It's a Wonderful Life

MEDIUM CLOSE SHOT

George looks around, as though to get his bearings.

GEORGE

It's stopped snowing out, hasn't it? What's happened here?

(standing up)

Come on, soon as these clothes of ours are dry...

CLARENCE

Our clothes are dry.

George feels the clothes on the line.

GEORGE

What do you know about that? Stove's hotter than I thought. Now, come on, get your clothes on, and we'll stroll up to my car and get...

They start dressing. George interrupts himself.

GEORGE (CONT'D)

Oh, I'm sorry. I'll stroll. You fly.

CLARENCE

I can't fly. I haven't got any wings.

GEORGE

You haven't got your wings. Yeah, that's right.

WIPE TO:

EXT. STREET – NIGHT

MEDIUM SHOT

This is the same empty street where George's car swerved into the tree near the sidewalk. George and Clarence come into shot and up to the spot where George had left his car smashed against the tree. George looks around, but his car is nowhere to be seen, and the tree is undamaged.

CLARENCE

What's the matter?

GEORGE

(puzzled)

Well, this is where I left my car and it isn't here.

CLARENCE

You have no car.

GEORGE

Well, I had a car, and it was right here. I guess somebody moved it.

CLOSE SHOT – AT CURB

The owner of the house passes with some Christmas packages under his arm.

OWNER

(politely)

Good evening.

GEORGE

Oh, say... Hey... where's my car?

OWNER

I beg your pardon?

GEORGE

My car, my car. I'm the fellow that owns the car that ran into your tree.

OWNER

What tree?

GEORGE

What do you mean, what tree? This tree. Here, I ran into it. Cut a big gash in the side of it here.

The owner bends down to examine the trunk of the tree, then straightens up and smells George's breath. He backs away.

OWNER

You must mean two other trees. You had me worried. One of the oldest trees in Pottersville.

GEORGE

(blankly)

Pottersville? Why, you mean Bedford Falls.

OWNER

I mean Pottersville.

(sharply)

Don't you think I know where I live? What's the matter with you?

The owner proceeds toward his house. George is completely bewildered.

GEORGE

Oh, I don't know. Either I'm off my nut, or he is...

(to Clarence)

... or you are!

CLARENCE

It isn't me!

GEORGE

Well, maybe I left the car up at Martini's. Well, come on, Gabriel.

He puts his arm around Clarence, and they start off up the road.

CLARENCE

(as they go)

Clarence!

GEORGE

Clarence! Clarence!

WIPE TO:

INT. NICK'S BAR – NIGHT

CLOSE SHOT

It is Martini's place, but almost unrecognizable. The cheerful Italian feeling is gone. It is now more of a hard-drinking joint, a honky-tonk. Same bar, tables have no covers. People are lower down and tougher. Nick the bartender is behind the bar. George and Clarence come in. George does not notice the difference, but Clarence is all eyes and beaming. They go up to the bar.

GEORGE

(as they come in)

That's all right. Go on in. Martini's a good friend of mine.

Two people leave the bar as they approach.

GEORGE (CONT'D)

There's a place to sit down. Sit down.

MEDIUM CLOSEUP

Nick is wiping off the bar as they sit down.

GEORGE (CONT'D)

Oh, hello, Nick. Hey, where's Martini?

NICK

You want a martini?

GEORGE

No, no, Martini. Your boss. Where is he?

NICK

(impatient)

Look, I'm the boss. You want a drink or don't you?

GEORGE

Okay – all right. Double bourbon, quick, huh?

NICK

Okay.

(to Clarence)

What's yours?

CLARENCE

I was just thinking...

(face puckers up with delicious anticipation)

It's been so long since I...

NICK

(impatient)

Look, mister, I'm standing here waiting for you to make up
your mind.

CLARENCE

(appreciatively)

That's a good man. I was just thinking of a flaming rum punch. No, it's not cold enough for that. Not nearly cold enough... Wait a minute... wait a minute... I got it. Mulled wine, heavy on the cinnamon and light on the cloves. Off with you, me lad, and be lively!

NICK

Hey, look mister, we serve hard drinks in here for men who want to get drunk fast. And we don't need any characters around to give the joint atmosphere. Is that clear? Or do I have to slip you my left for a convincer?

As he says this, Nick leans over the counter and puts his left fist nearly in Clarence's eye. Clarence is puzzled by this conduct.

CLARENCE

(to George)

What's he talking about?

GEORGE

(soothingly)

Nick – Nick, just give him the same as mine. He's okay.

NICK

Okay.

Nick turns away to get the drinks.

GEORGE

What's the matter with him. I never saw Nick act like that before.

CLARENCE

You'll see a lot of strange things from now on.

GEORGE

Oh, yeah. Hey, little fellow – you worry me. You got someplace to sleep?

CLARENCE

No.

GEORGE

You don't huh? Well, you got any money?

Nick is listening suspiciously to this conversation.

CLARENCE

No.

GEORGE

No wonder you jumped in the river.

CLARENCE

I jumped in the river to save you so I could get my wings.

Nick stops pouring the drinks, bottle poised in his hand.

GEORGE

Oh, that's right.

A cash register bell rings off stage. Clarence reacts to the SOUND of the bell.

CLARENCE

Oh-oh. Somebody's just made it.

GEORGE

Made what?

CLARENCE

Every time you hear a bell ring, it means that some angel's just got his wings.

George glances up at Nick.

GEORGE

Look, I think maybe you better not mention getting your wings around here.

CLARENCE

Why? Don't they believe in angels?

GEORGE

(looking at Nick)

A... Yeah, but... you know...

CLARENCE

Then why should they be surprised when they see one?

GEORGE

(to Nick)

He never grew up. He's...

(to Clarence)

How old are you, anyway, Clarence?

CLARENCE

Two hundred and ninety-three...

(thinks)

... next May.

Nick slams the bottle down on the counter.

NICK

That does it! Out you two pixies go, through the door or out the window!

GEORGE

Look, Nick. What's wrong?

NICK

(angrily)

And that's another thing. Where do you come off calling me Nick?

GEORGE

Well, Nick, that's your name, isn't it?

NICK

What's that got to do with it? I don't know you from Adam's off ox.

(sees someone come in)

Hey, you! Rummy! Come here! Come here!

CLOSE SHOT

A small wreck of a man, with weak, watery eyes. Obviously a broken-down panhandler, his hat in his hand.

CLOSEUP – GEORGE

He can hardly believe his eyes. It is Gower the druggist.

BACK TO SHOT – NICK AT THE BAR

NICK

(to Gower)

Didn't I tell you never to come panhandling around here?

Nick picks up a seltzer bottle, and squirts Gower in the face with it. The crowd laugh brutally. Gower smiles weakly as the soda runs off his face.

CLOSE SHOT

George, horrified, leaps up and goes over to Gower.

GEORGE

Mr. Gower! Mr. Gower! This is George Bailey! Don't you know me?

GOWER

No. No.

NICK

(to his bouncers)

Throw him out. Throw him out.

The bouncers throw Gower out the front door. George rushes back to the bar.

GEORGE

(bewildered)

Hey, what is... Hey, Nick, Nick... Isn't that Mr. Gower, the druggist?

NICK

You know, that's another reason for me not to like you. That rumhead spent twenty years in jail for poisoning a kid. If you know him, you must be a jailbird yourself.

(to his bouncers)

Would you show these gentlemen to the door.

BOUNCER

Sure. This way, gentlemen.

EXT. NICK'S BAR – NIGHT

CLOSE SHOT

George and Clarence come flying through the door and land in the snow.

INT. NICK'S BAR – NIGHT

CLOSE SHOT

Nick at the cash register, busily ringing the bell.

NICK

Hey! Get me! I'm giving out wings!

EXT. NICK'S BAR – NIGHT

CLOSE SHOT

George and Clarence lying in the snow. George has a strange, puzzled look on his face. They remain for a moment as they landed, looking at each other.

CLARENCE

You see, George, you were not there to stop Gower from putting that poison into the...

GEORGE

What do you mean, I wasn't there? I remember distinctly...

George catches a glimpse of the front of the building with the neon sign over the door. It now reads "NICK'S PLACE" instead of "MARTINI'S."

George and Clarence get to their feet.

GEORGE

(exasperated)

What the... hey, what's going on around here? Why, this ought to be Martini's place.

He points to the sign, and looks at Clarence. Clarence sort of hangs his head. George fixes him with a very interested look.

GEORGE (CONT'D)

Look, who are you?

CLARENCE

(patiently)

I told you, George. I'm your guardian angel.

George, still looking at him, goes up to him and pokes his arm. It's flesh.

GEORGE

Yeah, yeah, I know. You told me that. What else are you? What... are you a hypnotist?

CLARENCE

No, of course not.

GEORGE

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

CLARENCE

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

GEORGE

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

CLARENCE

You're nobody. You have no identity.

George rapidly searches his pockets for identification, but without success.

GEORGE

What do you mean, no identity? My name's George Bailey.

CLARENCE

There is no George Bailey. You have no papers, no cards, no driver's license, no 4-F card, no insurance policy...

(he says these things as George searches for them)

George looks in his watch pocket.

CLARENCE (CONT'D)

They're not there, either.

GEORGE

What?

CLARENCE

Zuzu's petals.

George feverishly continues to turn his pockets inside out.

CLARENCE (CONT'D)

You've been given a great gift, George. A chance to see what the world would be like without you.

George is completely befuddled.

GEORGE

(shaking his head)

Now wait a minute, here. Wait a minute here. As, this is some sort of a funny dream I'm having here. So long, mister, I'm going home.

He starts off. Clarence rises.

CLARENCE

Home? What home?

GEORGE

(furious)

Now shut up! Cut it out! You're... you're... you're crazy! That's what I think... you're screwy, and you're driving me crazy, too! I'm seeing things. I'm going home and see my wife and family. Do you understand that? And I'm going home alone!

George strides off hurriedly. Clarence slowly follows him, glancing up toward Heaven as he goes.

CLARENCE

How'm I doing, Joseph. Thanks.

(pause)

No, I didn't have a drink!

WIPE TO:

EXT. STREET – NIGHT

MEDIUM SHOT – GEORGE MOVES INTO THE SCENE

The sign bearing the name of the town reads: "Pottersville." George looks at it in surprise, then starts up the street toward the main part of town. As he goes, CAMERA MOVES WITH him. The character of the place has completely changed. Where before it was a quiet, orderly small town, it has now become in nature like a frontier village. We see a SERIES OF SHOTS of night clubs, cafes, bars, liquor stores, pool halls and the like, with blaring jazz MUSIC issuing from the majority of them. The motion picture theatre has become a burlesque house. Gower's drugstore is now a pawnbroker's establishment, and so on.

CLOSE SHOT

George stops before what used to be the offices of the Building and Loan. There is a garish electric sign over the entrance reading: "Welcome Jitterbugs." A crowd of people are watching the police, who are raiding the place, and dragging out a number of screaming women, whom they throw into a patrol wagon. George talks to one of the cops:

GEORGE

Hey... hey. Where did the Building and Loan move to?

COP

The Building and what?

GEORGE

The Bailey Building and Loan. It was up there.

COP

They went out of business years ago.