MFX:

THEME

KENNEDY:

Lux presents Hollywood!

MFX:

UP

KENNEDY:

Lever Brothers Company, the makers of Lux Toilet Soap, bring you "The Lux Radio Theatre"! Starring James Stewart, Donna Reed, and Victor Moore in "It's A Wonderful Life". Ladies and Gentlemen, your producer Mr. William Keighley!

MFX:

FADES OUT

SFX:

APPLAUSE

KEIGHLEY:

Greetings from Hollywood, ladies and gentlemen. Tonight we bring you one of the season's most inspiring hits. A Liberty Films production that's been nominated for the highest screen award. Yes, "It's A Wonderful Life"! And we present it now with its original fine stars, Jimmy Stewart and Donna Reed: Jimmy, in the role which won him a nomination for the best performance of the year. Also in our cast, that fine comedian, Victor Moore. "It's A Wonderful Life" is the drama of a typical American: it might be you... it might be me. He dreams of glory. He lives in hope. He loves and doubts. And only Providence puts a final value on his service to humanity.

Our story starts before the War, when life was normal, shortages were generally unknown, and simple luxuries, like Lux soap, were abundant. I won't say that's the only reason people said "it's a wonderful life," but I do know from the thousands of letters in our files, that most of them said "it's a wonderful soap"! And they keep right on saying it day after day. In fact the popularity of Lux soap is what makes it possible to present such entertainment as Frank Capra's great production "It's A Wonderful Life"! Starring Jimmy Stewart as George, Donna Reed as Mary Hatch, and Victor Moore as Clarence.

MFX:

Intro strings and down

KEIGHLEY:

This is the story of George Bailey, citizen of Bedford Falls, New York. George Bailey- who more than anything under the sun, wanted to see the world. The wonderful, exciting world that lay somewhere beyond the limits of his hometown. Oddly enough, this story does not begin in Bedford Falls. In fact it doesn't begin anywhere in the world. It begins-

MFX:

heavenly strings

KEIGHLEY:

-in Heaven., where the Superintendent of Angels has just summoned an apprentice angel named Clarence.

CLARENCE:

Oh, I'm really going down to Earth, sir? Oh how Splendid!

JOSEPH:

Yes. There's a very discouraged man down there, Clarence. George Bailey. At exactly ten-forty five PM, Earth time, he'll be thinking seriously of ending his life.

CLARENCE:

Oh, dear, dear! His life!

JOSEPH:

Now, I want you to stop him if you can. Now sit down, sit down. I'll give you Bailey's case history.

CLARENCE:

Sir... if I should accomplish my mission... may I perhaps get my wings? I've been waiting over two hundred years now, and well, people are beginning to talk.

JOSEPH:

Clarence, what's that book?

CLARENCE:

"The Adventures Of Tom Sawyer," sir. I was reading it when you sent for me.

JOSEPH:

Oh, fine book, excellent. Well, you do a good job on George Bailey, and we'll see about your wings.

CLARENCE:

Oh, thank you sir.

JOSEPH:

Now, listen. When George Bailey was a boy, two events occurred that you should keep in mind. One was when his young brother Harry fell through the ice and almost drowned. George saved him.

CLARENCE (as if writing this down)

"...brother fell through the ice... George saved him..."

JOSEPH:

Ever since George has had a bad ear. All that icy water... you understand.

CLARENCE:

"...bad ear..." Yes, sir.

JOSEPH:

(fading out in the end) The other event came a few months later. George used to work after school in Mr. Gower's drugstore. One day Mr. Gower's only son died of influenza. It was a terrible blow and poor Mr. Gower tried to lose his grief in whiskey...

GOWER:

(drunkenly) Where you been George? Mrs. Blaine's called twice! What happened to her prescription? Y'lost it didn't ya?

YOUNG GEORGE:

No, Mr. Gower, here it is!

GOWER:

(shaking him) Why you good-fer-nuthin'! Don't you know the Blaine girl's very sick?

YOUNG GEORGE:

(in tears) Mr. Gower - my ear! You're hurting my sore ear!

GOWER:

I'll teach ya t'loaf, y'lazy brat!

FX:

slaps him

YOUNG GEORGE:

(sobbing) Mr. Gower, you don't know what you're doing! You put something wrong in those capsules!!

GOWER:

Shuddup!

YOUNG GEORGE:

I know you feel bad, but look Mr. Gower! Look! This bottle- you used this bottle to make up the capsules! It's poison!!

GOWER:

Poison?

YOUNG GEORGE:

Don't hurt my sore ear again, Mr. Gower!

GOWER:

(sobbing) Poison! Oh, George...

MFX:

begins under

YOUNG GEORGE:

It's why I didn't deliver, Mr. Gower! All I wanted was to make sure!!

GOWER:

(still crying) George- George...

MFX:

up and under

JOSEPH:

Well, Clarence, that was George Bailey as a boy. When he grew up, he wanted to go to college, but there just wasn't the money. So he worked four years in the Building and Loan Association...

CLARENCE:

(writing) "-Building and Loan Association"?

JOSEPH:

Oh, I forgot to tell you... George's father was in the building and loan business. He and George's Uncle Billy. High ideals and low bank account. Anyway, George worked for his father and saved enough to see him through the university. That summer though, he was going to Europe. Got a job on a cattle boat; do a little traveling before college...

GEORGE:

Boy, oh boy, oh boy! It's hard to realize it's my last night at the Bailey boarding house.

POP:

We're sure going to miss you George.

GEORGE:

I'm going to miss you too, Pop. Hey, what's the matter? You look tired.

POP:

Oh, I had another tussle with old Henry Potter today.

GEORGE:

Oh... I thought when you put him on the Board of Directors, he'd ease up.

POP:

So did I.

GEORGE:

I just can't understand a man like Mr. Potter. He can't begin to spend all the money he has.

POP:

I guess Potter owns everything he wants in Bedford Falls, except our building and loan. That's why he hates us.

HARRY:

(from off) Hey George! Can I borrow your tuxedo studs?

GEORGE:

(yelling off) Yeah, help yourself, Harry!

HARRY:

Well, where are they? In your suitcase?

GEORGE:

No, I'm not taking a tuxedo in a cattle boat, you know-

HARRY:

Say, where'd you get that suitcase, anyway?

GEORGE:

Oh, Mr. Gower. Going away present. One of these days, you're gonna see that bag all covered with travel labels. Italy and Baghdad and Samarkand-

HARRY:

Gonna have a pretty full summer, huh?

GEORGE:

I'm going to have a pretty full life!

HARRY:

Hey, why don't you come to the dance tonight?

GEORGE:

What, and be bored to death?

HARRY:

Well ya' couldn't want a better death! Lots of pretty girls. Hey, I gotta hurry!

POP:

I wish we could send Harry to college with you.

GEORGE:

We've got that all figured out now, Pop. He'll take my job at the Building and Loan, work four years like I did, 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:

Huh?

POP:

George... when you get out of college... I don't suppose you'd come back to the Building and Loan?

GEORGE:

Oh no, now, Pop, I-I just couldn't. I couldn't face being cooped up for the rest of my life in a shabby little office. (pause) Oh, I'm sorry, Pop. I didn't mean that, but it's just this business of nickels and dimes... I'd go crazy. I want to do something big. Something important.

POP:

(quietly) In a small way, we are doing something important, George. In that shabby little office we help people figure out how they own their own homes.

GEORGE:

(unhappily) I know... I know, Pop. I just wish I felt that I... but I just feel like if I didn't get away, I'd bust.

POP:

You're right, boy. You get yourself an education. Then you get out of here.

GEORGE:

Aw, Pop. Pop, do you want a shock? I think you're a pretty great guy.

POP:

Well thanks, George. I'm glad to hear it. Look, um, why don't you go over to Harry's dance? You'll have a good time.

GEORGE:

Well I don't know, maybe I will drop in. Maybe I will at that.

MFX:

Heavenly music

CLARENCE:

So George Bailey went to a dance. Is that important, Joseph?

JOSEPH:

Why it was the dance that he met Mary Hatch!

CLARENCE:

Ohhhh...

JOSEPH:

And three hours later, he was walking her home. George and Mary were feeling pretty good, Clarence. As a matter of fact, wonderful...

SFX:

FOOTSTEPS/A DOG BARKING

GEORGE AND MARY:

(singing) "Buffalo Gals can't you come out tonight? Can't you come out tonight? Can't you come out tonight? Buffalo Gals can't you come out tonight... and dance by the light of the moon?"

GEORGE:

Hot dog!

MARY:

Beautiful!

GEORGE:

Boy, just like an organ.

MARY:

At least.

GEORGE:

Gee whiz. You know something? 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. How old are you anyway?

MARY:

Eighteen.

GEORGE:

(mock aghast) Eighteen?

MARY:

Too young or too old?

GEORGE:

Oh no... just right. Sorta fits you. Hey, look where we are!

MARY:

Hmm? Oh, the old Granville house.

GEORGE:

Yeah, I gotta throw a rock!

MARY:

Oh no don't. I love that old house.

GEORGE:

Don't you know about deserted houses? You make a wish and then throw a rock!

MARY:

George, but it's such a lovely old place. I wish I lived there.

GEORGE:

In there? I wouldn't live in it as a ghost! Now watch - watch this- here we go!

SFX:

Window Breaking.

GEORGE:

How 'bout it, huh? Pretty good shot, huh? Broke a window, uh?

MARY:

What'd you wish, George?

GEORGE:

Oh, I don't know... not just one wish. A whole hatful. Mary, I'm shaking the dust of this crummy town off my feet and I'm going to see the world! Italy, Greece, the Parthenon, the Coliseum. And 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 airfields and skyscrapers a hundred stories high and bridges a mile long, and then I'm gonna ... hey-hey Mary? What is it you want? What do you want, huh? You want the moon? All you gotta do, just say the word and I'll--

MARY:

--Okay. The moon... I'll take it. Then what?

GEORGE:

Then what? Well-well, then you could swallow it...and it'd dissolve like aspirin, you know? And the moonbeams'd shoot out of your fingers and the ends of your hair and ... and the-uh... you think I'm talking too much?

OLD CROTCHETY MAN:

(yelling from off mike) Yes!! Why don't you kiss her instead of talking her to death?!?

GEORGE:

How's that?

OLD CROTCHETY MAN:

Awww, youth is wasted on the wrong people.

SFX:

CAR PULLING UP/MOTOR RUNNING

GEORGE:

He-hey, just a minute mister! Hey, you come on back here, and I'll show you some kissing that'll-

UNCLE BILLY:

George! George!

GEORGE:

Hey Uncle Billy! Look here I'm gonna kiss Mary! Watch--

UNCLE BILLY:

George! Get in the car, quick! Your father's had a stroke!

GEORGE:

Wh-what?

UNCLE BILLY:

George, hurry!

MFX:

agitated interval

JOSEPH:

Well, George's father died that night, Clarence. So of course, George couldn't go to Europe. But that fall, just as he was ready to leave for college, the directors of the building and loan had a meeting. They were going to appoint a successor to Mr. Bailey...

DR. CAMPBELL:

-a successor to our dear friend, Peter Bailey. What was that you said Mr. Potter?

POTTER:

I said as long as Peter Bailey's dead, let's dissolve the Building and Loan. We don't need it.

UNCLE BILLY:

Now wait a minute-

POTTER:

No, you wait a minute! Peter Bailey was not a businessman. Ideals without common sense can ruin a town. What do we get? A discontented, lazy rabble instead of a thrifty working class--

GEORGE:

Now hold on, Mr. Potter!

POTTER:

I meant no disrespect George, but

GEORGE:

-Now wait a minute there. Why my father ever started this cheap, penny-ante Building and Loan, I'll never know. But 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.

POTTER:

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

GEORGE:

You're talking about something you can't get your fingers on and it's galling -- that's what you're talking about. Well this town needs this measly one-horse institution, if only to have some place where people can borrow dollars without crawling to you!! Now come on, Uncle Billy!!!

SFX:

DOOR OPENS/CLOSES

COUSIN TILLY:

What happened George?

HARRY:

Yeah, all we heard was a lot of yelling!

UNCLE BILLY:

Boy-oh-boy, you shoulda heard George!

GEORGE:

Yeah, they're in there voting us out of business.

COUSIN TILLY:

Who cares? I can get another job. I'm only 41.

HARRY:

45.

UNCLE BILLY:

Will you get out of here George, you missed your boat trip. You wanna miss college, too?

SFX:

DOOR OPENS/CLOSES

DR. CAMPBELL:

George! We just voted Potter down! We're still in business!!

UNCLE BILLY:

Whoopee! We're still in business!! We're still in business!!

DR. CAMPBELL:

But there's one condition, George. They've appointed you to take your father's place.

GEORGE:

Appoint me? But I'm going to college. Look, this is my last chance! Uncle Billy, he's your man!

DR. CAMPBELL:

(fading out at the end) George, you've got to take it, they'll vote with Potter otherwise. They said so, they even...

MFX:

UP

CLARENCE:

I know...George Bailey didn't go to college.

JOSEPH:

That's right, Clarence. He gave his college money to Harry. Harry went instead.

CLARENCE:

Yes, but what happened to that good-looking girl? You know, Mary?

JOSEPH:

Oh, George saw her now and then. Not very often though, because Mary went away to school, too. Anyway, George waited four years more for Harry to come back and take over the Building and Loan. He could still see the world. He planned to work in the oil fields -- Venezuela. Except when Harry came home, he wasn't alone. There was a girl with him. His wife...

SFX:

PORCH DOOR OPENING/CLOSING

MRS. BAILEY:

George?

GEORGE:

Yeah, I'm out here on the porch, Mother. Just thought I'd get some air.

MRS. BAILEY:

Well, how do you like your new sister-in-law?

GEORGE:

She's swell.

MRS. BAILEY:

Looks like she can keep Harry on his toes.

GEORGE:

Yeah. Keep him out of Bedford Falls, anyway.

MRS. BAILEY:

What do you mean?

GEORGE:

Well Ruth's father...he's got a wonderful job for Harry up in Buffalo.

MRS. BAILEY:

Buffalo?

GEORGE:

Yeah.

MRS. BAILEY:

Well, that means you--You can't-

GEORGE:

Yeah.

MRS. BAILEY:

George, did you know Mary Hatch is back from school?

GEORGE:

Hmm? Yeah.

MRS. BAILEY:

Nice girl, Mary.

GEORGE:

Hmmm...

MRS. BAILEY:

Oh, stop grunting-

GEORGE:

Awww

MRS. BAILEY:

Give me one good reason why you shouldn't call on Mary.

GEORGE:

Well- Sam Wainwright. Sam's crazy about her.

MRS. BAILEY:

Well, she's not crazy about HIM.

GEORGE:

Well now, how do you know that? Did she discuss it with you? How do y-

MRS. BAILEY:

Besides, Sam is away in New York.

GEORGE:

And all's fair in love and war? Oh, alright, I see. Okay, Mother, I think I'll go out and find that girl and do a little passionate necking.

MRS. BAILEY:

Oh, George!

GEORGE:

Goodbye, Mrs. Bailey! By the way, do you want any books at the library?

MRS. BAILEY:

Library?!? George! George, you go and see Mary, do you hear?

MFX:

UP

SFX:

FOOTSTEPS PACING/WINDOW OPENING

MARY:

George? Is that you out there?

GEORGE:

Oh, uh, Hello, Mary.

MARY:

Well, are you coming in?

GEORGE:

I just happened to be passing by.

MARY:

Oh. I thought you were picketing. 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. She said you were coming over.

GEORGE:

My mother just- I just happened to be passing by, that's all--

MARY:

-Well?

GEORGE:

(to MARY) Well, alright, I'll come in for a minute... (muttering) I didn't tell anybody I was coming over here... a fella can't even go for a walk without... (to MARY) when did you get back?

SFX:

SCREEN DOOR OPENING

MARY:

Tuesday.

GEORGE:

Where'd you get that dress?

MARY:

Do you like it?

GEORGE:

It's all right.

MARY:

Well, no point standing here on the porch. Come on in.

SFX:

SCREEN DOOR CLOSING

GEORGE:

I still can't understand it. I didn't tell anybody I was coming here.

MARY:

Would you rather leave?

GEORGE:

No, I don't want to be rude. I'll sit down for a while.

MARY:

It's nice about your brother and Ruth, isn'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, hm?

GEORGE:

No, marriage is all right for a lot of people. It's all right for Harry...Sam Wainright... and you.

MARY:

For Sam-

MRS. HATCH:

(from off mike) -Mary!

MARY:

(yelling off mike) It's George Bailey, Mother.

MRS. HATCH:

What's he want?

MARY :

I don't know. (to GEORGE) What do you want?

GEORGE:

(indignant) Me? Not a thing! Not a thing! I just came in to get warm-

MARY (to MRS. HATCH):

He's making violent love to me, Mother!

MRS. HATCH:

You just tell him to go right back home. Sam said he'd call you tonight from New York, didn't he?

MARY:

(to MRS. HATCH) I guess so.

(to GEORGE) How about some music?

SFX:

RECORD STARTING

MFX:

UP

GEORGE:

You know, your mother needn't... you know I didn't come here to...

MARY:

What did you come here for?

GEORGE:

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

MARY:

Oh, why don't you go home?

GEORGE:

(almost shouting) I don't know why I came here in the first place! Good night!!

MARY:

Good night!!

SFX:

PHONE RING

MRS. HATCH:

Mary! The telephone, Mary!

GEORGE:

The way you're shouting, you'd think that-

MARY:

-You'd think what?

MRS. HATCH:

Mary!

MARY:

All right, I'll get it. George, on your way out, would you mind shutting off the phonograph?

GEORGE:

I'd be very happy to.

SFX:

NEEDLE SCRATCHES

MFX:

MUSIC STOPS

GEORGE:

Doggone crazy song!

SFX:

DOOR OPEN/SLAM

MARY:

Hello? Sam?

SAM'S VOICE:

(filter) Mary! Gee, it's good to hear your voice!

MARY:

How are you, Sam?

SFX:

DOOR OPEN/SLAM

GEORGE:

I forgot my hat.

MARY:

Hee-haw!

SAM:

What?

MARY:

I was just talking to an old friend of yours. George Bailey.

SAM:

Old mossback George?

MARY:

Old mossback George.

SAM:

Well, put him on. I'll talk to him, too.

MARY:

Wait a second- George?

MRS. HATCH:

He doesn't want to speak to George!

MARY:

He does so. He asked for him.

GEORGE:

(to MARY) Did you call me? Because if you did, I'm in a hurry-

MARY:

Sam wants to talk to you.

GEORGE:

Oh? Um, hiya, Sam.

SAM:

Hey, a fine pal you are. Trying to steal my girl!

GEORGE:

What do you mean? Nobody's tryin' to steal anybody's girl. Here Mary, take the pho-

SAM:

No, wait--wait George. I want to speak to you both. Tell Mary to get on the extension upstairs.

GEORGE; (to MARY) He says to get on the extension upstairs.

MARY:

I can't. Mother's on the extension.

MRS. HATCH:

I am not!

MARY:

(to GEORGE) We can both hear. Just put your head a little closer. (BEAT) there that's better. (to SAM) We're listening, Sam.

SAM:

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

GEORGE:

Soybeans? Yeah-yeah... soybeans. Yeah.

SAM:

Well, my father's checked into it, see? And now he's going to put up a factory! How do you like that?

GEORGE:

Factory, huh?

SAM:

And here's the point, George. I may have a job for you, unless you're still married to that broken-down Building and Loan. Mary?

MARY:

(nervously) I'm here.

SAM:

You tell that guy I'm giving him the chance of a lifetime, you hear?

MARY:

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

GEORGE:

Now you give me that phone.

MARY:

Here's George again, Sam.

SFX:

PHONE SLAMMING DOWN ON CRADLE

MARY:

George!

GEORGE:

(fiercely) Now you listen to me, Mary! I don't want any plastics and I don't want any job, and I don't want to get married??"ever??"to anyone! You understand that?

MFX:

sneaks under

GEORGE:

I want to do what I want to do!! And you're not gonna trick me! And you're...Mary... Mary...

MARY:

(crying) George...

GEORGE:

(crying) Oh Mary, darling... I love you Mary...

MFX:

up

CLARENCE:

Well, well. So George Bailey and Mary Hatch were --

JOSEPH:

Yes. George and Mary were married. And they started off on their honeymoon in Ernie Bishop's taxicab.

SFX:

CAR RUNNING

ERNIE:

Hey, where are you two going on this here now honeymoon?

GEORGE:

We're going to shoot the works, Ernie! A whole week in New York. A whole week in Bermuda. The highest hotel??"the oldest champagne??"the hottest music -- and the prettiest wife!

ERNIE:

So you're finally getting out of Bedford Falls, eh? Then what?

GEORGE:

(to MARY) Then what, honey?

MARY:

After that, who cares??

GEORGE:

That does it??"hey, you know Mrs. Bailey, I haven't kissed you yet-

ERNIE:

Hey George, there's something funny going on over there! Look, look over there at the bank it looks like a run!

GEORGE:

Pull over there a minute, willya Ernie?

MARY:

George, let's not stop. Please. Let's go straight to the station!

SFX:

CAR PULLING OVER/STOPPING/CARDOOR OPENING

GEORGE:

Now wait a minute??"better see what it is. I'll be right back --

MARY:

George, please!! George!!!

MFX:

UP

SFX:

APPLAUSE

KEIGHLEY:

In a few moments we will return with the second act of "It's A Wonderful Life" starring James Stewart, Donna Reed, and Victor Moore. Meanwhile, here's our Hollywood reporter, Libby Collins. Looking very smart too, I must say.

LIBBY:

Well, thank you, Mr. Keighley. You know, after seeing Paulette Goddard's wardrobe for Paramount's new comedy "Suddenly It's Spring," I just had to rush out and buy something new. Looking at all those lovely clothes was just too much for my self-control!

KEIGHLEY:

Well, you look stunning, Libby.

LIBBY:

Thank you again, Mr. Keighley.

KEIGHLEY:

Tell me about the picture. I understand that Paulette's portrayal of an ex-WAC is truly delightful.

LIBBY:

Oh, yes it is! And Fred McMurray gives a perfect characterization of her wayward husband. Between the two of them, "Suddenly It's Spring" is a high-spirited comedy with emphasis on the romantic side.

KEIGHLEY:

Well, naturally.

LIBBY:

But really, Mr. Keighley, that wardrobe of Miss Goddard's certainly will make clothes-conscious girls sit up and take notice! I bet you'll think so too, Mr. Kennedy.

KENNEDY:

Well, Libby, men seldom know much about styles. What I notice about a dress is the general effect when a woman wears it. Some girls always seem to have that right-on--the-beam look. You know what I mean.

LIBBY:

Well, I think what you have in mind, Mr. Kennedy, is good grooming. Screen stars certainly put great emphasis on it. A perfect hairdo. Fresh, beautifully cared for skin. Those are essential.

KENNEDY:

That must be the reason Lux Toilet Soap continues to be a studio standby, no matter how often other styles change.

LIBBY:

Well, that's what Miss Goddard told me. She says her beauty facials are so quick and easy and work so well, she's never without a supply of Lux Toilet Soap." I can depend on it for daily complexion care", she said.

KENNEDY:

I wish you'd tell the ladies in our audience how easy these Lux soap facials are, Libby.

LIBBY:

Well, here's what Paulette Goddard does. She says, "I cover my face with the fragrant Lux soap lather and work it well in. I rinse with warm water, then cold, and use a soft towel to pat my skin dry. Gives skin quick new beauty," she says.

KENNEDY:

Daily Lux soap facials do make skin lovelier. Recent tests by skin specialists proved it. In three out of four cases, complexions became softer and smoother in just a short time.

LIBBY:

A lovely Lux complexion makes a woman so attractive. I wish every girl who hasn't tried Lux Toilet Soap would begin using it tomorrow!

KENNEDY:

That's sound advice, Libby! When nine out of ten screen stars recommend a beauty soap, you know it has to be good. So, why not try Lux Toilet Soap? Hollywood's own complexion soap. We pause now for station identification. This is the Columbia Broadcasting System

MFX:

Lux Fanfare

KEIGHLEY:

Act Two of "It's A Wonderful Life", starring Jimmy Stewart as George, Donna Reed as Mary, and Victor Moore as Clarence.

MFX:

Heavenly theme

KEIGHLEY:

Well, we're back in heaven again, where the Superintendent of Angels is reviewing the case history of a mortal named George Bailey. Clarence, the apprentice angel, is very eager to depart on his mission to the Earth.

CLARENCE:

Poor George Bailey! Oh he's certainly in desperate trouble, Joseph! I'll go to him at once!

JOSEPH:

Now you sit down Clarence, sit down. We're nowhere near the point where George Bailey is thinking of taking his life.

CLARENCE:

We're not?

JOSEPH:

Now where were we? Oh yes. George and Mary had just started out on their honeymoon when they ran smack into the financial panic of 1932. In the waiting room of the Building and Loan, a hundred frantic people were clamoring for their savings...

SFX:

CROWD NOISE/DOOR CLOSE

GEORGE:

Hey what's going on, Uncle Billy? What's happened? All those people out there-

UNCLE BILLY:

This is a pickle, George. All I know is the bank called our loan an hour ago. I had to hand over all our cash.

GEORGE:

Holy mackerel!

UNCLE BILLY:

Whole town's gone crazy- the bank's in the same spot we are!

GEORGE:

Our charter too-

UNCLE BILLY:

-What about our charter?

GEORGE:

Our charter says we have to stay open till six pm. The state can take away our license if we don't!

UNCLE BILLY:

How can we stay open till six without any money? George, where're you goin'??

GEORGE:

Out to talk to those people. C'mon!

SFX:

DOOR OPENS/CROWD NOISE

CROWD:

(ad-libs)George, where's our money?

GEORGE:

Now listen, folks! Just a minute, please!!

TOM:

How about our money, George? Where's our money?

GEORGE:

Wait a minute, now! Listen to me! Now you're thinking of this place all wrong. Your money's not here!

CROWD:

(ad-libs) What?

GEORGE:

Your money's in people's houses! In the Kennedy house, and the Mclarin house, and your house, and a hundred others. Now what are you going to do -- Foreclose on them?!?

TOM:

I got two hundred and forty dollars in shares. Now lemme have it!

GEORGE:

All right, all right Charlie. You'll get your money in sixty days.

TOM/CROWD:

(ad-libs) Sixty days?!?

GEORGE:

Now look that's what you agreed on when you bought your shares.

RANDALL:

(coming up to mike) I got my money! Old Man Potter's taken over the bank!! He'll pay you fifty cents on every dollar!!!

CROWD:

(ad-libs) Fifty cents on the dollar?!?

TOM:

(to CROWD) Let's take our shares to Potter! Half is better than nothing!!!

GEORGE:

Wait a minute, wait a minute, please folks! I beg of you not to do this. If Potter gets hold of your shares he'll be owning this building and loan. He's got the bank. He's got the bus line. He's got the department stores. And now he's after us because he wants to keep you living in his shacks and paying the kind of rent he decides to charge. Now, we can get through this thing all right, but we've got to stick together! We've got to have faith in each other!

MRS. THOMPSON:

My husband's out of work! We need money!

ANGRY MAN:

I got doctor bills to pay!

WORRIED WOMAN:

I can't feed my kids on faith!

CROWD:

(ad-libbing) Me too! What about that George!?!

MARY:

How much do you need? We've still got some money!

GEORGE:

Hey Mary!

MARY:

Here it is, George! You told me to hold on to it. Would have made a nice honeymoon -- bought furniture, too!

GEORGE:

Wait a minute, folks! Listen, I got two thousand dollars! All right, Charlie, how much do you need?

TOM:

(doggedly) Two hundred and forty dollars.

GEORGE:

(pleading) Now, Tom, just enough to tide you over!

TOM:

I said two hundred and forty dollars!

GEORGE:

Okay, okay. Uncle Billy give Tom, two hundred and forty dollars. All right Ed, how much just to get by?

ED:

Twenty dollars, I suppose.

GEORGE:

Now you're talking! Mrs. Thompson, how about you?

MRS. THOMPSON:

Twenty dollars will do me.

GEORGE:

(counting it out) Good, twenty dollars. Uncle Billy? Pay it back when you can now. All right, all right who's next?

MFX:

EXCITED

UNCLE BILLY (excitedly):

Look at the clock! Look!!!

GEORGE:

(counting) Five seconds... four seconds... three... two... one... six o'clock, we made it! Lock that door Eustace, quick! Boy, we're still in business, Uncle Billy! We even got two bucks left!!

COUSIN TILLY:

George, there's a call for you.

GEORGE:

Okay, and then call my wife will you? She's probably over at Mother's.

COUSIN TILLY:

Mrs. Bailey's on the line.

GEORGE:

I don't want Mrs. Bailey, I want my wife. Mrs. Bail- that's my wife! Give me the phone will you? Hey, Mary? Listen, I'm sorry... (beat) Come home? What home?? Three-twenty-three Sycamore? Well, whose home is that? Well Mary, how can I- sure, I'll be there-

JOSEPH:

Clarence? Guess what 323 Sycamore was?

CLARENCE:

His mother-in-law's house, huh?

JOSEPH:

Oh no. Number 323 Sycamore was the old Granville house. The one George threw rocks at and made wishes. Yes sir, that's where they spent their honeymoon. That's where they started housekeeping. They were still living there two years later when old man Potter asked George to stop over at his office...(fades)

POTTER:

Sit down George, sit down. Err, have a cigar.

GEORGE:

Thank you, sir.

POTTER:

Now George, you're a young man... married, making, say, forty dollars a week at the Building and Loan-

GEORGE:

(indignantly) Forty-five.

POTTER:

Forty-five. Now, if you were an ordinary yokel, I'd say you were doing fine. But George Bailey is intelligent...ambitious. He hates the Building and Loan almost as much as I do. He's been dying to get out of town ever since he was born. But he's trapped. Trapped into frittering his life away playing nursemaid to a lot of garlic-eaters. Do I paint a correct picture, George, or do I exaggerate?

GEORGE:

Well, what's your point, Mr. Potter?

POTTER:

My point is that you're the only man in town who's licked me. George, I want to hire you. Manage my affairs. I'll start you off at twenty thousand dollars.

GEORGE:

(flabbergasted) Twenty thou-- twenty thousand dollars a year?? Are you sure you're talking to me? I'm George Bailey. Don't you remember me? The Building and Loan. Remember?

POTTER:

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

GEORGE:

Well, what about the Building and Loan?

POTTER:

(angry) Confound it man, I'm offering you a three-year contract at twenty thousand dollars a year. Is it a deal or isn't it?

GEORGE:

No... no... the answer's no! Doggone it! If you offered me a million dollars to stay around this town and play stooge to you, the answer'd still be no! Now lemme alone! Don't bother!

MFX:

UP

MARY:

George, what did Mr. Potter want?

GEORGE:

Oh, it was nothing. He just wanted to talk , talk... aw gee... Mary Hatch...why...why in the world did you marry a guy like me, anyway?

MARY:

To keep from being an old maid.

GEORGE:

I was going to see the world... I was going to build things... I was going to give you the moon. What have I given you, what've I given you? Not even a new dress, not for months. Gee whiz, I feel awful.

MARY:

So do I. Mornings especially.

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, and I promised you that ... you..you... Your what???

MARY:

My baby.

GEORGE:

(incredulously) You...You mean... Mary, you mean you're on the nest??

MFX:

TRANSITION

JOSEPH:

Well, Mary had her baby, Clarence. A boy.

CLARENCE:

You don't say!

JOSEPH:

Then she had another one. A girl.

CLARENCE:

Well, whaddya know!

JOSEPH:

Night after night, George'd come home late from the office. Things weren't good with the Building and Loan. Potter was really baring down on him. Then came the war. Mary had another baby by then.

CLARENCE:

Ohhhhh...

JOSEPH:

But she still had time to help out in the U.S.O. Uncle Billy sold war bonds. And George's brother Harry became a real hero... shot down fifteen planes!

CLARENCE:

But George, what about George?

JOSEPH:

George was 4F on account of his ear. He was an air raid warden... on V-E Day he wept and prayed. On V-J Day he wept and prayed again.

CLARENCE:

We're uhh... we're getting pretty close to today, aren't we sir?

JOSEPH:

Yes, Clarence. You now know almost everything you have to know about George Bailey. Except what happened that finds him down there at this moment, wanting to die.

CLARENCE:

Well, sir? Well?

JOSEPH:

Today's the day before Christmas, err, Earth-time. George is pretty excited...

GEORGE:

Hey Tilly! Eustace, look at the newspaper! Commander Harry Bailey decorated by the President- that's my kid brother- the Congressional Medal of Honor!

COUSIN TILLY:

Gosh George! Gosh!

GEORGE:

What do you think about that? 15 Jap planes and the last one he got was just about to dive into a transport loaded with soldiers!! You know what that means? He saved lives -- Hundreds of lives!!! Gee whiz, where's Uncle Billy??

COUSIN TILLY:

Gone to the bank George. He's depositing that eight thousand dollars.

GEORGE:

Good, good. Who's that in his office there?

COUSIN TILLY:

It's that man again. The bank examiner.

GEORGE:

Oh, oh. (to CARTER the bank examiner) Well, good afternoon, Mr. Carter! (to TILLY) Hey Tilly, get the books for Mr. Carter, willya? (to CARTER) You know that's my brother's picture there, Mr. Carter, he shot down 15 planes, one of them...

UNCLE BILLY:

Well, well. Mr. Henry F. Potter come to the bank to deposit some more loot, eh?

POTTER:

Out of my way, you old fool!

UNCLE BILLY:

Howdya like the news in the paper, Mr. Potter? Just can't keep those Bailey boys down, now, can you?

POTTER:

Lemme see that newspaper!

UNCLE BILLY:

Here-- sorry I can't chat, you old thief. Gotta make a deposit. (to HORACE the bank teller) Eh, here ya'are, Horace. Deposit slip. Bank book. And a very Merry Christmas to you!

HORACE THE TELLER:

You too, Mr. Bailey! Say- you've forgotten something, haven't you?

UNCLE BILLY:

Horace, I've forgotten things all my life.

POTTER:

(off) Get a wheel on, boy!

HORACE THE TELLER

But Mr. Bailey, where's the money?!?

UNCLE BILLY:

What's that?

HORACE THE TELLER:

You want to make a deposit?

UNCLE BILLY:

Certainly I want to--!

HORACE THE TELLER:

Well, it's customary to bring the money with you-

UNCLE BILLY:

It's gone?!?! Where'd I put it? Where'd I put that money??!!??

MFX:

TRANSITION

JOSEPH:

A terrible thing, Clarence, terrible. Uncle Billy couldn't find the money because the envelope with the eight thousand dollars was folded up in that newspaper he gave to old man Potter.

MFX:

OUT

UNCLE BILLY:

(anguished) I just don't know what happened to it, George, I just don't know!!!

GEORGE:

Eight thousand dollars, Uncle Billy! The bank examiner's here and it's not our money, it belongs to the depositors...

UNCLE BILLY:

George! What are we gonna do? We've traced every step I took- we can't stand here in the street!!!

GEORGE:

Are you sure you didn't put the envelope in your pocket?

UNCLE BILLY:

I-I think so... maybe...maybe... I'm no good to you, George. I'm no good...

GEORGE:

(desperately) Now, listen to me! Think! Think, will you?!? Now try and think!!!

UNCLE BILLY:

(sobbing) I can't think anymore, George! I can't think anymore!! It hurts-

GEORGE:

(screaming at him) Where's that money, you silly old fool? You know what this means?? It means bankruptcy and scandal, and prison! One of us is going to jail! Well, it's not going to be me!! Now get outta my way, I'm going home!!

MFX:

TRANSITION

FX:

piano version of "Hark The Herald Angels Sing" is heard BG throughout scene.

MARY:

George dear, what's wrong? You haven't said a word since you came home!

GEORGE:

With that banging on the piano- does she have to keep playing the same song over and over and over again?

JANIE:

(hurt) I have to practice for the Christmas party, Daddy.

MARY:

What is it, dear? Another hectic day?

GEORGE:

Yeah. Yeah, another red letter day for the Baileys.

PETE:

Dad, the Murphys got a brand new car! You should see it!

GEORGE:

What's the matter with our car? Isn't it good enough for you??

PETE:

I'm sorry, Dad. I only--

MARY:

Run upstairs, Petey, and see if Zuzu's all right.

PETE:

Okay, Mom.

GEORGE:

Now, what do you mean? "See if Zuzu's all right"? What do you mean??

MARY:

Oh, she caught a little cold coming home from school. She didn't button up her coat.

GEORGE:

Well, what is it? What do you mean "just a cold"?

MARY:

George, the doctor says it was nothing serious.

GEORGE:

The doctor?? Was there a doctor here???

MARY:

Well, I thought he better look at her-

GEORGE:

It's this drafty old house. It's no wonder we don't all have pneumonia! 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?

FX:

(piano out)

MARY:

(worried) George, what's happened?

GEORGE:

Everything's happened!! You call this a happy family? Why did we have to have all these kids?

JANIE:

Daddy, how do you spell "frankincense"?

GEORGE:

(shouting) I don't know how you spell it! Ask your mother!!

MARY:

Where're you going?

SFX:

PHONE RINGING/PHONE PICK UP

GEORGE:

(off) Upstairs to see Zuzu!

MARY:

(on phone) Hello? Oh, thank you, Mrs. Welch. I'm sure she'll be all right-

GEORGE:

-Who's that?

MARY:

(to GEORGE) Zuzu's schoolteacher. (into phone) What? Oh yes, the doctor says she'll be fine tomorrow-

GEORGE:

Here, give me that phone

MARY:

George, please!

FX:

piano starts midspeech

GEORGE:

(into phone) Mrs. Welsh? This is Mr. Bailey! Say, what kind of teacher are you anyway? What do you mean sending Zuzu home like that, half-naked? Do you realize she'll probably end up with pneumonia because of your stupidity? You know, maybe my kids aren't the best-dressed kids in town, but at least- Hello? Hello!

SFX:

PHONE SLAMMING DOWN

GEORGE:

Janie, will you stop playing that lousy piano? Now cut it out! Stop it!!

SFX:

PIANO STOPS/JANIE STARTS CRYING

MARY:

George, for heaven's sake, what's wrong with you??

GEORGE:

I'm sorry, Mary, Janie... I'm sorry. I-I've just got to get out of here.

SFX:

FRONT DOOR SLAMS SHUT

MFX:

TRANSITION

POTTER:

So that's it, George; you're short eight thousand dollars in your accounts, eh?

GEORGE:

Please, Mr. Potter, I'll pay any sort of a bonus if you still want the Building and Loan, why I--

POTTER:

-You say it was lost. Have you notified the police??

GEORGE:

No sir, I haven't done that, yet. Harry's homecoming tomorrow...

POTTER:

Why come to me? What about your good friend Sam Wainwright??

GEORGE:

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

POTTER:

What kind of security would I have, George? What collateral?

GEORGE:

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

POTTER:

Hmm? What's your equity in it?

GEORGE:

Five hundred dollars.

POTTER:

And you want eight thousand? You once called me a warped, frustrated old man. Well, what are you but a warped, frustrated young man? Crawling on your hands and knees for help. Why don't you go to the riff-raff you love so well? Ask them for help!

GEORGE:

I'll do anything, Mr. Potter, please. Please help me- my wife and kids-

POTTER:

I'm calling the district attorney. Five hundred dollars. You know something, George? You're worth more dead than you are alive. Now get out of here -- get out!!

MFX:

Dramatic into heavenly

JOSEPH:

And all the time, Potter had the eight thousand dollars in his desk drawer. It's still there, Clarence.

CLARENCE:

But where is George, sir? Where?

JOSEPH:

Well, he went over to Martini's caf?. He's had a couple of drinks, Clarence. He' s just standing there, sort of in a daze...

SFX:

BAR SOUNDS

MFX:

BG JUKEBOX

GEORGE:

Oh God... God... Dear Father in Heaven, I'm not a praying man, but if you're up there and you can hear me, show me the way. I'm at the end of my rope. Show me the way, God.

MARTINI:

Mr. Bailey, you all right? Don't drink any more, Mr. Bailey, please. You don't feel good.

WELCH:

Baily? You say Bailey? Which Bailey?

MARTINI:

This gentleman is Mr. Bailey. George Bailey.

WELCH:

George Bailey, huh?

SFX:

PUNCH/BODY FALLS TO FLOOR

WELCH:

And the next time you talk to my wife like that you'll get worse. It isn't enough she slaves teaching your stupid kids how to read and write -- you gotta bawl her out-

MARTINI:

You get out of here, Mr. Welch! You hit my best friend- get out!!

WELCH:

All right, I'm goin'!

MARTINI:

Mr. Bailey, you okay?

GEORGE:

Who was that?

MARTINI:

Mr. Welch, but don't worry. He don't come in this place no more! I get something for your face, it's bleeding!

GEORGE:

No- I'm all right-

MARTINI:

Please don't go, Mr. Bailey-

GEORGE:

Leave me alone-

MARTINI:

Oh no, please don't go this way, Mr. Bailey

GEORGE:

Lemme alone!

MFX:

somber

JOSEPH:

Well, George left Martini's Caf? five minutes ago, Clarence. He's at the river now, on the bridge, looking at the water. Are you ready, Clarence?

CLARENCE:

All ready, sir!

JOSEPH:

Very well. Save George Bailey's life and you'll get your wings!

CLARENCE:

My wings! Oh, thank you, Joseph. (OFF ...to GEORGE) George? George Bailey! Get away from that bridge!! Do you hear me?? George! George!!!

MFX:

climax

SFX:

APPLAUSE

KEIGHLEY:

In just a moment, we'll bring you act three of "It's A Wonderful Life", starring Jimmy Stewart, Donna Reed, and Victor Travers.

The popular theory about beautiful blondes is that they are content to be merely decorative. Our lovely guest tonight, Miss Susan Blanchard, completely disproves that idea. Besides being a hard working Fox starlet, Susan, I understand you're a wonderful cook.

SUSAN:

I really love housekeeping, Mr. Keighley. But most of all, I enjoy the training I get at the studio. It's work, but it's fun, too.

KEIGHLEY:

You're an Easterner, aren't you Susan?

SUSAN:

Yes. A native New Yorker.

KEIGHLEY:

I thought so.

SUSAN:

It was the Broadway theater that inspired me to think of show business as a career.

KEIGHLEY:

Well, that's interesting.

SUSAN:

I used to save my allowance and go to every play I could. One of my favorite actresses was Jane Wyatt.

KEIGHLEY:

Uh-huh.

SUSAN:

Imagine Mr. Keighley, what a thrill it was for me to meet her right here in Hollywood.

KEIGHLEY:

Jane Wyatt's latest picture "Boomerang" was made in the east, I understand.

SUSAN:

Mm-hmm, yes. But she and Dana Andrews, who stars in "Boomerang" with her, were in Hollywood to see a studio showing of the picture.

KEIGHLEY:

Oh, I see.

SUSAN:

Jane Wyatt is my ideal of a stage and screen star. So talented, and so lovely to look at. Just as lovely in real life, too.

KEIGHLEY:

She is indeed.

SUSAN:

It wasn't long before I discovered that she's as keen about Lux Toilet Soap for beauty care as I am. You know, I'm a Lux girl, too.

KENNEDY:

We're glad to hear you say that Miss Blanchard, because that's a very beautiful Lux complexion I see before me. Just right for blue eyes and ash-blond hair!

SUSAN:

Thank you, Mr. Kennedy. Any girl in pictures is delighted to find out about Lux Toilet Soap as a beauty care. Active lather facials are so quick and easy. And they really make a difference in your skin.

KENNEDY:

Thousands of busy, attractive women have discovered that, Miss Blanchard. Daily Lux soap complexion care does make skin lovelier. Otherwise, it wouldn't be the choice of nine out of ten screen stars!

SUSAN:

Lux Toilet Soap is all-around beauty care for me! I use it as a bath-soap, too! It has such delightful perfume. Leaves a lovely fragrance on the skin!

KENNEDY:

Thank you, Miss Susan Blanchard. I hope our audience will be seeing that lovely Lux complexion of yours in a screen closeup one of these days. Now back to our producer, William Keighley.

KEIGHLEY:

Act 3 of "It's A Wonderful Life" starring Jimmy Stewart, Donna Reed, and Victor Moore.

MFX:

(agitato)

KEIGHLEY:

Numb with despair, convinced, as Mr. Potter said, that he's worth more dead than alive, George Bailey stands on a bridge staring at the dark and frigid waters below. Suddenly there's a splash --

CLARENCE:

(off) Help! Help, I'm drowning! Oh, Help!

KEIGHLEY:

No, that's not George; it's Clarence the apprentice angel. And there goes George in after him. Hm, its a few minutes later now, and in the bridge-keeper's shack, George and Clarence are drying off...

MFX:

OUT

BRIDGEKEEPER:

You both sure you're all right? Want a doctor?

GEORGE:

No, I'm all right.

CLARENCE:

Oh, I'm fine. This underwear- I didn't have time to get anything more stylish. My wife gave me this on my last birthday. I...passed away in it.

BRIDGEKEEPER:

You- you what, mister?

CLARENCE:

Oh, I see Tom Sawyer's drying out, too.

BRIDGEKEEPER:

Who?

CLARENCE:

My book. I left in such a hurry, I brought Tom Sawyer with me.

GEORGE:

How'd you happen to fall in?

CLARENCE:

Oh, I jumped in. I jumped in to save you.

GEORGE:

Jumped in to save me?

CLARENCE:

Well I, I did, didn't I? (pause) You didn't go through with it, did you?

GEORGE:

Go through with what?

CLARENCE:

Suicide.

BRIDGEKEEPER:

Hey, it's against the law to commit suicide around here!

CLARENCE:

Yeah, it's against the law where I come from, too!

BRIDGEKEEPER:

Where do you come from?

CLARENCE:

Heaven.

GEORGE:

Oh, that's very funny, very funny...

CLARENCE:

Your lip's bleeding.

GEORGE:

Yeah, I got a bust in the jaw in answer to a prayer.

CLARENCE:

Oh no, George. I'm the answer to your prayer!

GEORGE:

How'd you know my name?

CLARENCE:

Oh, I know all about you.

GEORGE:

Who are you supposed to be anyway?

CLARENCE:

Clarence Oddbody, A-S-2.

GEORGE:

Oddbody... A-S-2. What's that A-S-2 for?

CLARENCE:

Angel, Second Class.

BRIDGEKEEPER:

Hey, I'm getting' outta here! You may not need a doctor, but I do!!

CLARENCE (to BRIDGEKEEPER):

Cheerio, my good man!

GEORGE:

Hey look here, why'd you want to save me?

CLARENCE:

Because I'm your guardian angel, George.

GEORGE:

Oh I see, uh-huh. Well, you look like about the kind of angel I'd get! What happened to your wings?

CLARENCE:

I haven't won my wings yet. That's why I'm an Angel Second Class.

GEORGE:

Oh, I see...

CLARENCE:

But you can help me earn them, George, by letting me help you.

GEORGE:

Oh, uh-huh. You don't happen to have eight thousand bucks on you, do you?

CLARENCE:

Oh, no, no. We don't use money in Heaven!

GEORGE:

Oh, that's right, yeah, I keep forgetting. (beat) Comes in pretty handy down here, bub.

CLARENCE:

Oh, tut-tut-tut.

GEORGE:

Of course I found it out a little late. You know, I'm worth more dead than alive!

CLARENCE:

You mustn't talk like. Joseph will never give me my wings if you keep feeling that way. You just don't realize what you've done for your folks. Why, if it hadn't been for you-

GEORGE:

Yeah if it hadn't been for me, everybody'd be better off! My wife, and my kids and my friends-

CLARENCE :

Ohhhh, this is not going to be easy

GEORGE:

They'd all have been better off if I hadn't been born

CLARENCE:

What'd you say?

GEORGE:

I said, I wish I'd never been born!

CLARENCE:

George, that's wonderful.

GEORGE:

Wonderful? What?

CLARENCE:

The idea you just gave me. You got your wish. You've never been born.

GEORGE:

I've never been born?

CLARENCE:

Exactly. No worries, no eight thousand dollars to get, nothing. You simply don't exist.

GEORGE:

All right, all right, okay, all right...

CLARENCE:

George, I can do things. Strange things. I can show you the world, George, the way it would be if you hadn't been born.

GEORGE:

Hey-hey, wait a minute- This ear of mine. Say something else in that bad ear.

CLARENCE:

You don't have a bad ear anymore. Oh, I don't think you're concentrating. Don't you see? You're not the George Bailey you think you are. You're- well, you're nobody.

GEORGE:

Well, that's the doggonedest thing... that ear-

CLARENCE:

Your lip's stopped bleeding, too, George.

GEORGE:

Yeah-yeah... Say, what's happening around here? What is this, anyway? I need a drink, that's what I need! What about you angel, you want a drink?

CLARENCE:

Well, I don't quite know-

GEORGE:

C'mon, c'mon, we'll go as soon as our clothes are dry-

CLARENCE:

-- Our clothes are dry, George.

GEORGE:

Hey, so they are, that's funny. Well, look, let's get dressed and we'll stroll over to Martini's and then- oh, excuse me, I meant I'll stroll, you fly.

CLARENCE:

Ha, no, no, I don't have my wings-

GEORGE:

(with him) You don't have your wings yet. That's right, I forgot that again. Couple of drinks and we'll both fly.

SFX:

BAR SOUNDS

NICK:

What'll ya have fellas?

GEORGE:

Hey, where's the boss? Where's Martini?

NICK:

Look, wiseguy, I'm the boss, see?

GEORGE:

Okay- well, double scotch. Quick, willya?

NICK:

What's yours?

CLARENCE:

I would just love some mulled wine.

NICK:

Huh?

CLARENCE:

Heavy on the cinnamon and light on the cloves. Off with you, my lad, and lively now!

NICK:

Now cut it out!

GEORGE:

Oh come on here- just give him the same as my order. He's okay.

NICK:

Nnh. Two double scotches.

GEORGE:

What about this place? It's all changed!

CLARENCE:

All of Bedford Falls has changed. You're having your wish, George, you've never been born. Oh, there'll be lots of things you've never seen before-

SFX:

CASH REGISTER BELL RINGS

CLARENCE:

Oh good. Somebody's just made it.

GEORGE:

Made what?

CLARENCE:

Everytime a bell rings, it means some angel's got his wings.

NICK:

What'd you say?

GEORGE:

Uh, look, uh, Clarence, I don't think you'd better talk about angels around here-

CLARENCE:

Don't they believe in angels?

GEORGE:

Oh, yeah, they believe in them, but... you know, it's just, uh-

CLARENCE:

-Then why should they be surprised when they see one?

GEORGE:

(to NICK) Don't mind him, bartender. He's just a little fella that never grew up. How old are you, anyway, Clarence?

CLARENCE:

Well, next May I'll be two hundred and ninety-three.

NICK:

That does it! A couple of pixies, eh? Go, get, you hear me? Get!

GEORGE:

Look, where's Martini? Will you call him-

NICK:

Stop askin' about Martini! He ain't here and he- (yelling off mike) -Hey you! Rummy! Didn't I tell you never to come panhandling around here?!?

CLARENCE:

George...look-

GEORGE:

Hey, it's Mr. Gower! Mr. Gower! Listen, Mr. Gower don't you know me? This is George Bailey!

GOWER:

You- you buy me a drink, mister? Just one drink, willya, mister?

NICK:

Pinky?

PINKY:

Yeah, Nick?

NICK:

Throw the rummy out!

GOWER:

Oh, no, no please-

GEORGE:

Hey, bartender that-that's Mr. Gower, the druggist!!

NICK:

That rumhead spent twenty years in jail for poisoning some kid. If you know him, you must be a jailbird yourself. (to PINKY, yelling off mike) Pinky! Here's two more- get'em outta here! (fades)

CLARENCE:

Get up, George. It's a good thing he threw us in this snow bank, eh?

GEORGE:

Where's Mr. Gower?

CLARENCE:

Mr. Gower doesn't know you, George. You see, you weren't there to stop him from putting poison into that prescription...

GEORGE:

What do you mean, I wasn't there? Look- tell me, what are you- a hypnotist?

CLARENCE:

George...

GEORGE:

-Well, why am I seeing all these strange things?

CLARENCE:

Don't you understand? It's because you were not born.

GEORGE:

Then if I wasn't born, who am I?

CLARENCE:

Nobody. You have no identity.

GEORGE:

What do you mean, "no identity"?

CLARENCE:

No papers, no cards, no driver's license, no 4-F card, no insurance policy-

GEORGE:

Zuzu's bell

CLARENCE:

What?

GEORGE:

Zuzu's bell. I bought my little girl a bell to hang on the Christmas tree and I forgot to give it to her and I got it in m-my (searching for it) It's gone. It's gone too. Everything is gone...

CLARENCE:

But you've been given a great gift, George. A chance to see what the world would be like if you'd never been born.

GEORGE:

You're crazy. You're crazy as a bedbug and you're driving me crazy too! Now look, I'm going home to my wife and family, do you understand that? And I'm going home alone!!

MFX:

heaven theme

JOSEPH:

Better not leave him alone, Clarence- keep following him.

CLARENCE:

Joseph! Oh, I'll stay near him, sir. Poor George, he's seeing Main Street now, the way it would be if he hadn't lived. The thing that's really shocked him, sir, is the Building and Loan office. Know what's there now? A pawnshop.

JOSEPH:

What's he doing? Can you see?

CLARENCE:

He's talking to Ernie Bishop, the taxi driver. He wants to go home.

JOSEPH:

You'd better tag along, Clarence.

CLARENCE:

Oh, I will sir. I will.

MFX:

MUSIC OUT

SFX:

CAR RUNNING

GEORGE:

C'mon, step on it, Ernie, get me home. I'm off my nut!!

ERNIE:

(a much harder ERNIE) Where do you live, buddy?

GEORGE:

Aw, doggone it, Ernie, don't you start pulling that stuff on me. Three-twenty-three Sycamore.

ERNIE:

Three-twenty-three Sycamore?

GEORGE:

Yeah-yeah-hurry up. Zuzu's sick.

ERNIE:

Okay, buddy-

GEORGE:

Hey look, Ernie, I don't know what's happening I'm goin' crazy or something. I've got some bad liquor- Now look, tell me this now, you're Ernie Bishop, right? And you live with your wife and kid down in-

ERNIE:

-You seen my wife?

GEORGE:

Seen your wife? I've been to your house a hundred times! We built it for you, didn't we?

ERNIE:

Look, bud, my wife took the kid and ran away five years ago and I ain't seen you before in my life, see?

GEORGE:

Okay, Ernie, okay. Just step on it. Get me home.

MFX:

TRANSITION

GEORGE:

Mary! Mary, where are you!? Janie! Petey! Zuzu! Zuzu! Where are you?

CLARENCE:

This is just an old abandoned house, George. You have no wife. No children.

GEORGE:

Where are they? What have you done with them??

ERNIE:

(off, to BERT) There you are, Bert- crazy just like I told ya!

BERT:

All right, up with your hands!

GEORGE:

Oh, Bert! Bert the cop, thank heaven you're here!!

BERT:

Now look, why don't you be a good fella and I'll take you to a doctor.

GEORGE:

Bert- Now, Bert, listen to me. What's the matter with you guys? Now listen- it's that fellow there- he says he's an angel- he tried to hypnotize me!!

BERT:

I hate to use my nightstick, but I guess I- OWWWW!!!

CLARENCE:

Run George... run! He can't hit you while I'm biting him!!

BERT:

OWWW!!!!!!

CLARENCE:

George, run! My teeth aren't what they used to be! Joseph, help!! Joseph!! Joseph!!!

BERT:

Where'd they go, Ernie? Where'd they go??

MFX:

under next three lines - becomes heavenly

ERNIE:

I-I don't know! They just disappeared!!

JOSEPH:

Clarence!

CLARENCE:

Oh, Joseph, I hope you don't mind my calling on you like I did.

JOSEPH:

It was very irregular, Clarence. You're by yourself again- where's George?

CLARENCE:

He's at his mother's house, sir.

JOSEPH:

Well, if George hasn't been born, he has no mother.

CLARENCE:

Oh, he's being very stubborn, sir. He'll just have to find these things out for himself.

JOSEPH:

But his mother! That's a terribly bitter blow to a man; his own mother not knowing him.

CLARENCE:

You mean I shouldn't have let him...

JOSEPH:

-I mean you'd better find him right away. Oh, and stop biting policemen, Clarence!

MFX:

out

CLARENCE:

I'm here again, George.

GEORGE:

My mother- my own mother didn't even know me! If only Harry were here. If my brother were only back from Washington-

CLARENCE:

Your brother fell through the ice and was drowned at the age of nine...

GEORGE:

That's a lie! He got the Congressional Medal Of Honor- he saved the lives of every man on that transport!

CLARENCE:

Every man on that transport died. Strange, isn't it? Each man's life touches do many other lives. Harry wasn't there to save them because you weren't there to save Harry. Don't you see, George? You really had a wonderful life. Don't you see what a mistake it would be to throw it away?

GEORGE:

Clarence...

CLARENCE:

Yes?

GEORGE:

Where's Mary? Please, where's my wife?

CLARENCE:

I, uh- I'm not supposed to tell.

GEORGE:

Tell me where she is.

CLARENCE:

You're not going to like it, George.

GEORGE:

Where is she?? I'll choke it out of you if I have to! Where's my wife??

CLARENCE:

The library. She works there. She's just about to lock up for night. So, I, uh- George! George, come back!! Ohhhh, there must be some easier way for me to get my wings.

SFX:

TRAFFIC SOUNDS

GEORGE:

Mary! Mary!!

MARY:

I'm sorry, the library is closed.

GEORGE:

Mary, it's George! Don't you know me?

MARY:

No, I don't know you- let me go!

GEORGE:

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

MARY:

Get away from me! Help!! Help

GEORGE:

Help me, Mary!!! Mary, I'm George

MARY:

SHRIEKS

MFX:

crisis

JOSEPH:

Clarence...

CLARENCE:

Oh where is he, Joseph? Where's George? I'm afraid I've lost him, sir!

JOSEPH:

You knew you shouldn't have let him try to see Mary. Now they're after him??"a mob! They think he was trying to hurt her!

CLARENCE:

Joseph, I won't even get one wing, will I?

JOSEPH:

You have one more chance, Clarence. Get over to the bridge by the river. I think George has seen just about enough!

CLARENCE:

But-but the mob!

JOSEPH:

Don't worry; they've lost him, too. Now hurry up!

CLARENCE:

Oh thanks, Joseph! Thank you!

MFX:

OUT

GEORGE:

Clarence... Clarence! Clarence! Where are you?

CLARENCE:

I'm here, George.

GEORGE:

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

CLARENCE:

Oh thank you, George. Thank you, Lord!

GEORGE:

I want to live again, please. Oh God, please, let me live again!

BERT (from off mike) George? Is that you down there, George?

GEORGE:

Now get out of here, Bert! Get out of here! You get any closer and I'll let you have it-

BERT:

What the Sam Hill you yelling for, George??

GEORGE:

C'mon-- George? George- Bert, do you know me??

BERT:

Know you? I've been looking all over town for you. Where you been?

GEORGE:

Bert- Bert- I'm alive again, Bert!

BERT:

You sure you're all right? Hey, your mouth's bleedin'!

GEORGE:

It is? Hey- my mouth's bleeding! Bert, look at the blood comin' out of there, wouldya? Zuzu's Christmas bell, Bert, I had it in my pocket--

GEORGE:

Here it is! Hey it's in my pocket! What do you know about that? Hey, Merry Christmas, Bert!!

SFX:

BELL RINGING

BERT:

Well, Merry Christmas. Get in the car; I'll drive you home.

GEORGE:

You will, Bert? Well do that and turn the sirens wide open, huh? Merry Christmas, Bedford Falls!! Merry Christmas, old Building and Loan! Merry Christmas Mr. Potter! Yippee!! (fade out)

GEORGE:

C'mon! Hey, Bert, c'mon in with me, huh?

SFX:

FOOTSTEPS/DOOR OPENING-CLOSING

GEORGE:

Wha- What's with all these people? These reporters, wh-? Well, Merry Christmas, reporters! Hey, Mr. Bank Examiner, Merry Christmas!

CARTER:

Mr. Bailey, there's a deficit!

GEORGE:

I know. Eight thousand dollars I'll bet, huh?

SHERIFF:

George, I've got a little paper here, I'm sorry...

GEORGE:

I'll bet it's a warrant for my arrest, isn't that wonderful? Merry Christmas! ---Hey, where's Mary? You know? Oh, look at this wonderful, old, drafty house! Isn't it won- Have you seen my wife? Where's Mary??

CHILDREN'S VOICES:

Merry Christmas, Daddy! Merry Christmas, Daddy!!

GEORGE:

Kids! Hey, kids!! Pete??"Janie??"Tommy! Ohh, I could eat you up!! Where's your mother??

JANIE:

She went looking for you, daddy, with Uncle Billy.

ZUZU:

Daddy!

GEORGE:

Zuzu??"Zuzu! My little gingersnap!! How do you feel?

ZUZU:

Fine, Daddy. Not a smidge of temperature!

GEORGE:

-Not a smidge of temp... Hallelujah!

MARY:

George! Darling!

JANIE:

It's Mommy! Mommy's home!!

GEORGE:

Mary! Mary!

MARY:

George, darling! Where have you been? Oh, George, George, George...

GEORGE:

Mary! Just let me touch you! Oh, you're real! Oh, you have no idea what's happened to me.

MARY:

You have no idea what's happened either. They're on their way here!

GEORGE:

Who? Who's on their way? Oh, the police department? The FBI?? The National Guard??? I'm alive again, Mary!! Oh, listen, Mary, I'm alive again-

MARY:

Oh yes, darling, yes. Now, close your eyes and come on downstairs (fade)

GEORGE:

(fade in) -W-What is it??"can I open my eyes yet, Mary? What's going on here-

MARY:

Now keep your eyes closed! I'll just walk you over here, by the Christmas tree.

GEORGE:

There's people- I hear lots of people- what is it?

MARY:

Just one minute now. We're all ready, Uncle Billy! Come in, everybody!!

CROWD:

Hooray!

UNCLE BILLY:

George! Look -- just look!

GEORGE:

Uncle Billy?!

UNCLE BILLY:

Money, George! A laundry basket filled with money! Money for you!! Mary did it, George! Mary!!!

GEORGE:

I don't understand? What money?

MARY:

People heard you were in trouble, darling??"these people, your friends! They've collected this money for you! The eight thousand dollars!!!

GEORGE:

Charlie??"wait, there's Martini??"and Mr. Gower! Hey, how are you, Mr. Gower?? Mrs. Thompson...Ed...Tom-...everybody.

ERNIE:

None of us would have a roof over our heads if it wasn't for you, George!

CROWD:

(ad libbing) That's right! You said it!

GEORGE:

Gosh, this is wonderful! Hey, Mary, look! Look who's coming in??"Mother! Hi, Mother! Hey- and Harry!!

HARRY:

Got Mary's telegraph, George! I flew in as fast as I could-

ERNIE:

Hey hey, everybody, a toast! How about a toast!

HARRY:

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

CROWD:

Hooray!

SFX:

CROWD BEGINS SINGING "AULD LANG SYNE"

ZUZU:

Daddy, my Christmas bell...You didn't forget??

GEORGE:

Forget? Here, honey, here's your bell!

SFX:

BELL RINGING

MARY:

Darling, what's this on the table here? What's this book?

GEORGE:

(chuckling) "The Adventures Of Tom Sawyer".

MARY:

Well, look, there's something written in it-

GEORGE:

(reading) "Dear George, remember no man is a failure who has friends. Thanks for the wings. Love, Clarence."

MARY:

Clarence?

GEORGE:

Yep, he's a very dear friend of mine.

SFX:

BELL RINGING

ZUZU:

Daddy, Mrs. Welsh says, every time a bell rings an angel gets his wings!

GEORGE:

That's right, Zuzu...that's right! That's right! Attaboy, Clarence! Attaboy, Clarence! Happy landings!!

MFX:

Old Lang Syne

SFX:

APPLAUSE

KEIGHLEY:

It's a Wonderful Life... so long as we can have such fine performances as we enjoyed tonight, from Jimmy Stewart, Donna Reed, and Victor Moore. Jimmy, I'd like to thank whatever guardian angel whisked you back from Texas for our show this evening.

JIMMY:

Well, that guardian angel was an airline's wing, Bill.

DONNA:

You were in Texas for the premiere of this picture weren't you, Jimmy?

JIMMY:

Yep, Frank Capra and I went down for five openings in as many nights. Pretty good down there in Texas-

KEIGHLEY:

-All of them in Texas, Jimmy?

JIMMY:

Yeah, every one of them. Five premieres over Te- You know, it's a pretty big state, takes that many to...

KEIGHLEY (laughing) -Jimmy, I'm sure your fans were proud to read that you received an honorary degree from Princeton just the other week.

DONNA:

Yeah, how about that, Jimmy? Do we call you "professor" now?

JIMMY:

Mm, no, no, no. It-it's just an M.A.

HENRY:

Master of Arts?

JIMMY:

Well, I d- It might've been, I'd- Might be for Murdering Architecture. That's what I studied ...

KEIGHLEY:

(laughing) -Well, you know Donna has an honorary degree to her credit, too! "L.L.C."

VICTOR:

What's that Bill?

KEIGHLEY:

"L.L.C."? Well, you can see for yourself. A "Lovely Lux Complexion"!

DONNA:

(modest laugh) Well, thank you Bill, Or rather, thank Lux Toilet Soap. It's a wonderful complexion care. I use it faithfully.

KEIGHLEY:

With wonderful results, I see.

JIMMY:

What's happening next Monday night on Lux, Bill?

KEIGHLEY:

Next week we have another of the season's most successful films. It's Twentieth Century Fox's thrilling screen hit, "Leave Her To Heaven" with lovely Gene Tierney. And a star who appears in ans