CBS Lux Radio Theater 1947-03-10 - Its a Wonderful Life James Stewart Donna Reed

Summary

Podcast Summary:

Harold's Old Time Radio
Episode: CBS Lux Radio Theater 1947-03-10 – It's a Wonderful Life (Starring James Stewart & Donna Reed)
Host: Harold’s Old Time Radio
Date: December 19, 2025

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Overview

In this special episode, Harold’s Old Time Radio features the classic 1947 Lux Radio Theater adaptation of It’s a Wonderful Life, starring James Stewart (as George Bailey), Donna Reed (as Mary), and Victor Moore (as Clarence). The episode brings to life Frank Capra’s beloved story of hope, sacrifice, and redemption through a powerful radio performance that highlights the themes of self-worth, community, and the impact one individual can have on the lives of others.

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Key Discussion Points & Plot Breakdown

1. Heavenly Introduction & George Bailey’s Early Life (00:27 - 05:19)

• Narrator (William Keeley) introduces the Lux Radio Theater and sets up the “case history” of George Bailey—a quintessential American whose life is under review by apprentice angel Clarence.
• Clarence learns his mission: to prevent George Bailey, who is at the brink of despair, from ending his life by learning about George’s impact on others.
• Flashbacks include:
  • George saves his brother from drowning but suffers a permanent ear injury.
  • As a boy, George works in Mr. Gower’s drugstore. He prevents a tragedy by catching a prescription error—showing his sense of duty and compassion.

Quote:
“If I should accomplish my mission, may I perhaps get my wings?”
— Clarence (03:08)

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2. Dreams Deferred: Young Adulthood & Family Obligations (05:19 – 13:48)

• George dreams of adventure, travel, and escaping small-town life.
• Tension with George’s devoted father over whether George will stay with the Building and Loan—a business designed to help neighbors own their homes.
• At a dance, George meets Mary Hatch, foreshadowing their romantic connection. Their flirtation at the old Granville house and George’s impassioned wish to “shake the dust of this crummy little town off my feet” establishes his longing for something more (08:30 – 09:54).

Quote:
“You want the moon? Just say the word and I’ll throw a lasso around it and pull it down.”
— George Bailey (11:02)

• Upon his father's sudden death, George sacrifices his college dreams to take over the Building and Loan, putting his own life on hold for the good of the community.

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3. Love, Marriage, and Crisis (13:48 – 21:24)

• George continues to resist his feelings for Mary, despite encouragement from family.
• A tender, awkward scene unraveling George’s stubbornness about marriage, culminating in an emotional confession of love and an impromptu wedding.
• Their honeymoon is interrupted by a local financial panic, and the newlyweds use their savings to keep the Building and Loan afloat, reinforcing George and Mary’s generosity and leadership.

Quote:
“Your money’s in people’s houses… and in your house, and a hundred others.”
— George Bailey (25:12)

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4. Potter’s Temptation & The Struggles of Adult Life (21:24 – 33:39)

• Potter, the town’s wealthy antagonist, tries to purchase and close the Building and Loan, further centralizing his power.
• Potter offers George a lucrative job, which would mean betraying his morals—George refuses, prioritizing community over personal gain (29:06 – 29:47).
• Family life unfolds: George and Mary have children; George works tirelessly but faces mounting pressures and self-doubt, especially as he compares himself to his decorated brother Harry.
• The account builds tension toward George's breaking point:
  • Uncle Billy loses $8,000, endangering the Building and Loan and George’s freedom.
  • Overwhelmed, George lashes out at his family and pleads desperately with Potter, who cruelly rebuffs him and says, “You’re worth more dead than alive.”

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5. Crisis Point: George Bailey’s Despair & Clarence’s Intervention (33:44 – 50:52)

• George contemplates suicide by a bridge, but Clarence intervenes by jumping in first, prompting George to rescue him.
• In the warmth of the bridgekeeper’s shack, Clarence reveals himself as George’s guardian angel and “grants his wish” that he’d never been born (44:35 – 45:35).
• The world transforms:
  • Potterville—Bedford Falls without George—is cold, harsh, and unrecognizable.
  • Friends like Mr. Gower are ruined or imprisoned. George’s past good deeds are wiped away.
  • George finds his family home deserted, his wife a stranger, and discovers that his brother Harry is dead—without George, Harry was never saved as a boy, and thus never became a war hero.

Quote:
“Each man’s life touches so many other lives.”
— Clarence (54:29)

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6. Return & Redemption: Realizing “It’s a Wonderful Life” (50:52 – 62:22)

• George, terrified and heartbroken, prays to live again (56:35).
• His wish is granted; the world returns to normal.
• Overjoyed, he rushes home to his family, embracing each member with newfound gratitude.
• The whole community, led by Mary, rallies to George’s support—repaying his years of kindness by collecting the lost $8,000 and more.

Quote:
“To my big brother George, the richest man in town.”
— Harry Bailey’s Toast (60:58)
“Dear George, remember no man is a failure who has friends. Thanks for the wings! Love, Clarence.”
— Inscription in Tom Sawyer (61:08)

• Zuzu’s famous line:

“Every time a bell rings, an angel gets his wings!”
— Zuzu Bailey (61:31)

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Notable Quotes & Memorable Moments with Timestamps

• “You want the moon? Just say the word and I’ll throw a lasso around it and pull it down.” (11:02) — George Bailey
• “Your money’s in people’s houses…” (25:12) — George Bailey’s plea during the bank panic
• “You’re worth more dead than alive.” (37:47) — Mr. Potter’s cold dismissal
• “I wish I’d never been born.” (45:23) — George’s wish, the turning point of the narrative
• “Each man’s life touches so many other lives.” (54:29) — Clarence
• “To my big brother George, the richest man in town.” (60:58) — Harry Bailey’s toast
• “Dear George, remember no man is a failure who has friends.” (61:10) — Clarence’s final message
• “Every time a bell rings, an angel gets his wings!” (61:31) — Zuzu Bailey

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Structure & Flow

• The episode’s format closely mirrors that of the original film, delivering the heartfelt story in three acts—youthful hope, adult sacrifice, and redemptive self-realization—punctuated by memorable music and the warmth of live radio performance and star interviews.
• The ads and side conversations (omitted in this summary) are typical for the era and format, but the main feature is a tightly scripted radio play, with brief asides from producer William Keeley and an intermission “Hollywood Reporter” segment.

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Takeaway

This episode beautifully captures why It’s a Wonderful Life endures as a holiday classic. The radio adaptation relays its moral with clarity and emotional resonance: Every life matters, and true wealth comes from friendship, kindness, and community spirit. James Stewart and Donna Reed’s performances shine, and Victor Moore provides a gentle, comic touch as Clarence.

For those who’ve never heard an old-time radio drama, this is a lively, moving introduction to the genre—and to its golden message.

Transcript

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[Narrator/Producer William Keeley]

Qualifying credit required. Lux presents Hollywood. Lever Brothers Co. The makers of Lux toilet soap bring you the Lux Radio Theater. Starring James Stewart, Donna Reed and Victor Moore in It's a Wonderful Life. Ladies and gentlemen, your producer, Mr. William Keeley. 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 is starred that fine comedian, Victor Moore. It's a Wonderful Life is the drama of a typical American. 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 Luxoap 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 Luxoap 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, 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 in heaven, where the Superintendent of angels has just summoned an apprentice angel named Clarence. Oh, I'm really going down to Earth, sir. Oh, how splendid. Yes, there's a very discouraged man down there. Clarence. George bailey. At exactly 10:45pm Earth time, he'll be thinking seriously of ending his life. Oh, dear, dear. His life. Now, I want you to stop him if you can. Now, sit down. Sit down. I'll give you Bailey's case history. Sir, if. If I should accomplish my mission, may I perhaps get my wings? I've been waiting over 200 years now, and, well, people are beginning to talk. Clarence, what's that book? The Adventures of Tom Sawyer, sir. I was reading it when you sent for me. Oh, fine book. Excellent. Well, you do a good job on George Bailey, and we'll see about your wing. Oh, thank you, sir. 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 in. Almost drowns. George saved him. Brother fell through the ice. George saved him. Ever since, George has had a bad ear. All that icy water, you understand? Yeah. Bad the air. Yes, sir. 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 whistling. Where you been, George? Mrs. Blaine has called twice. What happened to her prescription? You lost it, didn't you?

[George Bailey and other characters]

No, M. Gower. Here it is.

[Narrator/Producer William Keeley]

Are you good for nothing? Don't you know that blame girl's very sick?

[George Bailey and other characters]

Mr. Gower.

[Narrator/Producer William Keeley]

My ear.

[George Bailey and other characters]

You're hurting my sore ear.

[Narrator/Producer William Keeley]

Teach you to loaf, you lazy brat.

[George Bailey and other characters]

Mr. Gower, you don't know what you're doing. You put something wrong in those caps. Shut up. I know you feel bad, but look, Mr. Gower, look. This bottle. You used this bottle to make up the capsule. It's poison. Poison. Don't hit my sword again, Mr. Gower.

[Narrator/Producer William Keeley]

Oh, George.

[George Bailey and other characters]

It's what you deliver. Mr. Gower, all I wanted was to make George.

[Narrator/Producer William Keeley]

George. 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. Building and Loan Association? 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 Cotton. Boy, oh, boy, oh, boy. It's hard to realize at my last night in the Bailey boarding house. We're sure gonna miss you, George. I'm gonna miss you too. Pop. Hey, what's the matter? You look tired. Oh, I had another tussle with old Henry Potter today. I thought when you put him on the board of directors, he'd ease up. So did I. I just can't understand a man like Mr. Potter. He can't begin to spend all the money. I guess Potter owns about everything he wants in Bedford Falls. Except our building alone. That's why he hates us. Hey, George, can I borrow your tuxedo studs? Yeah, help yourself, Harry. Well, where are they? In your suitcase. I'm not taking a tuxedo on a cattle boat, you know. Say, where'd you get that suitcase anyway? Mr. Gower, going away present. And one of these days you're going to see that bag all covered with travel labels. Italy, Baghdad, Samarkand. Could have a pretty full summary. I'm going to have a pretty full life. Hey, why don't you come to the dance tonight? Why? Don't be bored to dance. Well, you couldn't want a better death. Lots of pretty girls. Hey, hey, I got to hurry. I wish we could send Harry to cunning with you, George. Oh, we've got that all figured out now, Pop. He'll take over my job at the Building and Loan and work four years like I did, and then he'll go. He's pretty young for that job. Well, no younger than I was. Maybe you were born older. George. George, when you get out of college, I don't suppose you'd come back to the building alone. Oh, now, Pop, I just couldn't. I couldn't face being cooped up the rest of my life in a shabby little office. I'm sorry, Pop. Now, 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 in a small way. We are doing something important, George. In that shabby little office, we help people figure out how they can own their own homes. I know, I know, Pop. I. I just wish I felt that. I, I. But I. I just feel like if I didn't get away, I'd bust. You're right, boy. You get yourself an education, then get out of here. Ah, Pop, you. Pop, you want a shark. I think you're a pretty great guy. Well, thanks, George. I'm glad to hear it. Look, why don't you go on over to Harry's dance? You'd have a good time. Well, I don't know. Maybe it will drop in. Maybe we'll at that. So George Bailey went To a dance? Is that important, Joseph? Why, it was at the dance he met Mary Hatch, and three hours later he was walking her home. George and Mary were feeling pretty good, Terence, As a matter of fact. Wonderful.

[George Bailey and other characters]

Buffalo girl can't you come out tonight? Can't you come out tonight? Can't you come out tonight? Buffalo girl can't you come up tonight and dance by the light?

[Narrator/Producer William Keeley]

Hot dog. Oh, boy. Just like an organ. Hey, you know. You know something? If it wasn't me talking, I'd say you were the prettiest girl in town.

[George Bailey and other characters]

Well, why don't you say it?

[Narrator/Producer William Keeley]

I don't know. Maybe I will. How old are you, anyway?

[George Bailey and other characters]

18.

[Narrator/Producer William Keeley]

18?

[George Bailey and other characters]

Too young or too old?

[Narrator/Producer William Keeley]

No, no, it's just right. It sort of fits you. Hey, look where we are.

[George Bailey and other characters]

Oh, the old Granville house.

[Narrator/Producer William Keeley]

Yeah. I gotta throw a rock.

[George Bailey and other characters]

Oh, no, daughter. I love that old house.

[Narrator/Producer William Keeley]

Well, no. Don't you know about deserted houses? You make a wish and then throw a rock.

[George Bailey and other characters]

George. But it was such a lovely old place. Place? I wish I lived there.

[Narrator/Producer William Keeley]

In there. I wouldn't live in it as a ghost. Now watch. Watch this. Here we go. How about it, huh? Pretty good shot, huh? Broke a window, huh?

[George Bailey and other characters]

What you wish, George?

[Narrator/Producer William Keeley]

Oh, I don't know. Not just one wish. A whole hatful. Mary, 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 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 going to build airfields and skyscrapers 100 stories high.

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[Narrator/Producer William Keeley]

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[Narrator/Producer William Keeley]

Bridge is 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 now.

[George Bailey and other characters]

Okay, the moon. I'll take it. Then what?

[Narrator/Producer William Keeley]

Then what? Well. Well, then you could swallow it and it'd dissolve like an aspirin, you know, and the moonbeams that shoot out of your fingers and the ends of your hair and the. The. You. You think I'm talking too much? Yes. Why don't you kiss her instead of talking her death? How's that? Ah, youth is wasted on the wrong people. Why? Hey. Hey, just a minute, mister. Hey, you. Come back here. I'll show you some kissing if you want. George. Hey, Uncle Billy, look here. I'm going to kiss Mary. Watch. George, get in the car, quick. Your father's had a stroke. What? What? George, get in. Hurry. 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 alone had a meeting. They were going to appoint a successor to Mystery. What was that you said, Mr. Potter? I said, as long as Peter Bailey's dead, let's dissolve the building alone. We don't need it. Now, wait a minute. Oh, 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 rebel instead of a thrifty working class. Hold on, Mr. Potter. I meant no disrespect, George, but. Oh, wait a minute there. Why my father ever started this cheap Penny Annie building alone, I'll never know. But just remember this, Mr. Potter, this rabble you're talking about, they do most of the working in the 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, Mr. Potter, he died a much richer man than you'll ever be. I'm not interested in your book, George. I'm talking about the building and lawn. You're talking about something you can't get your fingers on. That'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 a few dollars without crawling to you. Now, come on. Uncle Billy.

[George Bailey and other characters]

What happened, George?

[Narrator/Producer William Keeley]

Yeah, all we heard was a lot of yelling. Boy, oh, boy, you should have heard, George. Yeah, they're in there. Voting is out of business.

[George Bailey and other characters]

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

[Narrator/Producer William Keeley]

45. Will you get out of here? George, you missed your boat trip. Do you want to miss college too? George, we've just voted Potter down. We're still in business.

[George Bailey and other characters]

Whoopee.

[Narrator/Producer William Keeley]

We're still in business. But there's one condition, George. They've appointed you to take your father's place. Appoint me? But I'm going to college. Look, this is my last chance. Uncle Billy's your man, George. You've got to take it. They'll vote with Potter, otherwise, they said so.

[George Bailey and other characters]

They even.

[Narrator/Producer William Keeley]

I know George Bailey didn't go to college. That's right, Terence. He gave his his college money to Harry. Harry went instead. But what happened to that good looking girl? You know, Mary? Old 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 field. Venezuela. Except when Harry came home, he wasn't alone. There was a girl with him. His wife.

[George Bailey and other characters]

George?

[Narrator/Producer William Keeley]

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

[George Bailey and other characters]

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

[Narrator/Producer William Keeley]

Oh, she's swell.

[George Bailey and other characters]

Looks like she can keep Harry on his toes.

[Narrator/Producer William Keeley]

Yeah, yeah, I keep him out of Bedford Falls anyway.

[George Bailey and other characters]

What do you mean?

[Narrator/Producer William Keeley]

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

[George Bailey and other characters]

Buffalo? Well, that means you, you can't. George, did you know Mary Hatch is back from school?

[Narrator/Producer William Keeley]

Yeah, yeah.

[George Bailey and other characters]

Nice girl, Mary. Oh, stop grunting. Give me one good reason why you.

[Narrator/Producer William Keeley]

Shouldn'T call on Mary. Well, Sam Wainwright. Sam's crazy about Mary. Well, she's not crazy about him. Well, now, how do you know that? Did she discuss it with you?

[George Bailey and other characters]

Besides, Sam's away in New York.

[Narrator/Producer William Keeley]

Oh, and all's fair in love and war. I see. Okay, Mother, I think I'll go out and find that girl and do a little passionate necking. Oh, George. Bye, Ms. Bailey. By the way, do you want any books at the library?

[George Bailey and other characters]

Library?

[Narrator/Producer William Keeley]

George.

[George Bailey and other characters]

George, you go and see Mary, do you hear? George, is that you out there?

[Narrator/Producer William Keeley]

Oh. Oh, hello, Mary.

[George Bailey and other characters]

Well, are you coming in?

[Narrator/Producer William Keeley]

I just happen to be passing by here.

[George Bailey and other characters]

Oh, I thought you were picketing. Have you made up your mind?

[Narrator/Producer William Keeley]

How's that?

[George Bailey and other characters]

Have you made up your mind?

[Narrator/Producer William Keeley]

About what?

[George Bailey and other characters]

About coming in. Your mother just phoned. She said you were coming over.

[Narrator/Producer William Keeley]

My mother just found out. What does she mean, Carl? I just happened to be passing by, that's all. I didn't.

[George Bailey and other characters]

Well, all right.

[Narrator/Producer William Keeley]

I'll come in for a minute. But I didn't tell anybody I was coming here. You felt I can't go out for a walk nowadays without you? When'd you get back?

[George Bailey and other characters]

Tuesday.

[Narrator/Producer William Keeley]

Where'd you get that dress?

[George Bailey and other characters]

Do you like it?

[Narrator/Producer William Keeley]

It's all right.

[George Bailey and other characters]

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

[Narrator/Producer William Keeley]

I still can't understand it. I didn't tell anybody I was coming. Coming here, you know.

[George Bailey and other characters]

Would you rather leave? Well, no.

[Narrator/Producer William Keeley]

I don't want to be rude. Sit down for a while.

[George Bailey and other characters]

It's nice about your brother and Ruth, isn't it?

[Narrator/Producer William Keeley]

Yeah, yeah. Yeah. That's all right.

[George Bailey and other characters]

Don't you like her?

[Narrator/Producer William Keeley]

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

[George Bailey and other characters]

Oh, just marriage in general you're not enthusiastic about?

[Narrator/Producer William Keeley]

No, no, marriage is all right for a lot of people. All right for Harry and Sam Wainwright and you for Sam.

[George Bailey and other characters]

It's George Bailey, Mother. What's he want? I don't know. What do you want?

[Narrator/Producer William Keeley]

Me? Not a thing. Not a thing. And I. I just came in to get warm.

[George Bailey and other characters]

He's making violent love to me, Mother. You just tell him to go right back home. Sam said he'd call you tonight from New York, didn't he? I guess so. How about some music?

[Narrator/Producer William Keeley]

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

[George Bailey and other characters]

What did you come here for, then?

[Narrator/Producer William Keeley]

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

[George Bailey and other characters]

Oh, why don't you go home?

[Narrator/Producer William Keeley]

I don't know why I came here in the first place. Good night.

[George Bailey and other characters]

Good night.

[Narrator/Producer William Keeley]

The way you're shouting. You think that.

[George Bailey and other characters]

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

[Narrator/Producer William Keeley]

I'd be very happy to.

[George Bailey and other characters]

Dog Gone Crazy Song hello, Sam.

[Narrator/Producer William Keeley]

Mary. Gee, it's good to hear your voice.

[George Bailey and other characters]

How are you, Sam?

[Narrator/Producer William Keeley]

I forgot my hat.

[George Bailey and other characters]

Hee haw. What? Oh, I was just talking to an old friend of yours, George Bailey.

[Narrator/Producer William Keeley]

Oh, Mossback George.

[George Bailey and other characters]

Oh, Mossack George.

[Narrator/Producer William Keeley]

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

[George Bailey and other characters]

Wait a second, George. He doesn't want to speak to George. He does so.

[Narrator/Producer William Keeley]

He asked for him Why'd you call me? Because if you are, I'm in a hurry. I got.

[George Bailey and other characters]

Sam wants to talk to you.

[Narrator/Producer William Keeley]

Oh, hi, Sam. Hey, fine pal. You are trying to steal my girl. What do you mean? Nobody's trying to steal anybody's girl. Here, Mary, take.

[George Bailey and other characters]

No, no, no.

[Narrator/Producer William Keeley]

Wait, wait. George, I want to speak to you both. Tell Mary to get in the extension upstairs. He says for you to get on the extension upstairs.

[George Bailey and other characters]

I can't. Mother's on the extension. I am not. We can both hear. George, just put your head a little closer.

[Narrator/Producer William Keeley]

What?

[George Bailey and other characters]

Yeah, that's better. We're listening, Sam.

[Narrator/Producer William Keeley]

Well, I have a big deal coming up that's going to make us all rich. George, remember that time you told me about making plastics out of soybeans? Soybeans? Yeah, yeah. Sorry, but. Yeah. Well, my father's checked into it, George, see, And now he's going to put up a factory. How do you like that? A factory, huh? And here's the point, George. I may have a job for you unless you're still married to that broken down building alone.

[George Bailey and other characters]

Mary, I'm here.

[Narrator/Producer William Keeley]

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

[George Bailey and other characters]

He says it's the chance of a lifetime.

[Narrator/Producer William Keeley]

Give me that phone.

[George Bailey and other characters]

Here's George again. Sam. George.

[Narrator/Producer William Keeley]

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? I want to do what I want to do. And. And you're not going to trick me. And you're. Mary. Mary. Oh, Mary, darling. I love you, Mary. Well, well. So George Bailey and Mary Hatch were. George and Mary were married and they started off on their honeymoon in Ernie Bishop's taxicab. Hey, where are you two going on this here now honeymoon? We're gonna 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. So you're finally getting out of Bedford Falls, huh? Then what? Then what, honey?

[George Bailey and other characters]

After that, who cares?

[Narrator/Producer William Keeley]

That does it. Hey, you know, Mrs. Bailey, I haven't kissed you. Hey, George, there's something funny going on over there. Look. Look over there at the bank. It looks like I run. All right. Pull over a matter, will you, Ernie?

[George Bailey and other characters]

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

[Narrator/Producer William Keeley]

Wait a minute. I better see what it is. I'll be right back.

[George Bailey and other characters]

George, please. George.

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[Narrator/Producer William Keeley]

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[Narrator/Producer William Keeley]

In a few moments we'll return with a 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 to me, I say.

[George Bailey and other characters]

Well, thank you, Mr. Keeley. You know, after seeing Paulette Goddard's wardrobe for Paramount's new comedy Suddenly at 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.

[Narrator/Producer William Keeley]

Well, you look stunning, Libby.

[George Bailey and other characters]

Well, thank you again, Mr. Keeley.

[Narrator/Producer William Keeley]

And tell me about the picture. I understand that Paulette's portrayal of the next whack is truly delightful.

[George Bailey and other characters]

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

[Narrator/Producer William Keeley]

Well, naturally.

[George Bailey and other characters]

But really, Mr. Keeley, that wardrobe of Ms. Goddard certainly will make close conscious girls sit up and take notice. I'll bet you think so too, Mr. Kennedy.

[Narrator/Producer William Keeley]

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?

[George Bailey and other characters]

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 essentials.

[Narrator/Producer William Keeley]

That must be the reason Luxe toilet soap continues to be a studio standby no matter how often other styles change.

[George Bailey and other characters]

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

[Narrator/Producer William Keeley]

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

[George Bailey and other characters]

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

[Narrator/Producer William Keeley]

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

[George Bailey and other characters]

A lovely luxe complexion makes a woman so attractive. I wish every girl who hasn't tried luxe toilet soap would begin using it tomorrow.

[Narrator/Producer William Keeley]

That's sound Advice, Libby. When 9 out of 10 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 cbs, the Columbia Broadcasting System. Act two of it's a wonderful life. Starring jimmy stewart as george, donna reed as mary and victor moore as clarence. 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. Poor George Bailey. Oh, he's certainly in desperate trouble, Joseph. I'll go to him at once. Now, you sit down, Clarence. Sit down. We're nowhere near the point where George Bailey's thinking of taking his life. We're not. Now, where were we? Oh, yes, 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 with the Building and Loan, a hundred frantic people were clamoring for their sake. Hey, what's going on? Uncle Billy? What's happened? All those people out there. This is a pickle jaw. All I know is the bank called our loan an hour ago. I had to hand over all our cash. Holy mo mackerel. Whole town's gone crazy. Banks in the same spot we are. Our charter. What about our charter? Our charter says we have to stay open until 6pm the state can take away our license if we don't. How can we stay open till 6 without any money? George, where you going off the top of those people? Come on, please. Please, folks. Now, just a minute. Just a minute now, please. How about our money, George? Where's our money? Come on now, please wait A minute, wait a minute. Now, listen to me. Now, you're thinking of this place all wrong. Your money's not here. Wait a minute. Now, let me tell you. Let me tell you. Your money's in people's houses, in the Kennedy house and the McLaren house, and in your house and a hundred others. Now, what are you going to do, foreclose on them? I got $240 in shares. Now, let me have it. All right. All right, Charlie. Now, you'll get your money in 60 days. 60 days? Well, now, look, that's what you. That's what you agreed on when you bought your shares. I got my money taking over the bank. He'll pay you 50 cents on every dollar. Then let's take our shares to Potter. Half is better than nothing. Now, wait a minute. Wait a minute. Please, folks, I beg of you not to do this. If Potter gets hold of your shares, you'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. My husband's out of work.

[George Bailey and other characters]

We need money.

[Narrator/Producer William Keeley]

I've got doctor bills to pay.

[George Bailey and other characters]

I can't feed my kids on pain. How much do you need? We still got some money.

[Narrator/Producer William Keeley]

Hey, Mary.

[George Bailey and other characters]

Here it is. George, you told me to hold on to it. Would have made a nice honeymoon.

[Narrator/Producer William Keeley]

Bought furniture, too. Hey, now, wait a minute. Whoa. Listen, I've got $2,000. All right, Charlie, how much do you need? $240. Now, Charlie, now listen. Just enough to tide you over. I said $240. Okay, okay, Uncle Billy, give Charlie $240. All right, Ed. Now, how much just to get by? Oh, $20, I suppose. Oh, you're 10 talking. Now, you, Mrs. Thompson, how about you?

[George Bailey and other characters]

$20 will do me good.

[Narrator/Producer William Keeley]

Good. $20, Uncle Billy. Pay it back when you can. Now. Pay it back when you come. All right, all right, who's next? Look at the clock.

[George Bailey and other characters]

Look.

[Narrator/Producer William Keeley]

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. Even got two bucks left.

[George Bailey and other characters]

George, there's a call for you.

[Narrator/Producer William Keeley]

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

[George Bailey and other characters]

Mrs. Bailey's on the line.

[Narrator/Producer William Keeley]

I don't want Ms. Bailey. I want my wife. Mrs. Bailey. Ms. B. That's my wife. That's my. Give me the phone, will you? Hey, Mary. Listen, Mary, I'm sorry. I. I come home. What home? Well, 3:23 Sycamore. Well, whose home is up?

[George Bailey and other characters]

What?

[Narrator/Producer William Keeley]

Well, Mary, how can I. Well, sure. All right. Sure, I'll be there. Clarence, guess what? 323 Sycamore was his mother in law's house. Huh? Oh, no. Number 323Sycamore 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 in. It is awful. Sit down, George. Sit down. Do have a cigar. Well, thank you, sir. George, you're a young man, married, making say, $40 a week at the building and lawn. 45. 45. Now, if you were some 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? Well, what's your point, Mr. Potter? My point is that you're the only man in town who has licked me. George, I want to hire you, manage my affairs. I'll start you off at $20,000 a year. 20. $20,000 a year? Are you sure you're talking to me? I'm George Bailey. Don't you remember me? The building in loan, remember? Yes, George Bailey, whose ship has just come in. Providing he has sense enough to climb aboard. Well, but. But what about the building in loan? Confound it, man. I'm offering you a three year contract at $20,000 a year. Is it a deal or isn't he? No, no. The answer is no. Doggone it. If you offer me a million dollars to stay around this town and play stooge to you, the answer would still be no. Now, lemme alone.

[George Bailey and other characters]

Don'. George, what did Mr. Potter want?

[Narrator/Producer William Keeley]

Oh, it's nothing. He just talk, talk, nothing. Oh, gee, Mary Hatch. Mary, why in the world you ever marry a guy like me anyway?

[George Bailey and other characters]

To keep from being an old maid.

[Narrator/Producer William Keeley]

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

[George Bailey and other characters]

So do I. Mornings especially.

[Narrator/Producer William Keeley]

I could have married Sam Wainwright. Anybody else in town.

[George Bailey and other characters]

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

[Narrator/Producer William Keeley]

You didn't even have a honeymoon and I promised you that. You. You, you, you, you. You. What?

[George Bailey and other characters]

My baby.

[Narrator/Producer William Keeley]

Your baby? Hey, Mary. Mary? You mean you're on the nest? Well, Mary had her baby. Turns a boy. You don't say. Then she had another one. A girl. Well, what do you know. The night after night, George had come home late from the office. Things weren't good with the building in loan. Potter was really bearing down on him. Then came the war. Mary had another baby by then. Oh, but she still had time to help out in uso. Uncle Billy sold war bonds. And George's brother Harry.

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[Narrator/Producer William Keeley]

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[Narrator/Producer William Keeley]

Became a real hero. Shot down 15 planes. But George. What about George? Well, George was 4F his bad ear. He was an air raid warden. On VE Day, he wept and prayed. On BJ Day, he wept and prayed again. We're. We're getting pretty close to today, aren't we, sir? 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. Well, sir. Well, well. Today's the day before Christmas. Earth time. George is pretty excited. Hey, Tilly. Useless. Hey, look at the newspaper. Commander Harry Bailey, decorated by the President. That's my kid brother. The Congressional Medal of Honor. Gosh, George. Gosh. What do you think about the 15 Jap planes along? 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. J. Where's Uncle Billy?

[George Bailey and other characters]

I'm going to the bank, George. He's depositing that $8,000.

[Narrator/Producer William Keeley]

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

[George Bailey and other characters]

It's that man again, the bank examiner.

[Narrator/Producer William Keeley]

Oh. Oh, yeah. Well, good afternoon, Mr. Carter. Hey, Tilly, get the books from Mr. Carter. You know, that's my brother's picture there, Mr. Carter. He shot down 15 planes and one. Well, well, Mr. Henry F. Potter. Come to the bank to deposit some more loot, eh? Sure, you old fool. How do you like the news in the paper, Mr. Potter? Just can't keep those Bailey boys down, now, can you? Let me see that newspaper. Here. Sorry, I can't chat. You old thief. Got to make a deposit. Here you are, Horace. Deposit slip, bank book, and a very merry Christmas to you. You too, Mr. Bailey.

[George Bailey and other characters]

See?

[Narrator/Producer William Keeley]

You've forgotten something, haven't you, Horace? I've forgotten things all my life. Get a wiggle on, boy. But, Mr. Bailey. Where's the money? What's that? You want to make a deposit? Well, certainly I want. It's customary to bring the money with you. It's gone. Where'd I put it? Where'd I put that money? A terrible thing, Clarence, terrible. Uncle Billy couldn't find the money because the envelope with the $8,000 was folded up in that newspaper he gave to old man. I just don't know what happened to it, George. I just don't know. $8,000. Uncle Billy, the bank examiner's here, and it's not our money. It belongs to the depositors, George. But what are we going to do? We've placed every step I took. We can't stand here in the street. Are you sure you didn't put that envelope in your coat pocket? I think so. Maybe. Maybe I'm no good to you, George. I'm no good. Now listen to me. Now, listen to me.

[George Bailey and other characters]

Think.

[Narrator/Producer William Keeley]

Think, will you? Now try and think. I can't think anymore. I. I can't. 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 gonna be me. Now, get out of my way. I'm going home.

[George Bailey and other characters]

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

[Narrator/Producer William Keeley]

I want to banging on that piano. Does she have to just keep playing that same piece over and over and over and over again.

[George Bailey and other characters]

I have to practice the Christmas party. Daddy. What is it, dear? Another hectic day?

[Narrator/Producer William Keeley]

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

[George Bailey and other characters]

Murphy's got a brand new car. You shouldn't see it.

[Narrator/Producer William Keeley]

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

[George Bailey and other characters]

I'm sorry, Dad. I only. Run upstairs, Petey, see if Zuzu's all right. Okay, Mom.

[Narrator/Producer William Keeley]

And what do you mean what a sea of Zuzu's are all right? What do you mean?

[George Bailey and other characters]

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

[Narrator/Producer William Keeley]

Well, what is it? What is. What do you mean? Just a cold, George.

[George Bailey and other characters]

The doctor said it was nothing serious.

[Narrator/Producer William Keeley]

The doctor? Was the doctor here?

[George Bailey and other characters]

Well, I thought he'd better look at her.

[Narrator/Producer William Keeley]

This is old drafty house. 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?

[George Bailey and other characters]

George, what's happened?

[Narrator/Producer William Keeley]

Everything's happened. You call this a happy family? Why do we have to have a these kids?

[George Bailey and other characters]

Daddy, how do you spell Frankenstein?

[Narrator/Producer William Keeley]

I don't know how you. Well, you ask your mother.

[George Bailey and other characters]

Where are you going?

[Narrator/Producer William Keeley]

Upstairs to see Zu.

[George Bailey and other characters]

Hello? Oh, thank you, Mrs. Welch. I'm sure she'll be all right.

[Narrator/Producer William Keeley]

Who's that?

[George Bailey and other characters]

Zuzu. School teacher. What? Oh, yes. The doctor says she'll be fine tomorrow.

[Narrator/Producer William Keeley]

Here, give me that phone, George, please. Mrs. Welsh. Well, this is Mr. Bailey. Say, what kind of a teacher are you anyway? What do you mean sending Zuzu home like that, half naked? You realize you're probably. Probably end up with pneumonia just because of your stupidity. You know, maybe my kids aren't the best dressed kids in town, but at least. Hello? Hello, Janie, Will you stop playing that lousy piano? Cut it. I'll stop it.

[George Bailey and other characters]

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

[Narrator/Producer William Keeley]

I'm sorry. I'm. Janie. I'm sorry, Mary. I. I've just got to get out of. So that's it, George. You're short $8,000 in your account. Sir. Please, Mr. Potter. I'll pay any sort of a bonus if you still want the Building and Loan. You say I was lost. Have you notified the police? No, sir, I haven't done that yet. Harry's home. I. Come to me. What about your good friend Sam Wainwright? I can't get a hold of him. He's in Europe. What kind of security would I have, George? What collateral? Yes, sir, I have some life insurance here. $15,000 policy. What's your equity in his? $500. And you want 8,000. 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. I'll do anything, Mr. Potter. Please, please help me. My wife and kids. I'm calling the district attorney. $500. You know something, George? You're worth more dead than you are alive. Now get out of here. Get out. And all the time Potter had the $8,000 in his desk drawer. It's still there, Terence. But where's George, sir? Where? Well, he went over to Martini's Cafe. He's had a couple of drinks. Clarence? He's just standing there, sort of in a day go. Oh, God. Dear Father in heaven, I'm not a praying man, but if. If you're up there and you can hear me, please show me the way. I'm at the end of my rope. Show me the way to God. Mr. Bailey. You all right? Don't drink anymore, Mr. Bailey, please. You don't feel good? Bailey, you say Bailey. Which Bailey? This gentleman is Mr. Bailey. George Bailey. George Bailey. Bailey, huh? And the next time you talk to my wife like that, she'll get worse. It isn't enough she slaves teaching your stupid kids how to read and write. You got to borrow. You get out of here, mister. Wel. You hit my best friend. Get out. All right, Mr. Bailey. You. You okay? Who's that? Mr. Wells. But don't worry, he don't come in this place no more. I'll get something for your face. It's bleeding. I'm all right. Please don't go away, Mr. Billy. Please don't go away. Well, George left Martini's Cafe five minutes ago. Clarence? He's at the river now on the bridge, looking at the water. Are you ready, Clarence? Already, sir. Very well. Save George Bailey's life and you'll get your wings. My wings? Oh, thank you, Joseph. George. George Bailey. Get away from that bridge. In just a moment, we'll bring you act three of It's a Wonderful Life, starring Jimmy Stewart, Donna Reed and Victor Moore. The popular theory about beautiful blondes is that they are content to be merely decorative. Our Lovely guest tonight, Ms. Susan Blanchard, completely disproves that idea. Besides being a hard working fox starlet, Susan, I understand you're a wonderful cook.

[George Bailey and other characters]

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

[Narrator/Producer William Keeley]

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

[George Bailey and other characters]

Yes.

[Narrator/Producer William Keeley]

A native New Yorker, I thought so.

[George Bailey and other characters]

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

[Narrator/Producer William Keeley]

Well, that's interesting.

[George Bailey and other characters]

I used to save my allowance and go to every play I could. One of my favorite actresses was Jane Wyatt. Imagine, Mr. Kelly, what a thrill it was for me to meet her right here in Hollywood.

[Narrator/Producer William Keeley]

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

[George Bailey and other characters]

Yes, but she and Dana Andrews, who stars in Boomerang with her, were in Hollywood to see a studio showing of the picture.

[Narrator/Producer William Keeley]

Oh, I see.

[George Bailey and other characters]

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.

[Narrator/Producer William Keeley]

She is indeed.

[George Bailey and other characters]

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

[Narrator/Producer William Keeley]

We're glad to hear you say that, Ms. Blanchard, because that's a very beautiful luxe complexion I see before me. Just right for blue eyes and ash blonde hair.

[George Bailey and other characters]

Thank you, Mr. Kennedy. Any girl in pictures is delighted to find out about luxe toilet soap as a beauty care active lather. Facials are so quick and easy and they really make a difference in your skin.

[Narrator/Producer William Keeley]

Thousands of busy, attractive women have discovered that. Ms. Blanchard, Daily Luxe soap complexion care does make skin lovelier. Otherwise it wouldn't be the choice of 9 out of 10 screen stars.

[George Bailey and other characters]

Luxe 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.

[Narrator/Producer William Keeley]

Thank you, Ms. Susan Blanchard. I hope our audience will be seeing that lovely luxe complexion of yours in a screen close up one of these days. Now back to our producer William Keeley. Act three of It's a Wonderful Life starring Jimmy Stewart, Donna Reed and Victor Moore.

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[T-Mobile Legal Disclaimer]

Savings versus Comparable Verizon plans plus the cost of optional version benefits plan features and taxes and fees vary. Savings with three plus lines include third line free via monthly bill credits credit stop if you cancel any lines.

[Narrator/Producer William Keeley]

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[Narrator/Producer William Keeley]

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 the dark and frigid waters below. Suddenly, there's a splash. No, that's not George. It's Clarence, the apprentice angel. And there goes George, in after him. It's a few minutes later now, and in the bridge keeper shack, George and Clarence are drying off. You're both sure you're all right? You. You want a doctor? No, I'm all right. 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. And you. You what?

[George Bailey and other characters]

Mr.

[Narrator/Producer William Keeley]

I see Tom Sawyer is drying out, too. Who? My book. I left in such a hurry, I brought. I'm sorry. You're with me. Hey, how'd you happen to fall in? Oh, I jumped in. I jumped in to save. You. Jumped in to save me? Well, I. I did, didn't I? You didn't go through with it, did you? Go through with what? Suicide. Hey, it's against the law to commit suicide around here. Yeah, it's against the law where I come from, too. Where do you come from? Heaven. Oh, that's very funny. Your. Your lips bleeding? Yeah. Yeah, I got a bust in the jaw in answer to a prayer. Oh, no, George. I'm the answer to your prayer. How'd you know my name? Oh, I know all about you. Well, who are you supposed to be anyway? Clarence Odd Body. AS two. Clarence Odd Body. What's that? What's the AS two for? Angel second class. Hey, I'm getting out of here. You may not need a doctor, but I do. Here he is, my good man. Hey, look here. Why'd you want to save me? Because I'm your guardian angel, George. Oh, I see. Huh. Well, you look like about the kind of an angel I'd get. What happened to your wings? Well, I haven't won my wings yet. That's why I'm an angel second class. I see. But you can help me earn them. George, by letting me help you. Oh. Don't happen to have 8,000 bucks on you, do you? Oh, no, no. We. We don't use money in heaven. Oh, that's right. Yeah, I keep forgetting. I say, comes in pretty handy down here, bub. Cat. Cat, Cat. As I found it out a little late. You know, I'm worth more dead than alive. You mustn't talk like that. 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. If it hadn't been for me, everybody would be better off. My wife and my kids and my friends. Oh, this is not going to be easy. And I'll be better off if I hadn't been born. What did you say? I said, I wish I'd never been born. George, that's wonderful, wonderful. Wonderful What? The idea you just gave me. Well, you've got your wish. You've never been born. I've never been born. Exactly. No worries. No $8,000 to get nothing. You simply don't exist. All right, all right. Okay. All right, 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. Hey, wait. Hey, wait a minute. This ear of mine. Hey, say something else in that. Bad ear. 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. That's the doggonest thing I ever saw. That. That ear. Your lips stop bleeding, too. Yeah. Yeah. Hey, what's. 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? Well, I. I don't quite know. Come on, come on. We'll go as soon as our clothes are dry. Clothes are dry, George. Hey, that's. 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 mean, I'll stroll. You fly. Oh, no, I don't have. You don't have your wings yet. That's right. I forgot that I can. A couple of drinks and we'll both fly, huh? What do you have, fellas? Hey, where's the boss? Where's martini luck, wise guy? I'm the boss, see? Okay, well, double scotch, quick. Will you watch yours? You know what I Just love some mulled wine, huh? Heavy on the cinnamon and light on the clove. Off with you, my lad, and lively. Now, now, cut it out. Oh, come on. Here. Just give him the same as I order. He's okay too. Double Scott. What about this place? It's all changed. All of Bedford Paul's 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. Oh, God. Good, somebody just made it. Made what? Every time a bell rings, it means some angel's got his wings. What'd you say? Look, Clarence, I don't think you better talk about angels around here. Don't they believe in angels? Oh, yeah, they believe in them, but, you know, it's just. Then why should people be surprised when they see one? Don't mind him, bartender. He's just a little fellow. He just never grew up. And how old are you anyway, Clarence? Well, next May, I'll be.293. That does it. A couple of pixies, huh? Go on, get you hemi cat. Where's Martini? Will you stop asking about Martini? Ain't here in the. Hey, yo, Romy. Didn't I tell you never to come panhandling around here? George, Look. Hey, it's Mr. Gower. Mr. Gower. Listen, Mr. Gower. Don't you know me? This is George Bailey. Yeah, you buy me a drink, mister. Just one drink, will you, Mr. Pinky. Yeah. Nick, throw the rummy out. Oh, no, no, please. Hey, bartender, that's Mr. Gower, the druggist. That rumhead spent 20 years in jail for poisoning some kid. If you knew him, you must be a jailbait yourself, Binky. Here's two more. Get him out of here. Get up, George. Good thing he threw us in a Snowbank, huh? Where's Mr. Gower? Mr. Gower doesn't know you, George. You see, you weren't there to stop him from putting poison into that prescription. What do you mean, I wasn't there? Look, tell me, what are you? Are you a hypnotist? George, look, why am I seeing all these strange things here? Don't you understand? It's because you were not born. Well, if I wasn't born, then who am I? Nobody. You have no identity. What do you mean, I have no identity? No papers, no driver's license, no forever card, no insurance policy. Zuzu's bell. What? Zuzu's bell. I bought my little girl a bell to hang on the Christmas tree and I forgot to give it to her.

[George Bailey and other characters]

I've got.

[Narrator/Producer William Keeley]

It's gone. It's gone, too. Everything's gone. But you been given a great gift, George. A chance to see what the world would be like if you'd never been born. You're crazy. You're crazy as a bedbug. And you're driving me crazy, too. Look, I'm going home to my wife and family. Do you understand that? And I'm going home alone. Better not leave him alone, Clarence. Keep following him, 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 ponder shop. What's he doing? Can you see? He's talking to Ernie Bishop, the taxi driver. He wants to go home. You better tag along, Claire. Oh, I will, sir. I will. Come on, Stephan. On, will you? Ernie, get me home. I'm off my nutty. Where do you live, buddy? Oh, now, dog gone it. Ernie, don't you start pulling that stuff on me. 323 Sycamore. 323 Sycamore. Yeah. Hurry. I'll put a Zuzu sick. Okay, buddy. Hey, look, Ernie, I. I don't know what's happened. Going crazy or something. I got some bad liquor.

[George Bailey and other characters]

I.

[Narrator/Producer William Keeley]

Now, look, tell me this. Now, you're Ernie Bishop, right? And you live with your wife and kid. You see my wife? What do you mean? I've seen your wife. I've been in your house a hundred times. What do you. We build it for you, didn't we? My wife took the kid and ran away five years ago, and I ain't never seen you before in my life. See? Okay, Arnie. Okay, okay. Just step on it. Get me home.

[George Bailey and other characters]

Mary.

[Narrator/Producer William Keeley]

Mary, where are you? Janie? Petey? Zuzu. Zuzu, where are you? This is just an old abandoned house, George. You have no wife, no children. Where are they? What have you done with them? Hey, y', all praise that hen. See, I told you. All right. Up in your hands. Oh, Bert. Bert the cop. Thank heaven you're here. Now, look, why don't you be a good fella and I'll take you to a doctor. Bert. Now, Bert, listen to me. What's the matter with you guys? Now, listen, if that fellow there, he says he's an angel. He tried to hypnotize me. I hate to use my night stick, but I guess I. Ow. Run, George, run. He can't hit you while I'm biting him. George. Run. My teeth aren't what they used to be. Joseph. Help. Joseph. Joseph. Where'd they go, Ernie? Where'd they go? I. I don't know. They just disappear.

[George Bailey and other characters]

Clarence.

[Narrator/Producer William Keeley]

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

[George Bailey and other characters]

Clarence.

[Narrator/Producer William Keeley]

You're by yourself again. Where's George? He's at his mother's house, sir. Well, if George hasn't been born, he has no mother. Oh, he's being very stubborn, sir. He'll just have to find these things out for himself. But his mother. That's a terribly bitter blow to a man. He's always old, Mother. Not knowing him. You mean I shouldn't have let him. I mean you better find him right away. Oh, and stop fighting, policeman. Clarence. I'm here again, George. My mother. My own mother didn't know me. If only Harry were here. My brother were only back from Washington. Your brother fell through the ice and was drowned at the age of nine. Well, that's a lie. He got the Congressional Medal of Honor. He saved the lives of every man on that transport. Every man on that transport died. Strange, isn't it? Each man's life touches so many other lives.

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[Narrator/Producer William Keeley]

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[Narrator/Producer William Keeley]

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? Clarence? Yes? Where's Mary? Please, where's my wife? I. I'm not supposed to tell. Tell me where she is. You're not going to like it. George. Where is she? I'll choke it out of you if I have to. Where's my wife? The library. She works there. She's just about to lock up for the night, so I. George. George, come back. Oh, there must be some easier way for me to get my wings. Mary.

[George Bailey and other characters]

Mary, I'm sorry. The library's closed.

[Narrator/Producer William Keeley]

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

[George Bailey and other characters]

No, I don't know you. Let me go.

[Narrator/Producer William Keeley]

Please don't do this to me. Mary. Please. Help me. Help me. Where. Where are kids? Mary, I need you. Mary.

[George Bailey and other characters]

Get away from me. Help.

[Narrator/Producer William Keeley]

Help.

[George Bailey and other characters]

Help.

[Narrator/Producer William Keeley]

Help me. Mary. I'm George.

[George Bailey and other characters]

Smiling.

[Narrator/Producer William Keeley]

Clarence. Oh. Where is he, Joseph? Where's George? I'm afraid I've lost him, sir. 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. Joseph. I won't even get one wing, will I? You have one more chance. Get over to the bridge by the river. I think George has seen just about enough. But. But the mob. Don't worry, They've lost it, too. Now, hurry up. Oh, thank you, Joseph. Thank you. Clarence. Clarence. Clarence, why are you. I'm here, 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. Oh, thank you, George. Thank you, boy. I want to live again. Please. Oh, God, please let me live again. George? Is that you down there? George? Now get out of here, Bert. Get out of here. You come in closer, I'll let you have it. What the hell are you yelling for, George? Come on, George. George.

[George Bailey and other characters]

Bird.

[Narrator/Producer William Keeley]

Bird, do you know me? No. Yeah. I've been looking all over town for you. Where you been? Hey, Bird. I'm alive again. Bird, you sure you're all right? Hey, your mouth's bleeding. It is? Hey, my mouth's bleeding, Bert. Look. Look at the blood. Come out of there. What? You. And where's Zuzu's Christmas bell? Bird. I had it right in my pocket.

[George Bailey and other characters]

Here it is.

[Narrator/Producer William Keeley]

Hey, it's in my pocket. What do you know about it? Hey, Merry Christmas, Bert. Well, Merry Christmas. Get in the car. I'll drive you home. You will? Burnt. We'll do that. And turn the siren wide open, huh? Merry Christmas, Bedford Falls. Hey, Merry Christmas, Old building. Alone. Merry Christmas, Mr. Potter. Yippee. Come on. Hey, Bert, come on. Come on in with me, huh? What are these people, these reporters? Oh. Merry Christmas, reporters. Hey, Mr. Bank Examiner. Merry Christmas, sir. Bailey, there's a deficit. I know. $8,000. Up, out. Huh? George, I've got a little paper here. I'm sorry. I bet it's a warrant for my arrest. Isn't that wonderful? Merry Christmas. Hey, where's Mary? You know, look at this wonderful old drafty house. Isn't it one of. Have you seen my wife? Where's Mary? Hey, kid.

[George Bailey and other characters]

Janie. Petey.

[Narrator/Producer William Keeley]

Hey. Oh, I could eat you up. Where's your mother?

[George Bailey and other characters]

She went looking.

[Narrator/Producer William Keeley]

You, Daddy.

[George Bailey and other characters]

With Uncle Billy. Daddy.

[Narrator/Producer William Keeley]

Zo, my little ginger snap. How do you feel, huh?

[George Bailey and other characters]

Fine, Daddy. Not a snitch of temperature, not a snitch of temper.

[Narrator/Producer William Keeley]

Hallelujah. George.

[George Bailey and other characters]

George, darling, it's Mommy. Mommy's home.

[Narrator/Producer William Keeley]

Mary.

[George Bailey and other characters]

George.

[Narrator/Producer William Keeley]

Where have you been? Mary. Mary, just let me touch you or you're real. Mary. Oh, you've no idea what happened to me.

[George Bailey and other characters]

You have no idea what's happened, either. This. On their way here.

[Narrator/Producer William Keeley]

Oh, who's on our way? Oh, the police department. I don't. The FBI, the National Guard. I'm alive again. Oh, listen, Mary. I'm alive again.

[George Bailey and other characters]

Oh, yes, darling. Yes. Now. Now, close your eyes and. And come on downstairs.

[Narrator/Producer William Keeley]

What is it? Can't open my eyes yet. Mary, what's going on here?

[George Bailey and other characters]

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

[Narrator/Producer William Keeley]

And the people. I hear for lots of people. What? What is it?

[George Bailey and other characters]

Lots of people. Just one minute down. We're all ready, Uncle Billy. Come in, everybody.

[Narrator/Producer William Keeley]

George, look. Just look, Uncle Billy. Money, George. A laundry basket filled with money. Money for you. Mary did it, George. Mary, I don't understand what money?

[George Bailey and other characters]

People heard you were in trouble. Darling, these people, your friends, they've collected this money for you. The $8,000.

[Narrator/Producer William Keeley]

Charlie. Hey, there's Mary. There's Martini. Mr. Mr. Gower. Hey, how are you? Mr. Gower. Mrs. Thompson, Ed, Tom, everybody. None of us would have a roof over our heads if it wasn't for you, George. Gosh, this is wonderful. Hey, Mary, look. Look who's coming in. Mother. Hi, Mother. Hey, and Harry got Mary's telegram. George. I flew in as fast as I could pay. Everybody, a toast. How about a toast? Lord, could I be. Ernie. A toast. To my big brother, George, the richest man in town. By Christmas. Here, honey, here's your bell.

[George Bailey and other characters]

Daddy, what's this on the table here?

[Narrator/Producer William Keeley]

The. The Adventures of Tom Sawyer.

[George Bailey and other characters]

Look, there's something written in it.

[Narrator/Producer William Keeley]

Dear George, remember, no man is a failure who has friends. Thanks for the wings, love. Wow.

[George Bailey and other characters]

Clarence.

[Narrator/Producer William Keeley]

Yeah. He's a Very dear friend of mine.

[George Bailey and other characters]

Daddy, Mrs. Welsh said every time a bell rings, an angel gets his wing.

[Narrator/Producer William Keeley]

That's right, Zuzu. That's right. That's right. Atta boy, Clarence. Attaboy, Clarence. Happy landing. 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. Well, that guardian angel was an airlines wing, Bill.

[George Bailey and other characters]

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

[Narrator/Producer William Keeley]

Yeah, Frank Kepper and I went down for five openings as many nights. Pretty good down there. Yeah, every one of them. Five premiers over Texas. You know, it's a pretty big state. Takes that many to Jimmy. I'm sure you're fans were proud to read that you received an honorary degree from Princeton just the other week.

[George Bailey and other characters]

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

[Narrator/Producer William Keeley]

No, no, no, no, just an M.A. oh, master of Arts. Well, I. It might have been. I don't know, it might be for murdering architecture. That's what I studied. Well, you know, Donna has an honorary degree to her credit too. Llc. What's that, Bill? LLC in your. Well, you can see for yourself. A lovely luxe complexion.

[George Bailey and other characters]

Well, thank you, Bill. Or rather thank Lux Toilet Soap. It's a wonderful complexion care. I use it faithfully with wonderful results.

[Narrator/Producer William Keeley]

I see what's happening next Monday night on Lux Bell. Next week we have another of the season's most successful films. It's 20th Century Fox's thrilling screen hit, Lever to Heaven with lovely Gene Tierney and a star who appears in answer to literally hundreds of requests. Cornell Wilde, based on a best selling novel of the same name. Leave her to Heaven is the strange dramatic story of a woman whose twisted mind and fiendish jealousy drive her to any lengths to hold the man she loves. That ought to make great listening, Bill.

[George Bailey and other characters]

I wouldn't miss it for anything.

[Narrator/Producer William Keeley]

Good night. Good night and thanks a million. Lelever Brothers Company, the makers of luxe toilet soap, join me in inviting you to be with us again next Monday evening when the Lux Radio Theater presents Gene Tierney and Cornell Wilde in Leave her to Heaven. This is William Keeley saying good night to you from Hollywood. Here's a sure way to save on your meat and grocery bills. Turn in used patch, kitchen patch to your butcher and receive a generous price for every pound. The worldwide supply of fats is still desperately short and every drop you save helps in the making of soap. Refrigerators and other needed items. So save and turn in your used kitchen. Fat Donna Reed appeared through the courtesy of Metro Goldwyn Mayer producers of the Beginning or the End, starring Brian Donlevy and Robert Walker. James Stewart will soon be seen in the Robert Riskin production for RKO Magic Town. Victor Moore will soon be seen in Roy Delruth's production It Happened on Fifth Avenue. Our music was directed by Lewis Silvers. This program is broadcast to our men and women overseas through cooperation with the Armed Forces Radio Service. And this is your announcer John Milton Kennedy reminding you to tune in again next Monday night to hear Leave her to Heaven with Gene Tierney and Cornell Wild.

[George Bailey and other characters]

When you bake and fry for your.

[Narrator/Producer William Keeley]

Cake and pie, it's your shortening by Reliant Fry. Want fried foods crisp, golden, better tasting? Try Spry, the pure vegetable shortening that gives you delicious better tasting fried food so digestible to the spry way rely.

[George Bailey and other characters]

On Spry.

[Narrator/Producer William Keeley]

S P R Y. Be sure to listen in again next Monday night to hear the Lux Radio Theater presentation of Libra to Heaven. This is cbs. The Columbia Broadcasting System. Foreign.

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Saving versus Comparable Verizon plans plus the cost of optional benefits plan features and taxes and fees vary. Savings with three plus lines include third line free via monthly bill credits. Credit stop if you cancel any lines.

[Narrator/Producer William Keeley]

Qualifying credit required.

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