It's a Wonderful Life

GEORGE

Oh...

MRS. BAILEY

And besides, Sam Wainwright's away in New York, and you're here in Bedford Falls.

GEORGE

And all's fair in love and war?

MRS. BAILEY

(primly)

I don't know about war.

GEORGE

Mother, you know, I can see right through you – right back to your back collar button... trying to get rid of me, huh?

MRS. BAILEY

Uh-huh.

They kiss. Mrs. Bailey puts George's hat on his head.

GEORGE

Well, here's your hat, what's your hurry? All right, Mother, old Building and Loan pal, I think I'll go out and find a girl and do a little passionate necking.

MRS. BAILEY

Oh, George!

GEORGE

Now, if you'll just point me in the right direction... This direction?

(as he leaves)

Good night, Mrs. Bailey.

WIPE TO:

EXT. MAIN STREET BEDFORD FALLS – NIGHT

CLOSE SHOT

George is standing in the middle of the street, hands in his pockets. As a girl passes, he turns and watches her for a moment. He is obviously undecided as to what he wants to do.

EXT. VIOLET BICK'S BEAUTY SHOP – NIGHT

MEDIUM SHOT

Violet is locking up for the night. A couple of men are crowding around her, each one bent on taking her out. There is laughter, kidding and pawing. She looks up and sees George standing there.

VIOLET

(to the two men)

Excuse me...

MAN

Now, wait a minute.

VIOLET

I think I got a date. But stick around, fellows, just in case, huh?

MAN

We'll wait for you, baby.

CAMERA PANS WITH Violet as she crosses the street to George.

MEDIUM CLOSE SHOT – GEORGE AND VIOLET

VIOLET

Hello, Georgie-Porgie.

GEORGE

Hello, Vi.

He looks her over. Violet takes her beauty shop seriously and she's an eyeful. She senses the fact that George is far from immune to her attractions. She links her arm in his and continues on down the street with him.

CLOSE MOVING SHOT – GEORGE AND VIOLET

VIOLET

What gives?

GEORGE

Nothing.

VIOLET

Where are you going?

GEORGE

Oh, I'll probably end up down at the library.

They stop walking and face one another.

VIOLET

George, don't you ever get tired of just reading about things?

Her eyes are seductive and guileful as she looks up at him. He is silent for a moment, then blurts out:

GEORGE

Yes... what are you doing tonight?

VIOLET

(feigned surprise)

Not a thing.

GEORGE

Are you game, Vi? Let's make a night of it.

VIOLET

(just what she wanted)

Oh, I'd love it, Georgie. What'll we do?

GEORGE

Let's go out in the fields and take off our shoes and walk through the grass.

VIOLET

Huh?

GEORGE

Then we can go up to the falls. It's beautiful up there in the moonlight, and there's a green pool up there, and we can swim in it. Then we can climb Mt. Bedford, and smell the pines, and watch the sunrise against the peaks, and... we'll stay up there the whole night, and everybody'll be talking and there'll be a terrific scandal...

VIOLET

(interrupting)

George, have you gone crazy? Walk in the grass in my bare feet? Why, it's ten miles up to Mt. Bedford.

GEORGE

Shhh...

VIOLET

(angrily)

You think just because you...

By this time a small crowd has collected to watch the above scene. Violet is furious and talking in a loud voice, and George is trying to quiet her. Finally:

GEORGE

Okay, just forget about the whole thing.

As George stalks off, the crowd breaks into laughter, and we
 

WIPE TO:

EXT. RESIDENTIAL STREET – NIGHT

CLOSE SHOT

George is walking slowly past the Hatch home. He stares meditatively at the simple dwelling, then he starts walking ahead. but after a few steps he turns around and starts back. He walks past the house a few yards, turns, and starts back again.

INT. BEDROOM WINDOW – HATCH HOME – NIGHT

CLOSE SHOT

Mary is looking out the window, watching George walk back and forth.

MARY

What are you doing, picketing?

George stops, startled, and looks up.

GEORGE

Hello, Mary. I just happened to be passing by.

MARY

Yeah, so I noticed. Have you made up your mind?

GEORGE

How's that?

MARY

Have you made up your mind?

GEORGE

About what?

MARY

About coming in. Your mother just phoned and said you were on your way over to pay me a visit.

EXT. STREET – NIGHT

MEDIUM LONG SHOT

George looks surprised at this.

GEORGE

My mother just called you? Well, how did she know?

MARY

Didn't you tell her?

GEORGE

I didn't tell anybody. I just went for a walk and happened to be passing by...

But Mary has disappeared from the window.

GEORGE (CONT'D)

(to himself)

What do you... went for a walk, that's all.

INT. HATCH HOME – NIGHT

MEDIUM CLOSE SHOT

Mary is running down the stairs.

MARY

(calling off)

I'll be downstairs, mother.

MRS. HATCH'S VOICE

All right, dear.

Mary looks in a mirror at the bottom of the stairs and fixes her hair. She is plainly excited at George's visit. She runs into the parlor and puts a sketch on an easel.

INSERT: THE SKETCH

It is a caricature of George throwing a lasso around the moon. Lettering on the drawing says: "George Lassos The Moon."

BACK TO SHOT

Mary runs into the hall, opens the phonograph and puts on a record of "Buffalo Gals." Then she opens the front door and stands there waiting for George.

INT. DOORWAY – NIGHT

MEDIUM CLOSE SHOT

George is struggling with the gate – he finally kicks it open and starts slowly up the path toward Mary.

MARY

Well, are you coming in or aren't you?

GEORGE

Well, I'll come in for a minute, but I didn't tell anybody I was coming over here.

CLOSE SHOT

Mary and George are in the entrance hall.

GEORGE

When did you get back?

MARY

Tuesday.

GEORGE

Where'd you get that dress?

MARY

Do you like it?

GEORGE

It's all right. I thought you'd go back to New York like Sam and Ingie, and the rest of them.

MARY

Oh, I worked there for a couple of vacations, but I don't know... I guess I was homesick.

GEORGE

(shocked)

Homesick? For Bedford Falls?

MARY

Yes, and my family and... oh, everything. Would you like to sit down?

They go through the doorway into the parlor.

GEORGE

All right, for a minute. I still can't understand it though. You know I didn't tell anybody I was coming here.

MARY

Would you rather leave?

GEORGE

No, I don't want to be rude.

MARY

Well, then, sit down.

George sees the cartoon on the easel and bends down for a close look at it.

GEORGE

(indicating cartoon)

Some joke, huh?

CLOSE SHOT

George and Mary sitting on the divan. He is uncomfortable, and she tries desperately to keep the conversation alive.

GEORGE

Well, I see it still smells like pine needles in here.

MARY

Thank you.

There is silence for a moment, then Mary joins in singing with the phonograph record which has been playing all through the above scene:

MARY

(singing)

"And dance by the light..."

GEORGE

What's the matter? Oh, yeah... yeah...

He looks at his watch, as though about to leave.

GEORGE (CONT'D)

Well, I...

MARY

(desperately)

It was nice about your brother Harry, and Ruth, wasn't it?

GEORGE

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

MARY

Don't you like her?

GEORGE

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

MARY

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

GEORGE

No, marriage is all right for Harry, and Marty, and Sam and you.

INT. STAIRS

MEDIUM CLOSE SHOT

Mrs. Hatch, in a bathrobe, and with her hair in curlers, is leaning over the banister as she calls:

MRS. HATCH

Mary! Mary!

INT. PARLOR – NIGHT

CLOSE SHOT

George and Mary seated on the divan.

MRS. HATCH'S VOICE

Who's down there with you?

MARY

It's George Bailey, Mother.

MRS. HATCH'S VOICE

George Bailey? What's he want?

MARY

I don't know.

(to George)

What do you want?

GEORGE

(indignant)

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

MARY

(to mother)

He's making violent love to me, Mother.

George is aghast.

MRS. HATCH'S VOICE

You tell him to go right back home, and don't you leave the house, either. Sam Wainwright promised to call you from New York tonight.

GEORGE

(heatedly)

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

MARY

(rising)

What did you come here for?

GEORGE

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

MARY

(terribly hurt)

Oh, why don't you go home?

GEORGE

(almost shouting)

That's where I'm going. I don't know why I came here in the first place! Good night!

As George leaves the room, the telephone in the hall starts ringing.

MARY

(to George)

Good night!

MRS. HATCH'S VOICE

Mary! Mary! The telephone! It's Sam!

INT. HALL – NIGHT

MEDIUM CLOSE SHOT

Mary comes into the hall.

MARY

(almost weeping)

I'll get it.

As Mary comes into the hall, she stops by the phonograph, which is still playing "Buffalo Gals," takes off the record with a jerk, and smashes it against the machine. The phone is still ringing.

MRS. HATCH

Mary, he's waiting!

MARY

Hello.

As Mary picks up the phone, George comes in from the front porch.

GEORGE

I forgot my hat.

MARY

(overly enthusiastic)

Hee-haw! Hello, Sam, how are you?

SAM'S VOICE

Aw, great. Gee, it's good to hear your voice again.

George has stopped, hat in hand, to hear the first greetings.

MARY

Oh, well, that's awfully sweet of you, Sam.

(glances toward door, sees George still there)

There's an old friend of yours here. George Bailey.

SAM

You mean old moss-back George?

MARY

Yes, old moss-back George.

SAM'S VOICE

Hee-haw! Put him on.

MARY

Wait a minute. I'll call him.

(calling)

George!

MRS. HATCH

He doesn't want to speak to George, you idiot!

MARY

He does so. He asked for him.

(calling)

Geo... George, Sam wants to speak to you.

She hands the instrument to George.

GEORGE

Hello, Sam.

INT. SAM'S NEW YORK OFFICE – NIGHT

MEDIUM CLOSE SHOT

Sam is seated at his desk, while a couple of his friends are nearby, with highballs in their hands.

SAM

(into phone)

Well, George Baileyoffski! Hey, a fine pal you are. What're you trying to do? Steal my girl?

INT. HATCH HALL – NIGHT

MEDIUM CLOSE SHOT – GEORGE AND MARY

GEORGE

(into phone)

What do you mean? Nobody's trying to steal your girl. Here... here's Mary.

SAM'S VOICE

No, wait a minute. Wait a minute. I want to talk to both of you. Tell Mary to get on the extension.

GEORGE

(to Mary)

Here. You take it. You tell him.

MARY

Mother's on the extension.

INT. UPPER HALLWAY – NIGHT

CLOSE SHOT – MRS. HATCH

As she hears this, she hastily hangs up the extension phone on which she has been listening.

BACK TO SHOT – GEORGE AND MARY

MARY

We can both hear. Come here.

Mary takes the telephone from George and holds it so that of necessity George's cheek is almost against hers. He is very conscious of her proximity.

MARY

(on phone)

We're listening, Sam.

SAM'S VOICE

I have a big deal coming up that's going to make us all rich. George, you remember that night in Martini's bar when you told me you read someplace about making plastics out of soybeans?

GEORGE

Huh? Yeah-yeah-yeah... soybeans. Yeah.

SAM'S VOICE

Well, Dad's snapped up the idea. He's going to build a factory outside of Rochester. How do you like that?

Mary is watching George interestedly. George is very conscious of her, close to him.

GEORGE

Rochester? Well, why Rochester?

SAM'S VOICE

Well, why not? Can you think of anything better?

GEORGE

Oh, I don't know... why not right here? You remember that old tool and machinery works? You tell your father he can get that for a song. And all the labor he wants, too. Half the town was thrown out of work when they closed down.

SAM'S VOICE

That so? Well, I'll tell him. Hey, that sounds great! Oh, baby, I knew you'd come through. Now, here's the point. Mary, Mary, you're in on this too. Now listen. Have you got any money?

GEORGE
Money? Yeah... well, a little.

SAM'S VOICE

Well, now listen. I want you to put every cent you've got into our stock, you hear? And George, I may have a job for you; that is, unless you're still married to that broken-down Building and Loan. This is the biggest thing since radio, and I'm letting you in on the ground floor. Oh, Mary... Mary...

MARY

(nervously)

I'm here.

SAM'S VOICE

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

As Mary listens, she turns to look at George, her lips almost on his lips.

MARY

(whispering)

He says it's the chance of a lifetime.

George can stand it no longer. He drops the phone with a crash, grabs Mary by the shoulders and shakes her. Mary begins to cry.

GEORGE

(fiercely)

Now you listen to me! I don't want any plastics! I don't want any ground floors, and I don't want to get married – ever – to anyone! You understand that? I want to do what I want to do. And you're... and you're...

He pulls her to him in a fierce embrace. Two meant for each other find themselves in tearful ecstasy.

GEORGE (CONT'D)

Oh, Mary... Mary...

MARY

George... George... George...

GEORGE

Mary...

CLOSE SHOT

Mrs. Hatch is at the top of the stairs. She practically faints at what she sees.

WIPE TO:

INT. FRONT HALL BAILEY HOME – DAY – SEVERAL MONTHS LATER

CLOSEUP

Cousin Tilly's face fills the screen as she cries:

COUSIN TILLY

Here they come!

CAMERA PULLS BACK, and we hear the SOUND of the Wedding March. People are crowded into the rooms: family, friends, neighbors. There is a din of conversation. Mary and George appear at the top of the stairs in traveling clothes, with Mrs. Hatch, red-eyed, behind them. Mary throws her bouquet, which is caught by Violet Bick. As they come out onto the porch, we see that it is raining. Nevertheless, Cousin Eustace has his camera equipment set up and is taking pictures of the group. George and Mary dodge through the rain and a shower of rice and get into Ernie's taxicab, which pulls away from the curb.

EXT. PORCH OF BAILEY HOUSE – DAY

CLOSE SHOT

Mrs. Bailey and Annie, the maid.

MRS. BAILEY

First Harry, now George. Annie, we're just two old maids now.

ANNIE

You speak for yourself, Mrs. B.

INT. ERNIE'S CAB – DAY

CLOSE SHOT – GEORGE, MARY AND ERNIE

George and Mary are in each other's arms.

ERNIE

If either of you two see a stranger around here, it's me.