It's a Wonderful Life Page #10

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:

EXTERIOR 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.

EXTERIOR 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:

George calls on Mary and their fate is sealed

EXTERIOR 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.

INTERIOR 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.

EXTERIOR 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.

INTERIOR 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.

INTERIOR 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 . . .

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