am I talking too much?

MARY Yes. Why don’t you kiss me instead of talking me to death?

(They kiss. Music begins) #23 IT’S A WONDERFUL LIFE (George, Mary)

GEORGE I NEVER THOUGHT I’D BE HERE,

THIS WASN’T IN MY DREAMS. I HAVE NO EXPLANATION FOR HOW PERFECT ALL THIS SEEMS.

MARY MY HEART IS OVERFLOWING,

BECAUSE I AM AWARE THAT AS WE SHARE THIS MOMENT, IT’S THE ANSWER TO MY PRAYER. IT’S A WONDERFUL LIFE, JUST KNOWING YOU LOVE ME.

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GEORGE IT’S A WONDERFUL LIFE,

BUT THE BEST IS YET TO BE.

MARY WHEN I STOP TO COUNT MY BLESSINGS,

I THANK GOD THAT I’M YOUR WIFE,

GEORGE AND THAT WE HAVE EACH OTHER,

GEORGE & MARY IT’S A WONDERFUL LIFE!

MARY GEORGE, YOU’VE SPENT A LIFETIME

WISHING ON A STAR, WAITING ON YOUR SHIP TO COME IN. HOW I PRAY YOU’LL SEE THAT WHAT HAS TAKEN US THIS FAR IS THE LOVE WE SHARE THAT NEVER ENDS.

GEORGE & MARY (with Optional OFFSTAGE CHORUS)

IT’S A WONDERFUL LIFE, AS LONG AS I’M WITH YOU. IT’S A WONDERFUL LIFE, COME WHATEVER, WE’LL COME THROUGH. HAND IN HAND TOGETHER, JOY AND SORROW, DAY AND NIGHT, THANKING GOD IN HEAVEN, IT’S A WONDERFUL LIFE! IT’S A WONDERFUL LIFE! (GEORGE and MARY embrace in a final pose and the curtain falls.) CURTAIN END OF ACT I #24 ENTR’ACTE (Orchestra)

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ACT II Prologue HEAVEN & BEDFORD FALLS, December 24, 1946 #25 PROLOGUE (Orchestra)

(Music begins as the house lights fade out for ACT II. After a moment, lights fade up in Heaven and we see CLARENCE. Music continues throughout the scene.)

JOSEPH’S VOICE

Well, Clarence . . . Are you ready to continue with George Bailey?

CLARENCE Yes, sir. I can tell I’m getting close to those wings, sir.

JOSEPH’S VOICE Clarence, you’re as close as you’ve ever been.

CLARENCE Oh good! . . . I guess . . .

JOSEPH’S VOICE

Now, you’ve probably already guessed that George never leaves Bedford Falls.

CLARENCE (With disappointment) No!

(Behind the heaven scrim, we see the Bailey Family. GEORGE is at MARY’s side. As the children are introduced, they enter and stand with the family in a family portrait look. As JOSEPH’s voice continues, we see the characters he mentions come onstage and create a picture on Main Street, behind the scrim.)

JOSEPH’S VOICE

Mary had her baby, a boy. (PETE, age 9, enters)

Then she had another one—a girl. (JANIE, age 8, enters )

Day after day she worked away remaking the old Granville house into a home. Night after night George came back late from the office. Potter was bearing down hard.

(Music changes to a drum cadence, military feel)

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Then came a war. Mary had two more babies, (TOMMY, age 5 and ZUZU , age 6 enter) but still found time to run the U.S.O. Sam Wainwright made a fortune in plastic hoods for planes. (SAM, dressed in a business suit and with a brief case.) Potter became head of the draft board.

(POTTER’s goon rolls him in.) Cousin Tilly and Uncle Billy sold war bonds. (TILLY and UNCLE BILLY enter together.) Bert the cop was wounded in North Africa. Got the Silver Star. (BERT & ERNIE enter, in full dress uniform.) Ernie, the taxi driver, parachuted into France. Harry . . . Harry Bailey topped them all. A Navy flier, he shot down fifteen planes. (HARRY enters in full dress uniform ) Two of them as they were about to crash into a transport full of soldiers.

CLARENCE Yes, but George? (Music for “Prologue” ends)

JOSEPH’S VOICE

George? Four-F on account of his ear, George fought the battle of Bedford Falls.

FRANKLIN’S VOICE Joseph, show him what happened today.

CLARENCE

Today?

JOSEPH’S VOICE Ah, yes. Today is the day of days . . . Christmas Eve.

CLARENCE Christmas Eve?! That’s my favorite day of the year! Oh, please show me, Joseph, please show me!

JOSEPH’S VOICE All right, look and see . . .

(MUSIC BEGINS as the stage fills with TOWNSPEOPLE and the scrim rises on Main Street in Bedford Falls.)

#26 CHRISTMAS EVE MEDLEY (Townspeople)

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ACT II Scene 1 MAIN STREET, BEDFORD FALLS, December 24, 1946, noon.

(The following number begins with a waltz, then continues into a medley of Christmas songs and dancing. The mood is festive as Main Street is decorated, shoppers are busy, and snow is falling. It is a picturesque small town Christmas. Prominently hung over Main Street is a large banner that reads, “Welcome Home, Harry Bailey”.)

TOWNSPEOPLE

MERRY CHRISTMAS! MERRY CHRISTMAS! THE MOST BEAUTIFUL NIGHT OF THE YEAR, CHRISTMAS EVE, CHRISTMAS EVE. AN EXCITEMENT YOU CANNOT COMPARE, CHRISTMAS EVE, CHRISTMAS EVE. CHILDREN DREAM OF A SLEIGH AND REINDEER, AFTER WAITING SO LONG, FIN’LLY HERE! THE MOST BEAUTIFUL NIGHT OF THE YEAR CHRISTMAS EVE!

SOLO WOMAN THE MOST BEAUTIFUL NIGHT OF THE YEAR,

SOLO MAN

CHRISTMAS EVE!

SOLO WOMAN CHRISTMAS EVE!

SOLO MAN FRIENDS AND FAM’LY FROM BOTH FAR AND NEAR,

SOLO WOMAN

CHRISTMAS EVE!

SOLO MAN CHRISTMAS EVE!

MAN & WOMAN, DUET: SHARING STORIES WE ALL LOVE TO HEAR;

LOVE AND LAUGHTER WITH THOSE WE HOLD DEAR; THE MOST BEAUTIFUL NIGHT OF THE YEAR, CHRISTMAS EVE!

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MAN, WOMAN, TOWNSPEOPLE

NO OTHER NIGHT SHINES A LIGHT THAT’S AS BRIGHT AND AS WARM AS THE CANDLE THAT GLOWS IN OUR HEARTS WAITING FOR CHRISTMAS MORN! LOVE IS DAWNING! (DUET ends)

TOWNSPEOPLE THE MOST BEAUTIFUL NIGHT, THE MOST BEAUTIFUL NIGHT, THE MOST BEAUTIFUL NIGHT, THE MOST BEAUTIFUL NIGHT, THE MOST BEAUTIFUL NIGHT OF THE YEAR CHRISTMAS EVE! DECK THE HALLS WITH BOUGHS OF HOLLY, FA LA LA LA LA LA LA LA LA! TIS THE SEASON TO BE JOLLY, FA LA LA LA LA LA LA LA LA! FOLLOW ME IN MERRY MEASURE, FA LA LA FA LA LA LA LA LA! WHILE I TELL OF YULETIDE TREASURE. FA LA LA LA LA LA LA LA LA!

FA LA LA LA LA LA LA LA LA!

DASHING THROUGH THE SNOW IN A ONE HORSE OPEN SLEIGH, O’ER THE FIELDS WE GO LAUGHING ALL THE WAY!

BELLS ON BOBTAIL RING, MAKING SPIRITS BRIGHT. WHAT FUN IT IS TO RIDE AND SING A SLEIGHING SONG TONIGHT!

JINGLE BELLS, JINGLE BELLS, JINGLE ALL THE WAY! OH WHAT FUN IT IS TO RIDE IN A ONE HORSE OPEN SLEIGH! JINGLE BELLS, JINGLE BELLS JINGLE ALL THE WAY! OH WHAT FUN IT IS TO RIDE IN A ONE HORSE OPEN SLEIGH! WE WISH YOU A MERRY CHRISTMAS! WE WISH YOU A MERRY CHRISTMAS! WE WISH YOU A MERRY CHRISTMAS!

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AND A HAPPY NEW YEAR! WE WISH YOU A MERRY CHRISTMAS! WE WISH YOU A MERRY CHRISTMAS! WE WISH YOU A MERRY CHRISTMAS! AND A HAPPY NEW YEAR! THE MOST BEAUTIFUL NIGHT, THE MOST BEAUTIFUL NIGHT, THE MOST BEAUTIFUL NIGHT, THE MOST BEAUTIFUL NIGHT,

THE MOST BEAUTIFUL NIGHT OF THE YEAR CHRISTMAS EVE! MERRY CHRISTMAS! MERRY CHRISTMAS! THE MOST BEAUTIFUL NIGHT OF THE YEAR, CHRISTMAS EVE!

(After the final pose and applause, the MAYOR of Bedford Falls moves to center and addresses the TOWNSPEOPLE.)

MAYOR

What a wonderful day this is—Christmas Eve! There’s no other day like it all year long. And this year, it is especially meaningful here in Bedford Falls! I want all of us to congratulate George Bailey and the whole Bailey family on the wonderful news in the paper this morning. If you haven’t seen it, Harry Bailey, George’s brother, received the Congressional Medal of Honor for his bravery in the war as a Navy pilot. The day after Christmas, there will be a full parade and a banquet that evening in Harry’s honor. George, I understand that Harry’s on his way home for Christmas.

GEORGE Yes, that’s right. And my mother called this morning to say that she had lunch with the President’s wife.

(Ad lib “impressed” reactions from the crowd.)

WOMAN

What did they have to eat? GEORGE

Well, I didn’t ask her. You can ask her yourself this afternoon. The Navy is flying her home today. (More crowd response)

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MAYOR My, my, my . . . if this is isn’t an absolutely perfect Christmas Eve here in Bedford Falls. George, Mary—thank you for all you mean to this town and, congratulations. Let’s hear it for Harry Bailey and all the Bailey family—the pride of Bedford Falls!

(MUSIC BEGINS. Crowd breaks into applause with ad lib cheers. The stage clears as the lights fade to black and the scene change music begins.)

#27 ACT II, SCENE 2 (Orchestra)

ACT II Scene 2 THE BANK, Immediately following.

(As the music fades and the lights come up we see the interior of the bank with a few customers. SHIRLEY, the Bank Teller, is working with a customer at his window and UNCLE BILLY is filling out a deposit slip at the counter at center.)

UNCLE BILLY

(As HE writes) December twenty-fourth . . .

(HE takes a thick envelope from his inside pocket and thumbs through the bills it contains. It is evidently a large sum of money.)

Eight thousand dollars . . . (Music begins) #28 YOU CAN’T KEEP THOSE BAILEY BROTHERS DOWN (Billy, Potter, a few Townspeople)

(POTTER is being wheeled in by his goon. He is reading a newspaper. UNCLE BILLY has finished filling out his slip, and comes over to taunt POTTER, the envelope containing the money in his hand.)

UNCLE BILLY Well, good morning, Mr. Potter. What’s the news?

(BILLY grabs the paper from POTTER.) Well, well, well! Harry Bailey wins Congressional Medal. That couldn’t be one of the Bailey boys, now could it?

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(BILLY sings) YOU CAN’T KEEP THOSE BAILEY BROTHERS DOWN!

YOU CAN’T KEEP THOSE BAILEY BROTHERS DOWN! NO MATTER HOW YOU SCOWL AND SCHEME AND FROWN IT’S FRONT PAGE NEWS THAT’S LIGHTING UP THIS TOWN— YOU CAN’T KEEP THOSE BAILEY BROTHERS DOWN! YOU CAN’T KEEP THOSE BAILEY BROTHERS DOWN!

(Music continues)

POTTER How does slacker George feel about that medal?

UNCLE BILLY Very jealous, very jealous. He only lost three buttons off his vest. Of course, slacker George would have gotten two of those medals if he had gone.

POTTER Bad ear.

UNCLE BILLY (Sings)

HARRY FOUGHT SO BRAVELY IN THE WAR WHILE GEORGE WORKED SO HARD

TO MIND THE STORE YOU SEE, OLD MAN — THAT’S WHAT A FAMILY’S FOR

POTTER Hogwash!

(Sings) I CAN’T TAKE THIS ANYMORE!

(Gestures to GOON to take him away)

UNCLE BILLY YOU CAN’T KEEP THOSE BAILEY BROTHERS DOWN!

YOU CAN’T KEEP THOSE BAILEY BROTHERS DOWN! (Spoken)

After all, Potter, some people like George had to stay home. Not every heel was in Germany and Japan! (Sings)

KNOCK US DOWN, WE’LL GET UP AGAIN WE STICK TOGETHER THROUGH THICK AND THIN

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WHEN YOU THINK WE’RE DOWN FOR THE COUNT JUST BE CAREFUL, DON’T COUNT US OUT!

(Spoken) Ah, read it and weep, Potter!

(Suddenly, a few customers in the bank join BILLY in his fun and sing and dance along.)

UNCLE BILLY & CUSTOMERS

YOU CAN’T KEEP THOSE BAILEY BROTHERS DOWN! YOU CAN’T KEEP THOSE BAILEY BROTHERS DOWN!

UNCLE BILLY

NO MATTER HOW YOU TRY—WE’RE STILL AROUND! (UNCLE BILLY gives the newspaper back to POTTER by mistake, with envelope of money inside.)

SEE FOR YOURSELF—

WE’RE ALMOST WORLD-RENOWNED

CUSTOMERS YOU CAN’T KEEP THOSE BAILEY BROTHERS DOWN!

YOU CAN’T KEEP THOSE BAILEY BROTHERS—

UNCLE BILLY WE STAND ABOVE THE OTHERS,

UNCLE BILLY & CUSTOMERS

YOU CAN’T KEEP THOSE BAILEY BROTHERS DOWN!

(After a final pose where BILLY is taunting POTTER, in the applause, everyone returns to “normal,” with BILLY going back to the teller window. POTTER moving to his spot, and the CUSTOMERS going back to their business.)

UNCLE BILLY

Good morning, Shirley. (UNCLE BILLY hands SHIRLEY, the bank teller, the deposit slip.)

SHIRLEY

I guess you forgot something.

UNCLE BILLY Huh?

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SHIRLEY

You forgot something.

UNCLE BILLY What?

SHIRLEY

Well, aren’t you going to make a deposit?

UNCLE BILLY Sure, sure I am.

SHIRLEY Well, then . . . it’s usually customary to bring the money with you.

UNCLE BILLY Oh, shucks!

(HE searches through every pocket he has.) I know I had it . . . where could it be . . .

(UNCLE BILLY begins to look all around, takes items from his pocket, begins to study the floor, etc. POTTER, now behind his desk, spreads the newspaper out in front of him, and finds the envelope of money inside. He raises it up, looks inside, then quickly hides it from view. He watches BILLY intently.)

SHIRLEY

Maybe you left it at the office. You know, Billy, you have been known to forget things.

UNCLE BILLY

(Now in a panic, looking in the trash can, looking everywhere.) No, no. no . . . I know I had it with me. It’s got to be here.

(Approaches TELLER ) Look again. Are you sure it’s not there?

(Music begins) #29 YOU CAN’T KEEP THOSE BAILEY BROTHERS DOWN – POTTER’S REPRISE (Potter)

SHIRLEY It’s not here, Billy.

(BILLY runs out of the bank in a panic. POTTER chuckles to himself as the lights fade to a special on him.)

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POTTER (Singing)

YOU CAN’T KEEP THOSE BAILEY BROTHERS DOWN (Spoken)

Oh, you can’t can ya?! (HE laughs out loud)

UNLESS ONE BROTHER IS A CLUMSY CLOWN

(POTTER fingers through money BILLY left behind-must be sure this “reads” to the audience)

(POTTER sings again)

NOW, THIS IS MY IDEA OF “LOST AND FOUND” SO YOU CAN’T KEEP THOSE BAILEY BROTHERS DOWN! NO YOU CAN’T KEEP THOSE BAILEY BROTHERS DOWN!

LOOKS LIKE I’VE GOT THOSE BAILEY BROTHERS DOWN!

(POTTER ends with a flourish, devilishly triumphant) (BLACKOUT. Music begins for scene change.) #30 ACT II, SCENE 3 (Orchestra) ACT II Scene 3 THE BAILEY BUILDING & LOAN, Two hours later.

(As the scene opens, TILLY is alone in the office, listening on the telephone. GEORGE enters. Under one arm, he carries a decorated Christmas wreath and is whistling a Christmas tune. Seated in a chair, waiting, with a briefcase is the prim and proper MR. CARTER, the Bank Examiner )

TILLY

(Calling to GEORGE as he enters) George! George! It’s Harry now on long distance from Washington!

GEORGE Harry! What do you know about that!

TILLY He reversed the charges. It’s okay, isn’t it?

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GEORGE What do you mean it’s OK? For a hero?

(Takes the phone) Harry Bailey! Wait until you see what they’re cooking up in the town for ya! How’s Mother standing it? . . . Uh-huh. What? Uncle Billy?

(To TILLY) Has Uncle Billy come in yet?

TILLY No, he stopped at the bank first.

GEORGE

(On the phone again) He’s not here right now, Harry.

TILLY (Interrupting)

George . . . George, that man’s here again.

GEORGE (To TILLY)

What man? TILLY

(Nervously) Bank . . . Bank Examiner.

GEORGE Oh . . .

(On phone) Talk to Tilly a minute, will you. I’ll be right back.

(GEORGE gives the phone to TILLY, puts down his wreath and goes over to CARTER.)

GEORGE

Good morning, Sir. (Extends hand for handshake)

What can I do for you?

CARTER (Shaking hands, matter-of-fact)

Carter—Bank Examiner.

GEORGE Mr. Carter, Merry Christmas.

CARTER Merry Christmas.

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GEORGE

We’re all excited around here. (Shows CARTER the newspaper)

My brother just got the Congressional Medal of Honor. The President just decorated him.

CARTER

I guess they do those things. Well, I trust you had a good year.

GEORGE

Good year? Well, between you and me, Mr. Carter, we’re broke.

CARTER Yeah, very funny. Although, I shouldn’t wonder when you OK reverse charges on personal long distance calls.

TILLY George, should I hang up?

GEORGE No, no. He wants to talk to Uncle Billy. You just hold on.

CARTER Now, if you’ll cooperate, I’d like to finish with you by tonight. I want to spend Christmas in Elmira with my family.

GEORGE I don’t blame you at all, Mr. Carter, Just have a seat right here. We’ll fix you up. Just make yourself at home, Mr. Carter. I’ll get those books for you.

(During the previous exchange, VIOLET BICK has entered and stands, waiting for GEORGE to see her. GEORGE turns toward her.)

GEORGE

Oh, hello, Vi.

VIOLET George, can I see you for a second?

GEORGE Why, of course you can. Come . . . right over here. Mr. Carter, this will take me just a minute and I’ll be right with you. (Suddenly, UNCLE BILLY enters, frantic, looking for the money.)

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GEORGE Oh, Uncle Billy . . . talk to Harry. He’s on the telephone.

TILLY Hurry, Uncle Billy, hurry. Long distance, Washington. Your nephew, remember? (Into the phone) Here he is.

UNCLE BILLY (Distracted, not really knowing what he’s saying)

Hello . . . hello . . . Yes, Harry, yes . . . everything . . . everything’s fine.

(UNCLE BILLY hangs up the phone agitatedly, stumbles around the room. TILLY looks after him dumfounded. CARTER is amazed at what he sees and hears. TILLY begins to realize something is wrong.)

(As GEORGE and VIOLET talk silently, UNCLE BILLY looks all over the room for the missing envelope. In the process, he does everything except move CARTER out of his chair as he crawls on the floor, under CARTER, on the desk.)

UNCLE BILLY

I should have my head examined. Eight thousand dollars. It’s got to be somewhere.

CARTER What?

UNCLE BILLY Who are you?

(GEORGE signs a piece of paper, and hands it to VIOLET. UNCLE BILLY continues his search and CARTER begins to eavesdrop on GEORGE and VIOLET. )

GEORGE

Here you are—maybe this character reference will help you find a good job.

VIOLET (Distraught, looking at paper GEORGE has given HER.)

Character? If I had any character, I’d . . .

GEORGE It takes a lot of character to leave your hometown and start all over again. (GEORGE pulls some money from his pocket, and offers it to her.)

VIOLET No, George, don’t . . .

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GEORGE

Here, now, you’re broke, aren’t you?

VIOLET I know, but . . .

GEORGE What do you want to do, hock your furs, and that hat? Want to walk to New York? You know, they charge for meals and rent up there just the same as they do in Bedford Falls.

VIOLET (Taking money)

Yeah—sure . . .

GEORGE It’s a loan. That’s my business. Building and Loan. Besides, you’ll get a job. Good luck to you.

VIOLET I’m glad I know you, George Bailey.

GEORGE Say hello to New York for me.

VIOLET Yeah, yeah . . . sure I will.

GEORGE Now, let’s hear from you . . .

(VIOLET sees the lipstick on GEORGE’s cheek, and dabs at it with her handkerchief.)

What’s the matter? Merry Christmas, Vi.

VIOLET Merry Christmas, George. (VIOLET exits)

MR. CARTER

(Agitated) Mr. Bailey . . .

GEORGE

Oh, Mr. Carter, I’m sorry. Uncle Billy . . . Billy . . .

95

(GEORGE goes to UNCLE BILLY’s desk and sees the mess that he’s made turning the place upside down looking for the money.)

Uncle Billy, What’s going on? The Bank Examiner’s here, and—

UNCLE BILLY

(In dismay) He’s here?

GEORGE Yeah, yeah. He wants the accounts payable . . .

(GEORGE stops short, suddenly aware of the tragic old eyes looking up at him.)

What’s the matter with you?

(UNCLE BILLY pulls GEORGE toward HIM and whispers in his ear. GEORGE has a shocked look on his face, then gains his composure and begins to ask questions.)

GEORGE

Tilly . . .

TILLY Yeah?

GEORGE Come here a minute. (TILLY runs over to GEORGE.) Did you see Uncle Billy with any cash last night?

(As the following dialogue continues, the action moves downstage as a blackout curtain flies in to begin the scene change as the scene continues.)

TILLY

He had it on his desk counting it before he closed up.

UNCLE BILLY Yes . . .

GEORGE Did you look in the safe?

96

UNCLE BILLY (Upset)

I’ve looked everywhere, George.

GEORGE Now look, did you buy anything?

UNCLE BILLY Nothing. Not even a stick of gum.

GEORGE

All right. All right. Let’s go over every step you took since you left the house.

UNCLE BILLY (Beginning to break)

That’s all I’ve done all morning, George. It’s just gone, George . . .

GEORGE (Angry)

Look, you put the envelope in your pocket?

UNCLE BILLY Yeah . . yeah . . . maybe . . . maybe . . .

GEORGE (Shouts)

Maybe—maybe! I don’t want any maybe. Uncle Billy, we’ve got to find that money!

UNCLE BILLY

(Piteously) I’m no good to you, George. I . . .

GEORGE Listen to me. Do you have any secret hiding place at your house? Someplace you could have put it? . . . Someplace to hide the money?

UNCLE BILLY

I’ve been over the whole house, even in rooms that have been locked ever since I lost Laura.

(UNCLE BILLY starts sobbing hysterically. GEORGE grabs him by the lapels and shakes him.)

GEORGE

(Harshly) Listen to me! Listen to me! Think! Think!

97

UNCLE BILLY (Sobbing)

I can’t think any more, George. I can’t think any more. It hurts!

(Music begins)

#31 ACT II, SCENE 4

(GEORGE jerks him to his feet and shakes him. UNCLE BILLY stands before him like a frisked criminal, all his pockets hanging out, empty. GEORGE’s eyes and manner are almost maniacal.)

GEORGE

(Screaming at him) Where’s that money, you stupid, silly old fool? Where’s the money? Do you realize what this means? It means bankruptcy and scandal, and prison!

(He throws UNCLE BILLY down into his chair, and still shouts at him.) That’s what it means! One of us is going to jail! Well, it’s not going to be me!

(GEORGE turns and heads for the door, kicking viciously at a wastebasket on the floor as he goes. UNCLE BILLY remains sobbing at the table, his head in his arms.

(Music continues as the lights fade to black.)

ACT II Scene 4 GEORGE & MARY’S HOME, That evening.

(Scene change music must fade quickly as the lights fade up, then segue immediately to #31, “A Place to Call Home.” MARY and the BAILEY CHILDREN are decorating the house for Christmas.)

#32 A PLACE TO CALL HOME (REPRISE)

MARY Pete, Janie, Tommy, come help me finish decorating the Christmas tree. Zuzu, you just stay there on the couch and rest.

(Looks around) Oh, I just love this old house . . .

JANIE Especially at Christmas . . .

98

MARY A ROOF AND A FIREPLACE.

TOMMY

A PORCH AND A SWING.

JANIE A WHITE PICKET FENCE,

PETE

A DOORBELL TO RING.

MARY A SMALL COZY KITCHEN,

A BEDROOM OR TWO. A GARDEN TO TEND, A ROOM WITH A VIEW.

ZUZU YOU DON’T NEED A CASTLE

TO FEEL LIKE A KING,

MARY YOU JUST NEED A PLACE

TO CALL YOUR OWN.

MARY & CHILDREN TO GATHER TOGETHER

ON EACH CHRISTMAS EVE AND THANK GOD THAT YOU’RE NOT ALONE, YOU JUST NEED A PLACE TO CALL HOME.

(As song ends, we hear GEORGE sneeze loudly offstage.)

CHILDREN (Ad lib)

Daddy, Daddy’s home!

(GEORGE enters the room, despondent and dejected. There is a slight powdering of snow on his head and shoulders.)

MARY

Hello darling.

CHILDREN (Ad lib)

Hello Daddy, hello daddy.

99

MARY (Indicating the Christmas tree)

How do you like it? (GEORGE sneezes again.)

MARY & CHILDREN Bless you!

(JANIE moves to the piano and begins to practice “Hark! The Herald Angels Sing”)

MARY

Did you bring the wreath?

PETE Did you bring the Christmas wreath?

GEORGE

What? What wreath?

MARY The Merry Christmas wreath for the window.

GEORGE (Gruffly)

No. I left it at the office.

MARY Is it snowing?

GEORGE

Yeah, just started.

MARY Where’s your coat and hat?

GEORGE Left them at the office. (MARY stares at him, aware that something unusual has happened.)

MARY

What’s the matter?

GEORGE (Bitterly)

Nothing’s the matter. Everything’s all right.

100

(GEORGE slumps into an armchair and lifts TOMMY onto his lap. MARY is helping PETE decorate the Christmas tree.)

MARY

Go on, Pete, you’re a big boy. You can put the star up. Way up at the top. That’s it. Fill in that little bare spot right there. That’s it.

(To GEORGE) Isn’t it wonderful about Harry? We’re famous, George. I’ll bet I had fifty calls today about the parade, the banquet. Your mother’s so excited, she . . .

(GEORGE has been sitting in the chair, hugging TOMMY to him, and crying quietly. MARY realizes that something is seriously wrong, and breaks off. JANIE is thumping away at the piano.)

GEORGE

Must she keep playing that?

JANIE I have to practice for the party tonight, Daddy.

PETE

Mommy says after the party, we can stay up till midnight and sing Christmas carols.

TOMMY Can you sing, Daddy?

MARY (To GEORGE)

Better hurry and shave. The families will be here soon.

GEORGE (Rising from chair)

Families! I don’t want the families over here!

TOMMY Excuse me . . . excuse me . . .

MARY Have a hectic day?

GEORGE (Bitterly)

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

101

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

GEORGE (Turns on PETE)

Well, what’s the matter with our car? Isn’t it good enough for you?

PETE Yes, Daddy.

TOMMY

Excuse me, excuse me . . .

GEORGE (Annoyed)

Excuse you for what?

TOMMY I burped!

MARY All right, darling, you’re excused. Now go see what little Zuzu wants.

GEORGE

Zuzu! What’s the matter with Zuzu?

MARY Oh, she’s got a cold. She’s lying down on the sofa. Caught it coming home from school. They gave her a flower for a prize and she didn’t want to crush it so she didn’t button up her coat.

GEORGE What is it, a sore throat or what?

MARY Just a cold. The doctor says it’s nothing serious.

GEORGE The doctor? Was the doctor here?

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

GEORGE Is she running a temperature? What is it?

102

MARY Just a teensie one—ninety-nine, six. She’ll be all right.

GEORGE

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

MARY (Worried)

George, what’s wrong?

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

PETE Dad, how do you spell “frankincense”?

GEORGE I don’t know. Ask your mother. Janie, stop playing that piano. Zuzu’s trying to rest.

JANIE But, I have to get ready for the party.

MARY

Janie, dear just stop for a minute. You can play a little later.

(GEORGE moves over to find ZUZU on the sofa. SHE is holding her prize flower.)

ZUZU

Hi, Daddy.

GEORGE Well, what happened to you?

ZUZU I won a flower. (ZUZU starts to get up.)

GEORGE

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

ZUZU Want to give my flower a drink.

103

GEORGE

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

(ZUZU shakes her head and presses the flower to her. A few petals fall off. SHE picks them up.)

ZUZU

Look, Daddy . . . paste it. The petals came off.

GEORGE Yeah, all right. Now, I’ll paste this together.

(ZUZU hands him the fallen petals and the flower. HE turns his back to ZUZU, pretending to be tinkering with the flower. HE sticks the fallen petals in his watch pocket, rearranges the flower, and then turns back to ZUZU.)

GEORGE

There it is, good as new. Now, will you do something for me?

ZUZU What?

GEORGE Will you try to get some sleep?

ZUZU I’m not sleepy. I want to look at my flower.

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

ZUZU It will?

GEORGE Uh-huh. (JANIE starts playing “Hark, The Herald” again.)

PETE Daddy, how do you spell “Hallelujah”?

104

GEORGE How should I know? What do you think I am, a dictionary? (HE yells at TOMMY, noisily playing with his toy.) Tommy, stop that! Stop it!

(JANIE is still practicing at the piano, monotonously.) Janie, haven’t you learned that silly tune yet? You’ve played it over and over again. Now stop it! Stop it!

(The room has suddenly become ominously quiet, the only sound being GEORGE’s labored breathing. In his anger, HE knocks over some of the Christmas decorations. HE is acting totally out of character. MARY and the children watch, horrified. GEORGE looks around and sees them staring at him as if he were some unknown wild animal. The three children are crying.)

I’m sorry, Mary, Janie. I’m sorry. I didn’t mean . . . you go on and practice. Pete, I owe you an apology, too. I’m sorry. What do you want to know?

PETE

(Holding back his tears) Nothing, Daddy.

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

GEORGE

What’s the matter with everybody? Janie, go on. I told you to practice. (Shouts)

Now, go on, play! (JANIE breaks into sobs.)

JANIE

Oh, Daddy . . .

MARY (In an outburst)

George, why must you torture the children? (Music begins)

#33 ACT II, Scene 5 (Orchestra)

MARY Why don’t you . . .

(The sight of MARY and the children suffering is too much for GEORGE.)

105

GEORGE

Mary . . .

(GEORGE looks around, confused, then quickly exits. MARY goes to the phone, picks it up.)

MARY

Bedford, two-four-seven, please.

PETE Is Daddy in trouble?

JANIE

Shall I pray for him?

MARY Yes, Janie, pray very hard.

TOMMY Me, too?

MARY

You too, Tommy. (As MARY is on the phone, the children gather together on their knees to pray.)

MARY Hello, Uncle Billy? (Music continues as the lights fade to black.) ACT II Scene 5 POTTER’S OFFICE, One hour later.

(As the lights fade up and the music ends, POTTER is seated at his desk, his goon beside him. GEORGE is seated in a chair before the desk, without a hat or coat, covered lightly with snow.)

GEORGE

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

POTTER (Casually)

Oh, so that’s what the reporters wanted to talk to you about?

106

GEORGE

The reporters?

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

GEORGE (Desperate)

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

POTTER (Interrupting)

George, could it possibly be there’s a slight discrepancy in the books?

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

POTTER You misplaced eight thousand dollars?

GEORGE Yes, sir.

POTTER Have you notified the police?

GEORGE

No, Sir. I didn’t want the publicity. Harry’s homecoming tomorrow—

POTTER They’re going to believe that one. What’ve you been doing, George? Playing the market with the company’s money?

GEORGE No, Sir. No, Sir. I haven’t.

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

107

GEORGE (Incredulous)

What?

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

GEORGE

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

POTTER Well, what about all your other friends?

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

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

GEORGE (Shaking his head)

No, Sir.

POTTER Bonds? Real estate? Collateral of any kind?

GEORGE (Pulls out policy)

I have some life insurance, a fifteen thousand dollar policy.

POTTER

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

GEORGE Five hundred dollars . . . (Music begins) #34 GO AHEAD AND RUN (Potter)

POTTER Five hundred dollars? Why, you’re worth more dead than alive . . .

108

(HE sings) POTTER

LOOK AT YOUR LIFE, LOOK AT THIS MESS! YOU WERE SO SURE OF ALL YOUR SUCCESS. NOW WITHOUT ME, YOU CAN’T SURVIVE. YOU’RE WORTH MORE DEAD THAN YOU ARE ALIVE WHAT CAN YOU SAY? WHAT CAN YOU DO? THE RIFF-RAFF YOU LOVE WILL NEVER HELP YOU. WHEN THEY FIND OUT WHAT YOU HAVE DONE, YOU WILL BE THROUGH AND I WILL HAVE WON! I KNOW HOW TO SOLVE THIS PROBLEM. I KNOW HOW TO RIGHT THIS WRONG. I’LL MAKE SURE YOU LAND IN JAIL THAT’S WHERE MEN LIKE YOU BELONG! (GEORGE runs out) GO AHEAD AND RUN! NO WHERE YOU CAN HIDE! THEY WILL FIND YOU SOON, DEAD OR ALIVE! GO AHEAD AND RUN! RUN JUST LIKE THE WIND! YOU DON’T HAVE A CHANCE, YOU DON’T HAVE A FRIEND! I HAVE TO SAY I SAW IT COMING— FIRST, THE FATHER, NOW, THE SON. JUST ANOTHER FAILURE, JUST ANOTHER FLOP! SO GO ON, GEORGE, GO AHEAD AND RUN!

(BLACKOUT. Music begins for scene change) #35 ACT II, SCENE 6 (Orchestra) ACT II Scene 6 A BRIDGE, 10:45 p.m.

(Scene change music continues and segues directly into “My Life” as the lights fade up to reveal GEORGE alone on the bridge. We also hear the wind blowing throughout the scene. Snow is falling. GEORGE, broken and disheveled, looks over the bridge, lost in his thoughts, considering his fate.)

109

#36 MY LIFE (George)

GEORGE Dear God . . .

(HE sings) I’M NOT SURE IF YOU’RE UP THERE, I’M NOT A PRAYING MAN. BUT GOD, IF YOU CAN HEAR ME, I PRAY YOU UNDERSTAND.

I’VE NEVER FELT THIS DESP’RATE, DEAR GOD, I’M SO AFRAID. I CANNOT FACE THE FUTURE— THE MESS THAT I HAVE MADE OF MY LIFE. SO PLEASE, SHOW ME THE WAY. I CAN’T FACE ONE MORE DAY ON MY OWN, I’M SO ALONE. I HAD SO MANY WISHES, I HAD SO MANY DREAMS, SO MANY WASTED CHANCES— DEAR GOD, WHAT DOES IT MEAN? NOW ALL I SEE IS FAILURE, I DON’T THINK I CAN COPE. WITH ONE MORE DISAPPOINTMENT, DEAR GOD, I’VE LOST ALL HOPE FOR MY LIFE. SO PLEASE, SHOW ME THE WAY, I CAN’T FACE ONE MORE DAY ON MY OWN, I’M SO ALONE.

(GEORGE looks all around in desperation, trying to decide if he should jump off the bridge. Suddenly, he hears loud splash from the water below.) (SFX-Loud splash - and then, CLARENCE’s voice-over.)

CLARENCE’S VOICE

Help! Help! Please . . . someone . . . I can’t swim! . . . I can’t . . . Please help me!!!

(GEORGE quickly climbs on top of the railing to jump in and help as the lights BLACKOUT. Music begins immediately leading to the next scene.)

#37 ACT II, SCENE 7 (Orchestra)

110

ACT II Scene 7 A HUT OUTSIDE BRIDGE, Thirty minutes later.

(As the lights fade up, GEORGE is seated on a bench, head in his hands, contemplating his problems and just missed suicide. CLARENCE stands near him, shaking water out of his shoes and drying himself off.)

GEORGE

How’d you happen to fall in?

CLARENCE I didn’t fall in. I jumped in to save you. (GEORGE looks up, surprised.)

GEORGE You what? To save me?

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

GEORGE Go through with what?

CLARENCE Suicide. I had to act quickly; that’s why I jumped in. I knew if I were drowning you’d try to save me. And you see, you did, and that’s how I saved you.

GEORGE (Offhandedly)

Very funny.

CLARENCE (Comes around to GEORGE)

I’m the answer to your prayer. That’s why I was sent down here, George.

GEORGE (Casually interested)

How do you know my name?

CLARENCE Oh, I know all about you.

GEORGE What are you, a mind reader or something?

111

CLARENCE Oh, no.

GEORGE Well, who are you, then?

CLARENCE Clarence Odbody, A-S-2.

GEORGE Odbody . . . A-S-2. What’s that A-S-2?

CLARENCE

Angel, Second Class.

(GEORGE rubs his head with his hand, to clear his mind. He looks up at CLARENCE standing beside him.)

GEORGE

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

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

GEORGE I wouldn’t be a bit surprised.

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

GEORGE

(Bewildered) Yeah . . . just things like that. Now how’d you know that?

CLARENCE I told you. I’m your guardian angel. I know everything about you.

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

(Music begins)

#38 SECOND CLASS ANGEL (Clarence, George)

112

CLARENCE I haven’t won my wings yet. That’s why I’m an angel Second Class. (HE sings) I’M JUST A SECOND CLASS ANGEL, I KNOW THAT IT’S SAD BUT IT’S TRUE. CAUSE WHEN YOU’RE A SECOND CLASS ANGEL, IT MAY BE HEAVEN BUT YOU STILL GET THE BLUES! I’M JUST A SECOND CLASS ANGEL, I WALK WHILE THE OTHERS FLY BY. CAUSE WHEN YOU’RE A SECOND CLASS ANGEL, YOU CAN JUMP BUT YOU WON’T GET TOO HIGH! BY GEORGE, YOU COULD HELP ME, MY FRIEND.

GEORGE

(Spoken) Friend?

CLARENCE

BY GEORGE—THAT’S RIGHT— I’M TALKING TO YOU! FOR I COULD GET MY WINGS AND A LOT OF OTHER THINGS, IF YOU WOULD JUST LISTEN TO THE TRUTH! I’M JUST A SECOND CLASS ANGEL, I WALK AROUND ON GOLDEN STREETS. CAUSE WHEN YOU’RE A SECOND CLASS ANGEL, EVEN HEAVEN CAN BE HARD ON YOUR FEET I’M JUST A SECOND CLASS ANGEL, MY HARP IS A SMALL ONE, YOU SEE. CAUSE WHEN YOU’RE SECOND CLASS ANGEL, YOU CAN SING BUT IN ONLY ONE KEY! NOW GEORGE, YOU KNOW THAT THIS IS CHRISTMAS EVE— THE PERFECT TIME TO TRUST GOD AND BELIEVE IN ANGELS, AND MUSIC, AND HOPE THAT NEVER DIES, BY GEORGE, IT’S A WONDERFUL LIFE! (Spoken) Come on, George!

113

GEORGE I’VE GOT A SECOND CLASS ANGEL,

I GUESS YOU’RE AN ANSWER TO PRAYER.

CLARENCE JUST CALL ME YOUR SECOND CLASS ANGEL

GEORGE

(Spoken) That’s just my luck.

CLARENCE & GEORGE DON’T WE MAKE A PAIR?

CLARENCE

I’M JUST A SECOND CLASS ANGEL BUT I’M ALL THE ANGEL YOU NEED IF GOD SENDS AN ANGEL, IT’S TIME TO PAY ATTENTION AND YOU’VE GOT AN ANGEL INDEED— A BONA-FIDE, HEAVEN SENT,

GEORGE PAST-YOUR-PRIME, LOW-RENT

CLARENCE

SECOND CLASS- YOU’VE GOT AN ANGEL IN ME!

(CLARENCE holds a final pose, smiling at GEORGE. After applause peaks, HE goes on.)

CLARENCE

So . . .I’ve got to earn my wings. You’ll help me, won’t you?

GEORGE

(Humoring him) Sure, sure. How?

CLARENCE By letting me help you.

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

114

CLARENCE Oh, no, no. We don’t use money in Heaven.

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

CLARENCE Oh, tut, tut, tut.

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

CLARENCE

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

GEORGE (Interrupts)

Yeah, if it hadn’t been for me, everybody’d be a lot better off. My wife, and my kids and my friends . . .

(Annoyed with CLARENCE) Look, little fellow, go off and haunt somebody else, will you?

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

GEORGE (Savagely)

Aw, shut up, will you.

(CLARENCE is not getting far with GEORGE. HE glances up, paces around, thoughtfully.)

CLARENCE

(To HIMSELF) Hmmm, this isn’t going to be so easy.

(To GEORGE) So you still think killing yourself would make everyone feel happier, eh?

GEORGE (Dejectedly)

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

CLARENCE

What’d you say?

115

GEORGE I said I wish I’d never been born.

CLARENCE Oh, you mustn’t say things like that. You . . .

(Gets an idea) Wait a minute. Wait a minute. That’s an idea.

(Glances up toward Heaven) What do you think? Yeah, that’ll do it. All right.

(CLARENCE snaps his fingers) (SFX: harp glissando)

You’ve got your wish. You’ve never been born.

(As CLARENCE speaks, GEORGE cocks his head curiously, favoring his deaf ear, more interested in his hearing than in what CLARENCE has said.)

GEORGE What did you say?

CLARENCE

You’ve never been born. You don’t exist. You haven’t a care in the world. (GEORGE feels his ear as CLARENCE talks.) No worries, no obligations, no eight thousand dollars to get, no Potter looking for you with the Sheriff.

GEORGE (Indicating his ear)

Say something else in that ear.

CLARENCE (Bending down)

Sure. You can hear out of it.

GEORGE Well, that’s the doggone-dest thing . . . I haven’t heard anything out of that ear since I was a kid. Must have been that jump in the cold water.

(GEORGE rises, sensing that something has changed) What’s happened? It’s stopped snowing out, hasn’t it? What’s happened here?

(HE shakes HIS ear again, amazed that HE can hear) What do you know about that? Come on, let’s stroll up to town and see . . .

(GEORGE interrupts himself) Oh, I’m sorry. I’ll stroll. You fly.

CLARENCE I can’t fly.

116

GEORGE I know . . .You haven’t got any wings.

CLARENCE (With GEORGE)

I haven’t got any wings.

(Music begins for scene change.) #39 ACT II, SCENE 8 (Orchestra) ACT II Scene 8 MAIN STREET— “POTTERSVILLE”, Immediately following. #40 POTTERSVILLE (George, Clarence, Gower, Bert, Mr. Martini, Mrs. Martini, Violet, Townspeople)

(Music begins for “Pottersville” immediately as the lights come up slowly. This is Main Street in Pottersville – what Bedford Falls would have become without George Bailey. The character of the place has completely changed. Neon signs against a black background suggest nightclubs, cafes, liquor stores, dance halls, pool halls and the like.)

(GEORGE, confused and curious, begins to sing.)

GEORGE

THIS IS STRANGE, BUT IT FEELS SOMEWHAT FAMILIAR, BUT SO PECULIAR, FOR BEDFORD FALLS.

CLARENCE

LOOK AGAIN, GEORGE, FOR SOON IT WILL BE SO CLEAR,

YOU’VE NEVER BEEN HERE—

GEORGE What?

CLARENCE NO, NOT AT ALL.

117

GEORGE “MISTER ANGEL,” I’VE LIVED HERE MY WHOLE LIFE LONG,

YOU’VE GOT IT ALL WRONG. JUST GO AWAY!

CLARENCE CAN’T YOU SEE GEORGE,

YOU WERE NOT HERE TO STOP HIM, THAT’S WHY IT’S SO GRIM AND DARK TODAY.

(As CLARENCE begins the refrain, a few TOWNSPEOPLE approach and pass GEORGE. They are walking briskly, and are unfriendly and avoid GEORGE’s attempts to get their attention.)

IN POTTERSVILLE, POTTERSVILLE WHERE THEY WEAR A FROWN. FOLKS ARE ILL IN POTTERSVILLE. CAN YOU GUESS WHO OWNS THIS TOWN?

GEORGE Potter?

CLARENCE Of course. Why do you think they call it —

(CLARENCE is interrupted by three BUMS, including GOWER, who approach GEORGE.)

GOWER & BUMS

POTTERSVILLE, POTTERSVILLE, WHERE THE SUN WON’T SHINE. JOBS ARE NIL IN POTTERSVILLE NOT ONE THING I CAN CALL MINE! POTTERSVILLE, POTTERSVILLE, BUMS JUST KILLING TIME. NO GOOD WILL IN POTTERSVILLE, (GOWER approaches GEORGE)

GOWER

BROTHER, CAN YOU SPARE A DIME?

GEORGE (In disbelief) Mr. . . . Mr. Gower?

118

GOWER (Drunk)

Hunh? Who are you? How do you know my name? Leave me alone!

(GOWER and the BUMS walk away and exit. GEORGE runs to CLARENCE.)

GEORGE

Clarence . . . that can’t be Mr. Gower!

CLARENCE It is Mr. Gower. He spent twenty years in prison for poisoning a little boy. You weren’t there to stop him because you’ve never been born.

GEORGE THIS IS JUST SOME BAD DREAM,

SOME TRICK YOU’RE PLAYING. ALL THAT YOU’RE SAYING IS JUST A LIE!

CLARENCE NOT A LIE, BUT A WISH YOU MADE THAT CAME TRUE!

I’M HERE TO HELP YOU, PLEASE LET ME TRY. (GEORGE sees BERT and in desparation, goes to him)

GEORGE Bert! Oh . . . Bert . . . at least you’re the same. You’ve gotta help me! (GEORGE sings.)

GEORGE THE BUILDING AND LOAN IT’S ALWAYS BEEN THERE,

(HE points) RIGHT ON THE TOWN SQUARE, ALL THIS IS NEW.

BERT THEY WENT BANKRUPT SOME TWENTY YEARS AGO NOW,

NO ONE WITH KNOW-HOW TO SEE THEM THROUGH. IN . . .

BERT & TOWNSPEOPLE POTTERSVILLE, POTTERSVILLE NO ONE HAS ENOUGH. LIFE CAN KILL IN POTTERSVILLE, DAYS ARE LONG AND NIGHTS ARE ROUGH.

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(MR. MARTINI, now a criminal, steals a lady’s purse, or picks the pocket of a passerby as MRS. MARTINI distracts the victim.)

POTTERSVILLE, POTTERSVILLE

MR. MARTINI WHO SAYS CRIME DON’T PAY?

GEORGE Martini!? Is that you? (MRS. MARTINI takes the loot from MR. MARTINI)

MRS. MARTNI PAYS THE BILLS IN POTTERSVILLE

WELL, AT LEAST FOR ONE MORE DAY!

(The music continues to build as GEORGE goes to different people, becoming more and more frantic - yet no one recognizes him.)

GEORGE

What’s going on?

TOWNSPEOPLE POTTERSVILLE, POTTERSVILLE,

EV’RY DAY’S THE SAME!

GEORGE Ernie! Bert! It’s me! George Bailey!

TOWNSPEOPLE HAD MY FILL OF POTTERSVILLE!

NO ONE EVEN KNOWS YOUR NAME.

(VIOLET, now a prostitute, approaches GEORGE.) TOWNSPEOPLE

POTTERSVILLE, POTTERSVILLE,

VIOLET ARE YOU HERE ALONE?

GEORGE

Violet?

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TOWNSPEOPLE JUST CHEAP THRILLS IN POTTERSVILLE,

BERT

Alright, lady. Move it along!

TOWNSPEOPLE IT’S NO LONGER HOME, SWEET, HOME.

GEORGE

Stop it! Stop it!

TOWNSPEOPLE IT’S NO LONGER HOME, SWEET, HOME.

GEORGE

(Losing his mind) I said stop it! Clarence, make them stop!

TOWNSPEOPLE IT’S NO LONGER HOME, SWEET HOME!

GEORGE

(Yelling) Stop!

(There is an immediate and abrupt ending and BLACKOUT on all except GEORGE. HE is alone in the spotlight - desperate, breathing heavily, almost maniacal.)

CLARENCE George . . . George . . . are you alright?

GEORGE I . . . I don’t know . . .

(TOWNSPEOPLE move about and exit as if nothing had happened as the lights fade up on more of the stage. SALVATION ARMY MAN crosses the stage and rings his bell.)

CLARENCE

Oh-oh. Somebody’s just made it.

GEORGE Made what?

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

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GEORGE

Look, who are you?

CLARENCE (Patiently)

I told you, George. I’m your guardian angel.

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

CLARENCE

No, of course not.

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

CLARENCE Don’t you understand, George? It’s because you were never born.

GEORGE Then if I wasn’t born, who am I?

CLARENCE You’re nobody. You have no identity.

(GEORGE rapidly searches his pockets for identification, but without success.)

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

CLARENCE There is no George Bailey. You have no papers, no cards, no driver’s license, no 4-F card, no insurance policy . . . (HE says these things as GEORGE searches for them) (GEORGE looks in his watch pocket.)

CLARENCE They’re not there, either.

GEORGE What?

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CLARENCE Zuzu’s petals. You’ve been given a great gift, George – a chance to see what the world would be like without you. (GEORGE is completely befuddled.)

GEORGE (Shaking HIS head)

Now wait a minute, here. Wait a minute here. This is some sort of a funny dream I’m having here. So long, mister, I’m going home. (HE starts off. CLARENCE follows.)

CLARENCE Home? What home?

GEORGE

(Furious) Now shut up! Cut it out! You’re . . . you’re . . . you’re crazy! That’s what I think—you’re crazy, and you’re driving me crazy, too! I’m seeing things. I’m going home and see my wife and family. Do you understand that? And I’m going home alone!

CLARENCE George, you don’t have a home. Don’t you understand? You were never born.

(GEORGE starts to stop people on the street, looking for anyone HE may know.)

GEORGE

(Moving among the people again. They react as if HE’s crazy.) Mary! Mary! Tommy! Pete! Janie! Zuzu! Where are you?

CLARENCE They’re not here, George. You have no children.

GEORGE (To CLARENCE, with anger)

What have you done with them, you old fool!

CLARENCE Nothing, George. I only want to help . . .

(GEORGE sees his MOTHER—MA BAILEY approaching on the street and rushes up to her. SHE is a bitter, old woman – nothing like the warm and loving person that we remember from ACT I.)

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MA BAILEY Well?

GEORGE Mother . . .

MA BAILEY Mother? What do you want?

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

MA BAILEY

(Coldly) George who? (SHE tries to leave, but GEORGE stops her.)

GEORGE Oh, Mother, Mother, please help me. Something terrible’s happened to me. I don’t know what it is. Something’s happened to everybody.

MA BAILEY I don’t even know you. You’re crazy.

GEORGE Well, I know everybody you know. Your brother-in-law, Uncle Billy.

MA BAILEY (Suspiciously)

You know him?

GEORGE Well, sure I do.

MA BAILEY When’d you see him last?

GEORGE

Today, at the Building and Loan.

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

GEORGE But . . . what about your son, Harry Bailey.

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MA BAILEY

How do you know about him?

GEORGE He’s my brother. Where is he?

MA BAILEY (Very upset, hurt)

Harry Bailey broke through the ice and was drowned at the age of nine. How dare you! (SHE exits briskly. GEORGE stands a moment, stunned.) (Musical underscore begins, #40, and segues directly into #41.) #41 MY LIFE – UNDERSCORE, ACT II, SCENE 8 (Orchestra)

GEORGE (Yelling-going crazy)

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

CLARENCE (Sadly)

Every man on that transport died. Harry wasn’t there to save them because you weren’t there to save Harry.

GEORGE (Quietly, trying to use logic)

I’ve heard of things like this. You’ve got me in some kind of a spell, or something. Well, I’m going to get out of it. I’ll get out of it. What is happening to me? Where did I go wrong?!

(Despairingly) I had so many dreams . . . to be a success . . . to be somebody . . .

CLARENCE You are somebody. You see George, you really had a wonderful life. Don’t you see what a mistake it would be to throw it away? Strange, isn’t it? Each man’s life touches so many other lives, and when he isn’t around . . . he leaves an awful hole, doesn’t he? #42 IT’S A WONDERFUL LIFE – CLARENCE’S REPRISE (CLARENCE sings)

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IT’S A WONDERFUL LIFE A GIFT SENT FROM HEAVEN IT’S A WONDERFUL LIFE THERE’S A PURPOSE JUST FOR YOU ONE LIFE TOUCHES ONE LIFE LIKE A CANDLE BURNING BRIGHT TO LIGHT THE WAY FOR OTHERS IT’S A WONDERFUL LIFE (GEORGE, obviously moved, turns to CLARENCE.)

GEORGE

Clarence . . .

CLARENCE Yes, George?

GEORGE Can I see Mary?

CLARENCE Oh, well, I can’t . . . I’m not supposed to . . .

GEORGE Please, Clarence.

CLARENCE You’re not going to like it, George.

(MARY crosses the stage as GEORGE watches her, GEORGE is reluctant to speak. MARY is very different—no buoyancy in her walk, none of her joy and love of life.)

GEORGE

Mary! (MARY looks up, surprised, but, not recognizing HIM, continues on.)

Mary! (MARY starts to run away from HIM, and HE follows, desperately.)

Mary! Mary! (HE catches up to her, grabs her by the arms, and keeps a tight grip on her. She struggles to free herself.)

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

MARY (Struggling)

I don’t know you! Let me go!

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GEORGE (Holding MARY tightly)

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

MARY

(Struggling) Please! Help! Police! This man . . . he’s attacking me! Let me go!

GEORGE

Mary, listen!

MARY Help!

(Suddenly, a crowd gathers around them and BERT breaks through to seize GEORGE.)

GEORGE

Please! That’s my wife! Bert, Bert, it’s me!!! George Bailey!

BERT Look, fella. I don't know any George Bailey. And besides, how do you know my name. I don’t know you from Adam’s ox. How do you get off calling me . . .

(Suddenly GEORGE breaks away) Hey, come back here!

(Music begins) #43 ACT II, SCENE 9 (Orchestra)

(GEORGE runs away, then offstage, calling for CLARENCE, who has left just prior to this moment. Lights fade to black as we GEORGE’s voice-over in the darkness.)

GEORGE’S VOICE

Clarence! Help! Where are you? Clarence! Clarence! Get me back! Please, get me back! ACT II Scene 9 THE BRIDGE, Immediately following #44 MY LIFE – REPRISE (George)

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(Scene change music segues directly from #42 into #43 as the lights fade up as the lights fade up on the scene. GEORGE runs onto the bridge. HE is frantically looking for CLARENCE, breaking down in sobs and despair.)

GEORGE Clarence! Clarence! Help me, Clarence. Get me back. Get me back. I don’t care what happens to me. Only get me back to my wife and kids. Help me, Clarence, please! Please!

(Sobbing)

I want to live again! I want to live again. I want to live again. Dear God, let me live again . . . (HE sings)

OH GOD, I WANT MY LIFE BACK, I WANT TO LIVE AGAIN. NO MATTER WHAT MAY HAPPEN, DON’T LET THIS BE THE END. HOW COULD I BE SO FOOLISH TO THROW IT ALL AWAY? PLEASE GOD, JUST ONE MORE MOMENT, PLEASE GOD, JUST ONE MORE DAY OF MY LIFE! A LIFE THAT TURNS OUT TO BE THE ONLY LIFE MEANT FOR ME, MY BEAUTIFUL LIFE, MY WONDERFUL LIFE!

(A gentle snow begins to fall, slowly at first, then with increasing intensity as the scene progresses.)

I HAD A WIFE AND FAM’LY—

A BLESSING FROM YOUR HAND. FRIENDS I LOVED WHO LOVED ME AND NOW I UNDERSTAND, THIS CHANCE THAT I’VE BEEN GIVEN TO SEE WITH MY OWN EYES, LIFE IS A GIFT FROM HEAVEN, AND AS WE LIVE, WE TOUCH SO MANY LIVES.

(GEORGE looks up, notices the snow and he realizes that his prayer has been answered.)

OH, GOD? IT’S STARTED SNOWING! COULD THIS BE CHRISTMAS EVE?

(HE opens his coat, pulls out the Insurance policy that once was missing.) IT’S ME! I’M REALLY LIVING! DEAR GOD, I STILL BELIEVE IN MY LIFE!

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A LIFE THAT TURNS OUT TO BE, THE ONLY LIFE MEANT FOR ME. MY BEAUTIFUL LIFE, MY WONDERFUL LIFE!

IT’S A WONDERFUL LIFE! IT’S A WONDERFUL LIFE!

(After applause, BERT runs up onto the Bridge. He’s been looking for GEORGE.)

BERT

Hey, George! George! Are you all right?

GEORGE Bert . . . you know me?

BERT Know you? Are you kiddin’? I’ve been looking all over town trying to find you.

GEORGE

Bert! Say something in my bad ear, quick!

BERT (Speaks into GEORGE’s “deaf” ear)

Hello, George.

GEORGE Hot dog! I can’t hear a thing!

(HE looks in his watch pocket) Zuzu’s petals! Zuzu’s petals! They’re here! They’re here, Bert! What do you know about that? Merry Christmas! #45 ACT II, SCENE 10 (Orchestra)

(Scene change music begins. GEORGE embraces and kisses the astonished BERT on the cheek, before he runs offstage triumphantly.)

BERT

George! (GEORGE runs offstage, rejoicing and cheering. If desired, GEORGE can run through audience, then offstage with the following ad libs: “Hello, Bedford Falls!” “Hello, you old broken down Building & Loan” “Hello, Majestic Theatre!”, etc.)

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ACT II Scene 10 GEORGE & MARY’S HOME

(Scene change music fades out. As the lights come up, CARTER and the SHERIFF are waiting for GEORGE, who comes dashing in the front door.)

GEORGE

(Excitedly) Mary!

(Sees CARTER) Well, hello, Mr. Bank Examiner!

(GEORGE grabs CARTER’s hand and shakes it.)

CARTER Mr. Bailey, there’s a deficit!

GEORGE I know. Eight thousand dollars.

SHERIFF

(Reaching into pocket) George, I’ve got a little paper here.

GEORGE

(Happily) I’ll bet it’s a warrant for my arrest. Isn’t it wonderful? Merry Christmas! Where’s Mary?

(Calling) Mary! Have you seen my wife?

PETE, JANIE, TOMMY, ZUZU (As they run on)

Merry Christmas, Daddy! Merry Christmas, Daddy!

GEORGE

Kids! Pete, Janie, Tommy, Zuzu! (Takes them in HIS arms)

I could eat you up! Where’s your mother?

JANIE She went looking for you with Uncle Billy.

(Suddenly, MARY comes through the door, breathless and excited.)

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GEORGE

Hallelujah!

MARY George! Darling! Where have you been? (GEORGE and MARY embrace tearfully.)

GEORGE Mary! Let me hold you! Oh, you’re real!

MARY

Oh, George, George!

GEORGE You have no idea what’s happened to me.

MARY You have no idea what happened . . . Now, you stand right over here, by the tree. Right there, and don’t move, don’t move. I hear ‘em now, George, it’s a miracle! It’s a miracle!

(She runs toward the front door. The excited crowd can be heard as UNCLE BILLY, face flushed, covered with snow, and carrying a clothes basket filled with money, bursts in. He is followed by ERNIE, and more TOWNSPEOPLE.)

MARY

Come in, Uncle Billy! Everybody! In here!

(UNCLE BILLY, MARY and the crowd come into the living room. GEORGE picks up ZUZU to protect her from the mob. UNCLE BILLY dumps the basketful of money out onto the table. The money overflows and falls all over.)

UNCLE BILLY

Isn’t it wonderful?

(The rest of the crowd greets GEORGE with waves and smiles. Each one comes forward with money. In their pockets, in shoe boxes, in coffee pots. Money pours onto the table—pennies, dimes, quarters, dollar bills. MRS. BAILEY pushes toward GEORGE. More people come in. The place becomes a bedlam. Shouts of “Gangway, gangway” as a new bunch comes in and pours out its money. MARY stands next to GEORGE, watching him. GEORGE stands there overcome and speechless as he holds ZUZU.)

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UNCLE BILLY (Excited and emotional)

Mary did it, George! Mary did it! She told a few people you were in trouble and they scattered all over town collecting money. They didn’t ask any questions. They just said: “If George is in trouble, count on me.” You never saw anything like it! (TOM comes in, digging for money as he comes.)

TOM What is this, George? Another run on the bank? That’s two hundred and forty-two dollars! (MR. MARTINI comes in bearing a mixing bowl overflowing with cash.)

MR. MARTINI George, I gotta bigga bowl of money for you, here! (GOWER enters with a large glass jar jammed full of notes.)

GEORGE

Mr. Gower!

GOWER I made the rounds of my charge accounts.

(VIOLET arrives, and takes out the money GEORGE had given her for her trip to New York.)

GEORGE

Violet Bick!

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

JOE (Giving money)

I wouldn’t have a roof over my head if it wasn’t for you, George.

(ERNIE gets EVERYONE’s attention to read a telegram that has just arrived.)

ERNIE Just a minute. Quiet, everybody. Quiet, quiet. Now, this is from London.

(Reading) Mr. Gower cables you need cash. Stop. My office instructed to advance you up to twenty-five thousand dollars. (EVERYONE reacts, gasps)

(Music begins)

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#46 FINALE (Company, except Pop & Clarence)

ERNIE

Stop. Hee-haw and Merry Christmas. Sam Wainwright.

(The crowd breaks into a cheer as ERNIE drops the telegram on top of the pile of money on the table. HARRY, in Naval uniform, enters, accompanied by BERT, the cop.)

HARRY

Hello, George, how are you?

GEORGE Harry . . . Harry . . .

HARRY (As HE sees the money)

Mary, it looks like I got here too late.

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

MRS. BAILEY

Harry, what about your banquet in New York?

HARRY Oh, I left right in the middle of it as soon as I got Mary’s telegram. Folks, let’s hear it for my big brother, George Bailey— The richest man in town! (GEORGE, deeply moved, begins to sing)

GEORGE

YOU DON’T NEED A CASTLE, TO FEEL LIKE A KING. YOU JUST NEED A PLACE TO CALL YOUR OWN.

GEORGE & COMPANY

TO GATHER TOGETHER ON EACH CHRISTMAS EVE, AND THANK GOD THAT YOU’RE NOT ALONE, YOU JUST NEED A PLACE TO CALL HOME.

(As MUSIC CONTINUES, the SALVATION ARMY MAN enters and breaks through the group, carrying his bell and pot of money.)

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SALVATION ARMY MAN Say, George! The Sergeant said I could give the whole pot to you this year. Merry Christmas!

(HE rings his bell loudly)

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

GEORGE (With great joy)

That’s right! That’s right! (Looking up to Heaven)

Attaboy, Clarence! COMPANY

HARK! THE HERALD ANGELS SING, GLORY TO THE NEWBORN KING. PEACE ON EARTH AND MERCY MILD, GOD AND SINNERS RECONCILED. JOYFUL, ALL YE NATIONS RISE. JOIN THE TRIUMPH OF THE SKIES WITH ANGELIC HOSTS PROCLAIM, CHRIST IS BORN IN BETHLEHEM. HARK! THE HERALD ANGELS SING, GLORY TO THE NEWBORN KING.

IT’S A WONDERFUL LIFE, A GIFT SENT FROM HEAVEN. IT’S A WONDERFUL LIFE, THERE’S A PURPOSE JUST FOR YOU. ONE LIFE TOUCHES ONE LIFE, LIKE A CANDLE BURNING BRIGHT TO LIGHT THE WAY FOR OTHERS. IT’S A WONDERFUL LIFE, AS LONG AS I’M WITH YOU. IT’S A WONDERFUL LIFE, COME WHATEVER, WE’LL COME THROUGH. HAND IN HAND TOGETHER, JOY AND SORROW, DAY AND NIGHT, THANKING GOD IN HEAVEN— IT’S A WONDERFUL LIFE! IT’S A WONDERFUL LIFE! CURTAIN - THE END

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#47 CURTAIN CALL (Company)

(One fun idea for the Curtain Call that audiences enjoy: After GEORGE’s entrance and bow, at the very end of the Curtain Call music, have CLARENCE appear last with a pair of Angel Wings on. He finally got his wings! This happens as the COMPANY sings the final “IT’S A WONDERFUL LIFE!”)

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