INTERIOR MARTINI'S BAR �� NIGHT CLOSE SHOT �� The place is an Italian restaurant with bar. The bottles sparkle. There are Christmas greens and holly decorating the place. It has a warm, welcoming spirit, like Martini himself, who is welcoming new arrivals. The booths and the checkered-cloth-covered tables are full. There is an air of festivity and friendliness, and more like a party than a public drinking place. George is seated at the bar �� he has had a great deal to drink, far more than he's accustomed to.
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EXTERIOR MAIN STREET BEDFORD FALLS �� NIGHT MEDIUM CLOSE SHOT �� George comes out of the bank into the falling snow. He crosses the street, tugs at the door of his old car, finally steps over the door, and drives off.
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MEDIUM CLOSE UP �� Potter is seated at his desk, his goon beside him. He is signing some papers. George is seated in a chair before the desk, without a hat or coat, covered lightly with snow.
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He looks around him, then quickly goes out the front door of the house. Mary goes to the phone, picks it up.
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INTERIOR LIVING ROOM �� NIGHT CLOSE SHOT �� The room has suddenly become ominously quiet, the only SOUND being George's labored breathing. George goes over to a corner of the room where his workshop is set up �� a drawing table, several models of modern buildings, bridges, etc. Savagely he kicks over the models, picks up some books and hurls them into the corner. Mary and the children watch, horrified. George looks around and sees them staring at him as if he were some unknown wild animal. The three children are crying.
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He yells at Tommy, noisily playing with his vacuum cleaner.
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He hangs up the receiver, and turns toward the living room. His face is flushed and wet.
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But before he can think of an insult to top Welch's, we hear a click on the phone.
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She puts a restraining hand on his arm. He shakes it off. She cannot know that George's tirade against Mrs. Welch is really a tirade against the world, against life itself, against God. Over the phone we hear Mrs.
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He snatches the phone from Mary.
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She closes her eyes and relaxes on the bed. George pulls the covers over her. He bends down and his lips touch a tendril of the child's hair. Then he gets up and tiptoes out of the room.
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She hands him the fallen petals and the flower. He turns his back to Zuzu, pretending to be tinkering with the flower. He sticks the fallen petals in his watch pocket, rearranges the flower, and then turns back to Zuzu.
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INTERIOR ZUZU'S BEDROOM �� NIGHT FULL SHOT �� The SOUND of Janie at the piano can be heard, the same monotonous rhythm over and over. Zuzu (aged six) is sitting up in her bed, the lamp burning beside her. She is holding her prize flower. George tiptoes in. Then, as he sees she's awake, he comes over, sitting on the edge of her bed.
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INTERIOR HALL �� NIGHT MEDIUM CLOSE SHOT �� George starts up the stairs. The knob on the banister comes off in his hand, and for a moment he has an impulse to hurl it into the living room. Then, he replaces the knob, and goes on up the stairs.
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We hear his footsteps as he leaves. Mary looks after him, puzzled and concerned, then comes over to Pete.
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George turns and heads for the door, kicking viciously at a waste basket on the floor as he goes. Uncle Billy remains sobbing at the table, his head in his arms.
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He throws Uncle Billy down into his chair, and still shouts at
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Suddenly the door opens and George comes striding out. He goes directly to the safe and starts searching, but doesn't find the money. Then he goes to the cash drawer in the counter, and looks through it.
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Uncle Billy gestures nervously for George to come in. He does so and closes the door.
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