It's a Wonderful Life

GEORGE

Oh, oh. Sam Wainwright! How are you? When did you get here?

SAM

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

GEORGE

Old college graduate now, huh?

SAM

Yeah – old Joe College Wainwright, they call me. Well, freshman, looks like you're going to make it after all.

GEORGE

Yep.

Sam sees Harry and leaves George in the middle of a gesture.

SAM

(to Harry)

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

HARRY

He has?

SAM

Yeah. He's followed every game and his mouth's watering. He wants me to find out if you're going to come along with us.

HARRY

Well, I gotta make some dough first.

SAM

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

George and Sam wiggle their fingers at their ears, saluting each other.

GEORGE

Hee-haw!

SAM

Hee-haw!

An elderly, fussy school principal comes over to George.

PRINCIPAL

George, welcome back.

GEORGE

Hello, Mr. Partridge, how are you?

PRINCIPAL
Putting a pool under this floor was a great idea. Saved us another building. Now, Harry, Sam, have a lot of fun. There's lots of stuff to eat and drink. Lots of pretty girls around.

Violet Bick comes into the scene and turns to face George. She is waving her dance program at him.

VIOLET

Hey, George...

GEORGE

Hello, Violet.

VIOLET

Hello, what am I bid?

Marty Hatch enters scene.

MARTY

George.

GEORGE

Hiya, Marty. Well, it's old home week.

MARTY

Do me a favor, will you, George?

GEORGE

What's that?

MARTY

Well, you remember my kid sister, Mary?

GEORGE

Oh, yeah, yeah.

SAM

"Momma wants you, Marty." "Momma wants you, Marty." Remember?

MARTY

Dance with her, will you?

GEORGE

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

MARTY

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

SAM

Aw, go on.

MARTY

(calling off)

Hey, sis.

GEORGE

Well, excuse me, Violet. Don't be long, Marty. I don't want to be a wet nurse for...

He stops suddenly as he sees Mary, staring at her.

CLOSEUP – MARY HATCH

She is standing talking to one of the boys, Freddie, a glass of punch in her hand. For the first time, she is wearing an evening gown and she has gained assurance from the admiration of the boy with her. She turns around and for the first time she sees George. For a second she loses her poise, staring at him.

FREDDIE'S VOICE

And the next thing I know, some guy came up and tripped me. That's the reason why I came in fourth. If it hadn't been for that...

CLOSE SHOT

George, staring at Mary.

FREDDIE'S VOICE (CONT'D)

... that race would have been a cinch. I tried to find out who it was later...

CLOSEUP – MARY

Still staring at George, and smiling.

FREDDIE'S VOICE (CONT'D)

... but I couldn't find out. Nobody'd ever tell you whoever it was because they'd be scared. They know...

MEDIUM CLOSEUP

Mary and Freddie. Marty comes into scene, followed by George.

FREDDIE (CONT'D)

... what kind of...

MARTY

(interrupting)

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

GEORGE

Well... Well... Well...

FREDDIE

Now, to get back to my story, see...

Mary hands her punch cup to Freddie, and she and George start dancing.

FREDDIE (CONT'D)

Hey, this is my dance!

GEORGE

Oh, why don't you stop annoying people?

FREDDIE

Well, I'm sorry. Hey!

MOVING SHOT

Following George and Mary as they dance.

GEORGE

Well, hello.

MARY

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

GEORGE

Well, I don't.

MARY

You've passed me on the street almost every day.

GEORGE

Me?

MARY

Uh-huh.

GEORGE

Uh-uh. That was a little girl named Mary Hatch. That wasn't you.

A WHISTLE is heard offscreen, and the MUSIC stops.

CLOSE SHOT

Harry on the orchestra platform, whistle in hand.

HARRY

Oyez – oyez – oyez... The big Charleston contest. The prize? A genuine loving cup. Those not tapped by the judges will remain on the floor. Let's go!

CLOSEUP – GEORGE AND MARY

As the MUSIC starts and couples begin dancing once more, they look at each other.

GEORGE
I'm not very good at this.

MARY

Neither am I.

GEORGE

Okay – what can we lose?

They start their Charleston. We see a SERIES OF SHOTS of various couples doing their routines, some good, some bad.

CLOSEUP – FREDDIE

Leaning against the railing around the dance floor, looking daggers at George. Mickey, a young punk who has had one too many, is beside him.

MICKEY

What's the matter, Othello – jealous? Did you know there's a swimming pool under this floor? And did you know that button behind you causes this floor to open up? And did you further know that George Bailey is dancing right over that crack? And I've got the key?

Freddie needs no more. He takes the key from Mickey and turns the switch. The floor begins to part in the middle, each half sliding under the bleacher seats. Pandemonium starts. Dancers begin to scream as they try to get off. Some are so engrossed in dancing they continue at top speed. Teachers and elders start to scurry off. As the floor opens, it reveals an attractive, lighted swimming pool.

George and Mary are so busy dancing they don't notice the floor opening. Spotlights concentrate on them. They mistake the screams for cheers.

CLOSE SHOT

George and Mary dancing.

GEORGE

They're cheering us. We must be good.

MEDIUM CLOSE SHOT

The crowd watching George and Mary dancing. They move backwards until finally they reach the edge of the floor and fall into the pool below.

SERIES OF SHOTS

George and Mary still trying to dance in the water – the crowd on the edge cheering them – some of the crowd leap into the pool – the principal trying to restore order, finally clasps his hands like a diver and leaps in himself.

FADE OUT

FADE IN:

EXT. TREE-LINED RESIDENTIAL STREET – NIGHT

MEDIUM CLOSE SHOT

George and Mary. The night is warm with a bright moon. George is dressed in jersey sweater and oversize football pants that keep wanting to come down. Mary is in an old white bath robe. Each is carrying their wet clothes tied into a bundle that leaves a trail of dripping water. As they near the camera we hear them singing:

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! Just like an organ.

MARY

Beautiful.

CAMERA MOVES WITH them as they proceed down the street.

GEORGE

And I told Harry I thought I'd be bored to death. You should have seen the commotion in that locker room. I had to knock down three people to get this stuff we're wearing here. Here, let me hold that old wet dress of yours.

He takes the bundle of clothes from Mary. They stop and look at each other.

MARY

Do I look as funny as you do?

GEORGE

I guess I'm not quite the football type. You... look wonderful. You know, if it wasn't me talking I'd say you were the prettiest girl in town.

MARY

Well, why don't you say it?

GEORGE

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

MARY

Eighteen.

GEORGE

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

MARY

Too young or too old?

GEORGE

Oh, no. Just right. Your age fits you. Yes, sir, you look a little older without your clothes on.

Mary stops. George, to cover his embarrassment, talks quickly on:

GEORGE

I mean, without a dress. You look older... I mean, younger. You look just...

In his confusion George steps on the end of the belt of Mary's bath robe, which is trailing along behind her. She gathers the robe around her.

GEORGE

Oh-oh...

MARY

(holding out her hand)

Sir, my train, please.

GEORGE

A pox upon me for a clumsy lout.

He picks up the belt and throws it over her arm.

GEORGE

Your... your caboose, my lady.

MARY

You may kiss my hand.

GEORGE

Ummmmm...

Holding her hand, George moves in closer to Mary.

GEORGE (CONT'D)

Hey – hey, Mary.

Mary turns away from him, singing "Buffalo Gals":

MARY

(singing)

As I was lumbering down the street...

George looks after her; then picks up a rock from the street.

GEORGE

Okay, then, I'll throw a rock at the old Granville house.

MARY

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

MEDIUM LONG SHOT – OLD HOUSE

It is a weather-beaten, old-fashioned two-storied house that once was no doubt resplendent.

GEORGE

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

MEDIUM CLOSEUP – GEORGE AND MARY

MARY

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

GEORGE

In that place?

MARY

Uh-huh.

GEORGE

I wouldn't live in it as a ghost. Now watch... right on the second floor there.

MEDIUM LONG SHOT – OLD HOUSE

George hurls the rock at the house. We hear the SOUND of a window breaking.

EXT. FRONT PORCH OF HOUSE – NIGHT

CLOSE SHOT

We see a grumpy old man in shirt sleeves in a rocking chair on the porch. He looks up as he hears the breaking glass.

EXT. STREET – NIGHT

CLOSEUP – GEORGE AND MARY

MARY

What'd you wish, George?

GEORGE

Well, not just one wish. A whole hatful, Mary. I know what I'm going to do tomorrow and the next day and the next year and the year after that. I'm shaking the dust of this crummy little town off my feet and I'm going to see the world. Italy, Greece, the Parthenon, the Colosseum. Then I'm coming back here and go to college and see what they know... and then I'm going to build things. I'm gonna build air fields. I'm gonna build skyscrapers a hundred stories high. I'm gonna build bridges a mile long...

As he talks, Mary has been listening intently. She finally stoops down and picks up a rock, weighting it in her hand.

GEORGE (CONT'D)

Are you gonna throw a rock?

MEDIUM LONG SHOT

The old deserted house. Mary throws her rock, and once more we hear the SOUND of breaking glass.

GEORGE (CONT'D)

Hey, that's pretty good. What'd you wish, Mary?

Mary looks at him provocatively, then turns and shuffles off down the street, singing as she goes. George hurries after her.

MARY

(singing)

Buffalo Gals, can't you come out tonight...

George joins her in the singing as they proceed down the street.

MARY AND GEORGE

(singing)

... 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

What'd you wish when you threw that rock?

CLOSE SHOT

Man on the porch of house, listening to George and Mary.

MEDIUM CLOSEUP – GEORGE AND MARY

They have stopped walking and now face one another.

MARY

Oh, no.

GEORGE

Come on, tell me.

MARY

If I told you it might not come true.

GEORGE

What is it you want, Mary? What do you want? You want the moon? Just say...

LONG SHOT

Full moon shining through the trees.

BACK TO SHOT – GEORGE AND MARY

GEORGE (CONT'D)

... the word and I'll throw a lasso around it and pull it down. Hey, that's a pretty good idea. I'll give you the moon, Mary.

MARY

I'll take it. And then what?

GEORGE

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

(pauses)

Am I talking too much?

MEDIUM CLOSEUP – MAN ON PORCH OF HOUSE

As George finishes talking, he jumps up out of his chair:

MAN

Yes!! Why don't you kiss her instead of talking her to death?

CLOSE SHOT – GEORGE AND MARY

GEORGE

How's that?

MEDIUM CLOSEUP – MAN ON PORCH

MAN

Why don't you kiss her instead of talking her to death?

CLOSE SHOT – GEORGE AND MARY

GEORGE

Want me to kiss her, huh?

CLOSE SHOT – PORCH OF HOUSE

MAN

Aw, youth is wasted on the wrong people.

As he speaks, the man leaves the porch and goes into his house, slamming the front door.

CLOSE SHOT – GEORGE AND MARY

GEORGE

Hey, hey, hold on. Hey, mister, come on back out here, and I'll show you some kissing that'll put hair back on your head. What are you...

Mary runs off scene. George has been once more standing on the belt of her bath robe, so as she goes, her robe comes off.

GEORGE

(looking around)

Mary...

He drops his bundle of clothes and picks up Mary's robe. He cannot se her anywhere.

GEORGE (CONT'D)

Okay, I give up. Where are you?

CLOSEUP – BUSH AT EDGE OF SIDEWALK

We see Mary's face peering out from the leaves.

MARY

Over here in the hydrangea bushes.

MEDIUM CLOSE SHOT – GEORGE AND MARY

George walks toward the bush.

GEORGE

Here you are. Catch.

He is about to throw her the robe, when a thought strikes him.