"CASABLANCA" (1942)

LOS AN<;:SLES. CA 9003-1 ~bis scree..-,play is -unpublished literary P:{2l'!Pl;iJ-1-li6 held under cot!Con law copyrir,ht, and has 1:ieen privately circulated ~o a. linited number of universities in the United States for educatione.l purposes onl.y. No copies ,me.ybe reproduced or ILilYportion of this 11l8.teria.l published or cir- culated without the specific vri tten pcrn-.i!:sion--- in ea.ch case of Warner Dros. Inc., 4ooo We.rner Doulev-&rd, Rurbe.nk, ~ifor:iia..

Julius J. Epstein & Philip G. Epstein

1 LONG SHOT• r.EVOLVINGGLOBE

As the ~lobe revolves it becomes animated -- Long lines of ~eople {in mini~ture) stream from all sections of Europe•· to converge upon one point on the tip of Africa. OVER THIS animated scene CDQel a voice of a Narrator.

•·1-t{ch illustrates che trail as the ~an.·ato::- mentions th~ :--oincs.

NARRATOa ( continuing)

P~ria to l'1areeilles -- Across the Mediterranean to Oran •• T:.'1en by : train•- or au~o •• o~ foot -- across the rim of J..f~~ca to Casablaraca in French ~..orocco --

3 RELIEF MAP • OF CASABLANCA

· JWins cha ocean on one side and the d.:-!ser: on the oth•.·:r • ...~ voic:.:! cf :he Narrator COMESOVER.

lere -• the fortunate ones through

()bt:oin exit visas and sctr..-ry t:o J.sbc..Al •- and from Lisbon to ~b~ f...mericaE •· nut the otbeL·s -- wai;: ~n Ceuablancu -- ar.~ waic -- and uait -•

As-the ~~rrator s voice fad~s aw~y --

4 CLOSE SHOT • RELIEF MAP or CASABLAl!C..~

A street on the map.

5 FOLL SHOT - GLASS SHOT - OLD ~CORISH SF.CTIONor-~CITY - DA~

At first only the tu~rets ~nd rooftops are visible a3ainst a torrid sky. In the dist~nce is~ haze-enveloped sky. Tbe CAME.RAPANSDOWN the fac~~es oZ the Moorish buildinss to a narrm1, twisting s~rcet crowded with ehe polyglo~ life of a native qu~rter. The intense desert sun holds the scene in a torpid tran~uility. Ace• ivity is unhurried ancl sounds are cr~tcd ••• SUdc~nly th~ eaeech of a si~en shat:ers the c~lm. Veiled women run screaming for shelter. Street venclo=s, beggars and urch- ins melc into doorways. A police cz.r spee~s into cbe SHOT and pulls up before an old-fashioned ~loorish ho~el -- flop-house ~ould be a better word for it.

of this decrepit hotel. Na:ive French.police officers run up the steps, crash into the doors cf the various rooms, come out -- dragging f-~ightened re~ugees.

CtJTTO:

7 CLOS!: SHOT• DOOR

as one police office~ flings it open. Tbe shadow of~ man b.a..,ging by a rope !rom a chandelier is seen on the wall. The officer slams the door shu~.

8 STREET CORNER

Two other policemen bave stopped a ~hite civilian and are talking to him.

1ST POLICEr'lAN May we s~e yo~ pa::-~r s_1 ple::.s.Ge?

( COUTINUED)

8 CONTINUED:

CIV IL IA...~

L (nervously)

I I -- I d~n e think I · have them -- on me.

1~ l"Ot!CEM.!N In that case, we'll have to ask you to com~ along.

It s just ~o~s~ble tha: I -- ~es, here they are • .. He brings out his p,~ers. The 2nd police~an examines :ha~.

2Nt POLIc:1-':..;.l,T The&~ papers expired three wee.ks

ago. Yoc ll have to --

Suddenly the civilian breaks away, starts to run wildly do\·m the sti:-eet. 'tbe CA1'.Z~.ATRU~(S w.!.th bi=l. From ofZ

scene we HE.AR the policeman shout 1-:2lt 1- ·- But the civi- lian k~eps going. A shoe rings ou~, the man falls.

( The~ l'ANS to a••

- 0., MED. CLOSESHOT

dazed and fright~nao spec~ators co this cas .ual tragedy. They are im Austrian couple, very l'Oung and attractive, thrust by circi.l!nst~nces from a sic.r,le coU!'a:ry life into an tmf.imiliar hec ':ic \lOrld. Anninc: • ~ hand clutches her

~usband s arm as ~n~i~ eyes follow tbe police who are ex- amining the victim.

C:JT TO:

' 10 JAN AND ANNINA I

They both speak with a Cent=al Euro~~an accent. At this

t moment the police ca~ swe.e~s past them on its way back. Jan takes his wif~ by the hand. I

JAN

I The Pre~~ctm:-~ ml!~t be this way. I '

They start off in tb~ direction ta:~cn ~7th~ police car • •

ll . AN Il:SCRIP'i'ION

•'1.iberte, F.g2.l:!.to1 Fraternit~".

carved in a marbl .e block along the roofline of a building.

The CAHERAPANS DOE'Nthe facade, French in arc:)1itecture 1 to the high-vaulted entrance over which is inscribed:

Fal&i!i de Justice. C.ANERACOi~TUWES TO r.\N DO~-l to the en~ranc~. A qu~ua of people of all ages and nacionalicies overflc~ f~cm inside the b.uldir.b an~ cioim the ste?S• The CAhERA PA?lS OVFR the line of t-12iting people exten~ing into the square. w~ PICK UP a babel o: lilngu.:is .es ""·ith

only a fey recr,gr:i?.able words tuch as, 'visa , ••~or.sieur 1 11 11 le Preiect \ !'or~ 5al ,. "a hundred :francs''. etc. Sudden- ly the artencion of the people is at~ac:ed toward the stre~t.

'tHE SQUARE (:ROM ?Hf. ANGLE OF' THE YArrn•~ LINE)

The sq\H-:treis typically French in i~s lanciscaping ond archiCl:C:turc. This is the center·of the :nodern city o:= :ascbl.:.r,ca. Th~ poli=e c~~ is just ~ullin~ up ~o the curb 1n front of the Prefecture. A pol~~e~an o~ens the g~a:etl door at the back 0£ the ca~ and a no~descript assort~ent of refcgees begin to pour out.

l... Sn>EWALlCCAFE ON Ci'~ SIDE OF THE s:_~.11.RE.

~ middle-aged En~lish c~uple are stan~~~& in front. of their t~ble for a ~;~ter view ot tn~ co.ru:iotion in ~ror;t

..

of the Prefeci:ure. A da~k-visaged Eu:.·opean s~oking a cis- arette leans agains~ a lamp pos: P sbo~t ~ist~nce away.

)

He is t.:atchin~ the E.nglisb ~ourle mo;.:-eciosely :han the

~ ' seen.? on the st~eet. I •...

E.NGLISHWOM..:.l-i What on earth's goini on the4e?

ENG:.ISm-io:-t\1·~ We hear ve:.:y little -- ar.d w~

'r understar.d ~ven le~s. r i (CONTINUED)

..

t

r 11 Changes - "r.A!:t~u~:CA - 6/5/42 5 •

14 IN!. FRONT OF THE PAU..IS D:: JUSTICE (Frt0i1 THE' At,CU: or

THE CP.FE)

as cbe refugees are unloaded fro~ the police car.

DARK EUROPEAl~• S VOICE (over scene) "This i& tt~ custo~ary round~~ of refugees, liberals and ••• (as a young blonde girl • the last to leave the car• is herded with the others in front of the Prefeceure) Of eourse 1 a beautiful young girl

for MSieur Renault, the Pra£ect of Police.

15 THE S IDEWALlCCh-S

(puzzled)

; I don't understand. I ~ DARKEUROPEAN As usual 1 the refu~~es .md the

liberals will be released ins

I' few hours. i (smiling slightly) t The girl will be r~leased l~t~r. j

ENCLISHWOM.~'1

f (horse-faced and

past middl<?-age)

~'"hy1 a woill::lnis:, t safe in this wretched placel

DARK E UR.OPEAl~ (shru~ging) · To gee out o~ Casnblanca they ea7 cne needs tt:o doll~rs fo~ an exit visa and t"~o hui1drec for che !Te• feet. Unless, of course, 0·1-i~ is a b~autif11i. :·:)ung girl. Tna rici.1 anJ t!l~ be .. _:;ii •.. l sail t~ Usbcn. The P<•O:: alt"~ ~~: ...:.i7s ,:i :-h us. ( CONT!NUEn)

ENCLISHw011t.1'1 nre:,adful •••

nJI~!( Etm OPEA:•! U:\fr.::rt~:·.:at.: ly, alr,:'1£ "'i th i:'h~se t,;r,r..·r,r-~·re:!.:l:6CCS LlC seem o;; :.:...n-{:~ :-.~~ [):'ilVitt . ..:~d ro (:..,!..a~l.::~~=::. s::::'...; c:3 t}.:..J b1vc ~1c-\'?nwai t::.ng y,~:.: .i .i'o:.: a vis.'.:!.. ( :~"...:~ !: hi!: t:.::~s com• p~ssion~:~ly a~our.d the f::n;.?.1~11r.,.,m) M' c:.eu:: I bCG, of /C'..l. watch yom:-• ~elf. Tck~ c.::i.re. Be on f.Lt~rc1•••

t

ENCLISHMAt!

r~

(~athc:-:- tal.e:n 2:-::ad,

f ..· ' - by this ~~j~c~ dis•

play ~z cc~~ern) Er-• e~ -- ~~.::nk you. Thauk you very a11.Jch.

Not at all. (raises his hat politely)

Bon jour, i-u:.d~riia. Bon jou::- • M~ieur.

H~ walks ot.rrof ch~ SH:>T. Tne Englis!l~tin, scill ~ t7'"i fie di~eon::ertej b:r th~ Et~-:ope .,in's. a,-=-.::ion, l,oo ·:,.s after hi;; •, oop~in:., hi6 brnw wi.t:h hi! ,ock~c bi:mcll(erch~ef.

I.NG!..I~H:•!..\N (rectori.1g ~>LS .:,od~~t han...:ike~c:hi~f) I Fric•.ndly c:tiap, wa~.'l t he?

As he r~ts his brc~c= pock~t ther~ is somerhing l~~ki~i. · He opcr1s hie. coat, f e~ls 1.~1sid..'.!.

Silly of me •••

ENC:..,I Slit !OM:l-1

:ENG:.ISHitAN ~avinc -:r.y wall~t :.n the hotel ~oo.-u•••

He Clf": :::G h -: s cn:i·~> th~n ~ -~:ide~-:!y !1~ looks .,ff in the ilr• ectic.n ,,.t: t~.c cl~r41-:.·ti:1g d, ._ k :c~::ro-:~·,m, ::he c:lC'ud:; •·f ..,,:,~ pic:io.1 ~ ~th~·-!.·in;_;. B':l:, no\, , ov,; .rh:. .:; i, c.::.ic :-.:,OU~ o:.t a .i ;}-:~·--

~ £ lyi.n~ .11rp i. ar,2 is w·..-u.lD. _H~a.--is l c 0.,ut'• •

r

16 A!RPLA?~ FLYil;:; OV"iiU~AD

• its motor cut fo~ a landing.

17 PLAh''E

Showing the swastika on its tail.

18 TP.UCKINC SHOT - ALO~!:; T"dE \•iAITil~G Lil.ffi OF R!:FUG~ES

OUTSIDE THf PALAIS DE JUSTICE

Their uμturn~d geze follows the fligb: of the plane. In tbeir faces is rcv~al~ci one hope th~y all bave in comt,~ and the p_lane is the symbol of thac bo~e. The CAMERAs-rc,r:.:· at the last of t~e line fa~ out er, the stteet• just ae ~a~ and AnnL~a appear and take their flaees at the very end. Their eyes also follow the droning plane.

I + Jan smiles a= h!s wife with superior knowledge.

f

19 AIRPORT - THE PLf..l~-

is ~•ccping do~m -- p~st a neon s!.g:1 or. a building on· the

edge of the airport. Tbe sign reac?s: ''kICKS •

20 GROUP SHOT

CAPTAIN LOUIS RENAULTt a French officer appointed by V!~b'v as Pref~ct of Police 1J Ca~eblanc~, s:ands chatting wi~h other officers. H~ is a handsome. middle-~ged French~u, debonair and gay, buc withal a shrewd anci alert offici~l. I.round him are c lus .:e~2d the Ge-::-llltll1Con~ul, HE.t'1RHEL.'17i •

i, a young Italian o.::fic:a~ s CAP'fAilt TO~-~LLI, and Renault's r aide, LIEUTENANT Cr..SSZL!..E. Behind the.~ is a detail oi

French native soldiers. The ofiice~s watch the approach-

i. ing plane as it taAis toward th~m. The German ·and ltal!an I

(COHTINUED)

a.

20 CO~!'!Th'UED:

detach themselves from th~g~oup £~1 walk toward the place

\ wbere the plane will s·top.The Ce~~ walks briskly a

step ahead of the Italian.who ap~ears to be making an effort to catcb up.

When the door is o~~n2-:i, the first ~ass1:.nger to step out is a large Germ~~ we2~ing heaV"'J, born-rimmed spectacles. He is blend-faced, with a pe~pe~ual smile that seems ~o~e tba resul: of a froze.1 fac~ m:iscle :bcm 2. c~1e:er ..:ul -iispo- sition. On any o~c~sion wh~n }lUOR STSASS~h is c~~ss2d,

Herr Heinze steps U? to bim Yith u~rais~d arm •

...

STlV.$SER (t--·-:i.tba mor:l rcla.'tecl gestu;-~) Heil Hitler.

They shake hands.

HEINZ! (in German)

,. It is good to see you aga!n, H,a~o:.:-

Stre~.:;er.

~Tl'~.SSER ( iD Certi.1an) Th.ank yo.i, thar1:t you.

Strasse= turns to g~e~~ Renault and Casselle, who have come n~o THE st!OT. H2rr Hein~e maket: t.:1e in:roduc:ic:-i.

i HFil~ZE t (in English) ' May I present Cap:c:in P.enaal~,

Police ?r~f~ct of Casablanc~ ••• ~jo1: s:=a~se:-.

t I,

The two shake har.1cis.

( cmrrINUE~)

21 CONTINUED:

(co~teously - but ,dth just a suggestion of . moc:cery undernea~ bis words)

to Casablanca.

STRA~SE:R (in ?erfect English beaming on the Fr~r.chmzn) Tbar,k you 1 Captain. It is very good to be here.

snu..ssm That is kine o! you.

i r --,

RENAULT

r Major, may I present my aide, i Lieutenant Casselle. f 'f Casselle does no: offer to shake hands. They m~rely sal•

ute and bow. Renau1~ · leads Strasser toward the edge of

i

the ail: field, wi.,~i:e their ca~s aw!'::..t chem. Heinze and

~I

Cass~lle follow, with the I:alian captain left to bring

l up the r~ar. [ 22 TRUCKING SHOT • RZNAULTAND STRASSER

walking toward th~ cars.

RENA:JLT (again Uie suggesticm oi a double-edged i..,f erence) You may fin~ cbe c!i..nate o[ ~asa- blanca a tr~fle warm, Majo~.

f f I

1c.

21. CON'i"INUED:

P.tNAtrt.T (sid~stc?S the icipli• cation witc a ~~ile) What else, !JlY de~r Major?

Again Scrasser laokc a!: ?l.!.m sha~l7.

e_- ·.

P.E.HAtn.T Tber~ is no ha...~y. Tonight he

will come :o ~ick s. (ir,dic2.t:ir1g the cafc F:: cha air• po~t•s edg~) Ev~rybo~y co~s to Rick's.

Heinze shrugs ~o indicate ~hac he c~n ~o nothing wi:b ~-~ault.

As they arrive at the car -

t· t '

r

/ 23 , ONITTEn. I '

I

24 ELECTRIC SIGZ~ • 'T~IC!t D" - NIGfil'

CJ.HERA PANS DOW~ TO:

25 E.Nl'RANCt TO RICK'S

Rick's car drives up. Peo~le in t.g. enter cafe throu~h the revolving door. irom toe cafe we H,E.~t SOUNDSof mu• sic and laughter.

I

An expensive ar.~ chic nibht club wnic.h d~fin!tely possess- es an air of so~his~ication anc in~rigue. The CIJ-~ PAi~~ A..~OUi'IDthe room~ soa.~ing in the at::10S?~ere.

I. fcr.i.r•piece orchestra is playing. r..1~?i~~o i~ a scall,

I saimon-colorcd insi:"~um~nc on wheels. The~e is a negro on i the stool. He is d~essed in brigot bl~ slacks and sport t

shirt. He is p!~yini and singing.

r

j I The occupants of the.room aLe vari~d. Tae~~ are Eu~opea~~ ' in their dinner jac~<ets; their women beau~:i.fully begowne~

and bejcwele-:3. The::;! zre Moroccans i:1 s:!.l!: =obes, 'r..irks wearing fuares. Leva~:ine~. ~~val o=Ziccrs. Members of the Foreign Lcgio:.-i, di:;~1.nzuis~ed by ~::ei~ kepis --

Across the room, sttat=hin~ the entire length of the wull, is a tremendous, re sr-l!=nde;it bar.

a) CAhi-'ilA P.:JLDS on Sn1:1 sir-.ging, wit:, Ol:'chcs!:ra ir. b.g., eh~.·1 PAl.~:;to CLOS:.:.Ul' O!: Cl.5Comc-r s.

get nut n= h~re. 1 11 die in

i

Casa i. la..,c a.

f

b) C.Al-L.:Ri.f ~ill~ to weeping ~~oman.

There, th2re.

26 CO!':!'INUFD:

c) CAMERA PANSAl>?DHOLDSon San, as he finishes the n..un-

l ber.

d) CLOSI:UP • A HOI-'.ANl~"D A ?-!DOR• a very well-dressed wom3n talking to a Noor. Sbe has .? brac:ele_t. on her wrist• no other jewelry.

WOMAl-J But can't you !wlke it just a little more. f lease.

I'm sorr!r, 1-iatl.::une. But diS!llor1dt are a dr~2i on ~'ie rnarke:. Ev::?t-y• body s~lls diaoonds. There ~e

... diamonds e~~ywne~e.· two thousar.cl,

four hundre:d --

l. :

WOM.A~l

i (clisttcssedj I All right.

l The Moor hands her cbe money - she g~ves uim he~ bracelet.

c'-, TWOCOMSPIJu:._TQ~~are talking.

C',

rIRST MAN

t The trucks ~~-=waiting, the men (.

are waicina ,'-'--

L> L

TWOMEN are si~~ing at a table.

f ~ . , f MAN I I I It s the !ist·,ing ~!l2ck Sar..:ia 6 .'.>. I' It l,aves at one to~orrow ~~~h:, 't here from t-~,e and o,: La 1-f~;:ina. I·

1'Le third boat.

r ~

MAH

f And b'~in:; tbP. fif~e~n thoU!:.:nc

francs in cas~. Re!~mbe:.: 1 i ..,

'f

cash.

r g) THE CAMLT~ADOL!.I.:;!'.: to tiie ba.~. ,\s the CAMERAP.ASSF.S ~- the various tabla:. we H.'.AR 6 bnb~l o,:; ::o:ceibn ~cmgues.

Here and the!:<: w~ ca!:ch a sc.it·::.::::~=d ...Li:asc or sc::n- tenc2 in Engl~s~.

Now ue arl? c:i: tL~ bar.

27 ?-:tD. SHOT - RUSSLll·: E~TI:rmEa

a buge I jovial loo::ing per son. He uea= s a silk s=iock~ H.! hands a drink to a custo~er; with.the Russian equivalen~

of ''Botto:ns ilp' • Then be calls out to a passing waiter:

The waiter scops, turn:: 1 "'~211:s to the bar. He is a smal!, mild-mannered ~~n ~it~ SFeCtacles. Sac~a places several dzini<s on a ttay 1 -insttucts Carl about ~elivering 1;:iem.

28 CARL

trey in h·im-::J, walking up to a privr.Z:1: door, over which e burly man sta:Js gUE~a.

AB:JUL

r (~espectfully - as • he ope~s ths door)

Yes 1 Herr Professor.

c_,

Carl goes in.

29 LONG SHOT • nrr. GAf~Lil-tG R001,:

as C.a:-1 comes in. Th~ CAMER!.Tt.I-:::-:' Ill tb~ activity ac tbe various tablesj t~en •

•..

A woman hands a cl:.eck to tt1c deale::-.He, in cum• tu.-n s around nnd hand~ it on to a ov2rs~er. who looks at ehe cbec!t, then at the woman.

OVER~EER (to woru..:i~) Just one min~~e, ~~~ase •

• cur TO:

~. -~ -:y:. . .14 •

, ..~ ..,,~ . .~ ~:-~ 1 31 CLOSE SHOT - A lot~ S lblID

I holding c: drin1;. t•ie ~~.E th~ Ovarse~r s bo1y co1T:e n:ro THC

(

SCEKE. His hatd places a cte~k o~ t~e cable. The ochar

man s hand picks UF th~ cbe~k. Obviously, the man is studying the check. T~ien his hancl co=~s L·!!O THZ Scrfil. and on the back of the check, in pencil, it writ.es:

"Okay -- Rick I The over saer s h~~id takes the c:he~l~ a~ • .

.. -

32· ~ED. SHOT.~ RICK

· sitting at the table alone. Be just Ei=s staring ae tha drinl~. :;:"b~~e is no ~1~::-e!;sion in !lis eyes. H~ i.s a com-

'4•.

plete deaci pan. Riel< is an l.merican cf :a.r,::ic:erc.inate age.

•

The women are gl..:nc:.ng of=~c~-:-,e ac aic!~·• s t:able, fascirJa- · ted. Cul is in the scene, ?repa1:!.ug l'\l.::~-:~sh coffee.

2i:ID WOMAN (disa~:-ointecily - ~lancing towar:!s P.ick) What m..:tke:ssaloon-keepers so :mobbis~?

1'1.~1'! (to C-ll"'l - bol<ling ou: a bill) Perba?s if yo:1 tcl<i !li.m I rar, tha second lai·ge.~~ ca..,ic::ig houi:::~ in

~ , . •I t r . ..... .. ,.. '

'

33 COiCTINUED:

CA..~L ( fiha::ing his bea:i) Tha c wo·.i1dn ' i: impr e s s F.i c!~. The leading bc?nker in P.m,:;te:-da.n is now th~ p.ast7i:y chef in our kit- chen, 2...~dhie fat:hcr i£ tbe bell• boy. I He take!. the bill f~om the ma:l s h~cl 2.nd walks away. CAMulA PANS HITH bim, disclosing:

34 l~D. SHOT • RICIC

(;.LTERN.t.TE ~C::l·~ m.Tl'l~En AS SHOT Al~ CRC:I:ITED - Ja)

..

He is glancing tnwar~s the open doo= znci indicating that tb~ person scel:i~i ad!::11:tance is no: to be let in.

There is a com::notion zt the doo=. A voice with a German accent is HEARDsbouc~ng.

GCR!1.lli VOI:r. Cf all tile nerv~ 1 :Jbo do you think-•

.. · -,. ··r Rick gets up, a..91dHith no change o: e~~-::-e~sion, walk~

across the floor to i':he doo~, Ct.ME".A Tr.U:IGl~G with hi.m.

Ctr1' TO:

(I.LTERNJ1TE SCEi,!E Nu::~R AS SHOT JJ@ C?..E~ITED - • 39)

is protes:ins to ~.1,~~1.

CER.Y!!l·!

I know tlie~~ s gmilbling in there I

' ! Th~rc s nc sec~e~. You da~a no~

keep me: o~: of here.

l'

Rick tl'r~J.S ~llOI.

~

RIC!·: (~ol~ly) . Yes? ~1','1t 's ti:1e tr o~le a

~A t:i\ E;- -· t!1i.s 6~r.:lt:me.1

C!JT TO:

t

36 ?-ZD. SHOT • . HICK AI·!::>c·i!Rl-!AN

(ALTERNi~TESCEI~ NLi~ER AS SHOT Ai'm C".ZDITED • 41)

GtRKA.N • (waving his card) I 1ve beet in ~very garnblin3 room between Honolulu and BC?rlir. and · if you thir&k I'm going co be kept out of a saloon like this, you're very mu~h miseaken.

37 ~~"TRANCETO RICZ S

{ALTERNATESCENE mn-mER AS SHOT AND C'r.ED~D • 40)

A8 UGAR.TEcoces in. He is a small 1 thin man w!:n a ner• vous air.·· If be we.:e an Americ.:in, be would look like 3

and the G~rman •

?.ick jus~ looks a~ the German calmly, =~:es the card out ~f the c~rman•s hand. ·

( RIC:.

(to German - te~in~ up the card) Your cash is goo~ sc the ba:;.

GFaM..\N (to P.ici.c) Ubat -- Do ycr~ know who I ~?

I do. You're lucky the ba: s open to you.

GEIU"il\N Tbis is outtageous. I s~all re?ort it eo th~ /I.g~iff.

He turns away from the sputtering G~rrua.i, catches the ne- · gro•s eye at the pieno. The negro. wno while still play- ina bas been watching the by-play, trl.n!~LJ at Rick. Rick acknowledges the wir1l~ wi"Ch some £::-:!.encly ges:ure. It isn't quite a smile. but it is pro"cabl}' i:he closest thing to a smile that Ric!~ can manage. .::.r.;"-1ar,it establishes ~he fact that a£ far ~s Rick is cou~e.i.--ned, the negro is a ~rivileged ~P.rson. ·

Rick goes back into the bar. cur TO:

~~:::>. SP.OT • AT ~A!!.2 - rn GAM'.~L!NC ROOI: (1.1.TERNATE S:Ei'Il: NU!.-:ioEP.AS SHOT ANt C;.~DITD - 42)

..( as Rick coces I:.~TOTc::: SCEi:E. A moiLent l~~er Ug~rte

follows oim rnro TIC SCENE.. There is no'1ody near them.

(=e'W:ling) Huh. You 1:now, Ric:c, wacc:-,:r.g you just now with the Deut-:~as Bank, one ~o~!d think you h~d been doing this _all your life.

RIC:: (coldly) You tbocght what?

UG/.R'rE (£=~~in8 to offend Ric!. - laughs) Wbat ri5~e h~ve I to t~ink? (has~il7 c~~ngi...,g cbe SU!>ject) Too bad about ~bose Garman CO"Jr• I iers, wasn t i:?

RIClC ( incl if fer .e1,cly) They got a bre12!c. Yesterday they were jus ·;: two German cle~k6i to-

i day they're tne Houored ~ead. t · t. l UGAf~?E t (shal:ing nis head) t You will t~give me for saying

~ ~hi~, 1'~sieu:.:- ~~icl:, b~= yoa rre

a ve~y cyniccl person.

RIC:{ (sho:-tl~•) I f o!'g1 V(! j·o-:.i.

..._

lt.

39 U.RTEtmn

(hl.TERHATE SCENE HO. ~ SHOT /.i-lD caEIJITED - 43)

eo.:.ing nm sen~ t-1ith two d=inks, u~icb b:? .e:ets befo=e

... the.men •

.. UGARTE . (his ey~s li~hting up,

drink wi:h m~, pleac~?

RIC: lJo ..

UGARTE

f~ (se.d!.7} .. •·. You dcsrisc me, don't you? --•~ t RICK .. {ir.1ii:.foreritly) :-,"

If I ga11e you any tbought, I

' probably woull. . t.

UG...\t"1TE You object: to tbe !:ind of L~si•

,:.: ne.cs 1 do. 'B--:.1': thir.~ oZ ~~ ·1'-oor ~-.

refugees who must rot 1~ this· place if I di~ uot help the~ Is 1.t so b.e.~ =nP..;: thro ·ugh we.ys o:: DJ?. own I provS~~ t~~m ~ith ~~t visas?

~- ~ICT. l

(st.ari;.~g a=his dri..-.k)

~

For a pric~, Ug~~te, fo~ a ?ric~.

r--

UGA.~TE

l ~ut thin!..: of t:1ose r,oot· dev:.!.s who ,. C&""lno'i:m:?et r.~:13.ult' !: price. I r,

get it for them io~ half. Is ~ha: so p2=a.si!:ic'i'

Rick turns u, look at Ugart~.

UGt:.rz ~ell 1 a:l:!:er tonigbt I amtb:::oug":1 with the whola "i,u5:.ness.~ic:~, I Qm le~vinci C~s~c!a..,c~.

RI<=< t~o rltd yo:.1 l;:-i~2 fo:: yo~ -;::sa ':

t Rt?naul: c·-; yc-·.:rself? ..

(:mITnmr.D)

'•·,. f

t

;-:;- -- .. ... --.

3~ COtITllt1JED:

~· Do you know t·1hat: this is? Some-

thing tba: not even you ha~e 2ve~ seen - (lcx-rers bis voice) ~tters of T=c0sie signed by i~::sh• all Waygand. They cannot be rescind~~. not even questioned •

.... ; ·Rick looks at him, then holds oat h~s band ior the envel•

ope. UG/,,ZtTE One moment, Tonighc I wi.tl SeLi these for mo~e I:iOney thar. evcc I ever dreamed. of. Th=n •-- i~a- well to Casablanca. Rick -- I

It t have n:ar.y ~iends in Casabl~ca,

but becR~se you des~ise me yo~ re

' r--, the only on~ I trcs~. ~~ll you

keep these L?t:~rs fo~ me1

:-'- t t For boo lon3? r •f

UGK:~

l Perba~s 2n ba.L:' - perhaps longe=• ~

r I don't wc:.nt t~zra .h.are over :u.ght: • •i- t 'JC/:~:'E

Don't be sfrai~ of that. Please

I l keep t~em form~. ~hank you. I

know I coul~ trust you.

'

f 40 / MED. SHOT - t-iAI::z:R

(ALTEF..NA~ e~NE NO.

f

coming INTO TSE sec:-~.

UC~':'F (to waite:t) Oh, waiter. I a:o eY.pectir.3 soc::2 people. I± l'nyone asks fo~ me,

I I ~ill be here. (C0NTil1UED)

40 CO!~TINu"ED:

Tl1e wQiter nods, leaves. Ugarte turns to Rick.

UGA~tt Riel:• I hn~,~ you a=e mo~e :!.m- pre s sed with me. If you'll for• give ce, :'11 share my.good luck with your roul~tte w::ieel.

Re starts acro~r. the floor.

RIC!{ Wait a minute•-. Yeah.

Ugarte stops. Rict comes up to h~.

41 CLOSE SHOT • RIC!< AHD UGARTE

(ALT:.RNAIE S:E~~z NO. AS SHOT AND CREJiI'i..:.D • 45)

Rick's VOICE is barely audible.

?.IC:, I beard a rt!I:lo~ th~t those German cou:-ier~ were ~arr~~ing Letters of Trantit:.

Ugarte doesn't r~ply for~ moocnt.

r-

UCA!:TE Yes•• I h~~cl th~~ rumor, t~o •. Poor devils.

Rick looks at Ugarte s~~ad~ly.

You're I am a little wit!l you.

;Jgarte smiles end almo~c sw.:tg~t'rs tot-.1ard the gambling table. Rick st~e~ for the doc~.

I t.la ~!ED• SHOT - CAFE t

Sam is playing and singing the "1<r10ck Wood" number• ac:cocn- panied by the orchestrc1. The cafc is in scmi-darknes~.

I the st-otlight is on Sam, ~d every time the orchestra.

comes in on the ..I~nocl, i,,,~1business 1 tbe spotlight swings over to the orc~~=tt~.

41b 1-iED. SHOT • RICIC

as he makes bis w~~ from the gambling roo~ co Sam on th~ floor. •

t I I-

41C MED. CLOSE SHOT • AT PIANO

Rick comes into SHOT, and during 0De of the periods wh~n the spotlight is en the orchestrs 1 Rici: sl.:!.ps the i.cct:a:r~ of Transit into tbe piano, then exits towards the bar.

41D MED. SHOT • AT B.'\R

Rick comes in and watchas Sa:Din his number.

41E CLOSE SHOT AT SH..U.LTJ.BLE • FERRARI

· He sees_.Rick at ba~, exits in his direction.

MED. SHOT AT BM• RICK

Ferrari coa:cs nn-o SHOT..

r- Hello, Rick. -

RICK · Hello, Fe~ari. How•s business at the Blue Pa..-roc?

,

FERRARI

' I Fine -- but I would like to buy

your cafe.

Ferrari sighs.

Fr:'..7J>..A.~I What do you t·7c..,e for Sam?

( ...,, ()I•i--n.-• l f t::: ·•• • :-• ,I J·.

42 -COt-.'I'INutD:

Tbat•s too bad. That's Casablanca's leading comr..odity. In refugees alone r. we could a:ake a fortune if you wocld · work with me t:brol.:g~ the BlaC:c Ma.rl:et.

RICK

and you run yours.

- ·~!.. NEGRO• AT PIAN~

Be bas juse finished bis nu:Ilbc:-. Rick and. Fe~rari come up to him.

~ Ah ain't got tirr.e to spend what ab makes here.

Rick looks at Ferrari~ S[tiles 1 shakes bis head; then he wiDks at Sam. Ferrllri eY.its.

43 MED. SHOT • AT LOHG ~AR n: CAF!: I'~O:'~~ • YVONNE

ts sitting on a stool, drinking brancl~. Sacha, who • (~ONTINUED)

is looking at her with lovesick eyes, is filling her

,. caus~ ••Yvonne•• I loff you. ~.

-~

,, \ ;-.. · Rick saunters into the scene, leans against the bar next

' ~ at him bitterly, wiu.out saying a wa.;d • • •. l { .

SACHA

Ob, Monsieur Rick. Some Germans, boom, boom1 boom, gave thi~ check. Is it £11 right?

Rick looks check over.

-_cur ro:

cur TO:

l t , I 45 ~D. SHOT • RICK AiID YVOimE. I

As only Sam is t~otlighte~ at the piano. Rick and Yvonne

r l .. stand in che gloom. Yvonne, who has never taken her eyes

off Rick, finally blurt:s out:

t l •r YVONNE I' • ~Jbere were you last night~ I ~ .

a1cr.

I 1 r That's so long ago. I don t i remember,

Pause.

~S CONl'INUED:

RICI!

' ' (calmly} \ I never plan that iar aben~.

Yvonne turns, loolcs at Sacha, exte:lds her glass to him. As he is about to fill the glass, Rick turns, ~~ops him witiJ a gesture.

YVC:rnE (eo ·sacba) Give me another.

YVONNE

, .. Don't listen to him, Sacha. • Fill it~• ' F

Sacha hesitates, looks at Ric!~.

r I·

- SACHA (putting che

I · bottle down} [ I loff you, Yvonne, but he pays

me.

r- Yvonne wheels on Rick with drunken~- r

YVONNE

~- t Rick, I'm sick and tired of having

~ - you -- r -,. RICK ~ ..! Sacha, call a cab. · 'I ,. SACHA ' Yes, Boss. ~ -

(h~ wall~s toward

l ~

t:h~ cafe entrance)

i- ~ - ~ RI~ f (taking Yvonne by •·· I the arm) i Come on, ~-"'!'re going to get y~ f

coat.

~ I YV0I~

Take your hands o~f me-•

He pulls her along toward the hall doo::.

t RICK

No. You're going home. You1ve

f

had a little too much to drinl;.

2.5.

..-

s=ands at the curb sign.illing a cab. Finally one pull!i up •

r

Riel< t:::1d y,_,.'.J:\:ic ccr.:c cut c-f the c~ic. He is ~utting a co~:; c:.,~:.: 1..::..-s:1.::~,1..-~~:.:~.2::1~ i~ objcc·i:ins vi~lcn:ly.

Y\!,~.:~~:·~ Ih.:. C.j you -chin: .. ::·cu w~e: r,usli:.!'tg we ~rct~:1cl? i-:bc:~ i:a. cot\~ 1 . .,;,:i i:o f~:1 f-:.r ~ ~"'!:i .1.::..1:~::on.

RIC!: (to Sacha - as be and Yvonne approach the waiting cab) You'd bet~er go with herJ Sach~, to be sure she ge~s home.

SAChii Yes, Boss.

f One on each arm, they help Yvonne ~ t!1e cab. Sacha I follows her in.

RICK

r '- Sacha •••

(Sacha looks out through the window)

f Come right bnck. f

SACHA

[ (bis face falling) ) Yes, Boss. ~ t The cab starts off. ' l

TRUCKlllG SHOT • R!C:<

I

as he walks back into the cafe:. l!e li3hts a c:igarettr.,

i hears Renault and walks toward him. ~-

RENt~ULT Hello, Rick.

RIC;: Hello• touis.

(c:mtrnu:n)

...,,- ~

48 COI\'TllmED:

ItEt~AULTS VOICE (over seen~) How extravaga~t you are-• threw• ing a~Jay wo1J1enlike that. So:ne day they may be very ~carce. r-

...

A TABLEON THE CAFETERRACE

,... ... Renault is sipping so~ brandy. His eyes are amused.

Rick walks into the SHOT.

·'

••pay a call on Yvo~n~ -- maybe

.... get her on the rebound, eh? • ,E- . RICK c-.· (as he takes a r seat at the table)

~en it comes to women, you re a

t· true d~crat.

Renault laughs: pou=s Rick a cirink. There ·is tbe SOUNn of a ~lnnG warming up on the adjacent air field. Ri~k looks ll\ the direction of the SOUND.-Renaul: follows bis gaze •.

~ , i..t • • , ' so MED. SHOT~ TRf..NSPORTPLANE ,;

in the full glare of the floodlights, standing poised on the rm1way, its 1t0c~rs racing, ready for the take- off.

I ~ ' -Sl MED. SHOT • RICI: AND REHAULT

Rick is still looking s~eP.dfastly at the plane.

f (looks at tick ( i .shrewdly)

You would like to be on it:?

RIC!~ (curtly) Wby? what's in Lisbon?

(~ONTINUED)

r r:~ , I

51 CONTINUED:

RE?-:AULT The Clippe~ to America.

( Rick doesn't an.swei-; looks at the plane warming up, but

bis look isn't a happy one.

:.. ,

• Lg.,•.. •--c - ••-L~ ••• ..:i-.J...,_ ....... .............., ,_,., .1.· · J,._.)

...

It Has a coi:ibina=ion of al! three.

RENAULT

~ 1 -r And what in Heaven s n~e brou£ht I

you to Casc1blanca?

f The plane's m6cors grm1 loujer. I

RIC: My health. I came to Cas~blanca

\ . f:,r the 1.11ters. I t RENAULT f Waters? lJhat -w·c1t~rs? We arc in ~ the des~rt:.

I ~

l!C:{ I wns misinforwed.

fI

Ren.ault shakes his head be~ Cu!'\ s.:iy nothing for the plane

I .1.s speeding dow.-i the runt~~y. Its li3hts shine on the ' faces of Riel: and :-lcnault. Rick c3nnoi: t£lke his eyes from r the pl~nc. No# it leaves the ground nnd passes almost l directly over theme He waeches th~ plune until its lights

dicappcar into th~ dis~a.,cc.

l 52 MED. SHOT • A CROU}D:'~l • (EHIL} t

so identified by the green visor over his eyes, comes

i INTOTHE SCENE. r

EH1:.

i Excuse ·me, H'sicur Ri~k, be~ n

gentlem'1n inside lns won et-,~nt~p thousand franc~. !he cashi~r

would like some money. ( CONTilUJED)

~ [ r

52 COt!TD~UED:

RI°' I It s all right, ECi"il. Histakes like that happen ~11 the ti~.

Rick anq.Renault boeh rise and start in.

RICT.! (not at all excited) . What, again?

s.:. lNT. CAFE

~s Rick and Renault come in, £cil following.

CU? TO:

,i.OSE SHOT • RICK

as bis eyes react. Involuntarily, they glance coward the gambling room.

r CUT TO:

ss MED. SHOT• RICK ANJ RENAULT

They are starting for the ~teps alongside the bar •

RE?:Atn.T

t (wh0 has caught th£

look) U you are thinkin& of uarning him••

f i ( CONTIlruED) i

l

2s.

55 COlITn·rnZD:

RICI{ (stuting up the 6~eps) I stick m~~ neck out for nobody.

~K.\:JLT A wise foreign pclicy --

Renault starts upstairs after Rick.

P~NAULT (u:.:• t:he ster:,s - drinl~ 1.:. hand~ You kno-:.1, Rick, w~ could ha~ made tbi~ a~~e~t c~rlier in t~e evenins at the Blue P.9-"70t --

Rick enters a room on the lai.,ding.

56 n.TT. RICK'S OFFICE (

a_s be comes · in, followed by Renault an~ Z::Lli.l.

RE!-lAULT -• Bu: out o~·my b~Jh r~g~d for

• you we arc staging it here. I~ • will amuse you:: c~st:ocie,:s. i ,

RICK

~ (opening a door)

Our ente~rQi"~enc is enough.

I

l S7 i-1c:D.SHOT- AT DOOR '- L

to a smnll, d.ork room off t:1€ office where the safe is

r kept. ~ick goes in, sta:c~ to open the safe. Rcnaulc, I

dri:lk in band, leans ogains= the door jamb.

the Th:!.rd 1~11:i:h - no less. \}~ wont hi.!n to b~ he~c when we ~ake th~ a~-

' rest. A lictle ci~monstration of

the efficiency of my adminis:-~a~i0n.

f (GON"rn;i.ED) f

l

here? He hasn t come all the t-1ay

( to Casablanc~ to witness a de~-

sttaeion of your efficiency.

RI!:K

Here you are.

RIC!{ That's all rig!l~.

;. (co R:?noult) I

Louis, you have s~~ethins en your

t I

RIO: Yeah? Have a brandy.

.. visa •

Yeah? Wha~•s his n~me? '

·victor Laszlo. RICK Victor Laszlo? ( CO~'TnmED)

S 7 COiU'INUED:

REi-!.AU!..T I (t1atc:hing Rick s react:ion) tick, this is che fi~sc tice l have ever seen you so i~pressed.

~ell, he s s~cceeded in irapressing half the 1,,.~rld.

P.ENAtn.T

, It is my duty to see that he does

not impress the ocher h~lf •.

I (now intensely serious)

Rick. Laszlo ::lt!St never reach At::lerica. He st3ys in c~sablanca.

-· RICI,

' It'll be interesting to see bow ...

be manages.

r

RENAULT

I Manages what1

'; I REI·!AULT

But I just told yoi.! --

( RICK

Stop it. H~ escaped from a concen•

• t:ration c2mp and the N~zi£ have been

chasing him all over Eu:ope.

~ i 1-

REt~ULT

l • (grimly) I This is the end of the chase. ~ t i RICK t 1 f Twenty thousand francs says it isn t. I [ RENAULT f Is that a serious ofler? 'I

RICK

t I, I just paid ou:: tt -!~nty thousancl

francs. I d like to get i-c b&1ck.

;

REr-~AULT

~

poor corruot o=fic~al.

(Rick r.ods) Done. No mat:t:?r iluw clever he is, he G~ill needs an exit v~sn -- or I s!Joul d say, two. . They start-out of the room and dot ·m the s~cps, CA.i.'tERA 'I'RUCKD-!GWI':H THEM. (:OUIIlruED)

57 CONT!Nt.ED:(2)

R!CK Why two?

l REi·lAULT

He is traveling wicll a lady.

RE!•:AULT I thir.k not .. I h~ve seen th:! lady. And ii he did noc leave her in N.3r• seille~, nor in 0rfu"'1, he will not: leave he~ in ~as~bl~nca.

rticr ·kaybe he's noe as romantic as l:)U ~•

REJ:!AULT lt does not 1tat:er -- there is no exit visa fer him.

R£?:At.'!..T Because, my clear ~ic~y> I suspect under th~t cynical shell, you are ae hecrt !l s~r,cimr•nt:ilist.

I • (Ri:l: brea:-:s into a la:23h) 'i Laugh if y:lu will, but I har-•~cn to ' be fal!lilicr.:- wi~b }~our recorci. Let f me poinc ou~ ~~o itecs. You fought j i with the Ethiopiar:.s ggninst Italy, ' and y~u ris!<cd yocr neck with the

Royalicts i~ sr~in•••

I OCCll sic-.ns.

RD;AtTI...'~ Th:! wi..~ning side would have paid

I

you muc."l mo=e o

I I RlC!(

Maybe. (enxiou.c fo-: a ch~~~c of sub~cc:: Apparently you are determined to keep Laszlo here.

(CONTINUED) ; ~ t i.

S 7 COiITDruED : ( 3)

REi;Atr~T I have my orders.

RI~(

(

Ob, I see. Ges~apo spank.

58 NED. SHOT - RE~tAULT

They e!"e down now. As he speaks he faces the huge mir-· ror over the bar.

REZiA!JLT You over-e~til:J~te the influence of the G~stapo, aicky. I do not inte-c fere t-li eh chem and they do

blanca I am m:i~te~ of rey fac~.

-· I am captain of my --

He stops short as his aid~ enters and speaks:

t

It

RICK

I Yeah, you were sa:•i~s -- I r REi'?AULT r (htn.-riedly)

Ex=use Z?ie ...

He h~rics tot-1o:1~·d:Strs.c.s::r. Rick swiles cynically, and exits ..

\

t

Renault is walking wieh Cc:rl.

RENt..tJLT Carl, cee that He~r Strasncr gets

I. [ a good tabl~ - clcs~ to the ladies • f

CA:~~

~ I hsve already gi•Jen him the? best,

{ M sieur I l (z~dly)

••• Knowin3 he is Ge.:.-man and t-1ou.lcl t~;c ii: ~,yway.

61 CAFE

as thC?y enter from t:he ha:i.l. Renst:lt beckons to a NATIVE OFFICER w:io is 2;-p.:irently W3iZ::ing ior the word. He approaches and salutes.

REl~AL'LT (in a low 'loic~) Take him c:uietly. Two gu.:1::-dsat every doo=.

NATIVE OFF!~'?. Yes, sir. Eve~ytnin; is reacly, ~ir.

He salutes and st~rts toward the doo~ of the ga:obling room. Th~ CAi·CTJ. TP..A~LS with Rcm~ul~, who walks to a table on ·one side of th~ cDfc ~he~~ St~asser and Heinze

..

are s~atcd. ht the adjo:!.nir.g t,blc are some Gercan of• ficerc. St:r.iseer beams as Renaul.: approaci.1es the table.

ru::-t~UI..T Good evening, geni:lc.::icn.,

ST:US ~.t:1,.. Good evening, Cap~ain ..

HEillZE Won't you join US':'

RENAtr1.,1' (sitting d~wn) Th:mk you. l~ is a plea~ure to b.:ivc yo~ h~re, M.::~or.,

SL ·,AS::>!:.R

.. i Er• ch.:imp~gn.:aanJ a tin of caviar •

REi~AULT Er• m~y ! recoir.c:~nd v~uvc Cliquo: 11 11 26 , ~ good F~en::b wine.

S'IT~.SSER Th,Jllk you.

•·I I WA:TER very ucll, sir. t

STI::.4SS~ A very interesting c!ub •

P.Elthi.n ..T

I,..

Especially so thic evening, Bajor. (lciw voice) In just a minute you will see the

t arrest of the ma~ who ::nur~~~cd I your couriers. (CONTn~UED) I

I expected no less, Cnptain.

(ALTERKATE S:E.EE 1-m.as SHOT Mm ~EDIT:D • 69)

at th~ roulett~ table in cbe ge~bling room. Piled in front of hi~ ·is a buga stack oi chips. H~ is having a run of luck a..--idhis eyes a.!'e faw~i:ish as th~y follow the marble th.it is botmcing on th~ wheel. Ihc I:ia:-ble ::.tops on nurr~er 13. Exultantly Ug~rtc re~r.hes for the chi~s ·whic~ the Croupier ~hcves on the table. But just then I another tic:md closes onto Ugnrte s arm. A loolc of terror cresses his face. I lU'l'M OFFI:ER S VOICE (OVER SCENE) You will come with me, Honsicur Ug.l:-t:c.

r UGL\°S.TE t.- (in a. l:,";J voice)

Allow me :o =ash~ chips.

r The native officer nods, follows Ugarte -to the Cashie:-.

63 THE c1>.sHn:F.•s ~oonr

(ALTEF.HA'i'Z SCE~.E NO. i\S SilOT Al'.i1>CdED TI'ED - 70)

The Cnshier pays Ugart~ th~ amount of his chips. Uga~te thrusts t:hc money i:..1 hi!l in:;ici~ co-::it p.::icket. As his hand cones out of the p:lcket, it gri?S a Stn3ll revolver, pointed at the Na~ive Officer. The Oi[icc~ mnkes a jU1'lp for U~arte, and t~e gun g~es off. lbe Officer clesps his shoulder. A u~mar1 screaw5o Peoμlc at the gacb!ing table!; duck fo= cc,~~cr. ligarce runs c~w.:ird the hailw~y.

I I l l 64 QUICR FLAS:1ES '

aj Rick C!":l:-i,l!jing cne flc: ~J.::-o( tbc ca£c, t:.irns acruptly

tc\o,ard th.:? d~-::>rtc, ~b.: ga~blin 5 rot);n.

i t

b) A wom~:-. i:1 a h<Joo:n j:! ,.1:}E: to he~ f~et, looks in the

I d:..:-cct:.on cf t.::.c £0,!r"L :. ' r

(CO?:TilmtD) ..

t

I

64 CO~"TINUED:

(c) ·A man at the bar is lifting his glas~ to drink. Abruptly he. pets the g1£iss do~-m.

(c1) The mu~ic sto~s as Scm's hands bold on the piano keys.

(e) Carl, behind che ba~, flaGbes an expectant leek toward Scras~~r•s bocth.

(f) Ranault 1 Stras&~= and H~inze all jump to their feec.

t 6S HALLWAY BET.-1£FNTHE ROOMS l ~- .... (ALTERNATESCENE NO. AS SHOTAND CRED:T~D- 72) •, I

Ugart:e ru£hes into the hallway as Ric!< afpears from the opposite direction.

UGA~TE Rick I Riel:, bel? me I

RICr~ (low V(")i~e) Don't be a fool. You can 1t ~ct C away.

UG~"'tTE . Hide me. Do. so~cLhing~ You must help z:i; 1 r..ick. D:> soras:hi:l&l

Before he c~n finisb, Rencult, St~acse~, H=inze and others rucL 1:1 fl:om behind Rick. o;:her nolice officers

word, Rick pu5n~z his way throush th~ gro~p to the cnfe.

ST!l.ASSER Excellent, :aptai~.

MA!'~ (b !l 1 .,-e kJ.1., d . . Cl ·.n[; .,...y, half enr:wst) When they come to g~c me, Rick,

' I I RICK

I st:ick my nee!, c·_: for nobody.

[

I

66 THE CAFE

Rick coces out en the flo=r. An air oz tense expectancy pervades the room. A faw cusccttcrs are on the point of leaving. Rick &pE:a!:s in a v~ry c~lm voice.

N~ds, begins to play.

t '.

Oki?y, boss.

I SA!•: I 1

Ol ' No.:ib. t-1h-=i::d !J~ do?

-- (h~ tl!'l~ut:s a~ (

the audience)

~"- 1

C mon, foll:s ... (he searts again) I

t O_l No.1h, what: 'd he do? I r

H:? wait:s mid plays t!"lc r,e::t phr.ase.

l 66 FULL SHOT ~

TAKINC IN se·~•~t.tl ~ables. There i::i a hal..:-hcarted re-

l ~ sponse from th~ people. ,.

Tit: PEOPLE

J 01 Nonh1 what'd be do? '

t

louder ~1~ fa~ter 1

l nae'sright. He i ?Jilt a floa:1n

zoo •

I

r

t ·

69 TABLES

Tbe p2ople 1 under Sarns ~rell again, join in and sing. The gloom is sor~~hat lifcad. We Pd~ O\'El various ta!:>les, picking up all types of people duri~g coe course of the song. ·

I

70 STRASSERS TABLE

The song is fini£hed and the excitement has quieted down. Ren~ulc, Strasser and Heinze are no~ back at their table~

RENAULT

I (calls to Rick, who I l is o£1 scene)

OP, Rick •••

I~

Rick wnl.ks into the SHOT.

REHAULT

I I ! Ric:k I this is I-mjo~ Hr.;.nrich

Strssser of the Third R~ic~.

STRAS~ Hoti do you do, r!::'. Rick?

REl~AULT And you al~c&dy k~~~ Herr H~inze -- of t...,e Toird Re~=h•

•l r Rick nods to Strasser :md Heinze. I r

SntASSE.1t

t f Ple3se join us, M::". Rick. l

Riek sits down beside Hein.~e, facing R~nault and Stra~ser.

I t

ROl~ULT

l t ( c b .=.nging t!1e subj ec t:)

Riek, w~ arc very h~nored tonight. Major St~asfier is one of chc reas- ons the Tbi:rd Rei-:~.1er.joys the

I reputati~n i~ h3s cud~y. t (Rick nods) l

STRASSER

I (s:n::.lc::;) I 11 II

You ~epeat Third !".eich as :hougb

you expcct~1 there to be ot.lJ~rs.

( CONTIl'1UED)

The waiter eppe~rs · with drinks, begins to open the bot- tles and pour durir.g the ensuing conversation. r·

RICI{ (sh::ugging) Make it oificial, if you li..~e.

Rick looks at h~m a moment before replying.

;

I m a d=unkard.

I (

Strasser looks closely at him.

·r ~- 7J CLOSE SHOT- RENAULT

IlEN !\.U"...T That DJ'l!,e£ lt!.c!c c1 cit!:?en of th~ WO::'ld.

RI~:~

i I w:is b~rn in l~c~~ York Ci.;y if I tba:'ll h~lp you any.

STRASSER

l I ( to Riel: - ·,1~ry amiably) I I t1nder~tan~ y:lu e:.Jme here fr'~m ~ Paris at t~~ ti.me of the Occupeticn. I I R!~1.< I Tb~~ s~~mc to be no secre~.

I I Su-..\SSn I

Arc you one .of :hc~a people who cz..,~:J: :i.111:,idn~ the G2ro.an~ i:::i their bclovict-Paris?

( CONTIl~UED)

72 CCl':TINUED:

\.

Paris.

Ell:ZE (slight l~:..ag~) Can you ic:.agine u~ in Lo~clon?

RIC!C Wbcn you gee thare, a~k me.

S'reASSER (digging ir.=o ~he Cl:l'l:iaz) How about Hew York?

RIC"L( There are ccrt:~in soc:tior.s of Uew York, Major, that I w:,uld n~c ad•

I • vise you to t::'y to inv~dc. )

STr~SstR . Who do you think will win the war?

Straaser takes a lit:le black book from bis pocket, riffle~ th=ougb tbe pages?

STR..~SSER (t:> ~ick) I You weren t al~1nys so ·carefully neutral. Uc ~c.7e a co::l1'lcee

I •

do~sie:: on yo~. (read,::)

Ricba::-d B!e ine , A:i::?,:i car.. Ag:? tuirty-scven.. C.:l!'Ji..lo~return to his co 1.1ncr--J. r (locks up from b-=>ok) t'he reacoc. is a li.:tle vague. We als~ lc."l'!W wlia~ you did in Pai=is -• ,. . (Rer.aulr., v~~Y cur~

:- r· io~s. tri~s to louk ~ 1 I ov~~ Sl"ra~r.er s s~~~ltler)

Alco 1 1•:::. Blaine 1 , -,~ kn:lw why you left P.i.xic.

t Ric~ r~~ches ovcr 1 takes the ·book from Strasser's mnci.

( COUTW:.:".Z.~)

I

-:r···

12 cmrrn:UEn: cl).

STRASSER

Don t worry. t·Je are not going to broadcast: it..

l

STR;.SSER You will forgive ~Y curiosity, Mr. Blaine. The point is, an enemy of the Reich has come to Casabl.3Ilcc and we are chccldog on anyone wLo car. possibly be of bel? to us.

, ...

RI~ 1-:y intere!:t in Viccor Laszlo' c St3ying or going -- (with a glance towarci R~nault) •• is only a S!)OrcirJg cne.

~'

I

l est lies in the ~ag~~ ncwSp3p~r~ I until the very day we marched in, I t and even a~t=r th~t he con~inued

to print ~~ancial ·sheets in a cell~.

l RE~u\ULT

Of course 1 one muct adcnit he has

f

gTeat courage.

i

S1'?.ASSER

'i I t1dwi.1: be is very claver. Three i times be clipped thr:> 1.:gh our fin- i gers. b Paris he continued his

acit:ivities. He intend no~ to let it happen age~.

t i RICl< I

(rises with a &light smile) You'll e~cuse me, sentlemen. Your buDiness is polit1cs. Mine is run-

r

r.~~.:; .u saloon. (:.:OI~:nrnED)

I I

72 COlITL'-;UED: ( 2.)

\

Riel< wulks ouc of the SHOT, toward the gambling room.

S1?.ASSER (his eyes following che direc:ion Rick has gone) Perhaps •••

,·. CUT TO: '!~ Ir 73 MED. ~HOT• AT Af\0'11-~ TA~LE

The d~rk-appea~ing foreigner ~e h~d seen in the opening sequence is busily e~gageu wit.b a middle-aged prcsperous- looking man.

D&'1KFOREIGNER (his arms !:hro~ sol- - icitously ~r0.147d the other man) I beseech you, my friend-• be on guard. Take cn~e. Use ev~ry precau~ion.

74 SAl-S- AT PIANO

He is idling m1ay at scmathin£ sentir:r.ental. The people

I t ·

As be plays Sam glanc~s c~sually aroimd. · suddenly, as

f- bis ey~s look toua::d the cntr.ance 1 his playing falters,

then &tops altogether.

t f- 1- 75 MED. SHOT - THE CAFE - (SHOOTING TOt1A..WTHF. ENTRANCE)

We SEE what Sc1.1:nis starin~ at. A couple has just come in and we rec~gnize them us Victor Laszlo ~d his com-

I panion who~~ :ace we saw in the car window outside of I ..

( CONTlliUED)

•

7S CONillJUED:

Ugarte' s hotel. Sh:? wears a simple white got·m. Her bea.uty

(

is such that people tu...11 to stare. The head-waiter comes up to chem.

Yes, M'.sieur.

76 CLOSEUP• BERGER

.. looking intently a~ Laszlc.

77 CLOSE SHOT • THE W0111.N

- who has been looldng arC\iJ!ld casu.rJ.lly, 1·.1i1en she secs· Sam, h~r f~~e registers a s~artl~d surprise for just an instant:.

I ; t E:;iryWAITER'~VOICE

( ovc= SCCI .•C \

r 1

Yes, M sicur Lasz'-o• Rig!lt th:i.s_ \.my.

i

f 78 CLOSE ZHOT • S&-l r '

He see~ her lookins at bim, turn£ his gaze away, rP-su.~cs bis piano p!aying.

- as the headwaite= takes ·::hec to ~ eat-le. Altbou;h they p~ss right. by the p!..:!:i.10 .ind the "'J.':>man,(wbo is later to be iclentiiied a:; ILSA LUl-ID;• loohs directly at Sam, tbe la~ter witb a r.onscious ef=o~t keeps his eyes ot~ the 1ceyto!!r1. Il z ~ sm:.le s sU.g_;htly. CANERA STOPS on Sa"!l. i--.£1:.c-.·s~e h.;1,::; gone out of s=ene • Sam &teals a lo~k in her direc~ion.

)· f I t f

l \

80 AT LASZLO'S TABU:

The headwaiter sea~s Ilsa and goes OUTOF SHOT. Laszlo takes t:he chair cpp~sit~. He surveys the roo::n with a sweeping glance.

WAI!ER•s VOICE Yes, Monsieur.

nsA Vietor, I - I f~el, somehow, ue

sbouldu t stay here.

Perhaps Ugarte s in some oct1er part of tile cafa.

MAl~S VOICE (off scene) Exeuce m~• but: y~u lool~ li!ce a couple who a~e on their way to

A small blond man1 later identified as BEitGER,walks INTO SCENE..

l r

11ie a.an reacbec into his vest pocket, brings out a ring with a lar3e a:::unr:::::arinestor,e.

t t

BERGER

r You will !ind a Z!l-".!~i:et there for I this ring~ I uo f~=ced to sell it

at a great sac~ifice.

I

LA~ZLO

t Tb.ank ,you, but: I hardly t.hi.ug --

[- B~GER

Then pcrh~f,S for tlie lady. Th~ ri..,g is quite unique.

He bolds it down to their view, begins to t:t1ist the stone. which is appa~ently scr~we~ into th~ sec~ing.

'6S.

81 IN SO. T • THE R ~G • ll~ BERGEil'S lW\U

The stone co~es ln~se in his fing~rs. In the setting 10d- erneath1 on a gold p:ate, io a faint iL:lpression of tbe Lo:rai.I1e Cro&G of General De Gaulle. _,. 'LA~ZLO'S VOICE Yes, I am ve~2 interEtt~d~

62 THE TABLE

...

What is your n~e?

Berger ••• And at your Dervic~, sir.

:I.SA (looking o~s~, givec . Laa~lo a !i!gtial) Victor!

(

r' .. .to~ • i f .

Berger tckes eh~ cue. Ile sighe, tAtt:s the ring away.

tm,:ER S~:h a b~rJaln~ B~~ 1£ th~t 1~ yow.· d~cision --

LAS'!l.0 I'm sorry. I~ iso

He bows and turn£ a:11ay., C;'.1£A PJ.l~S.. As he walks away, he bru:::hec hy C;:.p•i.:air. Rcnc.:11~. who is approaching t:he table. He gfa n.;;e:. ~h1:1.rply nt B!?r6e!:' as ~e pas~es. Then • Re:lault cc.::ims as CAEEr..APANS BACK wit:h him to t:he t.iblc.

( cmrrINUED>

62 COi~TINUED:

t.El'~Atn..T

( Monsieu~ Laszlo is it not? '- 1

... Merely to ~elcome you to Casab!anca

and wish you a pleasant stay. It is not often we·h~ve so disi:in~ui~ncd a visitc~.

soft.

Yo1! are ve1.-y kind.

f Won •e you join us? I I

RE1~'1ULT

I

If you will permit me.

i (calls t~ waiter)

Oh, Emil.

WAin:R (walking in~o shot) Yes, Capt:aine. RElt\ULT •

r A bottle of yom best chaI!lpagne, l and put it on my bill. (CONTilUJEn) f.

t

82 cotcrINutD: (1)

EMlL VerY.well, sir.

N~, C~ptai~~ -- ?less~••

REI,:A!JLT (boc~ing wai cc.r a.way) It is a li::tl~ gar.-,e we pl~y -- they put it on my bill -- I tea~ cb~ bill up. I _t: is \ii?t'Y .c~mvenien:.

llsa laughs and glances o£f in Saw's di~ection.

...

bim --

s~?

IL~A Yes.-

RE!!AU-!..? H2 caciP. from Paric wico Ric::.

r-. ~ n.~.

Rick? vfuo s he? ·

RE!!.\tn..T (sciling) M:1de:noise.1_1£: -·· y.::u arc ir. Riel -:' s

l t and Riel, is -• or -- t

Is wh~t?

RE?-:_~U!....1.' W~ll, H::id::=teisellc, r.c's th~ l:ind of a c:an tbs~ -- t·:-~ll, if I wc:i:~ a t.:Otnl!n an,j I --

j _ ( tL??ll•G his chest)

W<?::-enc,t .e.:::nn:J -- I ~-:nul:.1 be i..i o-,•~ wir.h L1.c~;. ~i.!t wh'1t n f~ol I D!!I -- t~ll,ing to a b1::autiful w.,c.::n ~bouc ll..7o~hr.~ ci:...;.

Renault: stops ancl lool:s o!Z, then jum!·,c to his feet: as Sc.- as s::ir e1~ter !..

Er, cxr;H!.e m~. (in:::: ocluc i! :--~ Il ~.:i .Jncl L:1.szl-::>) t·bd12moi~ella Ilsa Lund -- i·!~~:.icu.: Laszlo a.a7 I p::-c•s-::r1t l•bj <'~ Hci m.·icn ~;:~at:!;cr. ( CONTINUED)

82 COHTn;ti"ED: (2)

StTas~er bows and &miles _pleasancly.

S~SStR How do you do -- t:l:is is a plea -s• · ure I have long looked forward :o.

There is not the slightest recognition from either Ilsa or Laszlo. Sttasc;cr waits to be ashed to seac ....hi.clself.

S'r.tASZER You wP-re a Czcchos).ovakian -- now rou are a subject cf tbe G-~:.:CLL.,

i~ Reich! ~ I ' !.A.!::ZLO r I've n~ver accept~d that privilege, .. 1

and now I m on Fr~ch soil •

I ~ : ST"A5SER I~ I EhO'.:ld like to disct:ss 6::l~~ mat• l ter6 a.ricing f~~m y~u:- prescn~e t on French soil. r,-.

LASZLO

i '- r This ie hnrdly tb~ ti~e er the plnce •• t

STIASSER

t ~ (~ardenine) ... Then we £~~!1 st~~e ~~~the= title a~d t

ano~he:- pl~~e •• to;:i·.Jrr.Jw a-: t:en in the Prefect's office with Na.de~oi~elle.

r- i I LASZLO I ' t" (to Ren.:i'..111.:) F Capeaine Renault, I am und~r y~ur ~- i -.. aur-.hor:.r-.1 -- ic 1: y::,·.;t" or dear that

we cot.let~ yo~ office~

~-

REUA~T

r- ( E'..!ninbly) ~ Let un c~y tha~ it is my rcqu~st -• I· thut is a D'l'.J.Chn::>::eplea.sa11-: w,,rd. LA!;ZLO t Ve-=y well • • i Renault an<! St:..·as:J~r ris~, b':lw shortl!' to Laszlo an;! ' deeply to Ilt.~h

Rti-fAU!.T ..

t 1".ademoicelle. (COlttTiruED)

f

82 CO~iI'n:UED: ( 3)

STl:.?.SSI:R Mademoiselle.

CAl·:ERA PANS WI7H f~ri~AULT ri'N'DSTIU.SSER as they walk away.

l

RE:·1AULT A very cleve~ tac:ical rcttea=, Major.

Stras~er locks et Renault sharply, but sees only a non• com.~i~tal s~iie on Rer.c~lt's face.

CJ CLOSESnOT • LA$ZL0S TAB!£

Laszlo watche~ ei:m: s::rasse= .:m<l Rcr.ault. He ~1.1--ns bac:1: to Ilsa wit=i a slight swile.

LA~ZLO

.. This ti:.le t~1E:y !.!filly mean to

stop~.

I ~ before. havE:n•t we:

r He puts a h:md over hers. Ils= smi!cs back to him, but •'-. ··

her eyes a-r.: scill tro".,;olcJ. ovtn. s:'i:'.m::· coC1es an orchestra. filnfarc.

II '• f I [ 84 FULL S!lOT - DANCE FLOOR

Sam stands up fro~ hit pi.::10, hold::.ng !as hc1nds up fo-.:- sil- ence. Corina entzr£, ligt:s go off and she star~s nuw~cr.

85 CL05E SHOT• SAK

l i Sam plays last ch~~u.s and lookf: :ouarcls Ilsa. off •

, ~ 86 LARGE CLO~UP - IL!;f. L' l Ilsa w·.:;tchcs Sam..

~· I

~ r I

86A MED. CLOSESHOT- Lt.SZL0S TABLE

Laszl-o looks abou-:: him ,..• i:h appa.:ent casualness, finding bi~sel! u~~oticed in t:~e da~k .. e~s ot the rooQ, he risec.

l

LA!::Z-.. O

I td.11 •- don :: w:>rry.

Ilsa no~e. CA.i•~!'.A~JJ.,15 ~-i!~H USZl.C, as he crosses the room i:l . cor.:parc.tiv~ d~!=~ss.

06B MED. SHO~ - Dl.rlCF. FLO~

Corina cor.tim.1e:t her nurnbe::-, Si:1maccof:?anying her on t:he piano.

Ci6~ CLOSE SH~T - Sl:.i:-1

He g:!.v.::s c1 tto•.zbl:d look !r. Ilsa• s di...·cct:!.on.

<

llsa W.!tching S:!?!n.

'

Sbc continu~s to wat=l:i Sa:i1..

87 AT . THE BAR • :e~r~Gr::!'.

Spa~ish e:ut~rt~~ne~.Las~lo w~lkc into t:h~ SHOT, casually ~akes a place .ni: i:~cb:i.r r.,~:~~ to D~~gar.

i l LASZLO \ Mr. Berber-• the ~L~£ -- could I I see t:be ::-ir.gZ I

Yes, Monsieur.

( COlITL~UED)

l

I

•

~ 7 CCi-ITT.·il.JED:

L~.SLO C' • • ( to .,.3Cnr.; A cb.s...""7c~~ecoci-:ts .il, pl~ase.

As Socha ~ove.~ do~-7:l i:::1~ ~-o=to r.-~~~ the co~Y.t.a:.a, Laszlo takes out a cig~r~cte. ~~=ger lc~~s ove:- LO 8~e him a li3ht ..

Bt.~Gtr. (low v~ic:e} ••• I reco~~iz~ you from the ~ews • L •• , • L 'j pnotogr~1=-~i£, J.', s1.e:u::- a.!:z-o.

:-. to los~ a l!.:cle <:1c?.:.g!1t. ..

B~C:!a w~rea~ live tl;zict c~~t yoc w~re ki!lea in fi~~ c.i~fc~~nt ,1,:~s.

US:!!..C (srr.ile?s -r-y!.::) hS yo~ £~z, it w~s t~ue every tilt.~ ••• t:1~ :iea-1c!:l ! £c•~d ~•cia, !'::?r3er .. I om loc~,.:i.!lg for .a m:in ~y ::tf: n:-:~2 of Ug.:1:-t~. Ee is to L1P.lp me.

:e.~~~crn. (sh~~e~ bJ ~ hcnd siler.~lY: M, l q.:- E'\• ·•"- T_ ..-.~"7 _~-'- 1·0 • ••: ...,..,;,w- -,•-c - C ...,.,.- 1.1.i&.•v- ._,. avnr~ ~ . h!!!p h::..n!'~~i. 1-:.::is 1.-..r1c:~rc'..'.:.;.:~si: fo~ rmu-ciej:. :-12 w~s a.-:-e~:e~ ::,~~e to~igh~ •

• t.,; S2:LO (al- so;:-~s. ~L,c sboc:'.t.-: ,~·.1ie~l;,} I see. ·

BE~.GI:P. ( ~..,.._.,. •. :_..~ .a,,1..-11;.~ ............ . .1-...-;;..C' .... ••e•·o"".;or).., -- -· B.;t we W!10 e.~:-et. ,-: ill iree wi:·.1 do r..ll

we can. ~-.-2 s"?:e c.rr;al"!i~e,J. h .:::e1:-= •- unde?:'br.oumj lib·~ ~~vr.::l::;whc-.ceel.1:e. T~!::or=-ow ni3ht: ~l;:?rc :.s ~ ITK.etirig. If yo·~ woul·1 c::i!'l!e.

n.~

l (t:o wai=er)

Will !~ou L?c:~t~,e ::.:!.,mo r,L,~ye= to come o\1e:- here, :-,le:es~? · ( .:ow.nmr:.D~

l l ,

sa CONTI:ruED:

W/.~nR Ve-:y well. l·iacl~mo~selle.

09 MI:D. CH~V: • BAR - ~£.1.G~ AN:l LASZLO

Re~~u!.t co~es up. ~-

R::·!AULT Bou' s t:h<: ,5em~.1:-:,·b:.isln1; :;s, E.::.l·g~?

BEG~ Zr, not so go::>c. ( to :.,c::~a)

It!'H:\UL'!' I Too b~;! you t·m~·en t he-re P.arlier, Hor,sic:-ur !.aszlc. vie had ~uite a

Di<ln': we, Ber~er7

Bt:'3.GER Er, ye:.. E.xcuce t!V; 1 £en:lem::m.

i

My biil.

r-

REJ-1A!JL'!'

··------------ 11.?ftw. -.C0g-b~~ cocRtall:a. ·? sase.

Yes, r.1%.

t ; s::mlC'oks ~'!!', st:rtl:?~. Ilsr. mo:icr~"1shim to come over. ' Sam hasit:ai:es • s~c=t:a to ._bc~l tbe ~ieno over.

CLOSE SHOT - AT -:: .BU:

• as Sam w~r2e.ls 1n the ':)izs110. 0-~1bis ~act is that f1:i"m7 fear. A11dto tell r.~2 tr~th, Ilsa ~e~self 1s not as aelf- posse:.sod as che t.:ics ~o ap,-e3:-. ~-:1e:-21.3 sometbins

I behind this, som-9 mys~eril".'!1s, ,jeep--!'lowir,t,; feeU .•"'1g. t

Hello, Sam.

r

94 CO!ITDUJED:

Sil-~ Hel!0 1 ¥~~s Ilsa. I never ex-]~Cted :o see yo~ cgc:...n.

He sits do-;.'Il n::d is ::-c.:~y to ~la) ·•

I!fiA So~ o.f the olc ~-:mgs, S,.:r..

...

Yes, UUl I E!t'le

Sam begi~s ·eo : lay ~ r::irnb~r. H~ ie ne!."'Vo-:..,s1 waiting to= anyth:.n&• Bue ,ever, co, w:,.:m it coc.~~~ ~,e ~_::.ves a little StE.rt. • •

I ( S,.':.!! •. '- ( e·J adi:1~ ~ I 1

I don•~ know. Ai!1 : seen ~~ all ni~bt. .

I table.

~ : I n:1.

t,t')<an will b~ b~ bL!Ck?

l r

n~ Does he alwa:t~ leave ::.:::>earl~,".'

St,M He n~ve~ -- I ~A~ -- ( cleepe~~J3t~l..y) I He s go~ '1 g~l u::, at t!-1e Blue Farro:: -- he zoe: tb~~e all t~~ time •••

ILfA Sa!:!, !'OU 11s::.l -co• i~e a much oet;:e~

~

li~.

I SM! l

~2ve him ale~~, Niss Il~a. You re bad lucl.: to h!..'11. ( :O~:TlliUED)

?4 co:~~:m:n: Cl)

IL~A· ( r:-o.i::: .. ,.,) - •"-•.1

Sam, pla:, it once ~or old t!me & sal:a.

SA!-.: I don•~ t~nrn-1 wha:: you mean, K!.ss Ilsa.

SAh

r Of course he can. He doe~~•t war.t co pl&r it.He seP.mS ' t even oo~c ccar~1. I r~ ,

ILSA

I r- I l!. bum ii:. fo:: y, :c.. 1· (s:~~£ to h~)

bc~ins to pl~y i~ v~=Y so~tly.

IL~A Sir,~ i: , S.:i.:n.

95 :E.bi'TRA!-'.Cl:TO GA?,.J!LIi'~G P.OOM• RIO:

- com~s r-w:!.:.gin5 er...,-=. H~ has heard the nr..1sic and ne is livid. R!CK Sa.~, l thoil~ht I to!d you neve~ ~o ?lC:.!r i~ 1 Ee cto?S ab:--.1i:tl!', stor-s ~;.,ea~;ir.i £-:l-J &i:o; s moving.

S6 FROM H!S rL~EFEcr~ - SAh & :LSA

- at the piano.

S7. CLOSER AI-,~-:,.r:• SP.M& r~e..t..

Sam loo!ts o•Je1.' his sLo~ldt= ·!" atR::.ck and et0?5 p1.ay:..r,~.

l Ilsa knows ahy e·\·~n b.~fO!.'f! shetu,:n~ n.::.'J loo:<s. Sne l-:nows ... C who sh~' ll s£e \-,h-:!r. s::.~ C-'.li..us.5hr- t·.irn s slow 1 y. $hP. • ~ isn't breo:hing ru~~b. \ a,. , CJ CLOSEUi' - RICK •

• isn•~ b~e~thing ~=all. I: £ ~ u~llo~, a shock. Fo= a long m..1c-.en~he ,:us:: loo,~s .;·;: bar r~1.:i :,•ou c:--n ::ell what he is ;h1'!"'akinz. H~ e::a:.·-.:~ mc-vix:g forw~u::: • hie eyes r~ve·::~ ~ 0;'1 ne;~. CA!-iERAT?,_:;c:·s/ .h~:AD o:: t-icr., 1~~~1::..-~3hi..: in CLOSEU'' as !le ...,o,,.ei,; cc::-os~ ":h~ ca~e.

99 REVERSE ANGL!:. - nu;:i~Il~G SHOT

MOVn~G in the direction be is ~oin 3 , st""..:aight for the piano. Ilsa is lookin3 di:-eccly at ::.~ici:, too. Sam is plainly cerrifiedo H~ pu=s his s:ool on ~O? of ~he fiano

and wheels the piano quickly Fa~a,. Ilsa cioesn t notice. She still lock£ at Riel:.

(A couple of :rnrERcurs.)

ienault and Laszlo are ~~r,roac~ing fro~ tbe bar,

Cut TO:

lOC GROUP SHOT - AT ~:J!:Z

'lenaulc moves I!ITO s:r-:1,!E,;Yith Lns::lo, a!:'m in arm.

~ aErJAULT I I (t'o Cs-3}

t.:el!., yo•.J w:?.:e as1: ~:ig 41bo1.:t kicl-: a..,d her:? b:! i~.

10! i I ~

r- RZ!.-.,~,:.n.T ~ . I Mlle,, -:r.E."JI ;resc -,t -- c·: ••• t

r• I

[

(~'!',iar b~= ~~~~~h)

t H~l~o, i~ic~:c-

t

RE!=Am.:r Oh, yo ...• 1\·~ al::c::!l~~ ~ct n.:.~·:, r:.sa? {no ar.sucr .from e.i:.:,i~::;

I

Wel!, thetit t'c.::b..ir,;;; yo ·~ lllso --

IL$A Thi~ is 1·~. t...""'czlo.

L~S?.LO

t How ~o you do. ~

RI.:~

I HO'C\l do you jo. '

• ( ·.,.--o· 1~·•r .....J..~u-:..J..'J"""'""'

101 CO!~Tr::m::n:

11 I Ilsa s.:1ys ';Lacz.10 in a fr•.miy · way • as if she s frigh~~ned to say it :i:ic ye~ uoul:l rnt;ber s.aiy i: he.:t~l.f th,m have soILconc el£:e. Ri~:~ ~;;~!:ur.cs Lns~lo \o:::i:nt. look. chen

\ lol')!cc .-Jt Ilsa and £:r.:ilcs. You ~;,o.,!ld say t:!lerc is some

mo-:kery in the We:!.!! he su1il.cs.

t.A~ZLO ~. One hc~~s a 6T~nt ~~~1 ab~u: ~ick in Cac.:1bl.:mc:~~

RICI{ (lot>!--:!; tia,~L e.: him) And aLou~ Vi:::or Las::lo cvei:ywnere.

LA~L.~..c lik>n't you ~ oin us f o= a cl::ir.~~7

RI.:i~ Th~~1ks. I i-,ill.

RE:~Aar..:: I:. prec:e:!cn: i~ bc::.!.ig brok~~rj.·r.·- --, :mil •••

r ·

LA~2.LO (he :i.~ ~:i.c:i r:o:.,- V"?.'.: C:!~~on :: Thi.!; i: .r.1 !J...')n:- inr-'.·:r~e::!.r,~£ r. .. ::=: -- ! co:-.g:· .:12::clp ::e j'01'.

~!~:: /~(} I c:o:1r:;::ut1~:~~,::; yol.!.

h.!L: 0~ -- yo-:.!:-::o;:.;. {,-;n:'C:.oer. l,:s looi< t:.t l.i.:;t1'?)

t:i.r·:1,0 Tn~.k vr:•!.1. 1 .:~y. ··- tl I'.;:: w~ . al 1 ::..7. :.:,r.: ~~· ,cccr·<l.

U::F•t lTi..':' I CO".. , (....... 11.""J~,.,,, 4.,.... o·•-,,••.. -- -- .,•10·· ""6 ,:•.•o.. ~ • -~- ll"'~ UC~ aslrini; . P.LO~t ymJ ~~=l:..~:.·, ~ ..L.c:~, in ~ u::.;• thlt ~d:: me .:-·.xt:::e-1~!.::.· j ca.!. ouc. • ( :Otf!' INUE ~)

:..

101 co~rrIi ·:t.JZ!): ( 1)

I "1asr, t ~'.l!'.'e you were the semc.

Let £ see, tbe lase :ime w~ ~~c •••

1<.ICK Not ax; ea~y or.y to fo?:"=et, w.:is iz:?

IL!:.\ t~o.

~I;::~ I r.:?.::i£.::.7,e::eve1.--y 1~ta.il -- :he Ge~- mans u-:;:-e g~ ay, you w:~e L:.~e.

Ri::!v-\ULT Rid:y, you •~e becr;,~ir.i qui~2 hu::1an. I cuppo£;:: w~ havt; .:o ~~ank yo...i Zor th:.:, r'.:llc.

i I

L-~:LO Il.:.'l, I clo';.~• t wis~ t:o be toe o~e c.:,

l

~ay it-~ hu~ it)r. late.

'.ti: ~.ULT (bl~:lcing .,: w:·is~1!:i:t:h}

, So it is. f.n::l' ,,e :-iavc ~ c::::;:::et·1 h~:-e ,-

in c~z~c~~~c~. It would r.~v~= do

i

fo= th= Chlcf o! Fcl~cc ,c be c~u~¼t

' .:a--·-,,. .-,..:~ ,-.!:.,.,,.~ . ·no :--s ,-.•.·j _,. • ..,. •·o ~ ~ ~ -L.1.,~~.1. _,~ c..:•- -- -• &.;.J U&.. "-'- -

f l.li~ r,::..m~~.:.:':.

LA~~LO

I h-,1,~ uc. bavcm 'r c~:er !:t~:-·~ :- O'.'.!" wa!. -:o~ ..

Not at all.

WAII"2?. _ ( ~_o La~z.lo) You-.· cncc:i:, s:i:.l:'.

10 l COif! L~UED: ( 2)

RI,A< (takes che:ck) Oh, it's my ~a=ty.

Yo.El~AULT An'!)thi?r pre~~ifont brcl~en. This hP-s been a ri~s-: i~1tere'£;tin3 eve• ning. I'll call yoa ~ cab. (::-.hey all rite)

T...,SA (exten~inJ her h~cl co R:.c:.~) Vill you ~ay goodnight to e.ai:.: !or 'J ~-

RlCl{ I will.

IL~t>. Th'-"re 's s;.:ill nol:,.:>dy .i.n th~ t-1orlci who c.r..n pl.:y I A.s :;_'is:.~ Go~!:. B:,' li::::

r s~. '·t

RI:E: He ~a.ci':: f,l.a:,-~d it. fo~ a long ~ime.

,,.., IL --·

LJ.SZ!.O Goodnit;ht ..

RI·~ Cood:ligh=..

P.ick and L;isz:o noti goo:Jni;bt: i:O €·,.,~h o ·::ne!". L~s:-:::lo .ain~ Ilsa Eta::== to ct1e cioor, 1-:,•:i.:i.ul c wL::, tt1~,t..

102 CLOSE SHOT- KI~

• watches ~:iem go. The :::-c·volvl:ng ,.:oo::· is f.E.,:.;.n ~llr1.fr.g.

I

i

' r

6/13/42

co~e out. Renault walks THr.OUCHSHOTto the curb and IS HEARD to blew hit:i t-l:ii51:le. LLl.szlo ligbt:s a cigarette, speaks very CLl.!.U.llly•••

Ilsa doesn't lo~k at him. With an effor= she keeps her voice steady.

nsA Ob, I really ca~'t c~y, though I saw him quite often in Paris • ..

.... A cab is HEARD to draw up. Ilsa moves forward our OF SHOic p

Laszlo follcws her.

j I LASZLO I I Coodnigbt. J

I

I ! CAMERA PANS UP t~ the sign ''Rii:k s".

104 THE SIGN I , l

now dark• illumin~ted only as th~ revolving beacon

i from the airport scrikes it.

I I 105 INT. RICK'S i I. Tbe custottcrs have all g~ne. The bc-.i~e ·lights are out. l Rick sits at a table. 'i'b~re is a jigger glass of

Bourbon on the tnble dire:~:ly in £r:mt of him • and another glass em~ty on th~ t~ble beiore an empty chair. Near a~ hand is a botcle fro10 which this one drink, eASctly, h~G b~en p~u.:ed. Rick ju~~ sits~ staring st the drink. His face is entirely expressionless.

r

I • t i

6/13/42 . 60.

10s co:;rn:t'ED:

During the followinJ tccne tbe heaccn continues its gyra- tion1 PICKL,G UP fir~t 0~2 a:id then the o~her in its s.1eep around the roo~. (The EFFZCT shr.uld be to cre.i~e a ~ood of unreality tha: will c"ke the FL.ASfXACKa plau&• ible device.) ,_

Sam comes in. He stands hesitantly before Rick.

Boss•- (no a.nsuer, as Rick drin~.:s) Boss -- J

RICK

I •

(filling bis gla.;s) Not rig~: n~w. ·

Sam looks at Rick clo~ely, realizes Rick is in a grim mood.

()

Pauce.,

St.M (still tr:;L,g) I ain't sleepy n~~ther • • 1"J.CK Good. Have g rl~i~k.

i l t

6/13/42 61.

10s co~;-rnarc:n: (l) SAM Boss, let's ~at out of b~re.

~-ICJ~ ( cn:r,hatic,: tly) No, sir. I'm waiting for a lady.

( e.1r:1c~t1~-)

Plea!~ n~cs, icc s go. Ther~•s nocbi:1 \ · b1..:: L-::ouble for you here.

....

S/,M

Bncs, we 11 ta!:c the ca:- and d.:ivc all night. Nc'll ~ct drunk, We'll

go fishin and st~y a~oy until she's. go:1e.

SAM

c- (~tubbo=nJ.y)

No, suh. I'm stayin right bere.

Sam sits down at th~ piano, starts to pley softly. sud- denly Riel~ bw:-ses out: --

R!CK S3m -- if it's n~:embe~ in Casa- blanca., what ti:r .c is it in Hew Y\Jrk? SAM My watch st~~ped. RICK ( druni-::en nos~algia) l bet they're asl~ep in Hew York.

I bet tbey re aslaep all eve~ AoE.:rica -• ( CONTIlUJED)

6/13/42 62.

lC,5 CONTilW!D: (2)

( RICK (CO?ITD)

(witb sudden vehemence) Of all tbe gin joints in all the to~s in all the world she walks inLO mine•• I (irritably to Snm)

Wb~t•c tba~ you re playing?

I l :

f. Sam starts to play As Time Coe& By." F

'-. • . .-..

f : 105a CLOSESHOT• RICK

He pours~ drink ass~ plays. From his expression we

I know that be is thinking of the ?ast. , I r

(BONTACE,\ND FLASHBACK)

r t

t-

r

6/13/42 63.

FLASlrnACKS:

106 PA!'.IS (P.L17.Rr;ATEsctrn: uo. AS SHOT & CRI:DITED • 108)

(STOCK SHOl)

DISSO~VE TO:

The follot.:i.:ig .ire ~U?I:Rii:·r?OSrD on bacl~grounds of STOCK SHOTS)

107 CHAMPS ELY~EES (P.!.7ERNATE SCE?IB r~o.AS SHOT Alm ~EDl'IED

• 109) • OlJ A spr.:.::mD!.1.Y

Rick is 'drivir.g a tr.lall, open c.i~ s!.owly .ilong the boule•

... vard. Clo:c b ·.:!Sidc him, vi.th Lcr zirm linl:cd in his, sits

Ilsa.

100 EXCURSIONS BO; .L' • (ALT!:IU·!.\TE SCriJE NO. AS SHOT AND

CRl.:Dl"J'.'ED• 110 ,i • Otl ·.rriE~;c-:nm.. u:0~11·

Im orchestra i~ pl~ying F~~nch rnusic. By th~mselves, at· the rail o~ tb -; bo:1t, sta.1.-l Ric:~ ,a.-;d !lsa. Iliey :ire tr ansrorte :I by th~ n i~ht • by rh~ music, . b:, eD.r:h other.

' - l

J 109 mT. R ICK 'f. PA:: IS APA!lTNi:l·IT • (AL'IERH:".TE ~CEUE NO. AS l SHOT &. CRElJlTL'.";• llOa)

Ilsa .::tt wir,do~, fix~s f!o.1<:r6. Rick opens c:h.ar.ipagne. Ilsa joins him.

i

f t

109 COi.lTI::urn:

RI::K

Hc..~e :: lool<inr; a: you 1 kid.

They drink.

CREDITED -110~:)

Rick and Ilsa d~ncing.

SHOT & er~--·)II: D - lll)cj

Rick and Ils~ on.

I!.SA A fr~r,c: fo.: y0,1r .c:.houi;h:s.

~ l~Y.

• j

I".': Ar.r·ric::i th~y '.: onl v hring £ ·

p -.nny .•• i ·.:'ci be ::bo~t ill! t .,cy ' ~·e i10:-tn, I 0-;.1c6Z.

I ' .r

I"~SA

' t I'm w:lli~g to tc ov~rcharge1 •

c:·.-me ·.)n -- rell i:,c.

~ICK I was ju~t wond~rin~.

ltSA

RICI~ ~•i1y I w~~ so luc•:~y -- why I cLoul ·-l f :,;.nd you t1ait:i11g for me tn c~;nc '11ong.

I!..~A \::,y t:lerc i!i no <'Chei · rn:m in my life?

Rick nodt . ,

• Ir.SA

\ ·!ll, th.:1t: s ea.sv. T:1cre was. L•: it dca :-1. · ( :01rrn:UED)

lll CCiJTlmrr:r. ·

l.. r.:ac

l 'm ~-,~r:r for .:..~>.ing. I forzot ~- sc:.:.d ;:10 quc s tio:1.s. "

She k issc~ hi ~.1.

112 TP.E ~TIU:ET • (ALT:~llAT: t;CC:~ffiNO. t.S SHOT & CREDI'IED •

· ll3)

...

Stupefied people .ire st::?ring from the.ir uindcws, into the srr ~ct be~ ow. T.J.J CAiG~,\ C0!-1L!: TC r:::£T c.n a 1 OU d Sp r:ak ~ r · W£60:1, ar,,unG w!'l:c-:h i5 cluc;tcre:d ;-_g:ccup of frigbtcncd Fr~nch peLplc, It htirE.:h G:?t"!J~ voice is barl:ing cut the tr-l 6ic nc, ·::; o~ t~i~ h'.'izi r~3h trn:-,'1:.:-:~P=-ric. l·.:iri!;ia,-:s arE: bE:ing to~ .. · be:! to ~c~ ~-.1h(·nthe cor..qucroi:s mt11·ch in.

i ~,, 1•J n.·o SHOT .. (t.7.T!:~ilf.TE sc:.:~ NO. A~ SUuT (: CRF.DI'.IT.D- 114,) ' Rl:K AND iLS/

R-::_:~{ H ·tbi: .g ,:-;,:.11 sto t:i~~. mm. 1\.:?d• n··-~d.·· • T~u:..·s·k a.::~1lc latc-'3t -• t ' -"'Y •·-1.{ lo.~-.... "'--~.: ... -•">--~"""..-a.I··,""

RI::R (s::?ilcs) I•~ c:-, th:--ir bl.i-:::lict nlr:aady -• thair roll oE hon~r.

D:LSSOLVETO:

114 A SMALLC.. l~E • (ALTI.r.i~:",T!::SCE!,TENO. P.S SIIOT AfID CUE::lITED -

ll;j) - n~ r1-:E 1-:mi-:rl-.:.A:::trr-~::

Sign over :;he caf c: •1-~~ f '..:"!..1.Fl-.~JRG:1.Z

115 0?11TTED

116 Oi1!ITED

117 SAH

pl~ying at the pi.ano; "As Tic:c Cocs By", blending in with the b~ckground ~u~ic. He looks b~ppily ov~r his shoulder.

118 MED. ~HOT- 5'~M• ~T THEPIANO

playing "As Time Goes By." Ilsa 1s leaning on the piano. liste,.ing. Hobody else is in the room •• everyone being in th~ ~reet, listening to the loudspeaker. · Ilsa's at•

~ tieudc, a£ she li~t~ns, is very di5traught. There is evi• • r dencly so~~tbins on her ~ind -- and it isn't all concerned

with the u.1r. Ric~~, bearing a ch.:.l'!l~ugne bottle and gla6• se~, CCQeS into the scene. His m~nner is wry, but not the bitter wry.,es~ we have scan i:l Ca6~blanca. ~

H£• says he 11 m:itc-r his garden -wit:h champagne b<:.iore he ir~~& ~be: Ct.·~mar,s drink an:,· or it. • ·

Re bands~ gl~ss to Ilsa ~nd Sam.

s~·.M (looking at: his elacs) Tl, i.s ::ort.J tai:~e ~he rting out:u be .:.n' Occlt!'iad, f.~csn • t it, ~-i:!.!.:te-r R.i..ck?

A shoat ic m:;.:m frorr. the peer l:~ in the ctre~ c. Rick and Il~a look 11: c.:icr. other 1 <:hen h~:rry to Ch..! 1,1ind0Y.

:.:., MED. SHOT .. Ar ori-.N UI!Dnt~

as Rick ar:·1 I.i.sa ccn:e int:, the sc,ne. Th~ loudspeakr.r is bl~ring ir. Gc::,1.:in.

( CONTINtmD)

5/22/42 67,

119 CON:'ImJED:

(sc'ldly) I It s t!:c Cc:it:ir,o. They GllY they cxr;et to be in P,~ri~ tott::r.:·~co. Tb,~'l ,?i·e tc..!ling t·.s hm.t .:::o ac~ WhC.;nti,ey CCI!:! marching in,,

tbey a=e silen~, deprassed.

nsA (smiling fcintly) Wi:~ th~ t.;holr= ~~o::-ld crumb!:ing we pie:, thic i:ime co fall in love.

n.~A . (trying tc chee~ u,) Ten yenrs ngo? l~t•s se~ -• (thinks)

r ~ Oh, ye~. I was htwing a brace I pu~ or, my i:eeto. tJ:1erc were you?

Pause. IlGa lnok!; at hie tenderly. ~:.ck takes her in bis arms, kissc·s l:·'.r b~mcriiy. \~hi!e they arL: locked in an _ embrace the du.!.l boom of cannons is HEARD. Rick and Ilsa separate.

Il~A (frightened, bu~ tr!'- in::; IJO:: t::-i SbO\Jit) W!i.:: th.it C(1!:lncri £ ireor just

i my he~~t puun~in£! I . I I Rl:~I~ i (griuily)

n,·,t t·.' lS t;.,~ ne-::; ~~~rm:m 75. And, j t. · ei.~ ; bf tbc sv- 1:1d, .ihoui: tl,i~"i:Y• fi · · -:! i:-. .:.lcs .::w..1~~-- · (arioi.:11e:r 1.:~ornin~ i~ ~A~:D, Rick smi!,:s gri:::ly)

I

And a litrlc elo~t:r eve~y :dnute;.

Hc~·e. H.=~c. Dri:,!; un. H.::11 ne·.,cr

t

f L,isli the: other ':!,ree..

t f I

120 l•;ED• SF.OI - Sl1H

cooing into the seen~.

S/\H

Dem Cc~mansll be here mi~hty soon. nay'll co~c lookin f~r

you ••• Tbc.:<:s a price on your head.

Ilsa react!i to thi-i:; w~rricdly.

RI~'K (drily) I left~ n~~~ in my apartment. They'll know wh~rc to find Qe.

I,.

S&m shrug!: helplessly, goe:::. Ilsa looics at Rick.

l~ , r . L !LSA [ 1

11:·s stranJc, n.icl: •• I really

.. knows~ very lit~:~ about you •

i t. RICK i,. I imou very lit:t~2 about you ••

ju:~t ~he fn:t ::b.:t you b~d , your

i . teeth str~ight~ncd.

r ...SA

l! t But be c~rious, c~r!ing. You tr~ I in dar,ger. Yo\! a.:1~t leave Paris. ~- ·.·

RICiC

~ ~- tlo. No. No. He must lell'Je.

--

t . !I.SA ~- (wi~ho:.i~ looking

e.=hir~) Yes, of c~urs~ -• we --

I!.SA (quicldy~ No, n~t a~ the hct~l. I h~vc things to do in th~ c:!.t:; b~fo!"c- I leave. I'll r~~t you~: :he E~ation 1 huh7

A~l right. /.'t. c ,~u:11·t:er to !":'.·,1~. ( ...,.~ ·"'~0,1~,.,., :v~-·,.. ..>'-'·• ··•·.•-· • . -• ; ..~ c,..., h·i.,....,.~ .-, S:, t •• wb·,· dew·: ...1~ &-.:: m.1-rric.-~ it.

I H-~:--sc~ llc•l,?

~

[

120 co~~TI!~UED.

\

I! ,f.A (etr.isivhl;) Tl..3t • r. ten iM nii"ad to plarl -

RYC"K (h:ir,py, ~ :c-.itccl ~c H,<: tho,; : ;·,t of lce.v- i:-.g uitb ·Ilsa) y,-·s :·hat is too far ahead, Well 1 1-.,t' r. sec-. t-ih.:1t about: the engin• e; -r? WhJ' can't •:i:; marry uG on tr--2 trail, ·1

.. ItSA

(l~ughL,f nervously) Cr,, d-ir L.:,~.

Rl(;g 1,."!iy not? The Crr,"'tain on a ship I cun. It doc:sn c · :::.:?ea:i uir t11,.1t --

Suddenly !ls~ stnrts to ery softly.

----

r-rcx I Hey• hey, ~bat t : wrong, kid'i

lLSA

t (control~ing h~rself) I -- I love you so cuch and I hate I tllis war to arucb. r l (&topc, looks

nt Riel;:

~ Oh, ~ick -- it'~ a crazy world•• I r,nytbing cnn hat,r1~n •• If you I ~nouljn •.: g.:.:t- at;cJy •- If -- iZ

£omerhing snoulj k~ep us _ap~rt •• \Jherf'ver tho?~' put you -- ~,hcrcvcr

l: 11 be -• I t·1ant you to know eh.:it

, I --

(she can't go on -- SL1e lift.$ hc.:1·iace co his -- he kisses

r her gen~ly)

I~ii:s me. l~iss n:e ~s though --

I

He look~ int~ h~~ eyeG, then kis~es her -- as thou~h it t:~re r.he !nst ti!"'le. O"J::.rt·r1t, .'.iC~-~jtSain is ii gain pl.1ying ~'As....titt.? Goe t By. "

i

I

121 GI.RE DE LEON

\ There is D hectic, fevered exeite~er.t evident in th~ faces

we pass. This is the l~~t train free P~risl The C.~~

the clock. It i~ two Qi.~1u::ec before train ti:::e. Rain is pcuring o,er his Lc.:id and shoulders. but he seec::is not to nctic~. ::.;udd~.mly ~.lm ar,t·,ears with an envelope clasped in bis h:md.

Sr-\11

...Nl'l, Mr•. r..iehard.- I can t find

, ... hP.r. ShL~done c-hcc:kc~ out: ol the

hotel, Bose. But this her~ note cu~ Jus~ ofter you l~ft.

I -

Rick grabr. th•1 letter. He fur.ibles a~ he tries to open it. The envelope figh~s him. At ~his ~o~cnt the t=~in pulls into the :;tat lon. The=rc> is D · hub-bub air.on:; the crowd. Finally Rick Jets the eroelope opep, st&1rt!s down at the letter.

122 n1SE:RT • THE LETTER

whic:r. re~rls:

•~.ich!lrd:

t r

I connot ,_~owith you or e•~er see yot:. a;.:. i:.n. 'iou nus:: not ~:-:kw~y. Just: t,:.,licvo? th.:?.t I love you. Go, ~i da:~in3 1 anj Cod ['less you.

Ilsa."

S.-\MS VOICE (fr.:int:ic<llly •

t

OVS~ SCF! TI:} noss 1 da~•s da !~s• call. Ross, do you beLJ~ me?

f r~mc on• i-a:.kic-.~1ard. Let I s I f f!t out of hcl:'e. Cor..a on,

~ ·• r~!chard.

t

The r.iin ·lrops po~l'."clot-m the letter, sr~t.h:.:;1.ng the w:·iting. n.e rrair. gi'-·~s c.: 10113, ;,~our:-itul t1b!.s.:le:.

l nlSSOLVL TC: f

t I

123 Sf-!::CIAL f ."FEC:'S SiiOT

\ Yith the ·10\Jr•gl;·,r.s cl-,a:.·:~ing into the crinl~. CAi·~P•.-\. PtrLLS

Bi,CK and ,.;Q\iZ$ u~·'. to a , !..u~r:uP of ~ick. Ba still .s,.ares at t~;e d:-~dt. Ii1~-r-c is n~ st:,und o:Z c.rusic oc-.l • u~t£',· sil- ence. S.:..1 h.::s gr.nc iion:c.. Tbe: circl~ of li~·h-t pclSS ·.· S over Rick's f.:.-:e end r.-.,eep~ (j_U'i' Ot-' SCEUE and t,nly by a f-.icker on bis f .. ::e co we follo·,! the light aroun:1 the room.

The next ~i~r; it · p~sacs) Rick's eyes arc cauGht by :he light and hi:; he~d turn~, f ')llowing it.· CA?-i:Rl. PAN~ WITH the ligh:.. ,_.he circle ::-:-aches the door. Ilsa is scand- ing in tr;~ dc~Tw~y. CAi•::~ C.C:1AU1Son hc:r. The cfa-cle p&ssc'.s on an~ in the da::.::ics!: it is hnrd co tell th,1t she is s-~111 1:here:.

124 RICK

• is starir:.-: at the dooru .....·,.I~ is probably that at first r I I be thinJ..~ ic i.z .imc1ginai:"::.o~th~t i3 ~laying a trick·0n ' him. The light swseps o~erhim again. Hie exprcseion

h"rck·ns.

I f

12~ nsA

at the do:n:w~y i!l the d:1.:l~ness.

as she st1rtc £0!:"".1~~~ the liiht passcD over her. Her faee is e.1ger :mc.i plc~~!.ni.

; r 12.j T/ .BI.E

Rick get!: half to his fr•P.t az she enters ::cene. Thr. light SUC•:!PS by.

Hc:r m~nnC':.· i~ a little u:-1~ertain, a littie· tentative: • but uich ~ qci~t determ1~£tion benea~n it.

l' !SK I &~ved my tirst· drinkto h:'.'!ve /OU. H~1:e. (:eac~es !or bottl~)

(COtlTINUED)

l2S COHTimiED:

Zhe sits 110\.r.".l in the c:1.:.ir befor~ thi:? empty glass. Her eyes are ~earchin~ his fnce, but there is no expres~ion on it e~c:-:pt .:i CC'lld and ir.-.p.:is~ivc one. H.? sits down, too, and .·caches for hir, glass and h.:~f-gcstu1;.es "1ith it t~ward he~. ·

RIClC _,r--per..i~ll_1 toni~nt.

He drain: bi~ gl~~s and, reac~ing for the bottle, pours bicsc lf ~:.otl:: :r 1-:-inl::~ She wat:che s tbis uith a lool< wbich says that sbc wiches he would~•c drink tonishc.

RIC-~ Why did you have co come to Casa• blanc~? lher~ r.rc other pleces.

Rick, tb2t s th~ truth, I didn't know.

hnsn t cn~ngcd. I cnn still bee=

it •• Ricl: d'=o=, I ll go with you

euyplacc. Wt.?1~ get ori a tr.:.in I 1 u,gec':ler and "'e ll never step •

ri..SA Pleas~ don't. Don't Rickf (~h~ wntc~cs ~£ he t~ices er:,cber drinl<) I can und~r~canc now you feel.

F.IC~ l~uh I Yo:! un·:kr!.::und hot-, I f~el. B:'\w long was it ·;:~ h.:i~. honey':

I- I

I~~A

(t ..l.i-:e:s c:m;:>ther 1rink) 1:·~,er;· en~ o:; tb(•,n. ~~o::cly I ::e- n:<:mbcr t!'lc- lane one. A wow 2ini~:i. I~ gu:: &t:mdin~ rn a st.'.ltlon rlat_or:.i in tl,~ r..iin uitl. a co.nical look en his face, becau.r.~ his inside£ h:i ::

I b0.cn ~dc:l,cd out ft ( r.f\NT:U -~m=:n)

I

6/5/42 73.

126 co:rr~=L~D:Cl) ILSA (aftRr ~ r~use) ~ c~~ I tell you~ scor~, Rick~

R ~--:~ . H.:.:J i ': s~t: a UC~-; , J. n: :.h?

I"':.\ I dor. 't b.oc -; the> f i:1!.ci, ~•c~.

n::;: H"."'.ll, 30 ~.~, tc.!. . it. Ht:}be o'=Jc w:.:!..l • o~c- .::o ~o ... :; f. y:-,";Jen l!.:ong.

.. r.~:;

.... It's ~bou~ a girt nbo hnd just cor:c i to Pn~:is fr:::im he....-~ornc in Oslo. i~t

t.i.·.,-=bcu:m 0£ ~or-".: fric -nds she.; ~t a m-~·., al.-ouc wbom s::e 'd beard her whole l~.fe - a vc:ry g:-,:.:c.: nnd courageous m:1!1. He r.r,enC'd ~ -r-fo)· he ·.:· ~ u~ol., : bc:iut::i. fu~ t-mr~a c: ~:..~;.1lcd~e ~nd t:1-.,ug!.ts ~m.:l ide,-. 1.;. fvc~yt:1;:;__ng ihe

I e ."~r l:ncw or eve:.- bccnme :~.'ls ·oec.'.l\t!je I o[ !:ii;.:. And she lco!{e~ '-:f· :i:: i1ic and f ~nrshippe~ hirn wit~ a feeling she

supposed t1as lov ·: -- RZ"Ct~ (c\:finite ~-)' intc-rru!'.'ting) Y~s, th~t·~ very ~r=~ty. I h~a=~

a story once. I~ fact, I ve h~ard a

lo: o~ sto~ies in my ti~. They t irn~1t Z;.long wi:h ~be sound of a tinny I ~:·.a:1:, in ~he par lo~ d 1.itmst,d.::s. t J•:istc:r, I rr.et a r.:.:m Ctncc t,1hen I was or.ly r:. kid', t:1e:· 'd ni..(Jay~ bc,:;in.

t llsa, shu ,idering, sets up. r - I R!C-~

(::c she w,-.1.l:s u-:.·c:y)

f I H\:h. I gu~s= n~::..t:n.3r one of our t sroric·s \.r.:1c very h;nr.y. I- (tL~n i11 l\ ~orr,--nt he ad1s)

T, 11 rnc - t,1ho ~1<1.:. it: yoa le£ t.: m~ cor.

I

~~~ it Latzlo • ~r w~~c th~rc o~ncrs

l 1

in br- L-wcr·r,- er ,:rren t you ti1<? k i:..1d tb:it te:llE/:

127 Il.5A

te:~rs in her eyer.. Sb<? c-::=-p.zin the door.-.,ay, looks back at him, ti., ~n ~he turr,c ~r::i °\•rn :ks out. ·

120 RICK

His h~ad ;;lumps o·:cr the t~blc.Gr~d-.ic.12~• hi!. body sass

t

over :he i:--lbic. !he gla!.z tipso,..e:.:, sp:;. ~ling its con• tent£ over th,~ clo~b. .r'!.DE OUT.

S/9/43 74.

FADE m:

12.9 INT. RENAU!.T5 OFi:ICE- DAY

Strasser is with Renault.

S'!R...\£SER I strongly suspect thot Ugarte left the letters of Tran~it with He:rr 1:lainc. I ~ould sug~esc you search the Cafe immediately and thoroughly.

I ,

Rr'.NAutT

; .

If Rick h~s the Letters, he is much

,_- ··coo s,nart co let us find them thc:::e. ,.. ~ S~~SSrR r ~ You give him crcllit for coo mucb

cl~ve~nesr.. My :ruprcssion was

r· I

t~13c Le c just ~:1othcr blundering

I i A:.:crican. ~ '/. RENAULT i.-. 1

Quite so. But w~ must:n c under• e:;tim.'.lte Ji.ocrieil!: hlund~ring. ( ir.nocc::nc: y)

r·

I was Yitt1 them ~;h.?n they 'bl~d- I ercd into ncrliu in 1910. ·

t ~·

Stra~~cr look& a~ him.

r f,.

~TP.ASSER

f· As to Laczlc, we wane him wa~che<l ) I tt•ren t y• :Zo:.11: hO'l.r,:' r, a d.1 y. I· '• 1· RI'NAULT

(reassuringly)

t

It moy interest you to knew that

~

at this v~ry a:oc.:-r.t h~ is on his

t· wny h~re.

f CUT TO: f l 130•132 GMIITF.D.

I ~ ' 133 EXT. PREf~CTU·.EOF POLICS

People ar packed c.rounc; t~~ mtr~Ct.:.

Laszlo an(: Il:;e cd::e thi:-lr WLlYthroc2,:i th~ jam.·

~ISSOLVF.TO:

I

6/()/42 75.

l34 MED. LOKG~HOT

SH0~Tll1G f::-om in be~~c o~ =be desk, t:O~c=~ :he door as it is opened ry th~ 1,ie.tivc o::ficer, who ..:.shers in Laszlo ~nc:; Ils:i.. Bot11 Rcnaul:: znd S~1-.:ss~r I in the f. g. , rise, f ac- ins the co 11plP. a.s t:be?~' wr.!.!< t:o:Jerd th~m. :-.enault moves forwa::-d to o~£er Il!:a iiis ha..~~ ....

Rn:AULT • I ciJ?I clcli~:.ted tc ~ee you bo=h.

Laszlo bows t:o both t..en, b.:t:. offer£ t.o sba~,e hands wi::!l neither. !ls~ b~;s to St=~~ser as Renaul: offers her a ch.sir.

Di~ you bcve a soo~ ni~bt ~ =~st?

LA3Z!.O I ~lep:: •- Veey t-~ll.

Rt?'t.\UL'!' Thtlt '~ sc-2n~e. i.~c o~~ ::.s sq_::~osa~ to slc ?p w~ll in G;:s£1blanc:::..

He lai;ghs.

(br-ie:ly) ~1 we pr0~:::cd w5.·-:h th~ b\!r.:'_n~ss.

ST~..Ass;-:t / (no:-1 .as cc:..:: a~ Lac::lo)

Very wel!.~ Msi~c La.!:~lo, we will not min::e uorcis. :'o;.i ~;;e a.'1 ~scc .':>.:!d pi::::..son~r or toe .~;.!ich. So fai: yo~ h~:;e been ~o=-:~~ .::~ ir, eludi:i.; w: .. You b.:•1e reaci1eC: 1.::.esablanca -- i: ic ~y dut:!' to see ~hat you c-tay in C&sabi,nc~.

54!:tASSE~<.

Net: a~ ell. Cc??: 1in r.~1.1'1ul-.:s £i~natm:-e is n€c~;sa;cy o~ every e>c;,;,t visa.

STRAStER (tu~n& to ~en&ult) Ca.?t2ir1, uou:{ yoi: thinl: it: is ;os ..

stble Cll.s:: ?-:siet~ Lc:!s:.::.o wtll rehe .ive E. •.~isa? · (:ONTINL'E!>}

6/9/42 76.

134 coirrn~JED: (1)

LJ.S~'LO (casually) Weil, rc~hups I shall like it in C.!:sablanc.:i.

s·;r..t.SSFR And Nad.:?r:oiselle ?.

(prepa=es to rise) IG that £ill you :-1ish to tell us 'l

S~RASStR (sm!las) Do not be in su:h a hurry. You have

\ .

all th2 time in che i10?"ld. Yoa m.1y be.· in Cas:.blanca i~d2~ini=elj' ••• (~add:mly l!:!ans :ior• ward, sp~ci<s in:er.tly) Or you ~y l~ave for Lisbon coc::J~""Tow. Cj one condieior..

V:CTOR

' ! And t!iat is? ' t i.

~·L'RASSr.R

( 4a., canin"' 0 "•"-''-'•U&..Ut,-"'-·• ····..,,

••

s1=>ea1d~g incen~ly)

' i You know :h~ lci1:l·;r of the ur.:ler-

g:-ourd i10v~m~:.1~ ::n rr ~ 6'1.lP. 1 i11 r ar is ,

f

i:1 Arr...:;t:e::dam, i.r, .Aru~se.is, in C-slo,

I

ir, Br:lgr:l~k., 1n· A.tbens.

't

LASZLO

I !. t -- even in Berli..~. •

~TP.AS~~ Yes, even in ne~lir.. if you will furniab ~c witn th::dr na~s en:3 their exa::t uherc~bouts -• you wi.11 hav~ youl.· vL~a. in the mo~ning •••

~ I

f

to= a lL'..:~tirne. ( CONT:mt.JED)

l r

6/9/42 77.

134 CO'."'!'r. L~D : ( 2 ~

S':RASS~:l Yo·-.lwill 5ive u~ the n.1~es'?

L·.r;:to

Ii I i. idr. t gi va. ~h.::rn to you in tLe cc:ic~r. er~ cio~: cur,p wh:?=e : ·o·.,. 11 1 he:! 1:0.:-e ~~::cua:.ivc t:~thods' at _,.. yc·.1r C:ispoc~l, I ~~rt,:linl;· won I: g i ·,e ~-he:L1 to y 01.1 :inw. (=he p~~S!o~ate con- ,action ..n his voice no~-1r~ve::ling tbe crusac:?~) An~ whet iZ you ~:-ac1~ clowr. tr,~se .,"U?L, and lcill t:iem? t-:hc:.t: if ye,~ rn~~dc:-ed all ol us? F£om ~very co~r.e~ of -Eu:cop~ hu11:l~eC::s o;: -- thousa:--.:!s •• woulcl r!i~ ~D to t:J:e our ~i~:~s. Even >'.c:tziG canno'.; 1~:.11 that ;;.::as\':.••

SITJ.S~

M siel:.~ t~szlo, · you lin,,e I! re~~u=ati.on fo-.: ei.o.;u~nce uhi.=~ r can new ~-!.:i~r- st .:me. B:..l;:: i-c o·,~-=r-z.Ep~c= yot1 ar::! ci.,;t~::en. You seaid ~::e er.~.:.:.~ s o.: the Reicn could all be re~lAc~~. Bu:: there i!i one e::cepeio:t ... no or;e ..:i +-. - . • - -;-- _£,CY.ll 1:.: • .:£:~~ }~O,£ f,!.~£ 1.~ t:,;,1e_eve:1,.:. ai. 1::6~ rig. o. e:r •• u: ..:.orcunut~ s.:01.~lci oc-:ur t:o ;'OU W:l::.:e )'OU were ::::a.-yir.~ to £t:c:.pc.

L•;SZLO Yoil ~on I t cl,.:-~ t:.. ~C.:-t' £ere ui.u, me· b, .;.e. ~~u..s i• ·. ::~iLL H~-.:>cc-:..1,~ic•, "i-:..:.~c-.:·. l'.r:.•1 v::.o '. .,:.£:in, . nf 1·•"·,\,;::el. . ty w::.U .. efl: ~(: on ·.....'":•::~ ...n li.c~n.£:.·!::..t:.

;tri:/~utT HI :;if' .'..l::',GO£-~-::-ac u:is ~:.1 n"''·J pc; ,e.: • • •

t.:.S2LO Thml, :,ou.

Rn•ii'.ULT B)' :h-:- wt?:', last r: i.gbt you evi:u:e ,: Q.r. ir .:·~~-, :; ;: i::. S . ·.o!" U[..U. t;;..

Ll.~ZLO

~•.:·l·•htr~:· I hel ·:.~•,,r~:ro•..l h.w::! 2. !'.!eS~~::;e hi.a. •

I

i t, k

5/9/L~2 70. ·

134 COi,TINTJED: (3)

STJ.A~SER (i-r:y:i.y) You would :;i.nc th~ convcrs.t-:io~ a trifle one-si5ed. (p~u::~) Se:-.or ?~ga~t:c is (!:~ad.

Laszlo md Ils ... loo:, at £~ch othc:.:.

nsA Oh.

RF!lAiJLT (~ic~~ini u ., tbe pr~erc on his cicsk; I e,~ n,.r:ld.:i..·.soue ::-:.e rer•ort no.-1-- (co:,1ir1s al:'O"',.m~ the det:!<) We ha·,?-""n't ~aite i:-1.ecitl~d yat wh.;th£:.· he coii'.ldt ,:c i stdcide o·~

.. l di~J c;:~ri'-1J ~o e~ ~a~e.

u.:.:.!..O

r (aic~.: .e:.p.~uoe)

You r-"" qu ·:te fin ·.shed wi-:::, us"'

ST:' ASSER (bou!i:' For tL~ ci.:i~ 1'eir. 6 •

Coo--! c:ky.

As Ilsa an, 1 ~:--~::!.0 lee.ve, :::~e ym.ir. o.£.:ic~.:: co:nes in.

· ·:.. ~n tl1e d~:>r !";as c!.oseti t.\n Ilsa ~.cl i.:.szl=>:

RE::~UL':' ( to ~•Olw3 :, _:· _•: iC'C·!") Un~:ou~. . .adl: tc1.-,i.r n~'k~ E~(';'" wi:: be :o .. ,12 _.·.ci.~;;; l·i :r;.;e~. ·

yo:\''G orr ICER Ex~ ·1s:-~ • CL1;·tni • ..i.i~o:.____ -~........ : _._,_...,·.:.!:~ r.1·r ·,1~ .nc..:. co.~.:: · -.... ..... ... -· .. -- -- -

,

r.L .·.~1.:'

't (h .. ··. i, ·, :- ' ·" loc,' : "

....:..~i_..~--! ....- ' .' . ~. ... ....~---·. _, uL 1 .... ,s..:.... _n ~ti'- r, .. - .. 0.:..J

- - ~ __.. She:, iJ.:-:~ i, .•

Yer: mo~-,;ic :::-• f. :i:SSOLVE TO:

5/S/42

A cluttere:l A:.:::b ~tteet o: baza=.:-s, ~:1ops a.,cl st.a:.lls .. · · iUl kinds .ln:3 :..·ace$ of peo:,Jle ar2 rdll:.!.n~ 3bou: tbe c:erchandise native c~alc~s r.ave on ou:doo~ ::lis!)l~y. - Bo~h t'!:cn and worten are cressed in tropical clot~es. T~e canop~es over the stGlls giv~ th~~ so~e pro:cc:io~ ~~om the scorchin~ stm. On ::iie s..:rf .lce, the ..2w::os; ~;Ec::e is a,?rE-.ly.,..1a.-igui.d 1 bu~ teer" is tl:e c:.r1istar u-:idc!'c:ur::-er.t of illicit t= .:d~.

Tbe CIY!l.?.J..MO~l?S /.LCI:.:; tb~ .:-ow oZ s~alls toward a disr~~- ut~ble buildi~; zt th~ he~1 o! :he M~~ket. Over the en- tt &:1 c e. of. :n: :,u.:.!.d ir1J is a fa de -:i t::.:!.tr.1: B!.UE h'.P...~OT c.:·:.FE•

O~ SCENE we h.a,= the h;•pr:o:ic sounc. 0£ u single flute..

During it! p:o:~e:t.s t~1::ou;h the m~ket: ~le.c:e, the CJ.hERA

... PIC:cs UP the £-,llo-:,r~, 6 fr.'.!~men~a=y sc~r..es:

(A} /:-. Ac:eric;,n is t~ •.t;i!lg to a ~ood vendor:.

The Ar:~ric~ lool-:r a lit!:le · confu~e~. nJe CAI~-.A i10V£~ Oi.~ to -

(B).A rug Eta!.l. The c 0::::iler i£. bolji;:.g ~~-· e. smn.11 r~rsim rug in an e£fo1:t tr ~~ll i: ~o c1... ·:::r...:;listJ couple.

E..~GLISK JOt~l!

( ( GO~a~:.:ulj__~) .

Bu~ ar~ yo~ st=e ~,is is perr~ctl1 le~al?

DEALm Ma:!ame, t:!!c=?. is -:10 ~ ir. my sh~p tbz:.t oils r.ct t~en srrr...:~gled in le 6- al!y. You see, t:'le s·.1:hori=ies h:ive bec:n --

Th~ C~'.l-ffir.~~1-.ro•r,S t":i~ c ! o se to th::! BLlT2 P AR:.7.OT Cc".FE• 1:ear :.:1e cntu.mce •

(C) A F='erlchrc.Lln l'nd s :.:.~.:i\•2 are ta.l:;ing L":O!}ether 1r, low tones.

NA.:IVE

••• But Mr.ie·..u:, w~ uoulcl :1ave co ha1.dle th,.- r.-olic-;. Tha~ is c: job for 8-:"·i. ~o=Ferr llZ .t --

Fe:·rari?

( co:r:-IN~D)

6/9/42 eo.

135 corrrnmtn:

\. .

cur to:

lS6 OMITTED

... .. ... • . ,. comes out, lpcks i.mpat:ie!'.tly up and down the street. f. . CUTTO:

,- r

L'.TIVE

l .

Y,"'IUwill find h:i.-'! over there s.t: the Slue .rarroc.

r l..

T~anl:s.

f.-~~--

CtJT TO:

~ . . ~ t··'.- L, ' • 139 MEO. SHOT - SENO:~ FEr.!'.J..?.: ~ • He iE abo1.it co go bac!c i ,r.o th<= ccife whe:.~,Anr~ina and Jan ,.. • walk up to bi:::l• ~. < • : ~-- ' . 7/8/42

r- - J.\N

E~cusc m~ -- you are Senor Fer• r,,ri, ar~ you no:': ·

r::uw-.I

t •\ t .J.-\1': ' l 1 we=e told th:·: you might be i

{ •le co ll1..:lr, us

7/3/42 81.

139 CO~:T~~t'r.n:

Ferrari lo:,ks at thern zi n.oment before answering.

co~e in.

He le~ds the m1y into tbc Blu~ Parrot.

140 CLOSE SHOT• F2RR./:.RI

His huge f~ame is %ollinf with laughter.

rrRRAR.I Five ~undrccl f-~ar.c:~ for an exi~ visa •••

The ~~J. PULLS BACK to 1·cveal Jan and An~ina standing like frishtenc-d c:iJildrC?n bofore F£>r-rari in his private office- .•

t ' Young man, in Cau1bla..,ca five

hundred f~ancs will buy you a pr-..md 0£ su3~, l i.lt not arJ e::it visa.

At~UNA

~ But Senor Fe~Tari, th~t is all

we have l~it. Wbat can we do?

i I i -FLAAARI

(shrugs) Perhars if you h~.1 a talk with Capc~in Renault.--

She takes her husband's crm, preparato=-1 to leaving.

' r I FERRARI t I .1m so.:-ry. Tba~ i~ all I ccm

suJgest.

The C./J-~ PA!"~Swith ~,er:i as they walk to the door.

cur TO:

I I t~ '.

7/u/42 82.

141 ll!T. BLUE ?A?.:lOT C.t.:E

much less ~ret~ntious th~n RICKS. The bnr is well popu- lated, but the~e c~e onl~ ~ few people at the tables. Rick comes into th~ scene, \..:ilks tot-1:i=ds Ferrari. He is wearir.g bi~ usJal dead p~n.

142 ~iED, SHOT- OU!SIDZ DOO~70 OFFICE

As Rick co~es into t~e scene. the doo~ opens and Ferrari co~es out, ush~rir.3 out;~~ anci Annina, who look very d0t·mhec?:cted.

f

FEIUlARI I · (p~Ct1 .ni 1-...:mina s - shouldC!r) There -- <lon;t bE too downh~arted. Perhars you can co:ce to terms wi~ Captain Renault:.

JA:: Thll!lk you very mu-:h, Sen~.

He leads A-:1nin:i. a,.;ay.Ri -~k u.:itc:hE:~ the couple as they move towar~ th~ djor. TL~n be ualks in the direction of

r · ·

143 MED. ~HOT .. SE].-~OR FE:I'~\..~I

~ Rick w~lks into the SH:)!. t ~ • R!CI~ ~ Hello, rer~ari.

Senor Ferr.:.ri .:urns aroun·l, pleased to see Rick.

FE:-~RARI Good mcrni:-ig, Ric'. .•

RI:-K

I f;ea the bus 13 in. I 11 t.:l!ce my shi?irer:.:; with r.i~.

FE:~RARI No hurry. I shaL. havl' it sent ovc-t·. 1-L:lve a c:::i.;·,!, ui th me.

RICI: I ncvc!'.' drink in t:hc c:orning. And every time yo,: send my shi!'.'-

ment over, 1t s a lit=le short.

( CONTI!mD)

7/3/42 83.

143 COi-!T!t'tJEO:

FLt~'..t1.l ( chucl:lin[ .)

c.1~rying ch~rr,es •• ~ (p~llin; ~ut a chair) He~·e -• sit dct·m. There's scrte• tr.:=ng I w,mt to L:ilk over with you, anynvHe (Riel: sitt; d~tm - Fcrra:z:-i l1nils a w.=iter) TbiJ Bciurbon ••• (to Rick - sighing deepl::;) The news ab~ut u~~rtc upset ~c vel:'y much. •·

RICI~

Yourc a f~t hyp~=rite. You don t feel.any sorrier for Ugarte than I -io.

FCTStARI (eyes RicL cl:.~ely) Of cou.:-s2 note t-!~::it cos~t:. n:e is the fact cha~ Ug~=~e is d~~d and no one kn.'.lm,whel·c those Lctt~rs oi Trnnsic at"c.

RIC: (d:!:id i:,4") Pr.1ctically no oue.

FF~J'.ARI I.f I coul(~ l.:y lllj' hanJs on those Letters, ! could m~ke ~ fortune.

FFP.:'.ARI I have:>a propo=ition for whoever has those Let:=1=r:-.. I ,~ill handle the entire tran~ .. =tion, get rid of the Letters, t";1kc ell t.i1~ risk •- fo::: & sr..all p, ·r::ent:ai:;c.

R ~:CI: And the c.:inying ch.:irges.

( :mrrINUED)

i l

7/9/42 84.

143 CONTLHJED: (l) r \

• F:P.RARI (smiling) Naturnlly there '~ill be a few incicie:ita.l e,-.-per.:;es -- . (lookin3 ..ic Ric!-: squ~rely) That is the propczition I have for whoev~r bas those Letters.

R!CR (d~ily) I'll cell him wh~~ he comes in.

F:n.RA..~I

~ Rick -- I'll put Qy cards on the I •

table. I ehink ·;ou know where those L~c~ers ar;.

R!C~ (sbruggir..;)

~~11, Y0\!re in 6ood cott?any.

\. Renault and £tra~ser p~cb3bly j

thinl: so too. I c;.unc here 1:0 give thea: a cb3:,;~c to ransacl: my pl.lee.

p~.nA.~!

Rick -- don t be~ fool. TGl!ce me into your con~idence. You need a partner•·

But Rick isn't li5~eni:,~ to him. He is looking through the open doot' in to~ dir -··ction of the lir.cn b.:izaar.

LONG SHOT • L Th"C~ BAZA.l\F.• Il.SA Afl') LASZLO

have passe:j c:1~~-cin £-z-0·1~ of the linen hazacr. Lar.zlo lc~vr ·~ Il.:..:i ~ ac ~ 5 wal!d ~c t~mard the BLU~ PARROT C...•.:"E.

1· i

t l

Changes - CASJ.BU.!·!CA• 6/13/:.2 as.

145 MED. SHOT • RICI< AlX!)SENCR FERRARI

Ferrari nods, tal:cs a lor.; drink. CAl·nf. TRt:CKS WITH Ri ·ck 2.s he: w4ll~s :--owarci the door, W~(='l.'.'e he meecs Laszlo coming in. Laszlo stops, addresses him policely.

·t.t..SZLO Good r.:orning •••

Rl:g

.. . (with a jc-rk of bis

bead, no1: pausins) Senor Ferra=i is th~ tat gent at the t~ble.

He continues OUT OF SHOT. Laszlo looks after him .with a puzzled eXj"Jression.

146 MED. SHOT • A LDmN STALL

• where Il~a is exar.iinin~ a napkin set which an Arab vend• or is ende~voring to sell. There is o sign on the counter

by the dis~lay which read~: 700 francs''• From Ilsa •s manner it is appn~~nt thr.t she is awal."e of ~ick's approach and is prccenciin 6 to be absorbed in tne article to escape bis notice.

Rick comes mTO SHOT.

Ilsa takes a split second to comnose hcrs~lf. When she turns to I.ick, be:-'.'manner 1s politely formal.-

Ah •• the lady ic M friend of Riel~ s?

For · friends of Ri:l; s we have a small discount. Seven hundred francs 1 did I say? You czin have it for two hund• red. ( CONTDruED)

- ·

6/13/42 86.

146 CO?-!TU~TED:

Rea:hing under the counter, he t~<CS out a sign reading:

"200 francs and replaces t:be ocher sign.·wich it.

R:tCIC I'm snrry I was in no condition to rec~iVC? visito:::s when you ,... called on ~e last nighe.

... He replaces thQ second sign t-1ith .a thirc:! which reads: i.. -

"100 irancc".

l r l AR.ID t--. I h3v~ SOEC ta~lc~:oths - so:te

ncr,ki..:s --

r· n ..~

Th~··!lk you. I'm xc=.lly not inc~r_est:C?d •

Only one ~~~enc -- pl~ctse. (hu.:-riedly exits)

There is e. sm:.11 s~lence ;, 0 erA1ccn Ilsa a.'"ld Rick. She pretenjs t:, e~!l:lin~ t:1:! g 1.Jotls on tlle counter,

ll.~A (quiatly) Yes.

Rl:~: Well, you can ~el~ me now. Itm re~sonably sober.

She looks ~t him ~uiet:y.

IlS:"'.. I don't thinl: I w~ll,tticl.. R~:.1C Why nnt? After ell, I was stuck with one rcilro~d tick~t. 1 I think 1 m enr:itlc.d co know. (CONTINUED)

6/13/42 87.

146 cor:TDWED: (1)

I could tell hi~. He d unde~stana •· (r,cuse, h~4 eyes cloud) But th~ Rick wlio loolced at: me with ,.. scch hatre;d -- ( sh3kc s h~r head) I'll be lcavi~g Casablaucn soon. w~'ll nev~r see each ocher again. We know very little ,bout esc~ other whe?:iwe we..-e iu love in Peris.

If we lccve i~ t~~t w.ay, maybe WC?.ll rcme~be~ those d~ys -• not c~sa- ··blanca •• not la.:t night -•

1 the poli~1.: •• ru.ming away all the time? I f

• I':,SA Y.:'luc.:m b~lieve i.::iat if you W'1nt to.

(-

R!~{

i I

Wr,ll, I c-. net re :~:1ing a•.:a~1 any more.

t I'm sP.ttlcd no\1 -- abov~ n saloon,

f 1c s tru~ -- but --

(ironically)

l W~lk up~ fli 6h~. I'll be e~~ec~ins I you. I. ,

Ilsa shak£-s her head.

l • RICK

~ll the same, sc~cday -• you'll lie to L:l==lo -- yoc'll be tbcret

I i

l~-SA

~ (tigh~-li>ped) l No, Rick. Yoll s~e, Victor Laszlo

is my husband.

Rick stares at her.

f • ' ILSA I

And uns •- {rau~e) E•1en whe1~ I i<ne~·:- you in Paris.

I I

( COl-!Tll:UED)

t } i

6/13/42

146 COlITil!UED: (2)

Sbe walks away into the c~fe towards Laszlo 2nd Fcr::-.:iri. Rick stares after her• then exits scene in the oppo£;ite

\

direction. The A~·ab rushes b~ck, his arms lo.:tded. He stops in constern~tior., looks from side ~o side, anguished.

He puts hi~ burci~n on the c~tDter, an;i, t-:i:h a sad head•

sh£1ke, put!.: a~;~y th.a sigr; lOQ fr3ncs and replaces ic

with the o:-iginal, 7CG fl:' a~c s ".

14 7 · ~rr. C.'\fE • Ll.~Z:.O, ss~oa FE:RKI.RI EiiID n.s..;

Ferra~i is belpin~ Ilsa int~ a chair.

l-"'E~~ I

I was just tellin~ i-1sieur Laszlo tb~t tnfortunately, I .2m noc abl~ to help him.

l I r-

(to IlsG) As leader of all .•.!.lci;.il ect:ivitic.s

I :

in Ca~:ibl.:n:a. I ·..1!:', an inf:uential an~ rc ·=pcc-t~d., J:u.3Il. I:: Youlci not be: wo~tc my lir~ to u~ anything for

M ~ien.:' L.:i~:!lo. ·:~u, however, are a rliff crcn~ matte: ·~

LA~ZLO Sen~r F'crrnri thi11"-<S it mi~ht jusc be pos:.ibl~ to ob,:.:iin .in exit vis.:i for you.

I!.I:A You mcnn - fo~ me to go or. alone?

r:'E?.~.'..~I And ori~! ~lone.

LA.:Z:.C I sl1all &tuy h.7;re, .Ils.!l, t1r.•; l,ce1:

I on trying. rc~ha 1,s in a L.-;,:tle· · I wh:f le ••• ·. ·

(:ONTINUED)

t t l

14 7 corrrnmEn : 89.

I:.SA ( t:o Fc~ra1·i) Ue are o:\ly intcr~zted in t:wo visc1s 1 . Senor.

L/,SZLO Pleas~, Ilsa. lk CJus:n • t be h~st:~·.

(firmly) -No, Victor.

, FI"RR.4RI

You two t-1ill t-7.JIJt: to discuss this. (getting to his fee~) Excuse: me. I will be at the bar.

He bows and goes. L-.f.Z!.O No, Ilsa, I uonat lP.C you stay here. You must: get to r-1!~rica. Ancl believe me - so~chow -- I'll get ca~• I'll join you •••

ll.5A (interrupting)

l But, \"icco!: -- it the situation were

differcnc • if I hatl to stny and tbt~re :-,~re only a visa for you •

i·

wo-.tl.d you take. it?

Laszlo hesitates. Ll:.5ZLO (not very cunvincingly) Ye•es, I t~uuld.

llsa cmile~ fuintl,.

' t n·"i.'\

Yer.. I sec. Uh~l'"! l hnJ trouble g~t-

ti1·,s out of Lille::, ghy di<ln t you

~

lcnve me t!lerc? .-.:.d ~hen I was s i.ck

t in Mar:-;eillcs and h~ld you ·.ip for i

two wc~'.ks and yo\.: nc.rC' in cianr.;cr every mi:-1ut:e- of t.tie titr' : - t-1hy didr: l t yo:i ler:"e ."JO then:'

LA•.:r.o (with c wr:; zr..ile) I mC?ar.to, but so:.;c~~hing always h~ld me up.

i ( CONTIi~UEO) f l-

9C.

14 7 CO!:T:Caim : ( l)

L\SZLO (CO~:ID~ (reaches ov~r, puts his hand over beys) I love you vexy cuch_ Ilsa.

1!4~ ~D. SHOT - FERRAaI - J..T EAR

talking to th~ ba~tcnder.

FER.11.ARI

I · Not ~ore ~han fi~ty francs though. r

·nsa and Laszlo coo~ int=> the scene.

I ,

inJ !o~ tuo ext:?:'~ visas. Th,ml:

I r , you v~ry much.

(~ Fi::rn.ARI

(tis aw1ncr indicat• ins it i5 hop~less) · w~ll -- go~':i luck. But be careful -- (e flick nf his eyes in . the direction of t~,~ 't--a~a.:;.~)

I ~ 1

You know you rc Lein~ shadowed?

L.:\SZLO (not turn.;_ng) Of cour!.::,. I:: b•.-"(;O~~s-an instinct.

I

arc £ vc.ry fort-:.i~icte man ••• ~i sieur

I am prou:t to ma~-:eone more suggcB-

tion •• Wiy 1 ·I d:, nc~ know. Because

'I· I it cnnno= ?'Jssib :· ~• profit me, bu~ •••

hi" ve ~l"0'..1 heard a~-.,u~; Senor U~art:~ an;! ti1c Lc~ '.::er:; o-=:'a",:msit?

L: ..~ZLO Y( s 1 .r.omc-•:r:,ing.

•. (CONTINUED)

Sl.

140 CONTINUED:

FERilARI Those letters wi=r•!not found on

\ Ugil.l"ta when they arrested hi.I:i.

L".SZLO

(after a u.o~ent s pause) Do you kn~w where th~y arc?

FE:1RARI Not for sure, M' si~~. But I will ventu::"a a gu~ss -- that Ugarte left those Lett~rs with M:sieur Rick.

-Ilsa's face darkens. Las~lo quietly observes.

U..SZLO

- ~

Rick?

6/13/42

FERiu;RI He is a difficult c:1s tocer, that Rick. One ncve?r krJ0{·1S what b~ will d~, or uhy. But it i3.w0rtb a chance.

l _- LJGZLO

r' Tb~k you very much. Good day.

I

ll.::.A

•t Goodbye. thank yo~ for your coffee, I I Senor -

(bravely) I ch~ll miss that ~-1ben we lenvc Cs.s&bl.anca.

FERru\RI

l You wc:-e gracious to share it t-1it:!l \ me. Gooa day, Ma<l~m~isclle ••• r 1

M sieu=.

LA~ZLO Good dc:y.

Ferrari walks to~•nir:i tl,c c:1trancc oI his cafe. CAMERA TRUCI:s witli Il!::a a ..1cl Lasz:..o as they start do'i...mthe m.:irlc:et- place. He watches Ilsa out of th~ corner of his eye as they £0 al,-:-ng.

f DISSOLVE TO:

I i

SCEi~S 149-150-151 Oi•:ITTE!.>•

'

Tbe D~rk European. is entering the cafe 1 his arm around a prosperous ~al~ tow:is:.

I

153 lNT. RICK S CAf"E - SAMAl\1> CCRINA

Sam is playing and Corin~ is singing. The tourist and tbe Europe~n enter.

154 MED. SHOT - BAR • DARl( Etr.tCPEAN M"D TOURIST

Df~K FOREIGNER Here's to yous sir.

DA!'J<FOkEIG!-n:;P.

L

I'd better be go1~g~

l . TCtm.15T

[r, my ch~ck 1 ple:asc.

l' D.l\RY.FOREIGNER l

I have to w;arn yo•.:., sir. I be• ·

t.

s_e~cb you --

TCtr.:.:!ST Yenb --

r-

Dh.."!~FOREIGNER

I

This i:.; a d3ng~ro~1s place full

I' of vultures. Vul :;-.res every.-1here I t I ~ TOURIST ~ Yeah -- I _, • r· / ' DARK FOREIGNER t Th~nks for everyt~i~g. t I

TO!JR!ST

I

Er, goodbye, sir,

I (laughing) I

n1.::R FORE IG!lEn It ha£ be~n a rl:~~urc to mec= you. Ob, I'm sor~y •

••

r

155 z.=D. S"n~T - n:r. r..IC:' S CArt

Sam and Corina finish .their numbers. Strasser and his

•·

crowd enter cafe, pass Carl and Rick and exit to bar. Camera stops at Rick's table, where Carl joins him, bringing him a brandy bottle and glass.

Carl exits, and Rick pours himself a drink.

156 MED• SHOT • TABLE • RICI< .M'l) RENAULT

I struct!ve. You k~ow hcm that ~ ii!lpresses Germans- l I. (pour3 bims~lf

a drink) Rick• have you 2ot those L~t~ers of Tra:i&it?

Rick looks at him a momen=~

' Luis -- are yo~ Pro-Vichy or

Free Frend::.?

RENAULT (promptly)

Serves me right for asking a direct question. The su~ject is closed.

Rl·:X Well, it looks like you're a little late.

~ RENAULT

Huh?

t I I l •

157 MED. SHOT - RICK A11!D REi~AULT

Rick is gazing ar Yvonne ~nd a G~rman officer approaching the ba:-. RIC:C I c~e Yvonne h~s gon2 over to tb~ en~:rr/ o

RENA!T!..':' Who kn~•~s? In he:- o;m uov ,;he may c~n3tir.ute c~ encire ~ccond fro:1t -- (ou~ of the corn~r of his eye be ~~es ·~nin~ apprc~~hing • be gP.ts v:,) I ..tbink it :ts tioe f ::,r t:.1~ to f!a~~~r M~j~~ :~~~~:~r a little.

.. See you lat~=. Ric!~.

(::-e 6t:roll::: cmay)

158 ?-!ED. SEOT • AT ~ .. YVC!~::!: A'::D OFF::;::~

G~~~ CITI:ER ( R.r:roger.1=:7, F ren c:h sev.'.l~=y-f !: ·.:·~ s.

Y-J{.T,f;~ ( snr-i~-:•f~at :.:~:~"11:alre:id7) I Pt!: up c.1 ~·~1-:lP-% :rn cf P.ci, Sa --:tia. (ind i. enticr. · c-:i ::h":! t,~ \~.:t'.:l h~= ba'."'id) - starting b~r~ .rnj ~ding bere.

~C'I.H..-\llCIT I:ER ( cu~ t:ing :'.11) We ~.:ill begi.:i u1.th t1:~o.

In the b·ackr-rcu:id c.:-ie of t:ie FrP.nc}, c-fficP.rs ciakes a re• mark whic~ -:.ou.:.~:; :.u-:.:gh~er fr~.!'.:l ii:.= cr=up. We do not

I c~.:cb t.:,e W("-rdc:- b1:t '.:!i~ r~:n.11_rkis V':-.ZY evid2ntly c11:-ccted

at. the r.11=rn..1.no{:f icm: a.'"ld 1.;i;; F,:-e1.;c~ c~HrpA"'lion. The Cer-

t I mzin office:- tu!':1:: t~wi!?.r-i t·~2 grot1p 1 h~.:; i~c:a! very cad. A r French officar step:. c~t f.::0::1 tbe grou~J• I ( FRE::c3 OFFICER

(in F-r.~n~~ • to Yv~~~~)

i Ss.y • yo·1 1 Y:i".l -~r~ ::~:: F!'e·.:i~h ~o

go "1iC~4 a G1.!rt::1~~ l-kc t:bi::;.

( C'JNT L'~UED)

l r

158 CONTll-~UED:

YVONNE

, (in French)

What are you butting in for?

FRENCH OFFr.czr~ (in French) I am betting in --

YVGKl~ (breaking in, in French) It's none 0£ your business!

... (in E:iglish)

What did you sayl Would you kindly repeat it!

FRENCH OFF!CER What I said is none of your business!

GER?-14\NOFFICER I Yill make it my businessf

I

you, &top!

f·

The German officerraises his fist and the French officer ·

I ~

prepares to defendhimself. There are exclamations from

t

the people nearby. Rick walks into the SHOTbetween the

t. a:women, addressesthe German. • t I t RICK I I don'e like di~tu::-bances in my ; : pl3ce. Either lay off politics or get o:.it. l FRENCH OFFICER t ( in F,~encb)

Dirty B~che3 Som~day we'll have

' our re·.renge I

Renault, Strac~er and the c~hcr German officers have s~ttleJ back in their chairs.

(CONTlliUED)

r l

1ss co:~rn,:zn:

snASS:C:R

, ••• You see! Captain. the situation

-ic nee as much u~~er co~tr~1 · a~ you be).ieve. _,. RENAULT Hy d~~= M?jor, ~e are tryi~g to co~ op1;rs!:e ._.~i!:h y:>,!'!' g.:,v~r.uc-.e~c. Eu.: \.le c.t:r-1~nt regula;:.c th~ f~elings of ou~ pccplc.

SRt..S~~ (eyes bll! cl~s~ly) ..Cap.t.ii:l Ri::1~,:.1.1~!~r~ you .?nt:irely ce=tei.n t•1h:i.~!1 c1.,~~ you 're on?

Rr::~AUT....T Frankl7, ! h.:ive ..io C':l!nricf:ion, if ci1.:.t i:'l w::.it: y~.1 n:au.. I bl:rw ,:-!iCh tbe wi.:id, ;1"::10tllc rn:·~-\·a:.li:lg wind is blo~ru1g fror.J ":.'i~~ ..

SmASr~ And if :!.t s!l~ald c!~~ 6 ~?

RtSAtr4..T (r.;-.rl.leG) S-..1rely th~ n~i~h co2s not ad!ni~· th-nt p03Sibili::y?

S':2.~~SER We are e ,~~e=n:?d c:.::iOl..t more ~~,m:i CaRabl~~~, We kr::i,-, :hat cv~ry Fr:mch pr:>~1!.n~c ~:1 Africu i!i h·:mey- cor~bed wit.t trai~~rs just wnit.i11g ::h::dr cbn"1~e -- m,:i~;ing, pe.cbaps, for a lc,der ..

RENAtrt.T c~C4StJtJ.lly: as he , '"c,,· . .,.,. - a C 1 ronre- ....e) - ~L:.:...i-=> -c.:-' -'- A lea.:3er l:.'~it'!c •• I:. .:.zl::;?

S'!.~.ASSER (!'li:ds) Um.11,h·.tl:::, I ha•,11: been thinking. It: i~ :~o d.:nr,.!'~c-.::: :!.f :11e l~t ti..n gc., It may be t:-:•o da::3~:.-v\.1s if t·l..: let hi:n stay.

RI:XA!JI...'!:' ( tho•.l~:\tf:•lly) I see wha: you m~=ri.~.

t..

f l

160 1-::D. SHOT - TH=: U:t:Cl--ITI.GS- AT IABLE

They are a middle-aged cou?le. Carl comes int·o the scene with brandy.

( in Germar,) ,.. I brought you the finest bra~dy. Only the empl~yees drink it here.

~. LEUCH!'AG (in German) Th-:nk you, Carl.

C/3~ (in German) ·For Mrs. L~c~hta&•

Mr.• lEUCHl'AG (in German) A thousand than~~~ Carl, sit down. (in Englit:h) Have a brandy i.-icb u.;.

~S. !.EUCHTAG (in Engl!~h, be3!Iling uitt. b~::-1,iness) To cel~br.~te n'1%'laaving for A.rJcrica to~orrow.

(pouring) Thank 7ou very mu~!l. I thougt,t you wculd e.sk ~, so I broa.1gh~ the good b~andy 3r.d the glaos.

MP.S~ LEUCirrAG At last the day-h.:..s come.

i nc;::hi:ii b;.!t E:1glisb no.-1. i r ( 1-'e.~- LEUCHIAI: r So ve should fee1 a~ home ven ve

get: to America.

t I

CJ;:tL

l (hr.n~ .i:13 t!.e!Jl the drirl:s)

A very wise i<l~~.

~-, LEUCHTAG (r~ising Li~ glass) To America.

I •

Mrs. Leuchtag and Cerl r~peat To America'. ThP.y click glasses anci drink. (CONTINUED)

l t t

9S.

160 cor-:tn·mro:

?£. LEUCHikG sw~etness heart -·· ~b.:it watch?

MnS. LE:UCIITAG (glancing"~ b.?r urii::;t: w2.r:ch) Te, "'~tc:h~

Mn~ U:UCIITAG { sc~pri c~,._:) Su:b ·mud,'!

CAttL Er, you will get ~lens beau~ifully in Ac~~ic~. huh. -

i~ r . - 160A CAZHIT"!t's BO~TH TI'·! THE a.;..:.mr..nmROOM t (AL'IErn:.tt SCGE l!J .. J.S f~!.JT ;J!!) CtEDITED - 154b) t

,· Annin.:i is P.mptying her br ..3 of bills, which she lays on l. the countE:. - i Al:';l:.UA r

Tuo b~dr~d francs w~rth, plense.

~

Tb~ Cc1.shic.:- b~:1~.:; o-..it: t~r chips, t:~(~s b th~ bills. The

~ CA1·~ ..-i 11,:,t:..~:i HI·-~~ A.1nin·: .:z.s t:Je cro::.;::cs to the rnul,1tt:e l tab le~ ub~-·-·e ..1.::rn ~ s b~tad::.·.:,r;ov~= tne £:ffin.i:.~g t-!hr-cl. An-

nin a ,-.-at;::l,..!£ bre~;.~.lcsd.- ~y~•~rhis sb:,u::i~z. T~c wh..!el

,.

stops.. 'i'l1:~ Crou:, i..?r t~~c:·.;; in th~ chi:)::;. Jan wl.pcs i:is forchr·nd.

~-

r .

I AJ:::IUA \" ( ,ll· .....4.11lt-L~•·ng l... ·r,~•-• -h,.L .. ':.. ,.',ip"'',.> .I.. ..1: f T!..:s ::.:ln{l m~ h· ·.,~·1 J.:i.u. Do you k th ._rJ.c·.,e ~-tioulJ?

~ .!Ml

(b:.t:terly)

~- WP. mir!:1: ~.: t-1ell t'::!-.;,e nothing as

t.~·o h,.ndrc..J fr a!.lC ~-

H~ begins t~ ~~a~ter the ~hips recklessly over the beard.

I Annin:! loo!:s ;;.: bim fo~ ~ :nom~n~~ coc:cs to ~ silent: ,:c- ~

so l vc , .1nd wi?. :i.1~ s t -:>:1.::rd t ~:C'. h.:i 11wu.y.

--

16GB HALLW!-Y I

Annin~ ccm~s from aamblir: 0 room 1 meets Ren.:tult. Rf:;,\ULT

f

How's lady luck u~eati..'lg you? Aw, ton b:i·i. You 111 find h1.rn over there.

r

161 MED. SH;)T • M'i'1 Il-Ui

She stops, looks in Rick's direction, steels herself to appr~-=.ch h.i.m. Ih~u~ her mind !!!ad~ ur-, she cakes her way to bis table, CAf,;:pJ4 TRUCKING with her. .

'

AN"NINA Cocl.d I speak to you• just for a tlOme?nt?

Rick l~oks at he:.

6/5/42 A!~~A I cam~ with C.ipt:c.in nena,i!::.

RlCK (cynie~l!y~

( I sho•1ld b::s.velm.):m.,

Ar:':rnJ. My·husbancl i~ uit~ m2, too.

r

RICr: He is? ( lc,;:,k:; t>'T('~ t:c where Rcj~~l~ ij seated) Ca~tain R~n~ul~ is getting broad mi.:'lded .. (t~ A:mina) Sit d::i~m. Will ycu h-:1.vea drink?

Thank y.:JJ;..

nrc-r-: Of c~urse not -- uo you mind if I cbu.?

· AlEENA No••

I (ncrvou~~y as Rick r po,.:rs him~~:£ a drink)

M 1:;iec:.:-Rick -- ~~J.l~ sort of man is Captain Rer.aul~1

;

( COOTINUED)

f l L___

lO~.

161 cm,:-rn~t'ED:

RICI{ ( s .."' rugging, . \ Oh, be' s jn:;t lil<~ any otber man ••• (pi..'.1S~) Only c::>re ~o. r - AN,·:mA I t:es.n is he t:.·i;s~orthy? -- Is his worcl.... ?

P~I·~ Not,:-, j,;st ~ minur:::. t-Jl.10 told you to ask me that:~

MmmA He did. Captain ~ena~lt did •

...

(wrily) At the rjulette t~ble - trying to win encu[;b for ou~ exit visns.

(-, Of course he is !0sing.

Rick looks at her closely,

RI '.::~ H~(,· lo:-.s ~-e you =~~rried?

' AN.·'It{A

( Si'.!7 lj•) Eir.:1t t·.·'2cl:~. (Ri.~k nods; We ~or:-.:· fl :-~m B·..?lg : 7-ia. Tbingf: .arc

h:i:· t~•' p\'.'.:-,ple by the t:hro~~. So Ja:-:. a!',·: I, ,-1e., .w.. Jo not c:mt our cb1.lch ::·n t:1 g~~~ ,.1r, in &uc-b a country.

R!, - " (wc~ril:;) So ·:cc Jec:ida to ,-.~ to Amcric:.:i.

At-r:Il-tA Yer. P.ut ue do n :·: have m:ic!l :non<:>y,

I anc ci:nvel is ~=>. 'iffic-~l-c ana e~-

I per.~ivc-1 Msieur. It ::co~-~ rr.ucl1 J1c;;.-e ~ th~-1 WC? thot.1gh :: tc · get: be::-e. Tbc11

Capr..ai:-. Rcm~cll: s, -cs us and be is so kir1.:l. He uancs tci help.

I ( CONTL~UED) I i ~ I

~61 CO,~TD:UED: (1)

R!CK

I ll b~t.

Ai~NINA He cells r.~ th~~ he c~n s~t sr. ex.it visu for us. But ••• · (sr;~in slL hccit=tc!;) _.. B..:::: ,-,e: b.i -,2 no r.-,-~-,-;cy~

n ~.-·:i., De-~s ~e l:rnm th.J~ ·,

Oh, yes.

Yes 1 Msicur.

Rick looks dotm at bis d=in!c for a mo.:ien~.

R::~ And you uunt to l ..now .... ?

l.li:HNA Will he keep his w~rd. M'sieur?

R!O~ (still lo~king at his

'l d,:ink)

H~ always hac.

~ There is a si!enc~o ~

j l r ' t 162 RICK A?lD ~\t·mr:-:A

Annina is very di£t~~bcd.

Al-lNINA M'Sic~T, you are a ~an. rf s~r:ie-

l

on.? 1-:·.verl yo:.i,.,• ,.-u~ry r,mch, so that

I. your b.3.pp-tness w~~ t:he onl~t thing l. L, thr wv·:ld th:i-: she wanted and:-~. I sh~ did a bari t::h-~~g to mai~e r.ertil.in

of it: co..i::..d y:>:., £orgi·.1c her?

R ~er: Nobody ever love-I me that r.r.1c!l.

t ~

t t r

162 CONTilHJED:

A!-~NlllA

\. But, M' s;_e~, if he never lmaw. •.

if the girl k~pt c!iis br:.d ebing lo~ked in · her henrt~~~tba: would be all righ~, uo~ldn't it?

RICh (h~rshly) You want my advice?

ANlUNA Ob yes 1 please.

,...

ANNINA · If you kr.ew wha: it means to us to be able to le~va Europe -- to get to Ar:ierica ••• (p.:it.1se) But if ..Tail sbm:ld fi:id 01Jt: _ .. He is E'Ucb a boy. 'b m~ny nays! am so much -- c~ much oloF-r tba!l be is •

..

RICK

r (gct:ing up - non•

coci.!Ditt:aJ.ly) _ Yes, w~ll - everyo~e in Casablanca ha.e a prcblE:m·• y-.,urs may work out. You'll excuse meo

163 Cl.OSE SHOT - ANNINA

She locks do~m at the tablecl~th, h3r lips are trembling.

AllUNA (t:o.ieles::ly)

Thank you -- M~ieur.

She remains seated.

Rick come~ fr~m kl~::na a:nd crosse~ to desk.

\ I f

f lI L

164 ?✓.ED. Si10T - _RICK

dead-p~n. os usual. w~lking amor.g tbe tables. He stops she;~~ ash~ sees someone ~ncering.

\

165 HED. ~:mt - AT REVOLVIlxGDOOR - ILSA Aim LAZLO....

bave just co~e in. Rick ~o~es up to them.

-~

R!~ I take th~t as a ereat ccmpliment to Sai:il. (to Ilsa) suppose ~o you S.mn m~ru1s Pa~i~ of -- well •• ha~~ier d~~·s.

L:.A (qui.etly) He doe:-!i. Conld w:- have a table clcGe co bim?

LA'.~ZLO (who has been lookL.,g a•~·ound) Anci as fa1: f~c.m c.~ptain St::ras£er as possibl~.

RI:!C Well, the geog-~ep:,y might be a li~tl~ dli[icult: c~ arrange -- (snaps hi£ fingers f o~ th~ h.::ad,,~i ter) Paull T~ble thir:yl

166 CLOSE SHOT -. II.SA

as Rick cor.fers with t:be headwaite:.:- she looks at: Rick intently.

l

t f

167 FULL SHOT - RIC!~, ILSA, LnSZLC i.!:D Tli:i: HSADt:A.l!ER

\.

yo;.. plea~!! --

n5A (sci!lins)

I ; Thnnk ytr.1.

~ She foll~,1c Lcl~zln to the:.r tabl:a. .Ric!:, CAMERAF0LL0Wil~G, -~ · walks co S.:m, bends over, whispers something co him. r , LASZLO , Two cognacs, plea~a.

Sam shakes his heo~, but st~rts to play "As Time Goes By."

Rick looks in ns~ 15 dire~tio~, b,i~ ~h~ seeras to be paying no par-:icular at:t:~ntii::o."' Rick s.rnz~t:ers toJ1.-:irds the gctmbl-

' ~ .

·ing room .. Annina, in b.g, 1 rises a:id follous him.

c~ r - 16B IN'l'. GAf1F.!.HlGE.00N I t Rick ent:erc and ap~roacheJ croupie~. I t

169 MED. ~{OT - AT R~UT..EI"iS T.~.BLE

(ALTER.-1.\IE SCE::-!£ NO , AS S! iO':L AND CRZDITED - 15 7)

J'ln 'e eyes ere tta,;i.:., Hl.°'b.-ts only three c:hi~s left. He se~ms bcwiJ.de::-,~cl.~ A~ r~ici-: comcz int::. the scene, che cro~picr i~ s~7ing to J.:lil:

CRO~PlF.R D~ you ~i~h to pl~=c anotbcr bet,

1'1sl.ecr?

JA:1 No, no. I su~!;C r:~::~ (ht! jt!gf;lc.: t:he reQ~ini~g c~ipc in hie h.:.uci.£ -...--:-~rly)

( cmrrINUED)

169 co;:rn~L'ED:

Rick t.mlks inco scene, st -Jnds oppos::te Jan.

\. RI~

(t~ Jan; ~:~d-pan) Ha·.-c 7cu i·ried 2.2 tonight? I ,...., ., 1122·· g&.l ... '-6 J •

Jan lr-cks ,•.t i1.icl:, then L .= ~he t:.-1,j cbips in his hand. Pat,sc, He pu::~ ti-c t-:,o : ,lips on tucn;:y-two.

17C SHOT - ItICi: Al::) CT-OUPIER

(ALTEJ~NATE sc::-rc:r~c. AS f A~T AND cnED!TI:D- 162)

They e~ch,imge lo~ks. Crc:1picr unders!:ands wbat Rick WtliltS b~ to do. He; spins tbe -.-1hccl,

,

'

171 CLOSE SHOT - ~our -IER

(A:.ri::t,NAU: s~::-m 1:J •. AS f~i:T AND CT..E~ITED- 158 - 163)

' ' • looki:'\g at Rick.

't

I f r in the- ba~l:grour.d, lo:lkir; at the ubccl, :.:ascinated. ..

er JU?TI:R • s vcI:E

I

No mor~ bC'~S. E•. 2n .:t:\~ pnss.

, .

173 FU!..Y.. !. ?:OT - I'.';: tJ:1 "7::L

(A:.'i'E~~NAl'E SC:~:~ i-J,). AS ~ :t:>':'/',ND CT.EDITED - 165)

It scops r,·lin;. i.ng;o

er JUPrr.R (c.:-.llin£ c ·.u.:) Nu.:·:be'. t~v".:,.1t:y--:w.:..

i I t ( -:o:;-::!N 'iJf.i>) t. i

~

l • I I

173 COi'!!INCED:

The crouoie.:: pushes a pile of chips on·::o the number. Jan

\ reaches for it.

Ja~ hesitat:=s,., Anr.ina lo{·,ks ct Ric!:.

Jan wit:hdra:1s his han~s. In 1:he b".Lcl:grourid, Carl draws a littl:? cl,,ser. P.icl..: spi.1s the whoel. 1'!.:lbody speaks while it spins. It stops.

CP.OUf-IER Nuc::ber t:wenty-t:wo.

:~

In the bnck~round Carl 3a~~s~ The croupier shoves .a pile of chips to~1a~d::; J.:n.

RIC!, (to Jan)

Cash i~ in a!ld don t come b-1.c~~.

In the b.nck;;ro·,md th~ las!: two cu&~.):ilers ~re seen walking. out. One o~ tham :.s compl.Jining to Ca~l.

CUfTO~Er. Sayj you su=e thic place is bo~est?

CAr:. (ferve:itly: Honest! As hon~~~ as the day is long!

I

174 CLOSE TWO !'.inCT - J,\N A.IO t:~L1.\ - AT C/.SH~R S DESK

cur To:

175 CLOCE n:o snoT - RICI: Al-:0 ~01.Jl'I!:P.

Rit~ (to croupi,c) How We:! Joi.ng to!'J.[ ·.ic?

CRCTfitr. (drily} Well• .'.l C\Janlc ~f tho...:~an~ less tha~~ I choc,;ht: the : tr:::..ilu be-.•

~ick sr. iles sU ,~btly and e :i. ts towa:ds ba.:-.

( ...

107 •

Ric~ enters fr~~ g~~bling ro~c. Ca~l co~es up to Rick as _ cbey W.J.lk r:ow~rdo the bar. kmina iollowc them, co::n~s co Riel< and kisses hi.!':l.

A?t~!NA MG!'. Rid~ -• I

R!:"z< H~•s just a lu:ky guy.

CA7:.L (soli::it~u:.ty) 11~~,I ge~ =,-~u ~ c1•p of cl!)ffee,

1-i:-:ieur Ri.~l;:?

RI:~ No) t.L:-.nk~~ c~·l.

177 HEI' • f. iIOT •· REi·~ULT, AN~l! iA At:D Ji~1

in a c.1rn2-:- n::!-<i:: _th~ b.ar 1 Ja:1 is ;;·-:cosing t!'le bills upon him.

JI,,~ Captain Renault, •a.:::.yI ••

RE'•.U~U:.T Ob 1 not ye-::~ ·ple~:;~. C.Jmc: to I rrf'l of f-~~e in th2 ;u~i-ning. Ue ll d:, ev -:::ryd.l!lg b~:: 1.ness-likcc

JC~ We'll be there ~t six.

- RF··~ULT I'il be there at ::-e~. (c~iling b~~Rclly, 1:-~l'ci.,~i:.:~ereJ.y) Hr.r:; b~~)PY :Z. &u fc,~: bat.~ of Y,:)t!. S~~ll -• l~'s very G~r~nge th~t you wo:1 -- (:,e: l~o!-:s -;.ff)

173 MED. SHOT- RICK

at the bar.

'

179 FULL SHOT • RE'K'AUL:', AI·1NIi~A AND JAN

REHA!JLT · ( s~eing RL!k) Well, ·perhops not so strsnge.

I ll s~e you in the mor:iing.

AN:'~INA

, Thank you so much~ Captain Rerui.ult. i-

She and Jan, bee.rt!r.g ~'1th h~ppin~es, go ofZ. tenault looks ~ft:er her, rc~etiully. Then ilc walks toward Rick.

, .

I Cbrl whis;>crs in Socha s l'&r. Sa-:~a _ says, ''no." Sacha i:uns to Ric~;.

RI :;K Go aw~!?, you craz: -· 3.usGianI

r

Renault coc~s froir. ge~ling room and e>:its to bar.

l ~· ~ .ED• SHOT - RI::.Y.

I Pretending not to d~ ::o, lie is glancing in Ilsa s direc• tion. RcnE.ult cocr.~s up tc, him.

RC: '.AtI'....T As I c.uspect:ed, y ·•.l 1re a rank sen ~i.ncn talisc.

t.

Yeuh? Why?

f

(:OI~TINL'ED)

l

r l

10~.

l~Ob COI\"T:nruED: (

RCI-:Atn.? (chidingly) Why do you incerfere with my little rom~ces?

Rir.K Put it d~~ as a tcsture to love.

REl'!AULT (good-naturedly) I forgive you this ti.T.c. But, I will be in ~o=or::-.::w night wi.t.h a breath-ccl:~ 6 brJ~ct~e. IC will 03lc-:? i:r:s: v~ry h~ppy if she lo.sen. Uh nu:-1

He smiles, walks into the gambling roo:n.

181 O?-ll'!TED

·r - 182 LASZLO

approQ:.:hini:; Ric!<.

LA~·n.o M' h.e~:: Bl :-.ine J m· } ! ::a lk l:o .~;cu?

RI:~: Go ..1head.

' i

LA!"Zl-0 Wel 1, i S!1::.:: ~he:.:-e !i~imc other r lacc? l1li.1 i~ rntl1a'!9 cor~fid~ntiol •• wh.::.: I ~1Za.ve t:o sa)".

r-.:c:~ (no·h:ii.ng t::·;1 .,:r.cis ic) c~~c up to my or.fl.~~.

As they sc~-e cp -

I

is seated s: his dcak •

t

( CONT!!WED)

i L ;- I

163 COI''TIN:JED:

R!CIC

Th~re s no us~ ou:- fencing around. You've co:n~ about tr.osc Letters of

· Transit, haven t y!lu?

RI~ It seems t~ b~ tb~ gen~rnl iztpres• sion in CaGablan:: t.b~t I have those Lett:~s.

••... ve=l' ti~ea,Jily) i Have you? f, ••. .

I

I don• t wru.1t to d;··anyt,hing tc either b~l3tcr or di£pcl Chat

b imI=ression. ' '...

Pause.

L/'.:,ZLO Sur•posc we prncccJ under chc. as- su:..-ption that y~~ _have the Lc~ters-

RI~ {shruggi:ug) Co ahc~ci.

t im~!)rtant ! set c~t of Casa~lan~a •

t {Si!nply) ~

It•s ~J privilece to b~ on~ of the l~~d~~~ ~£ a g~ea:.movcm~n~~ You

l

knew t-~hat I b;;ive :>ec:., duir.;~ You

t kn~.i wI1is.•:it mea!.:; t:~ the w~~k --

to tb:! liv-.2s _,.. ·c.: thc,us~-,::i.z ~cl th~..-usm~dc c£ pc..-,I-~c tbat I be free t,::i reu~h- h.i!le1:ica .1.!",cie:cntinue my York.

P.7~ I'~ n~~ inte=estci in politics. T!lr: p:·c-bl.::r::is of t.ic worlci a::e not in my d~p~r~ent. I'm a sal~on keeper.

lll.

183 COi~tn::utD: (1)

"'l • .- ,

,! •'- ' • ....:.

L/. :::::-0 If,,': 't: · .,.. ~.::·.:~nr.e: :: ::-.i: h<J,.,:..-::.·.,.;;d.:.> c1:: on rti2 ur. ·· -.~r- :::og·:

Ric.:k think:·. a !,rOme-:-.t..

RI:."K (~i:;es) Yes. I fc1.:nj tba: a very e::iq:.e:\:isive hobby, too. But ~hen I never was mucb of a busines;. man•

...

I

LA~Zl.O

( I' 11 re.:tse my off .~r to two hundred .._

thousand •

Rl:K My friend, 7ou c2'."'\ malte it a million francs -• o~ tbrc .2 ... my anSt-1c.:- would be the same.

There mus: be SCI:' .~ reason why you

WOD t let rnc h~v£ them.

From the cnfe ~-1eH£AR THE somm of male voices raised in

r

song. Riel.. gu!:s l".{>•

'

Rlr:K Th~re is. I sugr~st chat you ask

t your wife ..

Laszlo lool:s .'.lt bir.i, puz:c· 1.cd •

I • l I L!. -;;:.!.Q ' t I heg ~,our pc".!.rcio;:·? I I ~ RI:-:1~

I c~ic -- azk you: \.:!fc.

L/i<3ZLO My wifal (COlITilWED)

The SOtnID of th~ ir.cle sincing grot1s louder.

l

RlC1t Yer.. (he~rs the singing)

He goes out, leaving Lasz~c to stare after him.

184 nrr. CAFE - n~o GE'Rl-:!J.~OF~:-ICER s

beer mugs in b~d, are st~~dins by t~e piano 1 singing the

''Wacht amF.him,~ S~> lc"lking very uncomfort:able, is accompanyi~g them. Everyjody in tne room is looking at t~emM Sud~enly Sam sc~ps playing. A.i officer s-wea~s at S&.1in German, g:-al>s Sam r:nc lif::s hw off the stool. The officers rc~Ul.l~ their si~sing.

185 MED. SHOT- Kr BAR- A FRENCH Orr:C!t:t

Startt: forw.:ird. Sa~ha l~"'.ns forwar:i quietly and lays a rescraining h~md Cj bis Q"':'m.

•t 186 MED. SHOT- RI:K • ON STE~S

He listens to the o!fic~~~ ~inr, his ~xr=ession dead-pan. Laszlo has co~e c,,.1~ o-2 tlL.! roo:.il.His lips are very tight as he !istens c~ tba song.

187 CRANE SHOT - Qi.TEP. THE Rao:-! i I The room ;:r::-.:>~s·deE:.dly quf"t:. StrassP.r is 0.1 his feet, l I_ singin5 too. As the CR.1E::A PASS~S the: Dark Europcnn we t see t:h:1t he ic i:inging tb -~ ''W~c:ht am r~hine" t::io. :ilut no- l

•body else i:-i th~ ro.:)m ie,. nensult has come in from the gai:::.bling rc,om, and s1:onc\s by t~e cloo~. We can't tell from his e!'.·1-:resGi-m Hh.:i.: , ·,c is th::.u!d.ng.

CUT 'IO:

I ' t t

t I '

108 FULL S~OT • GERK•\NOFFICEr. S • AT Tl:!E P I..\J.'lO (

The officers singing the song.

189• PAN SHIJT

as Las1.lo c=osses floor to the orchestra.

191 ~D. $!-{OT-• LL.SZLO

..

Sam lo~ks t~wards the sters -- towards Rick.

l~2 CLOSE ~HOT - RI~C

He nods almost impc~ceptilly.

' .I

t: ~- 193 MED. S!IOT • SAH Al~ LASZL(1 ~1) ORCHESTI'.A I ~ I I as they start to pl~y the first few bars•- i ~ • CUT TO: I 1 ~ I 194 M~D. SROT - YVONNEAND CER:-1.WOFFICER ~

Sbe jurnps to_ber feet.

\.

YVC~-mE

I

(cinging)

'All~us e~f.mcs ~0 la p~tri~ --

i

195 FULL SHOT• SAM, ORCHESTRAAND LASZLO

(singing with Yvonne)

'Le jour de gloir~ esc arrive••

Soc..eone in the bacl: of th? roo:n adds his voice.. A women joins in. A French ofiic2r steps dafiantly forward and stands beside Lsszlo.

lS~ FULL SHOT• ROOM

.. as others stand at their tables, singing the •~·Iarseil- laise.11

CtJT TO:

His expression basn t cbG~ged.

..... ...· .• :LOSE SHOT• RENAULT

is smiling faintly but we still can't tell what he thinks.

1~, FULL SHOT• ROOM

Everyone b.:is gathered tog~t.her and ic Si!lging. The Cer• an officers ac th~ bar, and Strasser at his cable. are -.~ery conspicuous because they are so alone. The singing grows more ferve~t.

Cl!JRUS

Other~ now jcin in from all parts of the room - guests, w.i::!.cers1 b.1rtend~rs, n.ai~!-..,e police, et~. The chorus &wells. By now che Germaj son& can scarcely be beard.

200 MED. SHOT• THE GEili0.iAf.~OFFICr::-.5

For a few ·,oir.ents tbey try to cocr.pe:e t-Tith the other end

of the roo \, b~t i~ £ no ~sc. · The Ge=~~n song is s~och- ered u.ider La. ~-izr~~illc:is';. One by one they stop singin£, st~e cut ~·escnc.iully tot-:'lrci the ca.ble:s.

He. ha::; edg~d s.:-:ay fro1:1 th ,~ Gercan.'.i. H~ is now singing La Y.1arseillaij~ as fc~vently as~~ did the German song.

202 CLOS£ SHOT• RICK

His e.Y.!'r_~s!jion hasn t cha \1ged•

..

203 CLCSE SHOT • REiMU!..'!'- AT DOOR TO GAMBLINGROOM

He is smiling faintly, be: we can't tell what he ~hinks.

204 FULL SHOT• ~ONG

as they si~g. Their f~ces are agl~J.

\ . 205 MED. SHOT- ~SA

singing at the table. ll~a glances proudly at Laszlo.

The MUSIC~-lELLS as th~ ~~~sis fini~hed on a high 1 tti• umphZJil~ not·?.

~ i 207 CLOSE SllOT - YVONNE

Her face e~al~~d. She d~liberately feces the sho~ where the C-2rlllu..,s a~e Wi:it~hing. the :iboues at the top of her lungs.

YV:;tJ'i{E Vive L~ France. \ive La Dcmocraci:J.

20~ AT ORCHESTRA PL4.TF0Rlvl

Several French offic~rs surround Laszlo, offering him a drink.

209 !-.iED. S1!0T • STRASSER

His !.od-.s a::e not pleasanto H-2 strides ac-=oss the floo:- tom::rd: . icr.c!ult, C.:-':.1-!ERATP.:JCKn,G t·1il:h him. He reaches R~n~~t -- who is £Cunding outsidQ che door to the gamb- lini room.

Stt.AS::iEn (uno~r his b~cath 1

r•r. .. to Renault)

You see wh.'.:..t:! a:ee.n? If La.sz!.o'3

f preaenc~ in a cafe CAn inspire

this unfort·..mate cl~monE-t~a.tion 1 what ~o~e will his prec~nce in Cc1s,,bla.~ca bring c-n. I t1d•1i:.e thut this place b~ shut up ac once.

I -.

( innoce:nt:l:,)

r-~

But everyb~dy seac!S to be h:ivins such a g~od time.

j:. . •

sn~ASSER

t I, Yes, n;uch too goo~ a ti~e. Th~

place is to be clc~cd.

~ - - ... ... t REE:-..JJ!..T ' But I haven~ ex~~se co clo~~ i~. t

I f:TRAS.SER f .. ' (sn.:ipping) r .· Find one..

Renault th1nke a :l!Jrncmt, t~>en he blo.-1s a loud blast on bis whiGtle~ The roo:n ~:dia~ely grous quiet. All. eyes ei,rn toward Renault.

RE!,\ULT (l~udly) Everybady is :o le~ve here i!i.r.:ed- i~t-~ly I This =i-:!£c.'.is c:,~,.:;,..:..1~:1~tl furt:her no~iccd

Rm: .\ULT Clc.:r ti)e r:1orn .!l.t .--,r,cef

( CONTIl=-JED)

209 CONl'IlWED:

Rick c:>rtes quickly t:p to Renault.

(

RI·:Y. H<Y.·'can ·you close me up? OD wh.zt grou:ids?

Re11ault thrc~1s open the dJo:- to the ga!Cbling .room.

PJ::JAU!.T (p~inci:-,g ~nside with a drm:'.'lti~ gesture)

I • I I'm shoclced -- ~·v,ck~d to finc1

th.!.t: there is gac·,TG;·going on in herl.?1

... l'bis displny of nerve lce·,es Rick at n loss. The croupier

comes out of th~ gam:.i1ing room and up to Renault.

CROUP!ER (b!l-,ding ~ ..~:ial.!1.: a roll of billd) Your winni.!'1g~~ si~~

RE~t\ULT (puttL~g t~~ bills in his p,lc.k::.t) Th~nk y~ very ~~n. (eurns to ::h~ crowd a~~) Everybody o~: at once!

cur To:

I t 210 MED. ~HOT • ILSA A~ 'V3ll

St~nc5~r ent~rs. His·m:m~~= is h~avily co~c!ial. During this r.c~.ne t.be ca~c is 3:.~Mually emptying. The scene

;-'

should be play~d at: a sur.pense::ful, fnst tempo.

i ~ £1'RASSE!t

Mlle, a-ite:: ~b;.s dis~rrb.snce !t

~ is not ~afe io~ l~szlo to st~y I in Ca::.:lblci~cg.

l Ilsa r.iotions ~o a chefr. Se:-:isser bows and sits down. I t Sha lcoks at him que::ti-::rr,ingly .. I

I!.~A This corning :ro:i implied it W.:J.6 not r.,,£-a fo::- hi!n t.o le.ave Casablanca.

( :ONI'INUED)

210 COl\TINUED:

SI~SSEE. n,~t is also t:r-ue. Except fo~ one de!:tinati«n. (l~ons clo3cr to her) To return to Occupied Fra:1ce.

211 FULL SHOT- ROOM

.. as cha cro:1d, prod-5ed on t'Y gendar~e~. stares streaming

....

out. Th£y ~re muri:;.Jring disappoiutcdly.

CUT BAO. '! 0:

212 l1ED. SHOT - ILSA AND STRJ-.S.SERAT TAB'!.2

n .sA

•

(•dth int•.:.nsi.t:y) What v~l 1Jc i~ t::, :.t:? 1'ou c:iay rc.~all wh.:.t: G<!rm.::i guarant~es hnve been wcrth ln the paGt.

r Il.SA

What are th~y?

S:"":"~SSE~

, It 1s p:n::iible t1 •~ French P.Utbo~-

ities -_.•j_l1 find 1: rc.::iso!l t~ pu·.: him

·• in tb= ccncenc:a~i~n c.1i.Lp h~rec I ,

!_SA And ti1e o~:ier e!t~rn.1tive?

S:~..\SSER My deS:lr Ilsa, p~;-~-;~~~ yc,u have alreedy 1:11>sel--vedthat in :nsablanca b~~n life is ch~~p •••

She locks at him, undcrct~ndir,s \..:J.:J.t !Je n-.eans. He bows and e~its .is L.:i~;;lo ~riv~~~~ tn<= t.ible ..

S:'RASSER.

l Good night, Mlle·.

t t •

213 MED. SHOT- USA AlID LASZLO

Leszlc is 1:elping her o:i \1!.t.h her wrap. They start out.

(

I!.SA . What happened ~t:l Rick?

LA.:iZLO (looking~;: her closaly) We'll diSC-:.J.SS it later.

214 !AR

as people are hastily d,m . ~i;::g t:heir d:.:inks, and leaving. One of tbe G2rrnan cffl~er; acicire~ses Sa::b.o..

GE!MAN 01:F!~ Think I'll hav~ a quid: one:: before

I go. t-i~ae s tba: you 're mixing?

SA~HA

slip of p ·1p-::) Soce naw ci:.:ink --

I il have it.

He re£J.chP.s over• t -~kes it. ·, d!:'i:iks it. Then he throws so~e cb~nsc 01.'\ the bar, s ::arr. s out:, CAl-JERATRu~"ING t..•ich ~im. Afce= a few cteps a gla?.~d el:pre~sion coces inco

I ~ bis eyes. He e;·l11t::he~ c0"1.·J..1lsively at bis stomach. He t- is runnL~g bel!-be~t fer :~e d~or, ns we - i !

~ I I : I i 2l5 INT. DAfUCHO~£LRJOM

A door 1s t!EJ..'?n t:o open a .~d th:~::a t~~ light: is switchEd on. RE'lEA~~~ r"L~..1:inJ Laszl~ as t.h2y e1H.:er the room. Ilsa ta.1<es off her . wrap~ \:!.i~.le h'?r h"t..s::1ar.ciwalks over t,;, th~ ~i:idou and i:.::erts t:c d:o:~w c..'le shad~r,. Tb~re are no 1:ords I spoken - and w~ se~!;e t!. t: ,::1csion be:wcen the two. I! .sa s eyes follc:-r.1 b:!.r.::i,but La.s-:-.1o apparently t:akes no notice. He looks o~t: c,zt:be wL.lJ ,') ....

216 LO!~GS!lOT - M~H ACaoss s::n::r:r

- standing in t:he d~o'!'".Jay cf n hou:.e.

l I

I- I ~

12C..

217 IHI. HOTELR001"£- AT WINDOW

Ilsa enters to Laszlo, st~nds c:cse beside him.

Vic~or, please don t go to the Und~r- ground meecing to~ight.

-~ heroics belore bis wife. ' r

IL!1\ Wbatevc= I say, you'd carry on~

Victor, why d?n t you tell me about Rick? Whac did ynu find o~t:?

LM-:zto Apparently he bas the Letters.

ILfu\ Ye~?

11&a turns a~ay to c~~ceal her emotic~~ She sits on tbe edge of the bed. La~zlo follows her with bis eye1:. i;e • s lookin8 at hear sceadily and though~fully - but in no ~ay antogotii~tically.

LA~ZLO But no intenr.1.on c.f selling them. one would t:hi:1k if ser.til!l.ent

wouldn t persuade bim, m~ney would.

Il ..rA (ill at on~e, tr'.'ying to keep her voice steady) Cid he giva any reason? ( COh'TINUED)

'f ; •

217 cm~Tn:m:n:

LASZ!.O He sugge !:ited I as:~ you.

t .

Ask m~?

He ~alks acro~s to her an1 looks dew~ at her.

He s~id -- ask yJ~"T Yife'. I don't know why he sc.id thae.

Ilsa finds it imposGible to look at him~ She looks ~way. ·Laszlo turns off tile ligt~ c;-..,itch:, making the roe~ c..:1.ck exc~p: for the di~ lig~t that c~mcs fr~m the shaded

... windows.··

He sits d~m on t~e bed bgeide be~. A silence f~llt ba- tween them~ lt grows ~t:r~:!.ned. Fi!l.ally.

.ASZLO Ilsa .... wb~n I was in ebe concen- o.·~ti~n c~~p -- were you lo~ely i~ Pal:'iG?

Tbeir f~ces a~e b3~ely visible i~ t~e da=kness.

llSA Yes, Viet~=~ I w~s.

L!•.:~ZLO sympat~~t~c~lly) I kno-wi1hoo it ~s ;:o be lonely -• (pause; ver:y quietly) Is th~re ~~y~~i~g you want t~ tell me?

He~ lips tremble as she c~~t:rols herself. ( CON!' r:roED)

nsA (very lou) No1 Victor -- tb~re icn't.

Silence. The~ •••

I VICTOR S VOT.CE I love you very .m:1ch, my dear.

LASZLO

r ' ,

You d~n•t even have to say it.

1 11 believe.

219 MED. SHOT • TilE TWO Ir

l her cheek',

Gcod night 1 ciear.

ILS..6.

... Good nigh~.

He walks out of scene. S'.1e watches him, then •••

n..c;A

• Vic to= I DOJ f -

She gets up an·d ezit~ aft.:;r hie...

L I ~ .. ~- 220 MED. SHOT - THE TWO- AT~ DOOR I I 'I

He is just npening ft. !~sa enterE to him. In th~ slit of light frac t~~ parti~l .y ope~ed door, we can see her face, \:bich !.s stt.:i.ined a::d worried.

LASZ!.O Yes, dear 7

She hesita~:s. After ll p::u!:c ....

( :CNT INUfD)

220 COKTINUED:

(in a tone which sug• gests thi~ is not what she bas been tempted to say) Be careful. ·

LA~ZLO Of course I'll be careful.

He kisses her · on the forel,ead and goes out the door. She stands there for a few seco~ds, eben crosses to look out of the same window as -before.

221 LONG SHOT- THE FIGURE IN TEE DOORW/.Y

• has gone.

• l

222 HOTEL ROOM- ll.SA

- watcbe s for a 1t0!lle.nt longer.

Laszlo•s figure is visible agai~ct t:he wall, going down the nnrrm: screet.

224 HOTEL ROOM• l!.SA

- leaves the wind:,~~ and crosses the room to the place she dropped her wrapu She pu~s it on. Then, after a second•s pau~e, she wnlks to th~ do~r and goes out.

r

t

- are be~: over ledgers. c~rl is very busy figuring.

CAR:. ( looking u~ ·> Well -ycu .:ire in :·,retty good sbspe,Herr Itick.

R!C ·< How long can I aff ·Jrd to stay clo~~cl?

• (CONTINUED)

l r

( ?

125 COlITll..JED :

l . CARL

oh •• two weeks -- maybe three.

Maybe I won e have co. A bribe has worked before. In the mean• time, everyone stays on salary.

Hewalks to the door.

l

meccing of the --

l. RICK

( in terruptJ.ng)

j Don't tell me whe=e you're going. I -

I won t.

RI ·.:X

t

Good nigbc.

CM'-.!. Good night, Msr. "ick.

He goes ou~.

226 :BALCONYOUTSIDE Or-'FICE • r:.ICK

• walks toward his ap~t:n•.•nt.

Ctrr TO:

•I I

I r

I

227 D.'T. RICK S APARTMEh'T

It is dark. The door is :,pened by Rick 1 letting in come light fro~ the h~ll. A figure is revcaled_in the roo~. Rick lights a scall la:p. There is Ilsa facing him, her face ~bite but determined. Rick pauses for a mo~ent in as ton 1 s hcier; t:.

RI·:~

I told you this rr 1rnin~ you d cor..e orour.:i -- bu; thin is a "little ahr:a<l of s.~hcdule. (~ith much politeness)

Won t you sit do~:.?

n~ (as she t:a~es th.? chair, Richard. I had to see you.

R.I"!K

So I m Richard ag1in? We re back in Paris.

IL·,A Pl~ase •• •

RI:X

r (lights a ~igarette)

nected by any cba:Jce with the

I i Letters cf Transi.:? I (llza Tema~ns silent) i

It seems .n1le I have those let•

' i ILSA

(looks at liim steadily)

I

Richard 1 you can ask any price

you war:t. Sut you must give me

[ those Let:ters.

, ··Rili{ I \Jent all througli that with your husband. It's n~ deal.

ll.:iA I know how you f e, ·l about a:c, but I'1i1 asking yo-a to put your f~elings aside 1 ~r :0~thi:1g more important.

t ( CONTlliUED)

i t I

227 CQi-;T~:.JED:

Rict Do I hnve to hear again what a gr .!at can your h~~band is? t·;hat

sn important Ca~s~ he s fighti~g fo~·,

~ own way, you were fighting for l

tb2 same thing.

I l A pause. llsa delibe~ately take& a new approach.

I!.SA

r Richard, we loved each other once,

If tho=e days m~a~t anything at all co you -

RIC.t< (harshly) I I t1ouldn t bri.,g up Paris if I we.e ycu. It's p~or salesw..an~hip.

I!.SA Please. Flea~e ll~cen to me. If yo·1 knsw t-1hat rea ..ly bappened. If yo~ only knew the truth••

R.l:K (cuts i..91) I uouldn' t beli~· ..•.J y~·i.1, no matter what you tole re. You 11 say any- ctling notr, to get ,-,bat you want.

r-.~ (her temper flaring • scornfully) You wnnt to feel sorry f~r yourself, don'cyou? t-Jith JO much at stake, al!. you can t~in!t cf is your own

r feeling~. Cbe w~~an has hurt you, i anJ yo·.l t..ike your rev~n~e on the t I res: of d1~ w:>rld. You re a cow- I

ard, and u wea!cli :1g. (breakr-)

No. Oh. r..ichw:-i, I m sorry. But

' you arc our la;'.;t ·~ope. If you I I I don t h~ 11; U!:, Vi ~ t~r Laszlo will t ..

die in Ca£ablance~

r ~ t •· ·-

221 co1-:-r:rnutn1Cl)

228 CLOSESHOT- ILSA

She is bolding a smali re~olver in ber hand.

!SA All right. I tri~ci to reason

I witb you. I tried everything.

Now I want those Letters.

i 11-- r 229 CLOSESHOT• RiCK

Fer a moment, a look of e1~ira:ion comes into his eyes.

I •1- !!SA

Gee them for me.

l I

P.2.~ I don't have to. I got 'em right here. (reachi:ig L,to bis in~~r pocket)

He bas tb2 L~tcers in =ic hand.

rA.~A Put them a~ thi- t~ble.

Il ':A • For t:he last time, pu~ them en tb~ tabl~.

Rl=< U La3zlo a:1d ~~= Ca~3e mean so

much co you, you -.-10:1t st:op at

anything. All ri.3ht, 1 11 make

, (

l I I I l I f r ... '

230 CONTINUED: I.

RICK (CONTD)

l it easier for you, go ahead,

shoot. You ll be doing~ a favor, ...

l31 CLOSE SHOT • ILSA

Sbe risas, still pointing th~ gun at Rick. Her finger rests on the trigger. It seems as if she is summoning nerve to press i~. Then, sc.ddenly, her band tre~bles and the pistol falls to tbe t3ble. She breaks up, cover• ing her face with her hen~ia. Rick walks into the SHOT, stands close to he~. SudJenly, she fl~ngs herself into his arms.-·

nsA (almost hy~terical) Richard, I tried ~o Gtay away. I cbought I would never see you ag:iin ••• cbat you were out of my lire. Tbe day you left Pa:'is, if you knew t·1hat I went tl.irough J li you knew ho::, much I loved you ••• bow much I s~ill love you•-

Her words nre smot~ered a~ he presses her tight to him, kisses her passionately. She is lost 1n· his embrace.

l•