"CASABLANCA" (1942)

LOSAN<;:SLES.CA 9003-1 ~bisscree..-,playis-unpublishedliteraryP:{2l'!Pl;iJ-1-li6 heldundercot!Conlawcopyrir,ht,andhas1:ieen privatelycirculated~oa.linitednumberof universitiesintheUnitedStatesforeducatione.l purposesonl.y.Nocopies,me.ybereproducedor ILilYportionofthis11l8.teria.lpublishedorcir- culatedwithoutthespecificvrittenpcrn-.i!:sion--- inea.chcaseofWarnerDros.Inc.,4oooWe.rner Doulev-&rd,Rurbe.nk,~ifor:iia..

JuliusJ. Epstein& PhilipG.Epstein

1 LONG SHOT• r.EVOLVINGGLOBE

As the ~loberevolves itbecomes animated --Long lines of ~eople{in mini~ture) streamfrom all sectionsof Europe•· to converge uponone point on the tipof Africa. OVER THISanimated sceneCDQel a voice of aNarrator.

•·1-t{chillustrateschetrailasthe ~an.·ato::-mentionsth~ :--oincs.

NARRATOa ( continuing)

P~ria to l'1areeilles--Acrossthe Mediterraneanto Oran •• T:.'1enby: train•- or au~o•• o~ foot -- across the rim ofJ..f~~catoCasablaracain French ~..orocco--

3 RELIEF MAP • OF CASABLANCA

· JWinscha ocean onone side and the d.:-!ser:ontheoth•.·:r• ...~voic:.:!cf:heNarratorCOMESOVER.

lere-• thefortunate ones through

()bt:oinexitvisasand sctr..-ryt:o J.sbc..Al•-andfromLisbon to ~b~ f...mericaE•·nuttheotbeL·s--wai;: ~n Ceuablancu-- ar.~waic --and uait -•

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

4 CLOSE SHOT• RELIEF MAPor CASABLAl!C..~

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

At firstonly the tu~rets~nd rooftops arevisible a3ainst a torridsky. In thedist~nce is~ haze-envelopedsky. Tbe CAME.RAPANSDOWN thefac~~es oZ the Moorishbuildinss to anarrm1, twisting s~rcetcrowded withehe polyglo~ lifeof a native qu~rter. The intense desertsun holds the scenein a torpid tran~uility. Ace• ivityis unhurried anclsoundsare cr~tcd•••SUdc~nlyth~ eaeech of a si~en shat:ersthe c~lm. Veiled women run screamingfor shelter. Street venclo=s,beggarsand urch- insmelc into doorways. A police cz.rspee~sinto cbe SHOT andpulls up before anold-fashioned ~loorishho~el-- flop-house~ould bea better word for it.

ofthis decrepit hotel. Na:ive French.policeofficers run upthe steps, crashinto the doors cfthe various rooms, comeout -- draggingf-~ightenedre~ugees.

CtJTTO:

7 CLOS!:SHOT• DOOR

asone police office~flings it open. Tbe shadow of~ man b.a..,gingbya rope!roma chandelier isseen on the wall. The officer slamsthe door shu~.

8 STREETCORNER

Two other policemenbave stopped a ~hitecivilian and are talkingto him.

1ST POLICEr'lAN May we s~eyo~ pa::-~rs_1ple::.s.Ge?

(COUTINUED)

8 CONTINUED:

CIV ILIA...~

L (nervously)

I I -- Id~n e think I ·havethem-- onme.

1~ l"Ot!CEM.!N In thatcase, we'll haveto ask you tocom~ along.

It sjust ~o~s~ble tha: I-- ~es, herethey are• .. He brings outhis p,~ers. The2nd police~an examines:ha~.

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

ago. Yoc ll have to --

Suddenly thecivilian breaksaway, starts to runwildly do\·mthe sti:-eet.'tbeCA1'.Z~.ATRU~(Sw.!.thbi=l.FromofZ

scene we HE.ARthepoliceman shout 1-:2lt1-·-But thecivi- lian k~epsgoing. A shoe ringsou~, the man falls.

( The~ l'ANSto a••

- 0., MED. CLOSESHOT

dazed andfright~nao spec~atorsco this cas .ualtragedy. They areim Austrian couple,very l'Oungand attractive, thrust bycirci.l!nst~ncesfromasic.r,lecoU!'a:rylifeinto an tmf.imiliarhec ':ic\lOrld.Anninc:•~handclutchesher

~usband sarm as ~n~i~ eyesfollow tbe policewho are ex- aminingthe victim.

C:JTTO:

' 10 JAN ANDANNINA I

They bothspeak with a Cent=alEuro~~an accent. At this

t momentthe police ca~ swe.e~spastthem on itsway back. Jan takeshis wif~ by thehand. I

JAN

I The Pre~~ctm:-~ml!~tbethis way. I '

Theystart off in tb~ directionta:~cn~7th~ policecar• •

ll .AN Il:SCRIP'i'ION

•'1.iberte,F.g2.l:!.to1Fraternit~".

carved ina marbl .eblockalongthe roofline of a building.

The CAHERAPANS DOE'Nthe facade,French in arc:)1itecture1 to the high-vaultedentranceover which is inscribed:

Fal&i!ideJustice. C.ANERACOi~TUWESTO r.\NDO~-ltothe en~ranc~. A qu~ua of peopleof all ages and nacionalicies overflc~f~cm inside the b.uldir.ban~cioimthe ste?S• The CAhERAPA?lSOVFR the lineof t-12itingpeopleexten~ing into the square. w~ PICK UPa babel o: lilngu.:is.es""·ith

only a feyrecr,gr:i?.ablewordstuchas,'visa , ••~or.sieur 1 11 11 le Preiect\ !'or~5al ,."ahundred :francs''.etc.Sudden- ly the artencionof thepeople is at~ac:ed towardthe stre~t.

'tHESQUARE(:ROM ?Hf.ANGLEOF'THE YArrn•~ LINE)

The sq\H-:treistypicallyFrenchini~s lanciscapingond archiCl:C:turc.Thisis thecenter·of the :noderncityo:= :ascbl.:.r,ca.Th~poli=ec~~is just ~ullin~up ~o the curb 1n frontof the Prefecture. A pol~~e~an o~ensthe g~a:etl doorat the back 0£ theca~ and a no~descriptassort~ent ofrefcgees begin topour out.

l... Sn>EWALlCCAFEON Ci'~SIDEOF THE s:_~.11.RE.

~middle-aged En~lishc~uple are stan~~~&in front.of theirt~ble for a ~;~terview ot tn~ co.ru:iotionin~ror;t

..

ofthe Prefeci:ure.A da~k-visaged Eu:.·opeans~okingacis- aretteleans agains~a lamp pos: P sbo~t~ist~nce away.

)

Heis t.:atchin~theE.nglisb~ourlemo;.:-eciosely:hanthe

~ ' seen.?onthe st~eet. I •...

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

ENG:.ISm-io:-t\1·~ We hearve:.:ylittle-- ar.dw~

'r understar.d~venle~s. r i (CONTINUED)

..

t

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

14 IN!. FRONT OFTHE PAU..ISD::JUSTICE(Frt0i1THE'At,CU:or

THE CP.FE)

as cbe refugeesare unloaded fro~the police car.

DARK EUROPEAl~•SVOICE (over scene) "Thisi& tt~ custo~aryround~~ of refugees,liberals and••• (as a young blondegirl • the last to leave the car• isherded with the others in frontof the Prefeceure) Of eourse1a beautifulyoung girl

forM Sieur Renault, thePra£ect of Police.

15 THE SIDEWALlCCh-S

(puzzled)

; I don'tunderstand. I ~ DARKEUROPEAN Asusual1 the refu~~es.md the

liberalswill be releasedins

I' fewhours. i (smiling slightly) t Thegirl will be r~leasedl~t~r. j

ENCLISHWOM.~'1

f (horse-faced and

past middl<?-age)

~'"hy1awoill::lnis:,tsafeinthis wretched placel

DARKEUR.OPEAl~ (shru~ging)· Togee out o~ Casnblancathey ea7 cneneeds tt:odoll~rsfo~ an exit visaand t"~ohui1drecforche !Te• feet. Unless, of course,0·1-i~isa b~autif11i.:·:)unggirl.Tnarici.1anJ t!l~be.._:;ii•..lsailt~Usbcn.The P<•O::alt"~~~:...:.i7s,:i:-hus.(CONT!NUEn)

ENCLISHw011t.1'1 nre:,adful•••

nJI~!(EtmOPEA:•! U:\fr.::rt~:·.:at.:ly,alr,:'1£"'ithi:'h~se t,;r,r..·r,r-~·re:!.:l:6CCSLlCseemo;; :.:...n-{:~:-.~~[):'ilVitt...:~dro(:..,!..a~l.::~~=::. s::::'...;c:3t}.:..Jb1vc~1c-\'?nwait::.ng y,~:.:.i.i'o:.:avis.'.:!.. (:~"...:~!:hi!:t:.::~scom• p~ssion~:~ly a~our.d the f::n;.?.1~11r.,.,m) M'c:.eu::IbCG,of /C'..l.watchyom:-• ~elf. Tck~ c.::i.re.Beonf.Lt~rc1•••

t

ENCLISHMAt!

r~

(~athc:-:-tal.e:n2:-::ad,

f..· '- by this ~~j~c~dis•

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

Not at all. (raises his hat politely)

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

H~ walksot.rrofch~ SH:>T.Tne Englis!l~tin,scill~t7'"ifie di~eon::ertejb:rth~Et~-:ope .,in's.a,-=-.::ion,l,oo ·:,.safterhi;; •, oop~in:.,hi6brnwwi.t:hhi!,ock~cbi:mcll(erch~ef.

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

As he r~tshis brc~c= pock~tther~ is somerhingl~~ki~i. · He opcr1shie.coat,fe~ls 1.~1sid..'.!.

Silly of me•••

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

:ENG:.ISHitAN ~avinc -:r.ywall~t:.nthehotel~oo.-u•••

He Clf": :::Gh -:scn:i·~>th~n~ -~:ide~-:!y!1~looks.,ffintheilr• ectic.n,,.t:t~.ccl~r41-:.·ti:1gd, ._k:c~::ro-:~·,m,::hec:lC'ud:;•·f..,,:,~ pic:io.1~~th~·-!.·in;_;.B':l:,no\,,ov,;.rh:..:;i,c.::.ic:-.:,OU~o:.ta.i;}-:~·--

~ £lyi.n~.11rpi.ar,2isw·..-u.lD._H~a.--islc0.,ut'• •

r

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

• its motor cut fo~a landing.

17 PLAh''E

Showing the swastikaon its tail.

18 TP.UCKINCSHOT -ALO~!:;T"dE\•iAITil~GLil.ffiOFR!:FUG~ES

OUTSIDE THf PALAISDE JUSTICE

Their uμturn~d gezefollows the fligb:of the plane. In tbeir faces isrcv~al~cione hope th~yall bave in comt,~ and the p_laneisthe symbol of thacbo~e. The CAMERA s-rc,r:.:· at the last of t~eline fa~ out er,thestteet• just ae ~a~ and AnnL~a appearand take their flaeesat the very end. Their eyes also followthe droning plane.

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

f

19 AIRPORT - THEPLf..l~-

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

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

20 GROUP SHOT

CAPTAIN LOUISRENAULTt a French officerappointed byV!~b'v as Pref~ct ofPolice 1J Ca~eblanc~,s:ands chattingwi~h other officers. H~ is a handsome.middle-~ged French~u, debonair andgay, buc withal a shrewdancialert offici~l. I.roundhim areclus.:e~2dthe Ge-::-llltll1Con~ul,HE.t'1RHEL.'17i•

i, a young Italiano.::fic:a~sCAP'fAiltTO~-~LLI,andRenault's r aide, LIEUTENANTCr..SSZL!..E.Behindthe.~isadetailoi

French nativesoldiers. The ofiice~swatch the approach-

i. ing planeas it taAis toward th~m. The German ·andltal!an I

(COHTINUED)

a.

20 CO~!'!Th'UED:

detach themselvesfrom th~g~oup £~1 walk towardthe place

\ wbere theplane will s·top.The Ce~~ walksbriskly a

step aheadof the Italian.who ap~ears to bemaking an effort tocatcb up.

21 !HE PLANE- WITH THE SWASTTICAOVERTHE DOO~

When thedoor is o~~n2-:i,thefirst~ass1:.ngertostepout is a largeGerm~~ we2~ingheaV"'J,born-rimmedspectacles. He is blend-faced,with ape~pe~ual smile thatseems ~o~e tba resul:of a froze.1fac~m:iscle:bcm 2.c~1e:er..:ul-iispo- sition. On any o~c~sionwh~n }lUOR STSASS~h isc~~ss2d,

Herr Heinzesteps U? tobim Yith u~rais~d arm•

...

STlV.$SER (t--·-:i.tbamor:l rcla.'teclgestu;-~) Heil Hitler.

Theyshake hands.

HEINZ! (in German)

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

Stre~.:;er.

~Tl'~.SSER (iD Certi.1an) Th.ankyo.i,thar1:tyou.

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

i HFil~ZE t (inEnglish) ' May I presentCap:c:inP.enaal~,

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

t I,

The two shake har.1cis.

(cmrrINUE~)

21 CONTINUED:

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

to Casablanca.

STRA~SE:R (in ?erfect English beaming on the Fr~r.chmzn) Tbar,kyou 1Captain. Itis very goodto be here.

snu..ssm Thatis kine o! you.

i r --,

RENAULT

r Major,may I presentmy aide, i Lieutenant Casselle. f 'f Casselledoes no: offer to shakehands. They m~relysal•

ute and bow. Renau1~ ·leadsStrassertoward theedge of

i

the ail:field,wi.,~i:etheirca~saw!'::..tchem.Heinzeand

~I

Cass~lle follow,with the I:aliancaptain left tobring

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

walking towardth~ cars.

RENA:JLT (again Uie suggesticm oi a double-edged i..,ference) You may fin~ cbe c!i..nateo[~asa- blanca a tr~flewarm, Majo~.

f f I

1c.

21. CON'i"INUED:

P.tNAtrt.T (sid~stc?Sthe icipli• cationwitc a ~~ile) What else, !JlYde~rMajor?

AgainScrasser laokc a!:?l.!.msha~l7.

e_- ·.

P.E.HAtn.T Tber~ is noha...~y.Tonight he

will come :o~ick s. (ir,dic2.t:ir1gthe cafcF::cha air• po~t•sedg~) Ev~rybo~yco~s to Rick's.

Heinze shrugs ~o indicate~hac he c~n ~onothing wi:b ~-~ault.

As they arrive atthe car -

t· t '

r

/ 23, ONITTEn. I '

I

24 ELECTRIC SIGZ~• 'T~IC!tD"-NIGfil'

CJ.HERAPANSDOW~ TO:

25 E.Nl'RANCtTO RICK'S

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

I

26 L.~T.RICK S- BOOM~T

An expensive ar.~chicnibht club wnic.hd~fin!telypossess- es an air of so~his~icationanc in~rigue. The CIJ-~ PAi~~ A..~OUi'IDtheroom~soa.~ingintheat::10S?~ere.

I.fcr.i.r•pieceorchestraisplaying. r..1~?i~~oi~a scall,

I saimon-colorcd insi:"~um~nconwheels.The~e is a negro on i the stool. He isd~essed in brigotbl~ slacks and sport t

shirt. He is p!~yiniand singing.

r

j I The occupants ofthe.room aLe vari~d. Tae~~ are Eu~opea~~ ' in their dinnerjac~<ets;their womenbeau~:i.fullybegowne~

and bejcwele-:3.The::;!zreMoroccansi:1s:!.l!:=obes,'r..irks wearing fuares. Leva~:ine~. ~~valo=Ziccrs. Members of the Foreign Lcgio:.-i,di:;~1.nzuis~edby~::ei~kepis--

Across the room,sttat=hin~ the entirelength of the wull, is a tremendous,resr-l!=nde;itbar.

a) CAhi-'ilAP.:JLDSonSn1:1sir-.ging,wit:,Ol:'chcs!:rair.b.g., eh~.·1PAl.~:;toCLOS:.:.Ul'O!:Cl.5Comc-rs.

MAN

Waiting• ~~icing -- 1 11 n~v~~

get nutn= h~re. 1 11 die in

i

Casai.la..,ca.

f

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

There,th2re.

26 CO!':!'INUFD:

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

l ber.

d) CLOSI:UP•A HOI-'.ANl~"DA?-!DOR•averywell-dressed wom3n talkingto a Noor. Sbehas .?brac:ele_t.onher wrist• no other jewelry.

WOMAl-J Butcan't you !wlkeitjust a little more. flease.

I'm sorr!r,1-iatl.::une.ButdiS!llor1dt area dr~2ion ~'iernarke:.Ev::?t-y• bodys~lls diaoonds. There ~e

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

fourhundre:d--

l. :

WOM.A~l

i (clisttcssedj I All right.

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

c'-,TWOCOMSPIJu:._TQ~~aretalking.

C',

rIRSTMAN

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

are waicina,'-'--

L> L

TWOMEN are si~~ingat a table.

f ~ ., f MAN I I I Its the !ist·,ing~!l2ckSar..:ia6 .'.>. I' It l,aves at oneto~orrow ~~~h:, 't here from t-~,eando,:La1-f~;:ina. I·

1'Lethird boat.

r ~

MAH

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

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

'f

cash.

r g) THE CAMLT~ADOL!.I.:;!'.:totiieba.~.,\stheCAMERAP.ASSF.S ~- the various tabla:.weH.'.AR6bnb~l o,:;::o:ceibn~cmgues.

Here and the!:<:w~ca!:chasc.it·::.::::~=d...Li:ascorsc::n- tenc2 in Engl~s~.

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

27 ?-:tD.SHOT-RUSSLll·:E~TI:rmEa

abuge Ijovial loo::ingper son.He uea=s a silks=iock~ H.! handsa drink to a custo~er;with.the Russianequivalen~

of ''Botto:nsilp'•Thenbecalls out to apassing waiter:

Thewaiter scops, turn::1"'~211:stothebar.He is a smal!, mild-mannered ~~n~it~ SFeCtacles. Sac~aplaces several dzini<sona ttay1-insttuctsCarl about ~elivering1;:iem.

28 CARL

treyin h·im-::J,walkinguptoaprivr.Z:1:door,overwhiche burly man sta:Js gUE~a.

AB:JUL

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

Yes 1HerrProfessor.

c_,

Carl goes in.

29 LONG SHOT • nrr.GAf~Lil-tGR001,:

as C.a:-1comesin. Th~ CAMER!.Tt.I-:::-:'Illtb~activityac tbe various tablesjt~en •

•..

A woman handsa cl:.ecktott1cdeale::-.He,in cum• tu.-ns around nndhand~ it on to a ov2rs~er. who looks at ehe cbec!t,thenat the woman.

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

• cur TO:

~. -~ -:y:.. .14•

,..~ ..,,~. .~ ~:-~ 1 31 CLOSE SHOT - A lot~SlblID

I holding c:drin1;.t•ie~~.Eth~Ovarse~rs bo1y co1T:en:roTHC

(

SCEKE. His hatdplaces a cte~k o~ t~ecable. The ochar

man s hand picksUF th~ cbe~k. Obviously,the man is studying the check. T~ienhis hanclco=~sL·!!OTHZ Scrfil. and on the back ofthe check, in pencil,it writ.es:

"Okay-- Rick I The oversaer sh~~idtakes the c:he~l~a~•.

.. -

32· ~ED. SHOT.~ RICK

· sittingatthe tablealone. Be justEi=s staring ae tha drinl~. :;:"b~~eisno~1~::-e!;sionin!liseyes.H~i.sa com-

'4•.

plete deacipan. Riel<is an l.mericancf:a.r,::ic:erc.inateage.

•

The women aregl..:nc:.ngof=~c~-:-,eacaic!~·•st:able,fascirJa-· ted. Cul isin the scene, ?repa1:!.ugl'\l.::~-:~shcoffee.

2i:IDWOMAN (disa~:-ointecily- ~lancing towar:!sP.ick) Whatm..:tke:ssaloon-keepersso :mobbis~?

1'1.~1'! (to C-ll"'l-bol<ling ou: a bill) Perba?sif yo:1tcl<i!li.mIrar,tha secondlai·ge.~~ca..,ic::ighoui:::~in

~,. •I t r. ..... ..,..' ...._

'

33 COiCTINUED:

CA..~L (fiha::inghisbea:i) Thacwo·.i1dn'i:impressF.ic!~.The leadingbc?nkerin P.m,:;te:-da.nis now th~p.ast7i:ychefinourkit- chen, 2...~dhiefat:hcri£tbebell• boy. I He take!.the billf~om the ma:lsh~cl 2.ndwalks away. CAMulA PANS HITHbim, disclosing:

34 l~D. SHOT • RICIC

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

..

He is glancing tnwar~sthe open doo=znciindicating that tb~ person scel:i~iad!::11:tanceisno:tobelet in.

There is a com::notionztthedoo=. A voice with a German accent is HEARDsbouc~ng.

GCR!1.lliVOI:r. Cf alltilenerv~1 :Jbodoyou think-•

..·-,. ··r Rick gets up,a..91dHithnochangeo: e~~-::-e~sion,walk~

across the floorto i':hedoo~,Ct.ME".ATr.U:IGl~Gwithhi.m.

Ctr1'TO:

(I.LTERNJ1TESCEi,!ENu::~RASSHOTJJ@C?..E~ITED-•39)

is protes:insto ~.1,~~1.

CER.Y!!l·!

I knowtlie~~s gmilblinginthereI

' ! Th~rcs nc sec~e~. You da~ano~

keepme:o~: of here.

l'

Rick tl'r~J.S~llOI.

~

RIC!·: (~ol~ly) . Yes? ~1','1t'sti:1etro~lea

~At:i\ E;--·t!1i.s6~r.:lt:me.1

C!JTTO:

t

36 ?-ZD.SHOT• .HICKAI·!::>c·i!Rl-!AN

(ALTERNi~TESCEI~NLi~ER AS SHOTAi'mC".ZDITED• 41)

GtRKA.N • (waving his card) I 1vebeetin ~very garnblin3room between Honolulu andBC?rlir.and · ifyou thir&kI'm goingco be kept out of a saloon likethis, you're very mu~h miseaken.

37 ~~"TRANCETORICZ S

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

A8 UGAR.TEcocesin. He is asmall1 thin man w!:na ner• vous air.··Ifbe we.:eanAmeric.:in,bewould look like3

and theG~rman•

?.ickjus~looks a~ the Germancalmly, =~:es thecard out ~f thec~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~knowwho I ~?

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

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

Heturns away from the sputteringG~rrua.i,catchesthene- · gro•s eye at the pieno. The negro. wno while stillplay- inabas been watching theby-play, trl.n!~LJatRick.Rick acknowledgesthe wir1l~wi"Chsome£::-:!.enclyges:ure.It isn't quite a smile.but it is pro"cabl}'i:heclosestthing toa smile that Ric!~canmanage. .::.r.;"-1ar,itestablishes ~hefact that a£ far~s Rick is cou~e.i.--ned,thenegroisa ~rivileged ~P.rson.·

Rick goes back into thebar. cur TO:

~~:::>.SP.OT•AT~A!!.2-rn GAM'.~L!NCROOI: (1.1.TERNATES:Ei'Il:NU!.-:ioEP.ASSHOTANtC;.~DITD-42)

..( as Rick cocesI:.~TOTc:::SCEi:E.AmoiLentl~~erUg~rte

follows oimrnro TIC SCENE..There is no'1odynear them.

(=e'W:ling) Huh. You 1:now,Ric:c,wacc:-,:r.g you just now with theDeut-:~as Bank, one ~o~!d thinkyou h~d been doing this_allyour life.

RIC:: (coldly) You tbocght what?

UG/.R'rE (£=~~in8 tooffend Ric!.- laughs) Wbat ri5~e h~ve Ito t~ink? (has~il7c~~ngi...,g cbe SU!>ject) Too bad about ~boseGarman CO"Jr• I iers, wasn t i:?

RIClC (incliffer .e1,cly) They got a bre12!c.Yesterdaythey were jus·;:twoGermancle~k6i to-

i day they're tneHouored ~ead. t · t. l UGAf~?E t (shal:ingnishead) t You will t~give me for saying

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

a ve~y cynicclperson.

RIC:{ (sho:-tl~•) I fo!'g1V(!j·o-:.i.

..._

lt.

39 U.RTEtmn

(hl.TERHATESCENEHO. ~ SHOT/.i-lDcaEIJITED-43)

eo.:.ingnm sen~ t-1ithtwod=inks,u~icb b:?.e:etsbefo=e

... the.men•

.. UGARTE . (his ey~s li~htingup,

drinkwi:h m~, pleac~?

RIC: lJo..

UGARTE

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

IfI ga11eyou any tbought,I

' probably woull. . t.

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

,:.: ne.cs1 do. 'B--:.1':thir.~oZ~~·1'-oor ~-.

refugees who mustrot 1~ this· place if I di~ uothelp the~ Is 1.tso b.e.~=nP..;:thro·ughwe.yso::DJ?. own I provS~~ t~~m~ith ~~t visas?

~- ~ICT. l

(st.ari;.~ga=hisdri..-.k)

~

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

r--

UGA.~TE

l ~ut thin!..:oft:1oser,oot·dev:.!.swho ,. C&""lno'i:m:?etr.~:13.ult'!:price.I r,

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

Rickturns u, look at Ugart~.

UGt:.rz ~ell1 a:l:!:ertonigbtIamtb:::oug":1 with the whola"i,u5:.ness.~ic:~,I Qm le~vinciC~s~c!a..,c~.

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

t Rt?naul:c·-;yc-·.:rself? ..

(:mITnmr.D)

'•·,. f

t

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

3~ COtITllt1JED:

UG/.R.TE · (ironically) Myself, I found myselfmucl1rtore reasonabl~. (heta!:esenvelopefro~ bis poc~et - tapsit on bis ba.11d)

~· Doyou know t·1hat:thisis?Some-

thingtba: not even youha~e 2ve~ seen- (lcx-rersbisvoice) ~tters of T=c0sie signedby i~::sh• allWaygand. They cannotbe rescind~~.not even questioned•

.... ; ·Rick looksat him, then holds oath~s band ior the envel•

ope. UG/,,ZtTE Onemoment, Tonighc Iwi.tlSeLi thesefor mo~e I:iOneythar.evccI everdreamed.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~iseme yo~ re

' r--, theonly 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:'-perhapslonge=• ~

r Idon't wc:.ntt~zra.h.areover:u.ght:• •i- t 'JC/:~:'E

Don't be sfrai~ ofthat. Please

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

know I coul~ trustyou.

'

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

(ALTEF..NA~e~NE NO.

f

comingINTO TSE sec:-~.

UC~':'F (to waite:t) Oh, waiter. Ia:oeY.pectir.3soc::2 people. I± l'nyoneasksfo~ me,

I I ~ill be here. (C0NTil1UED)

40 CO!~TINu"ED:

Tl1ewQiternods, leaves. Ugarte turns toRick.

UGA~tt Riel:•I hn~,~youa=e mo~e :!.m- pressed withme. If you'll for• give ce, :'11share my.good luck with your roul~ttew::ieel.

Re startsacro~r.thefloor.

RIC!{ Wait a minute•-. Yeah.

Ugarte stops. Rictcomes up to h~.

41 CLOSE SHOT • RIC!<AHDUGARTE

(ALT:.RNAIES:E~~zNO.ASSHOT AND CREJiI'i..:.D•45)

Rick's VOICE is barelyaudible.

?.IC:, I beard art!I:lo~th~tthoseGerman cou:-ier~were~arr~~ingLettersof Trantit:.

Ugarte doesn't r~plyfor~ moocnt.

r-

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

Rick looks at Ugartes~~ad~ly.

You're I am a little wit!lyou.

;Jgartesmiles endalmo~c sw.:tg~t'rstot-.1ardthegambling table. Rick st~e~ for the doc~.

I t.la~!ED•SHOT - CAFE t

Sam is playing andsinging the "1<r10ckWood"number•ac:cocn- panied by the orchestrc1.The cafc isin scmi-darknes~.

I the st-otlightison Sam, ~d every timethe orchestra.

comes in on the ..I~nocl,i,,,~1business1tbespotlight swings over to theorc~~=tt~.

41b 1-iED.SHOT• RICIC

as he makes bisw~~ from the gamblingroo~ co Sam on th~ floor. •

t I I-

41C MED. CLOSE SHOT• AT PIANO

Rick comes into SHOT,and during 0Deof the periods wh~n the spotlight isen the orchestrs1Rici:sl.:!.psthei.cct:a:r~ of Transit into tbepiano, then exitstowards the bar.

41D MED. SHOT • ATB.'\R

Rick comes in andwatchas Sa:Dinhis number.

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

·He sees_.Rickatba~, exits in hisdirection.

MED. SHOT ATBM• RICK

Ferrari coa:csnn-oSHOT..

r- Hello,Rick. -

RICK · Hello,Fe~ari. How•sbusiness at theBlue Pa..-roc?

,

FERRARI

' I Fine-- but I would liketo buy

yourcafe.

Ferrari sighs.

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

(...,,()I•i--n.-•lft::: ·•••:-•,IJ·.

42 -COt-.'I'INutD:

RICK

I don tbuy or sell humanbein3s.

Tbat•stoo bad. That'sCasablanca's leadingcomr..odity.Inrefugees aloner. we could a:akea fortuneif you wocld · work with me t:brol.:g~theBlaC:cMa.rl:et.

FERRARI

Supposewe ~sk Ssm? Maybe he d like ··co~e a chenge_.

- ·~!..NEGRO•ATPIAN~

Be basjuse finished bis nu:Ilbc:-.Rickand.Fe~raricome up to him.

~ Ah ain't got tirr.etospendwhat ab makes here.

Rick looksat Ferrari~ S[tiles1shakesbis head;then he wiDksat Sam. FerrllrieY.its.

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

ts sittingon a stool, drinkingbrancl~. Sacha,who • (~ONTINUED)

is lookingat her with lovesickeyes, is fillingher

SACHA

The boss E privatestock. Be-

,. caus~ ••Yvonne•• I loff you. ~.

-~

1· -,· ,,\ ;-.. · Rick sauntersinto the scene,leans against thebar next

'~ athim bitterly, wiu.outsaying a wa.;d• • •. l {.

SACHA

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

Ricklooks check over.

-_curro:

curTO:

l t , I 45 ~D. SHOT • RICK AiIDYVOimE. I

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

r l .. standin che gloom. Yvonne, who has nevertaken her eyes

offRick, finally blurt:sout:

t l •r YVONNE I'• ~Jberewere youlast night~ I ~ .

a1cr.

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

Pause.

~S CONl'INUED:

RICI!

' ' (calmly} \ I never plan thatiar aben~.

Yvonneturns, loolcsat Sacha,exte:ldsherglass to him. As heis about to fill theglass, Rick turns,~~ops him witiJa gesture.

YVC:rnE (eo ·sacba) Give me another.

RICK

Sacha, she s hadenough.

YVONNE

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

Sacha hesitates, looksat Ric!~.

r I·

- SACHA (puttingche

I · bottledown} [ I loff you,Yvonne, but he pays

me.

r- Yvonne wheels onRick with drunken~- r

YVONNE

~- t Rick, I'msick and tired ofhaving

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

(h~wall~stoward

l~

t:h~cafe entrance)

i- ~ - ~ RI~ f (takingYvonne by •·· I the arm) i Come on,~-"'!'regoingtogety~ f

coat.

~ I YV0I~

Take yourhands o~f me-•

He pulls heralong toward the hall doo::.

t RICK

No. You're going home. You1ve

f

hada little too much to drinl;.

2.5.

..-

s=andsat the curb sign.illingacab. Finallyone pull!iup•

r

Riel<t:::1dy,_,.'.J:\:icccr.:ccutc-fthec~ic.Heis~uttinga co~:;c:.,~:.:1..::..-s:1.::~,1..-~~:.:~.2::1~i~objcc·i:insvi~lcn:ly.

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

RIC!: (toSacha - as be and Yvonne approach thewaiting cab) You'dbet~er go with herJ Sach~,to be sureshe ge~s home.

SAChii Yes,Boss.

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

RICK

r '- Sacha•••

(Sacha looks out through thewindow)

f Comeright bnck. f

SACHA

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

TRUCKlllGSHOT• R!C:<

I

as hewalks back into thecafe:. l!eli3hts a c:igarettr.,

i hearsRenault and walks towardhim. ~-

RENt~ULT Hello, Rick.

RIC;: Hello• touis.

(c:mtrnu:n)

...,,-~

48 COI\'TllmED:

ItEt~AULTSVOICE (overseen~) How extravaga~tyou are-• threw• ing a~Jaywo1J1enlikethat. So:ne day theymay be very ~carce. r-

...

A TABLE ON THE CAFETERRACE

,...... Renault is sippingso~ brandy. Hiseyes are amused.

Rick walks intothe SHOT.

·'

••payacall on Yvo~n~ -- maybe

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

~en it comes to women,you re a

t· trued~crat.

Renault laughs:pou=s Rick a cirink.There ·istbe SOUNn of a ~lnnGwarming up on the adjacentair field. Ri~k looks ll\thedirection of the SOUND.-Renaul: follows bis gaze•.

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

in the fullglare of the floodlights,standing poised on the rm1way,its 1t0c~rsracing,ready for the take- off.

I ~ ' -Sl MED. SHOT• RICI:AND REHAULT

Rick is stilllooking s~eP.dfastlyatthe plane.

f (looks at tick ( i .shrewdly)

You would like tobe on it:?

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

(~ONTINUED)

r r:~, I

51 CONTINUED:

RE?-:AULT The Clippe~to America.

( Rick doesn'tan.swei-;looksat theplane warming up,but

bis look isn'ta happy one.

:.. ,

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

...

ItHas a coi:ibina=ionofal!three.

RENAULT

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

you to Casc1blanca?

f The plane'sm6cors grm1 loujer. I

RIC: My health. I came toCas~blanca

\ . f:,rthe 1.11ters. I t RENAULT f Waters? lJhat-w·c1t~rs?Wearcin ~ the des~rt:.

I ~

l!C:{ Iwns misinforwed.

fI

Ren.aultshakeshis head be~Cu!'\s.:iynothingfortheplane

I .1.sspeedingdow.-itherunt~~y.Itsli3hts shine onthe ' facesof Riel:and :-lcnault.Rickc3nnoi:t£lkehiseyes from r the pl~nc. No# it leaves theground nnd passes almost l directlyover theme Hewaeches th~ plune until itslights

dicappcarinto th~ dis~a.,cc.

l 52 MED. SHOT• A CROU}D:'~l•(EHIL} t

so identifiedby the greenvisor over his eyes,comes

i INTOTHE SCENE. r

EH1:.

i Excuse·me, H'sicurRi~k, be~ n

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

would like somemoney. (CONTilUJED)

~ [ r

52 COt!TD~UED:

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

Rickanq.Renault boehrise and start in.

RICT.! (not atall excited). What, again?

s.:. lNT.CAFE

~s Rick and Renaultcome in, £cil following.

CU? TO:

,i.OSESHOT• RICK

as bis eyes react. Involuntarily,theyglance coward the gambling room.

r CUT TO:

ss MED. SHOT• RICKANJ RENAULT

They are startingfor the ~teps alongsidethe bar•

RE?:Atn.T

t (wh0has caught th£

look) U you arethinkin& of uarning him••

f i ( CONTIlruED) i

l

2s.

55 COlITn·rnZD:

RICI{ (stuting up the 6~eps) I stickm~~neck out fornobody.

~K.\:JLT A wiseforeign pclicy --

Renault startsupstairs afterRick.

P~NAULT (u:.:•t:hester:,s- drinl~1.:.hand~ Youkno-:.1,Rick,w~couldha~ madetbi~ a~~e~t c~rlierin t~e eveninsat the Blue P.9-"70t--

Rick entersa room on the lai.,ding.

56 n.TT.RICK'SOFFICE (

a_s becomes ·in,followedbyRenault an~ Z::Lli.l.

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

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

RICK

~ (opening adoor)

Our ente~rQi"~enc isenough.

I

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

to a smnll,d.orkroom off t:1€officewhere thesafe is

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

dri:lkinband, leans ogains=the door jamb.

the Th:!.rd1~11:i:h-noless.\}~wont hi.!ntob~ he~cwhen we ~ake th~ a~-

' rest. A lictleci~monstrationof

the efficiency ofmy adminis:-~a~i0n.

f (GON"rn;i.ED) f

l

here? He hasn t comeall the t-1ay

( to Casablanc~ towitness a de~-

sttaeion of yourefficiency.

RI!:K

Here you are.

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

;. (co R:?noult) I

Louis, you have s~~ethinsen your

t I

RIO: Yeah? Have abrandy.

.. visa•

Yeah? Wha~•shis n~me? '

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

S7 COiU'INUED:

REi-!.AU!..T I (t1atc:hingRicksreact:ion) tick, thisis che fi~sc tice lhave ever seenyou so i~pressed.

~ell, he ss~cceeded in irapressing half the1,,.~rld.

P.ENAtn.T

, It is my dutyto see that he does

not impressthe ocher h~lf•.

I (nowintensely serious)

Rick. Laszlo::lt!StneverreachAt::lerica. He st3ysin c~sablanca.

-· RICI,

' It'llbe interesting to seebow ...

be manages.

r

RENAULT

I Manageswhat1

'; I REI·!AULT

But Ijust told yoi.!--

( RICK

Stop it. H~ escaped froma concen•

• t:rationc2mpand the N~zi£have been

chasinghim all over Eu:ope.

~ i 1-

REt~ULT

l • (grimly) I Thisis the end of the chase. ~ t i RICK t 1 f Twentythousand francs saysit isn t. I [ RENAULT f Is thata serious ofler? 'I

RICK

t I, I justpaid ou::tt -!~ntythousancl

francs. I d like to geti-cb&1ck.

;

REr-~AULT

~

poor corruoto=fic~al.

(Rick r.ods) Done. No mat:t:?riluwcleverheis, he G~illneeds an exitv~sn -- or I s!Jouldsay,two. . They start-outof the room and dot ·mthes~cps,CA.i.'tERA 'I'RUCKD-!GWI':HTHEM. (:OUIIlruED)

57 CONT!Nt.ED:(2)

R!CK Why two?

l REi·lAULT

He istraveling wicllalady.

RICR

He lltake cr.e.

RE!•:AULT I thir.knot..I h~ve seenth:!lady. Andii he did noc leaveher in N.3r• seille~,nor in 0rfu"'1,hewillnot: leavehe~ in ~as~bl~nca.

rticr ·kaybehe's noe as romanticas l:)U~•

REJ:!AULT ltdoes not 1tat:er-- thereis no exit visa fer him.

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

I • (Ri:l:brea:-:sintoala:23h) 'i Laugh if y:luwill,but I har-•~cnto ' be fal!lilicr.:-wi~b}~ourrecorci.Let f me poinc ou~ ~~o itecs. You fought j i with the Ethiopiar:.sggninstItaly, ' and y~u ris!<cdyocrneck with the

Royalicts i~ sr~in•••

I OCCllsic-.ns.

RD;AtTI...'~ Th:!wi..~ningsidewouldhave paid

I

you muc."lmo=eo

I I RlC!(

Maybe. (enxiou.cfo-:a ch~~~cof sub~cc:: Apparently youare determined to keep Laszlo here.

(CONTINUED) ; ~ t i.

S7 COiITDruED:(3)

REi;Atr~T I havemy orders.

RI~(

(

Ob, I see. Ges~apospank.

58 NED. SHOT- RE~tAULT

They e!"edownnow. As hespeaks he faces thehuge mir-· ror overthe bar.

REZiA!JLT You over-e~til:J~tetheinfluence of the G~stapo,aicky. I do not inte-cferet-liehchemandthey do

blanca I am m:i~te~ofreyfac~.

-· I am captain ofmy --

He stopsshort as his aid~enters and speaks:

t

It

RICK

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

Ex=use Z?ie...

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

\

t

Renault is walkingwieh Cc:rl.

RENt..tJLT Carl, cee thatHe~r Strasncr gets

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

CA:~~

~ I hsve alreadygi•Jenhim the?best,

{ M sieurI l (z~dly)

•••Knowin3he is Ge.:.-manandt-1ou.lcl t~;c ii:~,yway.

61 CAFE

as thC?yenterfrom t:heha:i.l.Renst:ltbeckonstoa NATIVE OFFICERw:iois 2;-p.:irentlyW3iZ::ingiortheword. He approachesand salutes.

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

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

He salutesand st~rts towardthe doo~ of thega:obling room. Th~ CAi·CTJ.TP..A~LSwithRcm~ul~,whowalks to a tableon ·oneside of th~cDfc ~he~~ St~asser andHeinze

..

are s~atcd. ht the adjo:!.nir.gt,blcaresomeGercanof• ficerc. St:r.iseerbeamsasRenaul.:approaci.1esthetable.

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

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

HEillZE Won't you joinUS':'

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

SL ·,AS::>!:.R

.. i Er• ch.:imp~gn.:aanJatinofcaviar•

REi~AULT Er• m~y !recoir.c:~ndv~uvcCliquo: 11 11 26 , ~ goodF~en::bwine.

S'IT~.SSER Th,Jllkyou.

•·I I WA:TER very ucll,sir. t

STI::.4SS~ A very interestingc!ub•

P.Elthi.n..T

I,..

Especiallyso thic evening, Bajor. (lciwvoice) In justa minute you will see the

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

I expectedno less, Cnptain.

(ALTERKATES:E.EE1-m.asSHOT Mm ~EDIT:D • 69)

at th~ roulett~ tablein cbe ge~blingroom. Piled in frontof hi~ ·isa bugastack oi chips. H~ is having a run of luck a..--idhiseyesa.!'efaw~i:ishasth~yfollowthe marble th.itis botmcingon th~ wheel. Ihc I:ia:-ble::.tops on nurr~er13. ExultantlyUg~rtc re~r.hesforthe chi~s ·whic~the Croupier~hcves on the table. But just then I another tic:mdclosesontoUgnrte s arm. A loolcof terror cresses his face. I lU'l'M OFFI:ER S VOICE (OVERSCENE) You willcome with me, Honsicur Ug.l:-t:c.

r UGL\°S.TE t.- (ina.l:,";Jvoice)

Allow me :o=ash~ chips.

r The native officernods, follows Ugarte -totheCashie:-.

63 THE c1>.sHn:F.•s~oonr

(ALTEF.HA'i'ZSCE~.ENO.i\SSilOTAl'.i1>CdEDTI'ED-70)

The Cnshier paysUgart~ th~ amount ofhis chips. Uga~te thrusts t:hcmoneyi:..1hi!lin:;ici~co-::itp.::icket.As hishand cones out of thep:lcket,it gri?S a Stn3llrevolver, pointed at theNa~ive Officer. TheOi[icc~ mnkes a jU1'lp for U~arte, andt~e gun g~es off. lbe Officer clesps his shoulder. A u~mar1screaw5o Peoμlcat the gacb!ing table!;duck fo=cc,~~cr.ligarceruns c~w.:irdthehailw~y.

I I l l 64 QUICR FLAS:1ES '

aj Rick C!":l:-i,l!jingcneflc: ~J.::-o(tbcca£c,t:.irnsacruptly

tc\o,ardth.:?d~-::>rtc,~b.:ga~blin5rot);n.

i t

b) A wom~:-.i:1ah<Joo:nj:!,.1:}E:tohe~f~et,looksinthe

I d:..:-cct:.oncft.::.c£0,!r"L:. ' r

(CO?:TilmtD) ..

t

I

64 CO~"TINUED:

(c) ·Aman at the bar is liftinghis glas~ todrink. Abruptlyhe.pets theg1£issdo~-m.

(c1) Themu~ic sto~s as Scm'shands bold on thepiano keys.

(e) Carl,behind che ba~,flaGbes an expectantleek towardScras~~r•sbocth.

(f) Ranault1 Stras&~= andH~inze all jump totheir feec.

t 6S HALLWAYBET.-1£FNTHEROOMS l ~- .... (ALTERNATESCENE NO. ASSHOT AND CRED:T~D- 72) •, I

Ugart:eru£hesinto thehallway as Ric!<afpearsfrom the oppositedirection.

UGA~TE RickI Riel:,bel?meI

RICr~ (lowV(")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; 1r..ick.D:>soras:hi:l&l

Before he c~n finisb,Rencult, St~acse~,H=inze and others rucL 1:1fl:ombehindRick. o;:hernoliceofficers

word, Rick pu5n~z hisway throush th~ gro~pto the cnfe.

ST!l.ASSER Excellent, :aptai~.

MA!'~ (b!l1.,-ekJ.1.,d . .Cl·.n[;.,...y, halfenr:wst) When theycome to g~c me, Rick,

' I I RICK

I st:ickmynee!,c·_:for nobody.

[

I

66 THE CAFE

Rick coces out en theflo=r. An air oz tenseexpectancy pervadesthe room. A faw cusccttcrsareon the point of leaving. Rick &pE:a!:sinav~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:sa~ (

theaudience)

~"- 1

C mon, foll:s... (hesearts again) I

t O_l No.1h,what:'dhedo? I r

H:?wait:smid playst!"lcr,e::tphr.ase.

l 66 FULL SHOT ~

TAKINC IN se·~•~t.tl~ables.Therei::iahal..:-hcartedre-

l ~ sponse from th~people. ,.

Tit:PEOPLE

J 01 Nonh1what'd be do? '

t

louder ~1~ fa~ter1

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

zoo•

I

r

t ·

69 TABLES

Tbe p2ople1under Sarns ~rellagain, join inand sing. The gloomis sor~~hat lifcad. We Pd~ O\'Elvariousta!:>les, pickingup all types ofpeople duri~g coe courseof the song. ·

I

70 STRASSERS TABLE

The songis fini£hed andthe excitementhas quieted down. Ren~ulc,Strasser andHeinze are no~ backat their table~

RENAULT

I (callsto Rick, who I l is o£1scene)

OP, Rick•••

I~

Rick wnl.ksinto the SHOT.

REHAULT

I I! Ric:kIthis isI-mjo~Hr.;.nrich

Strssser ofthe Third R~ic~.

STRAS~ Hotido youdo, r!::'.Rick?

REl~AULT And youal~c&dy k~~~ Herr H~inze -- of t...,eToirdRe~=h•

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

SntASSE.1t

t f Ple3sejoin us, M::".Rick. l

Riek sits downbeside Hein.~e,facingR~nault and Stra~ser.

It

ROl~ULT

l t (cb.=.ngingt!1esubject:)

Riek,w~ arc very h~noredtonight. MajorSt~asfieris one ofchc reas- onsthe Tbi:rdRei-:~.1er.joysthe

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

STRASSER

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

You ~epeat Third!".eichas :hougb

you expcct~1 there tobe ot.lJ~rs.

(CONTIl'1UED)

The waiter eppe~rs ·withdrinks,beginsto open thebot- tles and pourdurir.gthe ensuingconversation.r·

RICI{ (sh::ugging) Makeit oificial, ifyou li..~e.

Rick looksat h~m a momentbefore replying.

;

Im a d=unkard.

I(

Strasser looksclosely at him.

·r ~- 7J CLOSE SHOT- RENAULT

IlEN!\.U"...T That DJ'l!,e£lt!.c!cc1cit!:?enofth~ WO::'ld.

RI~:~

i Iw:isb~rn in l~c~~YorkCi.;yif I tba:'ll h~lp you any.

STRASSER

l I ( toRiel:- ·,1~ryamiably) I It1nder~tan~y:lue:.Jmeherefr'~m ~ Paris at t~~ ti.meofthe Occupeticn. I I R!~1.< I Tb~~ s~~mc to beno secre~.

I I Su-..\SSn I

Arc you one .of:hc~apeople who cz..,~:J::i.111:,idn~theG2ro.an~i:::i their bclovict-Paris?

( CONTIl~UED)

72 CCl':TINUED:

\.

Paris.

Ell:ZE (slight l~:..ag~) Canyou ic:.agineu~in Lo~clon?

RIC!C Wbcnyou gee thare, a~kme.

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

RIC"L( Thereare ccrt:~insoc:tior.sofUew York,Major, that Iw:,uldn~c ad•

I • vise you to t::'ytoinv~dc. )

STr~SstR. Who do you think willwin the war?

Straasertakes a lit:le blackbook from bis pocket, riffle~th=ougb tbe pages?

STR..~SSER (t:>~ick) I You weren t al~1nysso·carefully neutral. Uc ~c.7eaco::l1'lcee

I •

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

Ricba::-dB!eine,A:i::?,:icar..Ag:? tuirty-scven..C.:l!'Ji..lo~returnto his co 1.1ncr--J.r (locksup from b-=>ok) t'hereacoc.is a li.:tlevague. We als~ lc."l'!Wwlia~youdidinPai=is-• ,.. (Rer.aulr.,v~~Ycur~

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

Alco1 1•:::.Blaine1, -,~kn:lwwhyyou left P.i.xic.

t Ric~ r~~ches ovcr 1takesthe ·bookfrom Strasser'smnci.

(COUTW:.:".Z.~)

I

-:r···

12 cmrrn:UEn:cl).

l

STR;.SSER You willforgive ~Y curiosity, Mr. Blaine. The point is, an enemy of theReich has cometo Casabl.3Ilccandweare chccldog on anyonewLo car.possiblybe of bel? tous.

,...

RI~ 1-:yintere!:tinViccorLaszlo'c St3yingor going -- (witha glance towarciR~nault) •• is onlya S!)OrcirJgcne.

~'

I

l est liesin the ~ag~~ ncwSp3p~r~ I untilthe very day we marchedin, I t andeven a~t=r th~t he con~inued

to print~~ancial·sheetsina cell~.

l RE~u\ULT

Ofcourse1 one muct adcnithehas

f

gTeatcourage.

i

S1'?.ASSER

'i I t1dwi.1:beisveryclaver. Three i timesbe clipped thr:> 1.:ghourfin- i gers. b Paris he continuedhis

acit:ivities.Heintendno~ to let ithappen age~.

t i RICl< I

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

r

r.~~.:;.usaloon. (:.:OI~:nrnED)

I I

72 COlITL'-;UED:(2.)

\

Riel<wulks ouc ofthe SHOT, toward thegambling room.

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

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

The d~rk-appea~ingforeigner ~e h~dseen in the opening sequence is busilye~gageu wit.bamiddle-aged prcsperous- looking man.

D&'1KFOREIGNER (his arms !:hro~ sol- - icitously ~r0.147dthe other man) I beseechyou, my friend-• be onguard. Take cn~e. Use ev~ry precau~ion.

74 SAl-S-AT PIANO

He is idlingm1ay at scmathin£ sentir:r.ental.The people

I t ·

As be playsSam glanc~s c~suallyaroimd. · suddenly,as

f- bis ey~slook toua::dthe cntr.ance1hisplaying falters,

then &topsaltogether.

t f- 1- 75 MED. SHOT -THE CAFE - (SHOOTINGTOt1A..WTHF.ENTRANCE)

We SEEwhat Sc1.1:nisstarin~at.A couple has just come in andwe rec~gnize them usVictor Laszlo ~d hiscom-

I panionwho~~ :ace we saw in thecar window outsideof I ..

( CONTlliUED)

•

7S CONillJUED:

Ugarte's hotel.Sh:?wears a simplewhite got·m. Herbea.uty

(

is such thatpeople tu...11tostare.The head-waitercomes up to chem.

Yes,M'.sieur.

76 CLOSEUP• BERGER

.. looking intentlya~ Laszlc.

77 CLOSE SHOT• THE W0111.N

- who hasbeen looldng arC\iJ!ldcasu.rJ.lly,1·.1i1enshesecs· Sam, h~rf~~e registers a s~artl~dsurprise forjust an instant:.

I ; t E:;iryWAITER'~VOICE

(ovc= SCCI .•C\

r 1

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

i

f 78 CLOSE ZHOT• S&-l r '

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

79 TRUCKTI~GSHOT- CROUP

- asthe headwaite= takes·::hecto~ eat-le.Altbou;h theyp~ss right.by thep!..:!:i.10.indthe"'J.':>man,(wbois laterto be iclentiiieda:;ILSALUl-ID;•loohsdirectly at Sam,tbe la~ter witba r.onsciousef=o~t keepshis eyesot~the 1ceyto!!r1.Ilz~sm:.lessU.g_;htly.CANERA STOPS onSa"!l.i--.£1:.c-.·s~eh.;1,::;goneoutofs=ene•Sam &tealsa lo~k in her direc~ion.

)· f I t f

l \

80 AT LASZLO'S TABU:

The headwaiter sea~sIlsa and goesOUT OF SHOT. Laszlo takes t:hechaircpp~sit~. He surveysthe roo::nwitha sweeping glance.

WAI!ER•sVOICE Yes, Monsieur.

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

sbouldut stay here.

PerhapsUgarte s in someoct1er partof tilecafa.

MAl~S VOICE (off scene) Exeucem~• but:y~u lool~li!cea couplewho a~e on theirway to

A smallblond man1 later identifiedas BEitGER,walks INTO SCENE..

l r

11iea.anreacbecinto his vestpocket, brings out aring with a lar3ea:::unr:::::arinestor,e.

t t

BERGER

r Youwill !ind a Z!l-".!~i:ettherefor I thisring~ I uo f~=cedto sell it

at a great sac~ifice.

I

LA~ZLO

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

[- B~GER

Then pcrh~f,Sfor tlielady. Th~ ri..,gisquite unique.

He boldsit down to theirview, begins to t:t1istthe stone.which is appa~ently scr~we~into th~ sec~ing.

'6S.

81 INSO.T • THER~G • ll~BERGEil'SlW\U

The stone co~esln~se in his fing~rs. In the setting10d- erneath1 ona gold p:ate, ioa faint iL:lpressionoftbe Lo:rai.I1eCro&GofGeneral DeGaulle. _,. 'LA~ZLO'SVOICE Yes, Iam ve~2 interEtt~d~

62 THE TABLE

...

What is your n~e?

Berger••• And atyour Dervic~, sir.

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

(

r' .. .to~ • i f .

Bergertckes eh~ cue. Ilesighe,tAtt:stheringaway.

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

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

Hebows and turn£ a:11ay.,C;'.1£APJ.l~S..Ashewalksaway, hebru:::hechyC;:.p•i.:air.Rcnc.:11~.whoisapproachingt:he table. He gfan.;;e:.~h1:1.rplyntB!?r6e!:'as~epas~es.Then• Re:laultcc.::imsasCAEEr..APANSBACKwit:hhimtot:het.iblc.

(cmrrINUED>

62 COi~TINUED:

t.El'~Atn..T

( Monsieu~ Laszlo is it not? '- 1

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

and wishyou a pleasant stay. It is not oftenwe·h~ve so disi:in~ui~ncda visitc~.

soft.

Yo1!areve1.-ykind.

f Won •eyou join us? I I

RE1~'1ULT

I

Ifyou 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 bestchaI!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~ingwaicc.ra.way) Itis a li::tl~gar.-,ewepl~y--they put it on my bill -- Itea~ cb~ bill up. I _t:is\ii?t'Y.c~mvenien:.

llsa laughsand glances o£fin Saw's di~ection.

...

bim --

s~?

IL~A Yes.-

RE!!AU-!..? H2 caciP.fromParicwico Ric::.

r-. ~ n.~.

Rick? vfuo she? ·

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

l t and Riel,is-• or -- t

Is wh~t?

RE?-:_~U!....1.' W~ll, H::id::=teisellc,r.c'sth~l:ind of a c:antbs~-- t·:-~ll,ifIwc:i:~ a t.:Otnl!nan,jI--

j _ (tL??ll•Ghischest)

W<?::-enc,t.e.:::nn:J--I~-:nul:.1bei..i o-,•~wir.hL1.c~;.~i.!twh'1tnf~ol I D!!I--t~ll,ingtoa b1::autiful w.,c.::n~boucll..7o~hr.~ci:...;.

Renault:stops ancllool:so!Z,then jum!·,ctohisfeet:as Sc.-ass::ire1~ter!..

Er, cxr;H!.em~. (in::::ocluci!:--~Il~.:i.JnclL:1.szl-::>) t·bd12moi~ellaIlsaLund-- i·!~~:.icu.:Laszlo a.a7I p::-c•s-::r1tl•bj<'~Hcim.·icn~;:~at:!;cr.(CONTINUED)

82 COHTn;ti"ED:(2)

StTas~er bows and&miles _pleasancly.

S~SStR How doyou do -- t:l:isisaplea -s• ·ure I havelong looked forward:o.

There is not theslightest recognitionfrom either Ilsa or Laszlo. Sttasc;crwaitsto beashed to seac....hi.clself.

LA3ZLO

I m ~~reyou'll excu~e~e ii I am notgraciccs -• b~t yousee Major Strasser,I'm a Czcchoslcv~kian--

S'r.tASZER YouwP-rea Czcchos).ovakian--now rouare a subject cf tbeG-~:.:CLL.,

i~ Reich! ~ I ' !.A.!::ZLO r I'ven~ver accept~d thatprivilege, .. 1

andnow I m on Fr~ch soil•

I ~ : ST"A5SER I~ I EhO'.:ldliketodisct:ss6::l~~mat• l ter6a.ricingf~~m y~u:-prescn~e t onFrench soil. r,-.

LASZLO

i'- r Thisie hnrdly tb~ ti~eer the plnce •• t

STIASSER

t ~ (~ardenine) ... Thenwe £~~!1 st~~e ~~~the=titlea~d t

ano~he:-pl~~e•• to;:i·.Jrr.Jwa-:t:enin thePrefect's officewith Na.de~oi~elle.

r- i I LASZLO I ' t" (to Ren.:i'..111.:) F Capeaine Renault, I amund~r y~ur ~- i-.. aur-.hor:.r-.1--ic1:y::,·.;t"ordearthat

we cot.let~yo~ office~

~-

REUA~T

r- (E'..!ninbly) ~ Let un c~y tha~ it ismy rcqu~st -• I· thutis a D'l'.J.Chn::>::eplea.sa11-:w,,rd. LA!;ZLO t Ve-=ywell• • i Renault an<!St:..·as:J~rris~,b':lwshortl!'toLaszloan;! ' deeply to Ilt.~h

Rti-fAU!.T ..

t 1".ademoicelle. (COlttTiruED)

f

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

STl:.?.SSI:R Mademoiselle.

CAl·:ERA PANSWI7Hf~ri~AULTri'N'DSTIU.SSERastheywalkaway.

l

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

Stras~erlocks et Renault sharply,but seesonly a non• com.~i~tals~iieon Rer.c~lt'sface.

CJ CLOSESnOT • LA$ZL0 S TAB!£

Laszlowatche~ ei:m: s::rasse=.:m<lRcr.ault.He~1.1--nsbac:1: to Ilsawit=ia slight swile.

LA~ZLO

.. This ti:.let~1E:y!.!fillymeanto

stop~.

ILSA

Victor, I m afr31o.foryo~.

I ~ before. havE:n•twe:

r He puts a h:md overhers. Ils= smi!csback to him, but •'-. ··

her eyes a-r.:scilltro".,;olcJ.ovtn.s:'i:'.m::·coC1esanorchestra. filnfarc.

II'• f I [ 84 FULL S!lOT -DANCEFLOOR

Samstands up fro~hit pi.::10,hold::.ng!ashc1ndsupfo-.:-sil- ence. Corina entzr£,ligt:s go off and shestar~s nuw~cr.

85 CL05E SHOT• SAK

l i Sam plays last ch~~u.sandlookf::ouarclsIlsa.off •

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

~· I

~ r I

86A MED. CLOSESHOT - Lt.SZL0S TABLE

Laszl-olooksabou-::him,..•i:happa.:entcasualness,finding bi~sel! u~~oticedin t:~eda~k..e~sotthe rooQ, herisec.

l

LA!::Z-..O

Itd.11•- don ::w:>rry.

Ilsano~e. CA.i•~!'.A~JJ.,15~-i!~HUSZl.C,ashecrossestheroom i:l .cor.:parc.tiv~d~!=~ss.

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

Corinacor.tim.1e:thernurnbe::-,Si:1maccof:?anyingheront:he piano.

Ci6~ CLOSESH~T - Sl:.i:-1

He g:!.v.::sc1tto•.zbl:dlook!r.Ilsa•sdi...·cct:!.on.

<

llsaW.!tchingS:!?!n.

'

Sbccontinu~s to wat=l:iSa:i1..

87 AT .THE BAR• :e~r~Gr::!'.

Spa~ishe:ut~rt~~ne~.Las~lo w~lkc into t:h~SHOT,casually ~akesa place .ni:i:~cb:i.rr.,~:~~toD~~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:li:::1~~-o=tor.-~~~theco~Y.t.a:.a,Laszlo takes out acig~r~cte. ~~=ger lc~~sove:-LO 8~e him a li3ht..

Bt.~Gtr. (low v~ic:e} •••Ireco~~iz~ you fromthe ~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;zictc~~tyocw~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~ueevery tilt.~••• t:1~ :iea-1c!:l!£c•~d~•cia,!'::?r3er.. I omloc~,.:i.!lgfor.am:in~y::tf:n:-:~2 ofUg.:1:-t~.Eeis to L1P.lpme.

:e.~~~crn. (sh~~e~ bJ~ hcndsiler.~lY: M,lq.:-E'\• ·•"-T_..-.~"7_~-'-1·0•••: ...,..,;,w--,•-c-C...,.,.-1.1.i&.•v-._,.avnr~~. h!!!ph::..n!'~~i.1-:.::is1.-..r1c:~rc'..'.:.;.:~si: fo~rmu-ciej:.:-12w~sa.-:-e~:e~::,~~e to~igh~•

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

BE~.GI:P. (~..,.._.,.•.:_..~.a,,1..-11;.~..............1-...-;;..C'....••e•·o"".;or)..,---· B.;twe W!10e.~:-et.,-:illireewi:·.1dor..ll

we can. ~-.-2s"?:ec.rr;al"!i~e,J.h .:::e1:-=•- unde?:'br.oumjlib·~~~vr.::l::;whc-.ceel.1:e. T~!::or=-owni3ht:~l;:?rc:.s~ITK.etirig. Ifyo·~woul·1c::i!'l!e.

n.~

l (t:owai=er)

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

l l ,

sa CONTI:ruED:

W/.~nR Ve-:ywell. l·iacl~mo~selle.

09 MI:D.CH~V:•BAR - ~£.1.G~AN:lLASZLO

Re~~u!.tco~esup. ~-

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~;!yout·m~·enthe-reP.arlier, Hor,sic:-ur!.aszlc.viehad~uitea

.. b:.!:ofel~::ite!'l!ar.tthiseveu:.i.n•

Di<ln':we,Ber~er7

Bt:'3.GER Er, ye:..E.xcucet!V;1£en:lem::m.

i

My biil.

r- 1.,

REJ-1A!JL'!'

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

Yes, r.1%.

t ; s::mlC'oks~'!!',st:rtl:?~.Ilsr.mo:icr~"1shimtocomeover. ' Sam hasit:ai:es•s~c=t:ato._bc~ltbe~ieno over.

CLOSE SHOT- AT -::.BU:

• as Samw~r2e.ls1nthe ':)izs110.0-~1bis~actisthatf1:i"m7 fear. A11dto tell r.~2tr~th, Ilsa~e~self 1s notas aelf- posse:.sodasche t.:ics~oap,-e3:-.~-:1e:-21.3sometbins

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

Hello, Sam.

r

94 CO!ITDUJED:

Sil-~ Hel!01¥~~s Ilsa. I never ex-]~Cted :o seeyo~ cgc:...n.

ILSA

It sbean a lor.gtime.

He sits do-;.'Iln::dis::-c.:~yto~la)·•

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

...

Yes,UUlIE!t'le

Sam begi~s·eo:lay ~ r::irnb~r.H~iene!."'Vo-:..,s1waitingto= anyth:.n&•Bue ,ever,co,w:,.:mitcoc.~~~~,e~_::.vesalittle StE.rt.• •

I ( S,.':.!! •.'- (e·Jadi:1~~ I 1

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

I table.

~: I n:1.

t,t')<anwillb~b~bL!Ck?

l r

SN-1

No: toni6ht no mo~~. ne n~u t corrins. H~ w~n~bo~.

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

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

ILfA Sa!:!,!'OU11s::.l-co•i~eamuchoet;:e~

~

li~.

I SM! l

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

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

IL~A· (r:-o.i:::..,.,) -•"-•.1

Sam, pla:,itonce ~or oldt!me & sal:a.

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

IT....SA

Play it,S.im. Pli:!.yA:;Tii!leGoesBy.

SAh

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

ILSA

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

bc~ins topl~y i~ v~=Y so~tly.

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

95 :E.bi'TRA!-'.Cl:TOGA?,.J!LIi'~GP.OOM•RIO:

- com~s r-w:!.:.gin5er...,-=.H~hasheardthenr..1sicandneis livid. R!CK Sa.~,lthoil~htI to!dyou neve~ ~o?lC:.!ri~1 Ee cto?S ab:--.1i:tl!',stor-s~;.,ea~;ir.i£-:l-J&i:o;smoving.

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

- at thepiano.

S7. CLOSER AI-,~-:,.r:•SP.M&r~e..t..

Sam loo!tso•Je1.'hissLo~ldt= ·!"atR::.ckandet0?5p1.ay:..r,~.

l Ilsa knowsahy e·\·~nb.~fO!.'f!shetu,:n~n.::.'Jloo:<s.Snel-:nows ... C who sh~'lls£e \-,h-:!r.s::.~C-'.li..us.5hr-t·.irnsslow1y.$hP. • ~ isn't breo:hingru~~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.;·;:barr~1.:i:,•ouc:--n::ellwhathe is ;h1'!"'akinz.H~e::a:.·-.:~mc-vix:gforw~u:::•hieeyesr~ve·::~~ 0;'1ne;~.CA!-iERAT?,_:;c:·s/ .h~:ADo::t-icr.,1~~~1::..-~3hi..:in CLOSEU''as!le...,o,,.ei,;cc::-os~":h~ca~e.

99 REVERSEANGL!:.-nu;:i~Il~GSHOT

MOVn~Gin the directionbe is ~oin3 ,st""..:aightforthe piano. Ilsa is lookin3di:-ecclyat ::.~ici:,too.Sam is plainlycerrifiedo H~pu=s his s:ool on ~O?of ~he fiano

andwheels the piano quicklyFa~a,. Ilsa cioesntnotice. She stilllock£ at Riel:.

(Acouple of :rnrERcurs.)

ienault and Laszlo are~~r,roac~ingfro~tbe bar,

Cut TO:

lOC GROUP SHOT - AT ~:J!:Z

'lenaulcmovesI!ITOs:r-:1,!E,;YithLns::lo,a!:'minarm.

~ aErJAULT I I (t'oCs-3}

t.:el!.,yo•.Jw:?.:eas1:~:ig41bo1.:tkicl-: a..,dher:?b:!i~.

10! i I ~

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

r• I

[

(~'!',iarb~=~~~~~h)

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

t

RE!=Am.:r Oh, yo...•1\·~al::c::!l~~~ctn.:.~·:,r:.sa? {noar.sucr.frome.i:.:,i~::;

I

Wel!, thetitt'c.::b..ir,;;;yo ·~lllso--

IL$A Thi~ is1·~.t...""'czlo.

L~S?.LO

t How ~oyou do. ~

RI.:~

I HO'C\ldoyoujo. '

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

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

11 I Ilsas.:1ys';Lacz.10inafr•.miy ·way•asifshe s frigh~~ned to say it :i:icye~uoul:lrnt;bers.aiyi:he.:t~l.fth,mhave soILconcel£:e. Ri~:~~;;~!:ur.csLns~lo\o:::i:nt.look.chen

\ lol')!cc.-JtIlsaand£:r.:ilcs.You~;,o.,!ldsayt:!lercissome

mo-:keryin theWe:!.!!hesu1il.cs.

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

RICI{ (lot>!--:!;tia,~Le.:him) And aLou~Vi:::orLas::locvei:ywnere.

LA~L.~..c lik>n'tyou~oinus fo= a cl::ir.~~7

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

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

r ·

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

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

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

t:i.r·:1,0 Tn~.k vr:•!.1.1.:~y. ··- tlI'.;:: w~ .al 1::..7.:.:,r.:~~·,cccr·<l.

U::F•tlTi..':' ICO"..,(.......11.""J~,.,,,4.,....o·•-,,••..----.,•10··""6,:•.•o..~•-~-ll"'~ UC~ aslrini;.P.LO~tymJ~~=l:..~:.·,~..L.c:~, in ~ u::.;•thlt~d::me.:-·.xt:::e-1~!.::.· jca.!.ouc.• (:Otf!'INUE~)

:..

101 co~rrIi ·:t.JZ!):( 1)

I"1asr,t~'.l!'.'eyouwerethesemc.

Let £see, tbe lase :imew~ ~~c•••

RICK

Itwas La nclle J\urore.•

1<.ICK Notax;ea~y or.yto fo?:"=et,w.:isiz:?

IL!:.\ t~o.

~I;::~ Ir.:?.::i£.::.7,e::eve1.--y1~ta.il--:heGe~- mansu-:;:-eg~ay,youw:~eL:.~e.

Ri::!v-\ULT Rid:y, you•~e becr;,~ir.iqui~2hu::1an. Icuppo£;::w~havt;.:o~~ankyo...iZor th:.:,r'.:llc.

i I

L-~:LO Il.:.'l,Iclo';.~•twis~t:obetoeo~ec.:,

l

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

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

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

in c~z~c~~~c~. Itwould r.~v~=do

i

fo= th= Chlcf o!Fcl~cc ,c be c~u~¼t

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

fl.li~r,::..m~~.:.:':.

LA~~LO

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

Not at all.

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

10 lCOif!L~UED: ( 2)

RI,A< (takesche:ck) Oh, it'smy ~a=ty.

Yo.El~AULT An'!)thi?rpre~~ifontbrcl~en.This hP-sbeena ri~s-:i~1tere'£;tin3eve• ning. I'llcall yoa ~ cab. (::-.heyallrite)

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

RlCl{ Iwill.

IL~t>. Th'-"re'ss;.:illnol:,.:>dy.i.nth~t-1orlci who c.r..npl.:yIA.s:;_'is:.~Go~!:.B:,'li::::

r s~. '·t

RI:E: He~a.ci'::f,l.a:,-~dit.fo~along~ime.

,,.., IL --·

LJ.SZ!.O Goodnit;ht..

RI·~ Cood:ligh=..

P.ickandL;isz:onotigoo:Jni;bt:i:O€·,.,~ho ·::ne!".L~s:-:::lo.ain~ Ilsa Eta::==toct1ecioor,1-:,•:i.:i.ulcwL::,tt1~,t..

102 CLOSE SHOT- KI~

• watches~:iemgo. The :::-c·volvl:ng,.:oo::·isf.E.,:.;.n~llr1.fr.g.

I

i

' r

6/13/42

co~e out. Renaultwalks THr.OUCHSHOTto the curb and IS HEARD to blew hit:it-l:ii51:le.LLl.szloligbt:sacigarette, speaksvery CLl.!.U.llly•••

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

nsA Ob, I reallyca~'t c~y, thoughI saw him quiteoften in Paris• ..

.... A cab is HEARD todraw up. Ilsa movesforward our OF SHOic p

Laszlo follcwsher.

RENAULT

ToroorroYatten at che Pre=ects office.

j I LASZLO II Coodnigbt. J

I

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

104 THE SIGN I, l

now dark• illumin~tedonly as th~revolving beacon

i from the airportscrikes it.

I I 105 INT. RICK'S i I. Tbe custottcrshaveall g~ne. Thebc-.i~e·lightsareout. l Rick sits at atable. 'i'b~reisa jiggerglass of

Bourbon on thetnble dire:~:lyin £r:mtof him • and another glassem~ty on th~ t~ble beiorean empty chair. Near a~ hand isa botcle fro10which thisone drink, eASctly, h~G b~enp~u.:ed. Rick ju~~sits~ staring st the drink. Hisface is entirely expressionless.

r

I • t i

6/13/42 . 60.

10s co:;rn:t'ED:

During the followinJtccne tbeheaccn continues itsgyra- tion1 PICKL,GUP fir~t 0~2 a:idthenthe o~her in its s.1eeparound theroo~. (TheEFFZCT shr.uldbe tocre.i~e a ~ood ofunreality tha: willc"ke the FL.ASfXACKaplau&• ible device.) ,_

Sam comes in. He stands hesitantlybefore Rick.

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

RICK

I •

(filling bisgla.;s) Notrig~: n~w. ·

Sam looksat Rick clo~ely,realizes Rick is in a grimmood.

()

Pauce.,

SAM

You evah goin co bed?

St.M (still tr:;L,g) Iain'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 ofb~re.

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

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

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

....

S/,M

Bncs,we 11 ta!:ctheca:-and d.:ivc allnight. Nc'll ~ctdrunk, We'll

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

SAM

c- (~tubbo=nJ.y)

No, suh. I'm stayin right bere.

Sam sitsdown at th~ piano, startsto pley softly. sud- denlyRiel~bw:-sesout:--

R!CK S3m -- if it'sn~:embe~ in Casa- blanca.,what ti:r .cisitinHew Y\Jrk? SAM My watch st~~ped. RICK (druni-::ennos~algia) l bet they're asl~epin Hew York.

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

6/13/42 62.

lC,5 CONTilW!D:(2)

( RICK (CO?ITD)

(witb suddenvehemence) Of all tbe gin jointsin all the to~s in all theworld she walks inLO mine•• I (irritablyto Snm)

Wb~t•c tba~ you replaying?

I l :

f. Sam startsto play AsTime Coe& By." F

'-.•..-..

f : 105a CLOSESHOT• RICK

He pours~ drink ass~ plays. From his expressionwe

I know that be is thinkingof the ?ast. , I r

(BONTACE,\NDFLASHBACK)

r t

t-

r

6/13/42 63.

FLASlrnACKS:

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

(STOCK SHOl)

DISSO~VE TO:

The follot.:i.:ig.ire~U?I:Rii:·r?OSrDonbacl~groundsofSTOCK SHOTS)

107 CHAMPS ELY~EES(P.!.7ERNATESCE?IBr~o.AS SHOTAlm~EDl'IED

• 109) • OlJAspr.:.::mD!.1.Y

Rick is 'drivir.gatr.lall,openc.i~s!.owly.ilongtheboule•

... vard. Clo:cb ·.:!Sidchim,vi.thLcrzirmlinl:cdinhis,sits

Ilsa.

100 EXCURSIONSBO; .L'•(ALT!:IU·!.\TESCriJENO.ASSHOTAND

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

Im orchestrai~ pl~ying F~~nchrnusic. By th~mselves,at· the railo~ tb -;bo:1t,sta.1.-lRic:~,a.-;d!lsa.Iliey:ire transrorte:Ibyth~ ni~ht• byrh~ music, .b:,eD.r:hother.

'- l

J 109 mT. RICK'f.PA::ISAPA!lTNi:l·IT•(AL'IERH:".TE~CEUENO.AS l SHOT &.CRElJlTL'.";•llOa)

Ilsa .::ttwir,do~,fix~sf!o.1<:r6.Rickopensc:h.ar.ipagne.Ilsa joins him.

i

f t

109 COi.lTI::urn:

RI::K

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

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::ith~y'.:onlvhring£·

p -.nny.••i·.:'cibe::bo~till! t.,cy'~·ei10:-tn,I0-;.1c6Z.

I ' .r

I"~SA

' t I'mw:lli~g to tc ov~rcharge1•

c:·.-me·.)n--relli:,c.

~ICK I wasju~t wond~rin~.

ltSA

RICI~ ~•i1yIw~~so luc•:~y--why I cLoul·-lf:,;.ndyout1ait:i11gforme tn c~;nc'11ong.

I!..~A \::,yt:lerci!ino<'Chei ·rn:minmylife?

Rick nodt . ,

• Ir.SA

\·!ll,th.:1t: sea.sv.T:1crewas. L•:itdca:-1. · (:01rrn:UED)

lll CCiJTlmrr:r.·

l.. r.:ac

l'm ~-,~r:rfor.:..~>.ing.Iforzot ~- sc:.:.d;:10qucstio:1.s."

Shekissc~ hi~.1.

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

·ll3)

...

Stupefied people .irest::?ringfromthe.iruindcws,intothe srr~ct be~ow. T.J.JCAiG~,\C0!-1L!:TCr:::£Tc.na1OUdSpr:ak~r ·W£60:1,ar,,unGw!'l:c-:hi5cluc;tcre:d;-_g:ccupoffrigbtcncd Fr~nch peLplc, IthtirE.:hG:?t"!J~voiceisbarl:ingcutthe tr-l6icnc,·::;o~t~i~h'.'izir~3htrn:-,'1:.:-:~P=-ric.l·.:iri!;ia,-:sarE: bE:ingto~..·be:!to~c~~-.1h(·nthecor..qucroi:smt11·chin.

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

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

RI::R (s::?ilcs) I•~c:-,th:--irbl.i-:::lictnlr:aady-• thairroll oE hon~r.

D:LSSOLVETO:

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

ll;j)- n~ r1-:E1-:mi-:rl-.:.A:::trr-~::

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

115 0?11TTED

116 Oi1!ITED

117 SAH

pl~yingat the pi.ano;"AsTic:cCocs By", blendingin with theb~ckground ~u~ic. He looks b~ppily ov~rhis shoulder.

118 MED. ~HOT- 5'~M• ~T THEPIANO

playing"As Time GoesBy." Ilsa 1s leaningon the piano. liste,.ing.Hobody elseis in the room ••everyone being in th~~reet, listeningto the loudspeaker.·Ilsa's at•

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

withthe u.1r. Ric~~,bearinga ch.:.l'!l~ugnebottleandgla6• se~,CCQeS into the scene. His m~nner iswry, but not the bitter wry.,es~we have scani:lCa6~blanca. ~

H£•says he 11m:itc-rhisgarden -wit:hchampagneb<:.ioreheir~~&~be: Ct.·~mar,sdrinkan:,·orit.• ·

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

s~·.M (lookingat:his elacs) Tl,i.s::ort.Jtai:~e~hertingout:u be.:.n'Occlt!'iad,f.~csn•tit,~-i:!.!.:te-r R.i..ck?

A shoat ic m:;.:mfrorr.thepeerl:~inthe ctre~c. Rick and Il~alook 11:c.:icr.other1<:henh~:rrytoCh..!1,1ind0Y.

:.:.,MED.SHOT..Ar ori-.NUI!Dnt~

as Rick ar:·1I.i.saccn:eint:,thesc,ne.Th~loudspeakr.ris bl~ring ir.Gc::,1.:in.

(CONTINtmD)

5/22/42 67,

119 CON:'ImJED:

(sc'ldly) I It st!:cCc:it:ir,o.TheyGllYthey cxr;etto be in P,~ri~tott::r.:·~co. Tb,~'l,?i·etc..!lingt·.shm.t.:::oac~ WhC.;nti,eyCCI!:!marchingin,,

tbey a=e silen~,deprassed.

nsA (smiling fcintly) Wi:~ th~ t.;holr=~~o::-ldcrumb!:ing we pie:,thici:imeco fallin love.

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

r ~ Oh,ye~. I was htwing abrace I pu~or,my i:eeto. tJ:1ercwereyou?

Pause. IlGalnok!;at hie tenderly. ~:.cktakes her inbis arms, kissc·sl:·'.rb~mcriiy.\~hi!etheyarL:lockedin an _ embrace thedu.!.lboom ofcannonsis HEARD. Rick and Ilsa separate.

Il~A (frightened, bu~ tr!'- in::;IJO::t::-iSbO\Jit) W!i.::th.itC(1!:lncri£ireorjust

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

n,·,tt·.'lSt;.,~ne-::;~~~rm:m75.And, jt.·ei.~;bftbcsv-1:1d,.ihoui:tl,i~"i:Y• fi· · -:!i:-..:.lcs.::w..1~~--· (arioi.:11e:r1.:~ornin~i~~A~:D, Rick smi!,:sgri:::ly)

I

Anda litrlc elo~t:reve~y:dnute;.

Hc~·e.H.=~c. Dri:,!;un.H.::11ne·.,cr

t

fL,islithe:other':!,ree..

t f I

120 l•;ED•SF.OI-Sl1H

cooing into theseen~.

S/\H

DemCc~mans ll be heremi~hty soon. nay'll co~c lookin f~r

you•••Tbc.:<:saprice on yourhead.

Ilsa react!itothi-i:;w~rricdly.

RI~'K (drily) I left~ n~~~ in my apartment. They'llknow wh~rc to findQe.

I,.

S&m shrug!:helplessly,goe:::.Ilsalooicsat Rick.

l~ , r . L !LSA [ 1

11:·sstranJc,n.icl:••Ireally

.. knows~ very lit~:~ aboutyou •

i t. RICK i,. Iimou very lit:t~2aboutyou ••

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

i. teethstr~ight~ncd.

r...SA

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

RICiC

~ ~- tlo. No. No. He mustlell'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-Ileave. I'll r~~t you~: :he E~ation1huh7

A~l right. /.'t.c,~u:11·t:erto!":'.·,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.teniMnii"adtoplarl-

RYC"K (h:ir,py,~:c-.itccl~c H,<:tho,; :;·,toflce.v- i:-.guitb·Ilsa) y,-·s:·hatistoo far ahead, Well1 1-.,t'r.sec-.t-ih.:1tabout:theengin• e;-r?WhJ'can't •:i:;marryuGontr--2 trail,·1

.. ItSA

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

Rl(;g 1,."!iynot?TheCrr,"'tainonaship I cun. It doc:snc·:::.:?ea:iuirt11,.1t--

Suddenly !ls~stnrts to ery softly.

----

r-rcx I Hey• hey, ~bat t :wrong,kid'i

lLSA

t (control~ingh~rself) I -- I love you so cuchand I hate I tlliswar to arucb. r l (&topc, looks

nt Riel;:

~ Oh, ~ick -- it'~ a crazyworld•• I r,nytbingcnn hat,r1~n••Ifyou I ~nouljn•.:g.:.:t-at;cJy•-If--iZ

£omerhing snoulj k~epus _ap~rt•• \Jherf'vertho?~'putyou--~,hcrcvcr

l:11be -• I t·1antyoutoknow eh.:it

, I --

(she can't goon -- SL1elift.$hc.:1·iace co his -- hekisses

r her gen~ly)

I~ii:sme. l~issn:e~sthough --

I

He look~int~ h~~ eyeG, thenkis~es her -- as thou~hit t:~rer.he!nstti!"'le.O"J::.rt·r1t,.'.iC~-~jtSainisiigainpl.1ying ~'As....titt.?GoetBy."

i

I

121 GI.REDELEON

\ There isD hectic, feveredexeite~er.tevident in th~faces

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

the clock. It i~ two Qi.~1u::ecbeforetrainti:::e.Rainis pcuringo,er his Lc.:idandshoulders.but he seec::isnotto nctic~. ::.;udd~.mly~.lmar,t·,earswithanenvelopeclaspedin bis h:md.

Sr-\11

...Nl'l,Mr•.r..iehard.-Icantfind

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

hotel, Bose. But thisher~ note cu~ Jus~ ofteryou l~ft.

I-

Rickgrabr.th•1letter. He fur.iblesa~he triesto open it. Theenvelope figh~s him. At ~his ~o~cnt the t=~inpulls intothe :;tatlon. The=rc>isD·hub-bubair.on:;thecrowd. FinallyRick Jets the eroelopeopep, st&1rt!sdownatthe letter.

122 n1SE:RT•THE LETTER

whic:r.re~rls:

•~.ich!lrd:

t r

I connot,_~owithyou or e•~ersee yot:.a;.:.i:.n.'iounus::not ~:-:kw~y. Just:t,:.,licvo?th.:?.tI love you. Go, ~i da:~in31 anj Cod ['lessyou.

Ilsa."

S.-\MSVOICE (fr.:int:ic<llly•

t

OVS~SCF!TI:} noss1 da~•sda !~s• call. Ross, do youbeLJ~me?

f r~mc on•i-a:.kic-.~1ard.LetI s I ff!tout ofhcl:'e.Cor..aon,

~·• r~!chard.

t

The r.iin·lropspo~l'."clot-mtheletter,sr~t.h:.:;1.ngthew:·iting. n.e rrair.gi'-·~sc.:10113,;,~our:-itult1b!.s.:le:.

l nlSSOLVLTC: f

t I

123 Sf-!::CIALf."FEC:'SSiiOT

\ Yith the ·10\Jr•gl;·,r.scl-,a:.·:~ingintothecrinl~.CAi·~P•.-\.PtrLLS

Bi,CKand ,.;Q\iZ$u~·'.toa,!..u~r:uPof~ick.Bastill.s,.ares at t~;ed:-~dt.Ii1~-r-cisn~st:,undo:Zc.rusicoc-.l•u~t£',·sil- ence. S.:..1h.::sgr.nciion:c..Tbe:circl~ofli~·h-tpclSS·.· Sover Rick's f.:.-:eendr.-.,eep~(j_U'i'Ot-'SCEUEandt,nlybyaf-.icker on bis f..::ecowefollo·,!thelightaroun:1the room.

The next ~i~r;it· p~sacs)Rick'seyesarc cauGht by :he light andhi:;he~d turn~, f')llowingit.·CA?-i:Rl.PAN~WITH the ligh:..,_.hecircle::-:-achesthedoor.Ilsa is scand- ing in tr;~dc~Tw~y. CAi•::~C.C:1AU1Sonhc:r.The cfa-cle p&ssc'.sonan~in the da::.::ics!:itishnrdcotell th,1tshe is s-~1111:here:.

124 RICK

• is starir:.-:atthedooru.....·,.I~isprobablythatatfirst r I I be thinJ..~ici.z.imc1ginai:"::.o~th~ti3~layingatrick·0n ' him. Thelight swseps o~er himagain. Hie exprcseion

h"rck·ns.

I f

12~ nsA

at thedo:n:w~yi!lthe d:1.:l~ness.

as she st1rtc£0!:"".1~~~theliihtpasscDoverher. Her faee is e.1ger:mc.iplc~~!.ni.

; r 12.j T/ .BI.E

Rickget!:half to his fr•P.tazsheenters ::cene.Thr. light SUC•:!PSby.

Hc:rm~nnC':.·i~alittleu:-1~ertain,alittie·tentative:• butuich ~ qci~t determ1~£tionbenea~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.".linthec:1.:.irbefor~thi:?emptyglass.Her eyes are ~earchin~his fnce,but there is no expres~ion on it e~c:-:pt.:iCC'lldandir.-.p.:is~ivcone.H.?sitsdown, too, and.·cachesfor hir,glassand h.:~f-gcstu1;.es"1ithit t~ward he~. ·

RIClC _,r--per..i~ll_1toni~nt.

He drain:bi~ gl~~s and, reac~ingfor the bottle,pours bicsclf~:.otl:::r1-:-inl::~Shewat:chestbisuithalool<wbich says thatsbc wiches he would~•cdrink tonishc.

RIC-~ Why did you have cocome to Casa• blanc~? lher~ r.rcotherpleces.

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

hnsn t cn~ngcd. Icnn still bee=

it •• Ricl:d'=o=,I llgo with you

euyplacc. Wt.?1~getoria tr.:.in I 1 u,gec':lerand"'ellnever step •

ri..SA Pleas~ don't. Don'tRickf (~h~wntc~cs ~£ he t~iceser:,cberdrinl<) I can und~r~cancnow you feel.

F.IC~ l~uhI Yo:!un·:kr!.::undhot-,If~el. B:'\wlongwas it·;:~h.:i~.honey':

I- I

I~~A

I 1

I did;1t count tri ·~days.

(t..l.i-:e:sc:m;:>ther1rink) 1:·~,er;·en~o:;tb(•,n.~~o::clyI::e- n:<:mbcrt!'lc-laneone.Awow 2ini~:i. I~gu::&t:mdin~rn a st.'.ltlonrlat_or:.i in tl,~r..iinuitl.aco.nicallooken his face, becau.r.~hisinside£h:i ::

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

I

6/5/42 73.

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

R~--:~. H.:.:Ji':s~t:aUC~-;,J.n::.h?

I"':.\ Idor.'tb.oc -;the>fi:1!.ci,~•c~.

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

.. r.~:;

.... It's~bou~ a girt nbohnd just cor:c i toPn~:isfr:::imhe....-~orncinOslo.i~t

t.i.·.,-=bcu:m0£~or-".:fric-ndsshe.;~ta m-~·.,al.-oucwboms::e'dbeardherwhole l~.fe- a vc:ryg:-,:.:c.:nndcourageous m:1!1.He r.r,enC'd~-r-fo)·he ·.:·~u~ol., : bc:iut::i.fu~t-mr~ac:~:..~;.1lcd~e~nd t:1-.,ug!.ts~m.:lide,-.1.;.fvc~yt:1;:;__ngihe

I e ."~rl:ncworeve:.-bccnme:~.'ls·oec.'.l\t!je I o[ !:ii;.:.Andshelco!{e~'-:f·:i::i1icand f ~nrshippe~ hirnwit~ afeeling she

supposedt1aslov ·:-- 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~1tZ;.longwi:h~besoundof a tinny I ~:·.a:1:,in~heparlo~d 1.itmst,d.::s. t J•:istc:r,Irr.etar.:.:mCtncct,1henIwas or.lyr:.kid',t:1e:·'dni..(Jay~bc,:;in.

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

(::cshe w,-.1.l:su-:.·c:y)

f I H\:h. I gu~s= n~::..t:n.3roneofour t sroric·s\.r.:1cveryh;nr.y. I- (tL~n i11l\~orr,--nthead1s)

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

I

~~~ it Latzlo • ~rw~~c th~rc o~ncrs

l 1

in br-L-wcr·r,-er,:rrentyouti1<?ki:..1d tb:itte:llE/:

127 Il.5A

te:~rsinher eyer.. Sb<?c-::=-p.zinthedoor.-.,ay,looksback at him,ti.,~n~heturr,c~r::i°\•rn:ksout.·

120 RICK

Hish~ad ;;lumpso·:crthe t~blc. Gr~d-.ic.12~•hi!.bodysass

t

over:he i:--lbic.!hegla!.ztipso,..e:.:,sp:;.~lingitscon• tent£over th,~clo~b. .r'!.DEOUT.

S/9/43 74.

FADE m:

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

Strasser is withRenault.

S'!R...\£SER I stronglysuspect thot Ugarte left theletters of Tran~itwith He:rr1:lainc.I ~ould sug~escyou search theCafe immediatelyand thoroughly.

I,

Rr'.NAutT

;.

If Rickh~s the Letters,he is much

,_- ··coos,nartcolet us find themthc:::e. ,.. ~ S~~SSrR r ~ You givehim crcllitfor coomucb

cl~ve~nesr..My :ruprcssionwas

r· I

t~13cLec just ~:1othcrblundering

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

Quiteso. But w~ must:n cunder• e:;tim.'.lteJi.ocrieil!:hlund~ring. (ir.nocc::nc:y)

r·

Iwas Yitt1them ~;h.?nthey'bl~d- I ercd into ncrliu in 1910. ·

t ~·

Stra~~cr look&a~ him.

r f,.

~TP.ASSER

f· As toLaczlc, we wane himwa~che<l ) I tt•renty•:Zo:.11:hO'l.r,:'r,ad.1y. I· '• 1· RI'NAULT

(reassuringly)

t

Itmoy interest you toknew that

~

atthis v~ry a:oc.:-r.th~isonhis

t· wny h~re.

f CUT TO: f l 130•132 GMIITF.D.

I ~ ' 133 EXT. PREf~CTU·.EOFPOLICS

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

Laszlo an(:Il:;ecd::ethi:-lrWLlYthroc2,:ith~jam.·

~ISSOLVF.TO:

I

6/()/42 75.

l34 MED.LOKG ~HOT

SH0~Tll1Gf::-ominbe~~co~=bedesk, t:O~c=~:hedoor as it isopened ry th~ 1,ie.tivco::ficer,who..:.shersinLaszlo~nc:; Ils:i..Bot11Rcnaul::zndS~1-.:ss~rIinthef.g.,rise, fac- insthe co11plP.a.st:be?~'wr.!.!<t:o:Jerdth~m.:-.enaultmoves forwa::-dtoo~£erIl!:aiiisha..~~ ....

Rn:AULT • I ciJ?Iclcli~:.tedtc~eeyoubo=h.

Laszlobows t:obotht..en,b.:t:.offer£t.osba~,ehandswi::!l neither. !ls~ b~;s toSt=~~ser as Renaul:offers her a ch.sir.

Di~ you bcvea soo~ ni~bt ~ =~st?

LA3Z!.O I ~lep::•-Veey t-~ll.

Rt?'t.\UL'!' Thtlt'~sc-2n~e. i.~co~~::.ssq_::~osa~ to slc?pw~ll in G;:s£1blanc:::..

He lai;ghs.

(br-ie:ly) ~1 we pr0~:::cdw5.·-:hth~b\!r.:'_n~ss.

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

Very wel!.~Msi~c La.!:~lo,wewill not min::euorcis.:'o;.i~;;ea.'1~scc .':>.:!d pi::::..son~rortoe.~;.!ich.Sofai:yo~ h~:;ebeen~o=-:~~ .::~ir,eludi:i.;w:.. You b.:•1ereaci1eC:1.::.esablanca--i: ic ~y dut:!'tosee~hat you c-tayin C&sabi,nc~.

54!:tASSE~<.

Net:a~ ell. Cc??:1inr.~1.1'1ul-.:s £i~natm:-eisn€c~;sa;cyo~ every e>c;,;,tvisa.

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

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

6/9/42 76.

134 coirrn~JED:(1)

RENAULT

I am afraidnot. I reg=et, H sieur.

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

s·;r..t.SSFR And Nad.:?r:oiselle?.

(prepa=esto rise) IG that £illyou:-1ishtotellus 'l

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

\.

all th2 timein che i10?"ld.Yoam.1y be.·inCas:.blancai~d2~ini=elj'••• (~add:mlyl!:!ans:ior• ward, sp~ci<sin:er.tly) Or you ~y l~ave for Lisbon coc::J~""Tow. Cj one condieior..

V:CTOR

' ! And t!iatis? ' t i.

~·L'RASSr.R

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

••

s1=>ea1d~gincen~ly)

' i You know :h~lci1:l·;roftheur.:ler-

g:-ourdi10v~m~:.1~::nrr~6'1.lP.1i11raris,

f

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

I

ir,Br:lgr:l~k.,1n·A.tbens.

't

LASZLO

I !. t -- even inBerli..~. •

~TP.AS~~ Yes, evenin ne~lir.. if you will furniab~c witn th::drna~s en:3 their exa::tuherc~bouts-• you wi.11hav~youl.·vL~a.inthe 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·-.lwill5iveu~the n.1~es'?

L·.r;:to

Ii I i.idr.tgiva.~h.::rntoyouin tLe cc:ic~r.er~cio~:cur,pwh:?=e:·o·.,. 11 1 he:!1:0.:-e~~::cua:.ivct:~thods'at _,.. yc·.1rC:ispoc~l,I~~rt,:linl;·wonI: g i ·,e~-he:L1toy01.1:inw. (=hep~~S!o~ate con- ,action ..nhis voice no~-1r~ve::lingtbecrusac:?~) An~ whet iZyou ~:-ac1~clowr.tr,~se.,"U?L, and lcillt:iem?t-:hc:.t:ifye,~rn~~dc:-ed all olus? F£om ~very co~r.e~of -Eu:cop~hu11:l~eC::so;:--thousa:--.:!s•• woulclr!i~~D to t:J:eour ~i~:~s. Even >'.c:tziGcanno'.;1~:.11that;;.::as\':.••

SITJ.S~

M siel:.~t~szlo,·youlin,,eI!re~~u=ati.on fo-.:ei.o.;u~nceuhi.=~rcannew~-!.:i~r- st.:me.B:..l;::i-co·,~-=r-z.Ep~c=yot1ar::! ci.,;t~::en.Youseaid~::eer.~.:.:.~so.: the Reicncould all be re~lAc~~. Bu::therei!ione e::cepeio:t...noor;e ..:i+-. - . • - -;-- _£,CY.ll1:.:•.:£:~~}~O,£f,!.~£1.~t:,;,1e_eve:1,.:. ai.1::6~rig.o.e:r••u:..:.orcunut~s.:01.~lci oc-:urt:o;'OUW:l::.:e)'OUwere::::a.-yir.~to £t:c:.pc.

L•;SZLO Yoil~onI tcl,.:-~t:..~C.:-t'£ereui.u, me·b,.;.e.~~u..si• ·.::~iLLH~-.:>cc-:..1,~ic•, "i-:..:.~c-.:·.l'.r:.•1v::.o'..,:.£:in,.nf1·•"·,\,;::el..ty w::.U..efl:~(:on·.....'":•::~...nli.c~n.£:.·!::..t:.

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

t.:.S2LO Thml, :,ou.

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

Ll.~ZLO

~•.:·l·•htr~:· Ihel·:.~•,,r~:ro•..lh.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.ncth~convcrs.t-:io~a trifle one-si5ed. (p~u::~) Se:-.or?~ga~t:cis(!:~ad.

Laszlomd Ils...loo:,at£~chothc:.:.

nsA Oh.

RF!lAiJLT (~ic~~iniu .,tbe pr~ercon his cicsk; I e,~n,.r:ld.:i..·.soue::-:.erer•ortno.-1-- (co:,1ir1sal:'O"',.m~the det:!<) We ha·,?-""n't~aitei:-1.ecitl~dyat wh.;th£:.·hecoii'.ldt,:cistdcideo·~

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

u.:.:.!..O

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

You r-""qu ·:tefin·.shedwi-:::,us"'

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

Coo--!c:ky.

As Ilsa an, 1~:--~::!.0lee.ve,:::~eym.ir.o.£.:ic~.::co:nesin.

··:..~ntl1ed~:>r!";asc!.osetit.\nIlsa~.cli.:.szl=>:

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

yo:\''GorrICER 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:SSOLVETO:

5/S/42

A cluttere:lA:.:::b~tteeto:baza=.:-s,~:1opsa.,clst.a:.lls..··iUl kinds .ln:3:..·ace$ofpeo:,Jlear2rdll:.!.n~3bou:tbec:erchandise native c~alc~s r.aveonou:doo~ ::lis!)l~y.-Bo~ht'!:cnand wortenarecressed in tropicalclot~es. T~e canop~esover the stGllsgiv~ th~~ so~epro:cc:io~ ~~om the scorchin~ stm. On ::iies..:rf.lce,the..2w::os;~;Ec::eisa,?rE-.ly.,..1a.-igui.d 1 bu~ teer"is tl:ec:.r1istaru-:idc!'c:ur::-er.tofillicitt=.:d~.

Tbe CIY!l.?.J..MO~l?S/.LCI:.:;tb~.:-owoZs~allstowardadisr~~- ut~blebuildi~; zt th~he~1 o! :he M~~ket. Overthe en- tt&:1ce.of.:n::,u.:.!.dir1Jisafade-:it::.:!.tr.1:B!.UEh'.P...~OTc.:·:.FE•

O~ SCENEwe h.a,=theh;•pr:o:icsounc.0£u singleflute..

Duringit! p:o:~e:t.st~1::ou;hthem~ket:~le.c:e,theCJ.hERA

... PIC:csUPthe £-,llo-:,r~, 6fr.'.!~men~a=ysc~r..es:

(A} /:-.Ac:eric;,nist~•.t;i!lgtoa~oodvendor:.

The Ar:~ric~ lool-:ralit!:le·confu~e~.nJeCAI~-.A i10V£~Oi.~to-

(B).A rug Eta!.l. Thec0::::ileri£.bolji;:.g~~-·e.smn.11r~rsim rug in an e£fo1:ttr~~ll i: ~o c1...·:::r...:;listJcouple.

E..~GLISKJOt~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:.toilsr.ctt~ensrrr...:~gledinle 6- al!y. You see,t:'les·.1:hori=iesh:ive bec:n--

Th~ C~'.l-ffir.~~1-.ro•r,St":i~c!osetoth::!BLlT2PAR:.7.OTCc".FE• 1:ear:.:1ecntu.mce•

(C) A F='erlchrc.Llnl'nds:.:.~.:i\•2areta.l:;ingL":O!}ether1r,low tones.

NA.:IVE

•••But M r.ie·..u:,w~uoulcl:1aveco ha1.dleth,.-r.-olic-;.Tha~isc:job for 8-:"·i.~o=FerrllZ.t--

Fe:·rari?

(co:r:-IN~D)

6/9/42 eo.

135 corrrnmtn:

\. .

curto:

lS6 OMITTED

..... ... • .,. comesout, lpcks i.mpat:ie!'.tlyupanddownthestreet. f.. CUTTO:

,- r

L'.TIVE

l .

Y,"'IUwillfindh:i.-'!overtheres.t: the Slue .rarroc.

r l..

T~anl:s.

f.-~~--

CtJTTO:

~ . . ~ t··'.-L,'• 139 MEO. SHOT - SENO:~FEr.!'.J..?.: ~ • He iE abo1.itcogobac!ci,r.oth<=ccifewhe:.~,Anr~inaandJan ,.. • walk up to bi:::l• ~. <•: ~-- ' . 7/8/42

r- - J.\N

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

r::uw-.I

t •\ t .J.-\1': ' l1 we=etold th:·:you might be i

{•le coll1..:lr,us

7/3/42 81.

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

Ferrari lo:,ksat thernzin.omentbeforeanswering.

co~e in.

He le~ds the m1yinto tbc Blu~ Parrot.

140 CLOSE SHOT• F2RR./:.RI

His huge f~ame is%ollinf with laughter.

rrRRAR.I Five~undrcclf-~ar.c:~foranexi~ visa•••

The ~~J. PULLSBACK to 1·cvealJanand An~ina standing like frishtenc-dc:iJildrC?nboforeF£>r-rariinhisprivate office-.•

t ' Youngman, in Cau1bla..,cafive

hundredf~ancs will buyyou a pr-..md0£su3~, li.ltnotarJe::it visa.

At~UNA

~ ButSenor Fe~Tari, th~tis all

we have l~it. Wbat canwe do?

i I i -FLAAARI

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

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

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

suJgest.

The C./J-~PA!"~Swith~,er:iastheywalk to the door.

cur TO:

I I t~ '.

7/u/42 82.

141 ll!T.BLUE?A?.:lOTC.t.:E

much less~ret~ntious th~nRICKS. The bnr iswell popu- lated,but the~e c~e onl~~ few people at thetables. Rickcomes into th~ scene,\..:ilkstot-1:i=dsFerrari.Heis wearir.gbi~usJal deadp~n.

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

As Rickco~es into t~e scene.the doo~ opensand Ferrari co~esout, ush~rir.3out;~~ anciAnnina,who look very d0t·mhec?:cted.

f

FEIUlARI I ·(p~Ct1 .ni1-...:minas -shouldC!r) There -- <lon;tbEtoo downh~arted. Perhars youcan co:ceto termswi~ Captain Renault:.

JA:: Thll!lkyouverymu-:h,Sen~.

He leads A-:1nin:i.a,.;ay.Ri -~ku.:itc:hE:~thecoupleasthey move towar~ th~ djor. TL~n be ualks inthe direction of

r · ·

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

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

Senor Ferr.:.ri.:urnsaroun·l,pleasedtoseeRick.

FE:-~RARI Good mcrni:-ig,Ric'..•

RI:-K

I f;eathebus 13 in. I 11 t.:l!ce my shi?irer:.:;withr.i~.

FE:~RARI No hurry. I shaL. havl'it sent ovc-t·.1-L:lveac:::i.;·,!,uithme.

RICI: I ncvc!'.'drinkint:hcc:orning. And everytime yo,:send my shi!'.'-

mentover, 1t s a lit=le short.

(CONTI!mD)

7/3/42 83.

143 COi-!T!t'tJEO:

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

c.1~ryingch~rr,es••~ (p~llin;~ut a chair) He~·e-•sit dct·m. There's scrte• tr.:=ngIw,mtto L:ilkoverwith you, anynvHe (Riel:sitt;d~tm- Fcrra:z:-il1nilsa w.=iter) TbiJBciurbon••• (toRick - sighing deepl::;) Thenews ab~ut u~~rtc upset~c vel:'ymuch. •·

RICI~

Yourc a f~t hyp~=rite. You don t feel.anysorrier for Ugartethan I -io.

FCTStARI (eyes RicL cl:.~ely) Of cou.:-s2notet-!~::itcos~t:.n:eis thefact cha~ Ug~=~e is d~~dand no onekn.'.lm,whel·cthoseLctt~rs oiTrnnsic at"c.

RIC: (d:!:idi:,4") Pr.1cticallynooue.

FF~J'.ARI I.fIcoul(~l.:ylllj'hanJsonthose Letters,! could m~ke ~fortune.

FFP.:'.ARI Ihave:>apropo=ition forwhoever has those Let:=1=r:-..I,~illhandle theentire tran~..=tion,getrid of the Letters, t";1kcellt.i1~risk •- fo:::&sr..allp, ·r::ent:ai:;c.

R~:CI: And the c.:inyingch.:irges.

(:mrrINUED)

i l

7/9/42 84.

143 CONTLHJED:(l) r \

•F:P.RARI (smiling) Naturnlly there'~illbe a few incicie:ita.le,-.-per.:;es--. (lookin3 ..ic Ric!-:squ~rely) That is the propczitionI have for whoev~r bas thoseLetters.

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

F:n.RA..~I

~ Rick -- I'll putQy cards on the I •

table. I ehink ·;ouknowwhere those L~c~ers ar;.

R!C~ (sbruggir..;)

~~11, Y0\!re in6ood cott?any.

\. Renault and £tra~serp~cb3bly j

thinl:so too. Ic;.unchere1:0 give thea:a cb3:,;~ctoransacl: my pl.lee.

p~.nA.~!

Rick -- don t be~ fool. TGl!ce me into your con~idence. You need a partner•·

ButRick isn't li5~eni:,~tohim. He is lookingthrough theopen doot'in to~ dir-··ctionofthelir.cnb.:izaar.

LONG SHOT• LTh"C~BAZA.l\F.•Il.SAAfl')LASZLO

havepasse:jc:1~~-cin£-z-0·1~ofthelinenhazacr. Lar.zlo lc~vr·~Il.:..:i~ac~5wal!d~ct~mardtheBLU~ PARROTC...•.:"E.

1· i

t l

Changes- CASJ.BU.!·!CA•6/13/:.2 as.

145 MED. SHOT • RICI<AlX!)SENCRFERRARI

Ferrari nods, tal:csalor.;drink. CAl·nf.TRt:CKSWITH Ri ·ck2.she:w4ll~s:--owarcithedoor,W~(='l.'.'ehemeecsLaszlo coming in. Laszlostops, addresseshim policely.

·t.t..SZLO Good r.:orning•••

Rl:g

.. . (witha jc-rkofbis

bead, no1:pausins) SenorFerra=i is th~ tatgent at the t~ble.

He continuesOUT OF SHOT. Laszlolooks after him .witha puzzled eXj"Jression.

146 MED. SHOT •A LDmN STALL

• where Il~ais exar.iinin~a napkinsetwhich an Arabvend• or is ende~voringto sell. Thereis o sign on the counter

by the dis~laywhich read~: 700francs''• From Ilsa•s manner it isappn~~nt thr.tsheis awal."eof~ick's approach and is prccenciin6tobe absorbedin tne article to escape bis notice.

Rick comes mTO SHOT.

Ilsa takesa split second tocomnose hcrs~lf. When she turns toI.ick,be:-'.'manner1spolitelyformal.-

ILSA

Itdocsn t matte~. thankyou.

Ah •• the lady ic M friendof Riel~s?

For ·friendsof Ri:l;swe have a small discount. Seven hundredfrancs1 did I say? You czinhaveit for two hund• red. (CONTDruED)

- ·

6/13/42 86.

146 CO?-!TU~TED:

Rea:hingunder the counter,he t~<CS out a signreading:

"200 francs and replaces t:beochersign.·wichit.

R:tCIC I'msnrry I was inno condition to rec~iVC?visito:::swhenyou ,... called on ~e lastnighe.

... Hereplaces thQ second signt-1ith.athirc:!whichreads: i..-

"100irancc".

l r l AR.ID t--. I h3v~ SOEC ta~lc~:oths- so:te

ncr,ki..:s--

r· n ..~

Th~··!lkyou.I'mxc=.llynot inc~r_est:C?d•

Only one ~~~enc-- pl~ctse. (hu.:-riedlyexits)

There is e.sm:.11s~lence;,0 erA1ccnIlsaa.'"ldRick.She pretenjs t:,e~!l:lin~t:1:!g 1.Jotlsontllecounter,

ll.~A (quiatly) Yes.

Rl:~: Well,you can ~el~ me now. Itm re~sonablysober.

She looks ~thim ~uiet:y.

IlS:"'.. I don'tthinl:I w~ll, tticl.. R~:.1C Whynnt? After ell, I was stuckwith onercilro~d tick~t. 1 I think 1 m enr:itlc.dcoknow. (CONTINUED)

6/13/42 87.

146 cor:TDWED:(1)

I could tellhi~. He d unde~stana•· (r,cuse,h~4eyes cloud) But th~ Rickwlioloolcedat:mewith ,.. scch hatre;d-- (sh3kcsh~r head) I'll be lcavi~gCasablaucn soon. w~'ll nev~r seeeach ocher again. We know very little,bout esc~ other whe?:iwewe..-eiulovein Peris.

If we lccve i~t~~t w.ay,maybeWC?.ll rcme~be~ thosed~ys -• not c~sa- ··blanca•• notla.:tnight -•

1 the poli~1.:••ru.mingaway allthe time? I f

• I':,SA Y.:'luc.:mb~lievei.::iatifyouW'1ntto.

(-

R!~{

i I

Wr,ll,I c-.netre:~:1inga•.:a~1anymore.

t I'm sP.ttlcdno\1--abov~ n saloon,

f 1c s tru~ --but --

(ironically)

l W~lk up~ fli6h~. I'll be e~~ec~ins I you. I. ,

Ilsashak£-sher 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. Yolls~e, Victor Laszlo

is my husband.

Rick stares at her.

f • ' ILSA I

And uns •- {rau~e) E•1enwhe1~Ii<ne~·:-youinParis.

I I

(COl-!Tll:UED)

t } i

6/13/42

146 COlITil!UED:(2)

Sbewalks away intothe c~fe towards Laszlo2nd Fcr::-.:iri. Rick stares afterher• then exits scenein the oppo£;ite

\

direction. The A~·abrushesb~ck, hisarms lo.:tded.He stopsin constern~tior.,looksfrom side~o side, anguished.

He puts hi~ burci~nonthe c~tDter, an;i,t-:i:hasadhead•

sh£1ke,put!.:a~;~yth.asigr;lOQfr3ncsand replaces ic

with the o:-iginal,7CG fl:'a~cs ".

14 7·~rr.C.'\fE•Ll.~Z:.O,ss~oaFE:RKI.RIEiiIDn.s..;

Ferra~i is belpin~Ilsa int~ a chair.

l-"'E~~I

I wasjust tellin~ i-1sieurLaszlo tb~ttnfortunately, I .2mnocabl~ to helphim.

l I r-

(to IlsG) As leader of all .•.!.lci;.ilect:ivitic.s

I :

inCa~:ibl.:n:a.I ·..1!:',aninf:uential an~ rc ·=pcc-t~d.,J:u.3Il.I::Youlcinotbe: wo~tc my lir~ to u~ anythingfor

M ~ien.:'L.:i~:!lo.·:~u,however,are a rliffcrcn~matte: ·~

LA~ZLO Sen~r F'crrnrithi11"-<Sitmi~htjusc be pos:.ibl~to ob,:.:iin.inexitvis.:i for you.

I!.I:A You mcnn - fo~ me togo 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~ha1,sina L.-;,:tle·· I wh:fle•••·. ·

(:ONTINUED)

t t l

147 corrrnmEn: 89.

I:.SA (t:oFc~ra1·i) Ue are o:\lyintcr~ztedin t:wovisc1s1 . Senor.

L/,SZLO Pleas~, Ilsa. lkCJus:n•tbe h~st:~·.

(firmly) -No,Victor.

, FI"RR.4RI

You two t-1illt-7.JIJt:todiscussthis. (getting tohis fee~) Excuse:me. Iwill be at the bar.

Hebows and goes. L-.f.Z!.O No, Ilsa, I uonatlP.Cyou stay here. You must:get tor-1!~rica.Anclbelieve me - so~chow -- I'llget ca~• I'll join you•••

ll.5A (interrupting)

l But, \"icco!:--itthe situation were

differcnc • if Ihatlto stny and tbt~re:-,~reonlyavisa for you •

i·

wo-.tl.dyoutake.it?

Laszlo hesitates. Ll:.5ZLO (notvery cunvincingly) Ye•es, It~uuld.

llsa cmile~ fuintl,.

' t n·"i.'\

Yer..I sec. Uh~l'"!lhnJtrouble g~t-

ti1·,soutofLille::,ghy di<lnt you

~

lcnve met!lerc? .-.:.d~henIwas si.ck

t in Mar:-;eillcsandh~ldyou ·.ipfor i

two wc~'.ksandyo\.:nc.rC'incianr.;crevery mi:-1ut:e-oft.tietitr':-t-1hydidr:ltyo:i ler:"e."JOthen:'

LA•.:r.o (withc wr:;zr..ile) I mC?ar.to,butso:.;c~~hingalwaysh~ld me up.

i (CONTIi~UEO) f l-

9C.

14 7CO!:T:Caim:(l)

L\SZLO (CO~:ID~ (reachesov~r, puts his hand over beys) I loveyou vexy cuch_ Ilsa.

1!4~ ~D. SHOT - FERRAaI- J..TEAR

talking to th~ba~tcnder.

FER.11.ARI

I · Not~ore ~han fi~ty francs though. r

·nsa and Laszlocoo~ int=> thescene.

I,

inJ !o~tuo ext:?:'~visas.Th,ml:

Ir , youv~ry much.

(~ Fi::rn.ARI

(tis aw1ncr indicat• ins it i5 hop~less) · w~ll-- go~':iluck. But be careful-- (e flick nf his eyes in . thedirectionof t~,~'t--a~a.:;.~)

I ~ 1

Youknow you rc Lein~ shadowed?

L.:\SZLO (not turn.;_ng) Ofcour!.::,.I::b•.-"(;O~~s-aninstinct.

I

arc£ vc.ryfort-:.i~icteman•••~isieur

I amprou:tto ma~-:eonemore suggcB-

tion•• Wiy 1·Id:,nc~ know. Because

'I·I itcnnno= ?'Jssib:·~•profitme,bu~•••

hi"ve~l"0'..1hearda~-.,u~;SenorU~art:~ an;!ti1cLc~ '.::er:;o-=:'a",:msit?

L:..~ZLO Y(s1.r.omc-•:r:,ing.

•. (CONTINUED)

Sl.

140 CONTINUED:

FERilARI Those letterswi=r•!notfound on

\ Ugil.l"tawhentheyarrestedhi.I:i.

L".SZLO

(after au.o~ent spause) Do you kn~w whereth~y arc?

FE:1RARI Not for sure,M' si~~. But I will ventu::"aagu~ss-- that Ugarte left those Lett~rswith M:sieur Rick.

-Ilsa'sface darkens. Las~lo quietly observes.

U..SZLO

- ~

Rick?

6/13/42

FERiu;RI He is a difficultc:1stocer,that Rick. Onencve?rkrJ0{·1Swhatb~ will d~, oruhy. But it i3.w0rtb a chance.

l _- LJGZLO

r' Tb~k youvery much. Good day.

I

ll.::.A

•t Goodbye. thankyo~ for your coffee, I I Senor -

(bravely) I ch~ll missthat ~-1benwelenvc Cs.s&bl.anca.

FERru\RI

l You wc:-egraciousto share itt-1it:!l \ me. Gooaday, Ma<l~m~isclle••• r 1

M sieu=.

LA~ZLO Good dc:y.

Ferrari walks to~•nir:itl,cc:1tranccoIhiscafe.CAMERA TRUCI:switliIl!::aa..1clLasz:..oastheystartdo'i...mthem.:irlc:et- place. He watchesIlsa out of th~ cornerof his eye as they £0 al,-:-ng.

f DISSOLVE TO:

I i

SCEi~S 149-150-151Oi•:ITTE!.>•

'

Tbe D~rkEuropean.is enteringthe cafe1 his armaround a prosperous~al~ tow:is:.

I

153 lNT.RICK S CAf"E- SAM Al\1>CCRINA

Samis playing and Corin~is singing. The touristand tbeEurope~n enter.

154 MED.SHOT - BAR • DARl(Etr.tCPEANM"DTOURIST

Df~K FOREIGNER Here's to yous sir.

DA!'J<FOkEIG!-n:;P.

L

I'd betterbe go1~g~

l . TCtm.15T

[r, my ch~ck 1ple:asc.

l' D.l\RY.FOREIGNER l

I have tow;arnyo•.:.,sir.I be•·

t.

s_e~cbyou --

TCtr.:.:!ST Yenb --

r-

Dh.."!~FOREIGNER

I

This i:.;ad3ng~ro~1splacefull

I' of vultures. Vul:;-.resevery.-1hereI t I ~ TOURIST ~ Yeah -- I _,• r· / ' DARK FOREIGNER t Th~nksfor everyt~i~g. t I

TO!JR!ST

I

Er,goodbye, sir,

I (laughing) I

n1.::RFOREIG!lEn Itha£ be~n a rl:~~urc to mec= you. Ob, I'm sor~y•

••

r

155 z.=D.S"n~T- n:r.r..IC:'SCArt

Sam and Corinafinish.theirnumbers. Strasser and his

•·

crowd entercafe, pass Carl andRick and exit to bar. Camera stopsat Rick's table,where Carl joins him, bringing hima brandy bottle andglass.

Carl exits,and Rick pours himselfa drink.

156 MED• SHOT• TABLE • RICI<.M'l)RENAULT

RENAULT

Well, Ricky. I m verypleased with you. Now you'rebeginning eo live lilcea Frenchman.

I struct!ve. Youk~ow hcm that ~ ii!lpressesGermans- l I. (pour3 bims~lf

a drink) Rick• have you2ot those L~t~ers of Tra:i&it?

Rick looks at him a momen=~

' Luis -- areyo~ Pro-Vichy or

Free Frend::.?

RENAULT (promptly)

Serves me rightfor asking a direct question. Thesu~ject is closed.

Rl·:X Well, it lookslike you're a little late.

~ RENAULT

Huh?

t I I l •

157 MED. SHOT - RICKA11!DREi~AULT

Rick is gazing arYvonne ~nd a G~rmanofficer approaching the ba:-. RIC:C I c~e Yvonneh~s gon2 over to tb~ en~:rr/o

RENA!T!..':' Who kn~•~s?In he:-o;m uov ,;he may c~n3tir.utec~encire ~ccond fro:1t-- (ou~of the corn~r of his eye be ~~es ·~nin~ apprc~~hing • be gP.tsv:,) I ..tbinkit:tstioef ::,rt:.1~to f!a~~~rM~j~~ :~~~~:~r a little.

.. Seeyou lat~=. Ric!~.

(::-e6t:roll:::cmay)

158 ?-!ED.SEOT•AT ~ ..YVC!~::!:A'::DOFF::;::~

G~~~ CITI:ER (R.r:roger.1=:7, Fren c:hsev.'.l~=y-f!:·.:·~s.

Y-J{.T,f;~ (snr-i~-:•f~at:.:~:~"11:alre:id7) I Pt!:upc.1~·~1-:lP-%:rncfP.ci,Sa --:tia. (indi. enticr.·c-:i::h":! t,~ \~.:t'.:lh~=ba'."'id) - startingb~r~ .rnj~ding bere.

~C'I.H..-\llCITI:ER (cu~t:ing:'.11) We ~.:illbegi.:iu1.tht1:~o.

In the b·ackr-rcu:idc.:-ieoft:ieFrP.nc},c-fficP.rsciakesare• mark whic~-:.ou.:.~:;:.u-:.:gh~erfr~.!'.:lii:.=cr=up.Wedonot

I c~.:cbt.:,eW("-rdc:-b1:t'.:!i~r~:n.11_rkisV':-.ZYevid2ntlyc11:-ccted

at.the r.11=rn..1.no{:ficm:a.'"ld1.;i;;F,:-e1.;c~c~HrpA"'lion.TheCer-

t I mzinoffice:-tu!':1::t~wi!?.r-it·~2grot1p1h~.:;i~c:a!verycad.A r French officarstep:.c~t f.::0::1tbegrou~J• I ( FRE::c3OFFICER

(in F-r.~n~~•to Yv~~~~)

i Ss.y•yo·1 1Y:i".l-~r~::~::F!'e·.:i~h~o

go "1iC~4aG1.!rt::1~~l-kct:bi::;.

(C'JNTL'~UED)

l r

158 CONTll-~UED:

YVONNE

, (inFrench)

What are youbutting in for?

FRENCH OFFr.czr~ (inFrench) I am bettingin --

YVGKl~ (breakingin, in French) It's none0£ your business!

... (inE:iglish)

What didyou sayl Would you kindly repeatit!

FRENCH OFF!CER What I saidis none of yourbusiness!

GER?-14\NOFFICER I Yillmake it my businessf

I

you, &top!

f·

The German officerraises his fistand the French officer·

I ~

prepares to defendhimself. Thereare exclamations from

t

the people nearby. Rick walks intothe SHOT between the

t. a:women, addressesthe German. • t I t RICK I I don'elike di~tu::-bancesinmy ; : pl3ce. Either lay off politics or geto:.it. l FRENCH OFFICER t ( inF,~encb)

DirtyB~che3 Som~day we'llhave

' ourre·.rengeI

Renault, Strac~erand the c~hcr Germanofficers have s~ttleJback in their chairs.

(CONTlliUED)

r l

1ss co:~rn,:zn:

snASS:C:R

, ••• Yousee!Captain. the situation

-ic nee asmuch u~~er co~tr~1 ·a~you be).ieve. _,. RENAULT Hy d~~=M?jor, ~e are tryi~g toco~ op1;rs!:e._.~i!:hy:>,!'!'g.:,v~r.uc-.e~c.Eu.: \.lec.t:r-1~ntregula;:.cth~f~elingsof ou~ pccplc.

SRt..S~~ (eyesbll!cl~s~ly) ..Cap.t.ii:lRi::1~,:.1.1~!~r~you.?nt:irely ce=tei.nt•1h:i.~!1c1.,~~you 'reon?

Rr::~AUT....T Frankl7, !h.:ive..ioC':l!nricf:ion,if ci1.:.ti:'lw::.it:y~.1n:au..Ibl:rw,:-!iCh tbewi.:id,;1"::10tllcrn:·~-\·a:.li:lgwind is blo~ru1gfror.J":.'i~~..

SmASr~ And if:!.ts!l~aldc!~~ 6 ~?

RtSAtr4..T (r.;-.rl.leG) S-..1relyth~n~i~hco2snot ad!ni~· th-ntp03Sibili::y?

S':2.~~SER We aree ,~~e=n:?dc:.::iOl..tmore~~,m:i CaRabl~~~, We kr::i,-,:hatcv~ry Fr:mchpr:>~1!.n~c~:1Africui!ih·:mey- cor~bedwit.ttrai~~rsjustwnit.i11g ::h::drcbn"1~e--m,:i~;ing,pe.cbaps,for a lc,der..

RENAtrt.T c~C4StJtJ.lly:ashe ,'"c,,·..,.,.-aC 1ronre-....e) - ~L:.:...i-=>-c.:-'-'- A lea.:3erl:.'~it'!c••I:..:.zl::;?

S'!.~.ASSER (!'li:ds) Um.11,h·.tl:::,Iha•,11:beenthinking.It: i~:~o d.:nr,.!'~c-.::::!.f:11el~tti..ngc., Itmay be t:-:•oda::3~:.-v\.1sift·l..:let hi:nstay.

RI:XA!JI...'!:' (tho•.l~:\tf:•lly) Isee wha: you m~=ri.~.

t..

f l

160 1-::D.SHOT-TH=:U:t:Cl--ITI.GS-ATIABLE

They area middle-aged cou?le. Carl comes int·othe scene with brandy.

( inGermar,) ,.. Ibrought you the finestbra~dy. Only the empl~yeesdrink it here.

~. LEUCH!'AG (in German) Th-:nkyou, Carl.

C/3~ (in German) ·ForMrs. L~c~hta&•

Mr.•lEUCHl'AG (in German) A thousand than~~~ Carl, sit down. (in Englit:h) Have a brandyi.-icbu.;.

~S. !.EUCHTAG (in Engl!~h,be3!Iling uitt.b~::-1,iness) To cel~br.~ten'1%'laavingfor A.rJcricato~orrow.

(pouring) Thank 7ou verymu~!l. I thougt,t you wculd e.sk~, so I broa.1gh~ the good b~andy3r.dthe glaos.

MP.S~LEUCirrAG At last the day-h.:..scome.

i nc;::hi:iib;.!tE:1glisbno.-1. i r ( 1-'e.~-LEUCHIAI: r So ve shouldfee1 a~ home ven ve

get:to America.

t I

CJ;:tL

l (hr.n~ .i:13t!.e!Jlthedrirl:s)

A very wise i<l~~.

~-, LEUCHTAG (r~isingLi~ glass) To America.

I •

Mrs. Leuchtag andCerl r~peat To America'. ThP.yclick glasses ancidrink. (CONTINUED)

l t t

9S.

160 cor-:tn·mro:

?£. LEUCHikG sw~etness heart-··~b.:itwatch?

MnS. LE:UCIITAG (glancing"~ b.?r urii::;t:w2.r:ch) Te, "'~tc:h~

Mn~ U:UCIITAG {sc~pric~,._:) Su:b ·mud,'!

CAttL Er, you will get~lens beau~ifully in Ac~~ic~. huh. -

i~ r .- 160A CAZHIT"!t'sBO~THTI'·!THEa.;..:.mr..nmROOM t (AL'IErn:.ttSCGEl!J..J.Sf~!.JT;J!!)CtEDITED-154b) t

,· Annin.:iisP.mptyingherbr..3ofbills, which shelays 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~rchips,t:~(~sbth~bills.The

~ CA1·~..-i11,:,t:..~:iHI·-~~A.1nin·:.:z.st:Jecro::.;::cstothernul,1tt:e l table~ ub~-·-·e..1.::rn~sb~tad::.·.:,r;ov~=tne£:ffin.i:.~gt-!hr-cl.An-

nina ,-.-at;::l,..!£bre~;.~.lcsd.-~y~•~rhissb:,u::i~z.T~cwh..!el

,.

stops.. 'i'l1:~Crou:,i..?rt~~c:·.;;inth~chi:)::;.Janwl.pcsi:is forchr·nd.

~-

r .

I AJ:::IUA \" ( ,ll·.....4.11lt-L~•·ngl...·r,~•-•-h,.L ..':..,.',ip"'',.>.I....1: f T!..:s::.:ln{lm~h··.,~·1J.:i.u.Do you k th._rJ.c·.,e~-tioulJ?

~ .!Ml

(b:.t:terly)

~- WP.mir!:1:~.:t-1ellt'::!-.;,enothingas

t.~·oh,.ndrc..Jfra!.lC~-

H~ begins t~ ~~a~terthe ~hips recklesslyover the beard.

I Annin:!loo!:s;;.:bimfo~~ :nom~n~~coc:csto~ silent:,:c- ~

solvc ,.1ndwi?.:i.1~st-:>:1.::rdt~:C'.h.:i11wu.y.

--

16GB HALLW!-Y I

Annin~ ccm~s fromaamblir: 0room 1meetsRen.:tult. Rf:;,\ULT

f

How's ladyluck u~eati..'lgyou?Aw, ton b:i·i.You111find h1.rnoverthere.

r

161 MED. SH;)T•M'i'1Il-Ui

She stops,looks in Rick's direction,steels herselfto appr~-=.chh.i.m.Ih~u~hermind!!!ad~ur-,shecakesher way to bistable, CAf,;:pJ4TRUCKINGwithher. .

'

AN"NINA Cocl.dI speak toyou• just for a tlOme?nt?

Rick l~oks at he:.

6/5/42 A!~~A I cam~ withC.ipt:c.innena,i!::.

RlCK (cynie~l!y~

( I sho•1ldb::s.velm.):m.,

Ar:':rnJ. My·husbancli~uit~ m2, too.

r

RICr: He is? (lc,;:,k:;t>'T('~t:cwhere Rcj~~l~ ij seated) Ca~tainR~n~ul~ is getting broad mi.:'lded.. (t~ A:mina) Sit d::i~m.Willycu h-:1.veadrink?

Thank y.:JJ;..

nrc-r-: Ofc~urse not -- uo youmind if Icbu.?

·AlEENA No••

I (ncrvou~~y as Rick r po,.:rshim~~:£a drink)

M 1:;iec:.:-Rick--~~J.l~sortofman is Captain Rer.aul~1

;

(COOTINUED)

f l L___

lO~.

161 cm,:-rn~t'ED:

RICI{ (s .."'rugging,.\ Oh, be'sjn:;tlil<~any otberman••• (pi..'.1S~) Only c::>re~o. r - AN,·:mA I t:es.n is he t:.·i;s~orthy?-- Is hisworcl....?

P~I·~ Not,:-,j,;st~minur:::.t-Jl.10toldyou to askme that:~

MmmA He did. Captain ~ena~lt did •

...

(wrily) At therjulette t~ble - tryingto winencu[;bfor ou~ exitvisns.

(-, Of coursehe is !0sing.

Rick looks ather closely,

RI '.::~ H~(,·lo:-.s~-eyou=~~rried?

' AN.·'It{A

(Si'.!7lj•) Eir.:1tt·.·'2cl:~. (Ri.~knods; We ~or:-.:·fl :-~mB·..?lg :7-ia.Tbingf:.arc

h:i:·t~•'p\'.'.:-,plebythet:hro~~.So Ja:-:.a!',·:I,,-1e.,.w..Jonotc:mtour cb1.lch ::·nt:1g~~~,.1r,in&uc-bacountry.

R!, - " (wc~ril:;) So·:ccJec:idato ,-.~toAmcric:.:i.

At-r:Il-tA Yer. P.utue do n :·:havem:ic!l:non<:>y,

I anc ci:nvelis ~=>.'iffic-~l-canae~-

I per.~ivc-1Msieur. It::co~-~rr.ucl1J1c;;.-e ~ th~-1WC?thot.1gh ::tc·get:be::-e.Tbc11

Capr..ai:-.Rcm~cll:s, -csusandbeisso kir1.:l.Heuancs tcihelp.

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.itvisu forus. But••• · (sr;~inslLhccit=tc!;) _.. B..::::,-,e:b.i -,2nor.-,-~-,-;cy~

n ~.-·:i., De-~s~e l:rnmth.J~·,

Oh, yes.

Yes 1M sicur.

Rick looks dotm atbis d=in!cfor a mo.:ien~.

R::~ And you uuntto l..now....?

l.li:HNA Will he keephis w~rd. M'sieur?

R!O~ (stilllo~king at his

'l d,:ink)

H~ alwayshac.

~ 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-:·.verlyo:.i,.,•,.-u~ryr,mch,sothat

I. your b.3.pp-tnessw~~t:heonl~tthing l. L, thrwv·:ldth:i-:shewanted and:-~. I sh~ dida barit::h-~~gtomai~er.ertil.in

of it: co..i::..dy:>:.,£orgi·.1cher?

R ~er: Nobody everlove-Ime that r.r.1c!l.

t ~

t t r

162 CONTilHJED:

A!-~NlllA

\. But, M's;_e~, ifhe never lmaw.•.

if the girl k~ptc!iisbr:.debing lo~ked in · herhenrt~~~tba:would be all righ~,uo~ldn't it?

RICh (h~rshly) You want myadvice?

ANlUNA Ob yes1 please.

,...

ANNINA · If you kr.ewwha:it means to us to be ableto le~va Europe -- to get to Ar:ierica••• (p.:it.1se) But if ..Tailsbm:ldfi:id01Jt:_..He is E'Ucba boy. 'b m~ny nays! am so much -- c~much oloF-rtba!lbe is•

..

RICK

r (gct:ingup - non•

coci.!Ditt:aJ.ly) _ Yes, w~ll- everyo~e in Casablanca ha.ea prcblE:m·•y-.,ursmayworkout. You'll excusemeo

163 Cl.OSESHOT - ANNINA

She locks do~m atthe tablecl~th, h3r lipsare trembling.

AllUNA (t:o.ieles::ly)

Thank you-- M ~ieur.

She remains seated.

Rick come~ fr~mkl~::naa:ndcrosse~ to desk.

\ I f

f lI L

164 ?✓.ED.Si10T- _RICK

dead-p~n. osusual. w~lking amor.gtbetables. He stops she;~~ash~ sees someone ~ncering.

\

165 HED. ~:mt- AT REVOLVIlxGDOOR- ILSA Aim LAZLO....

bave justco~e in. Rick ~o~esup to them.

-~

R!~ I take th~t as aereat ccmpliment to Sai:il. (to Ilsa) suppose ~o you S.mnm~ru1sPa~i~ of -- well ••ha~~ier d~~·s.

L:.A (qui.etly) He doe:-!i.Conldw:-havea table clcGe co bim?

LA'.~ZLO (who hasbeen lookL.,ga•~·ound) Ancias fa1:f~c.mc.~ptainSt::ras£er as possibl~.

RI:!C Well, the geog-~ep:,ymightbea li~tl~ dli[icult:c~arrange -- (snapshi£ fingers fo~ th~h.::ad,,~iter) Paull T~blethir:yl

166 CLOSE SHOT -.II.SA

as Rick cor.ferswitht:beheadwaite:.:-shelooksat: Rick intently.

l

t f

167 FULL SHOT - RIC!~,ILSA,LnSZLC i.!:DTli:i:HSADt:A.l!ER

\.

yo;..plea~!!--

n5A (sci!lins)

I ; Thnnkytr.1.

~ She foll~,1cLcl~zlntothe:.rtabl:a..Ric!:,CAMERAF0LL0Wil~G, -~ ·walks co S.:m,bendsover, whisperssomething co him. r , LASZLO , Twocognacs, plea~a.

Sam shakeshis heo~, but st~rtsto play "As Time GoesBy."

Rick looksin ns~ 15 dire~tio~,b,i~~h~ seerasto be paying no par-:icularat:t:~ntii::o."'Ricks.rnz~t:erstoJ1.-:irdsthegctmbl-

' ~ .

·ing room..Annina, in b.g,1 risesa:idfollous him.

c~ r - 16B IN'l'.GAf1F.!.HlGE.00N I t Rick ent:ercandap~roacheJ croupie~. I t

169 MED. ~{OT- AT R~UT..EI"iST.~.BLE

(ALTER.-1.\IESCE::-!£NO,ASS!iO':LANDCRZDITED-15 7)

J'ln'eeyesere tta,;i.:.,Hl.°'b.-tsonlythreec:hi~sleft.He se~msbcwiJ.de::-,~cl.~A~r~ici-:comczint::.thescene,che cro~picri~ s~7ing to J.:lil:

CRO~PlF.R D~ you ~i~h to pl~=canotbcr bet,

1'1sl.ecr?

JA:1 No, no. I su~!;Cr:~::~ (ht!jt!gf;lc.:t:he reQ~ini~g c~ipcin hie h.:.uci.£-...--:-~rly)

(cmrrINUED)

169 co;:rn~L'ED:

Rickt.mlksinco scene, st -Jndsoppos::teJan.

\. RI~

(t~ Jan;~:~d-pan) Ha·.-c7cui·ried2.2tonight? I ,....,.,1122·· g&.l...'-6J•

Jan lr-cks,•.ti1.icl:,thenL.=~het:.-1,jcbipsinhishand. Pat,sc,He pu::~ti-ct-:,o:,lipsontucn;:y-two.

17C SHOT -ItICi:Al::)CT-OUPIER

(ALTEJ~NATEsc::-rc:r~c.ASfA~TANDcnED!TI:D-162)

They e~ch,imgelo~ks. Crc:1picrunders!:andswbatRick WtliltS b~ to do. He;spinstbe -.-1hccl,

,

'

171 CLOSE SHOT - ~our-IER

(A:.ri::t,NAU:s~::-m1:J•.ASf~i:TANDCT..E~ITED-158-163)

' ' • looki:'\gatRick.

't

I f r in the-ba~l:grour.d,lo:lkir;attheubccl,:.:ascinated. ..

erJU?TI:R•svcI:E

I

No mor~bC'~S. E•.2n.:t:\~pnss.

, .

173 FU!..Y..!.?:OT-I'.';:tJ:1"7::L

(A:.'i'E~~NAl'ESC:~:~i-J,).AS~:t:>':'/',NDCT.EDITED-165)

It scops r,·lin;.i.ng;o

erJUPrr.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.::pushesapile of chipson·::othenumber. Jan

\ reaches for it.

Ja~ hesitat:=s,.,Anr.inalo{·,ksctRic!:.

Jan wit:hdra:1shishan~s. In 1:heb".Lcl:grourid,Carldraws a littl:?cl,,ser.P.icl..:spi.1sthewhoel.1'!.:lbodyspeaks while it spins. It stops.

CP.OUf-IER Nuc::bert:wenty-t:wo.

:~

In the bnck~roundCarl 3a~~s~ The croupier shoves.apile of chips to~1a~d::;J.:n.

RIC!, (to Jan)

Cash i~ in a!lddon tcome b-1.c~~.

In theb.nck;;ro·,mdth~las!:twocu&~.):ilers~reseenwalking. out. One o~ tham :.scompl.JiningtoCa~l.

CUfTO~Er. Sayj you su=e thicplace is bo~est?

CAr:. (ferve:itly: Honest! As hon~~~as the day is long!

I

174 CLOSETWO !'.inCT-J,\NA.IOt:~L1.\-ATC/.SH~R S DESK

cur To:

175 CLOCEn:o snoT - RICI:Al-:0~01.Jl'I!:P.

Rit~ (to croupi,c) How We:!Joi.ngto!'J.[·.ic?

CRCTfitr. (drily} Well• .'.lC\Janlc~ftho...:~an~less tha~~I choc,;ht:the:tr:::..ilube-.•

~ick sr.ilessU ,~btlyande :i.tstowa:dsba.:-.

( ...

107 •

Ric~ enters fr~~g~~bling ro~c. Ca~l co~esup to Rick as _cbey W.J.lkr:ow~rdothebar. kmina iollowcthem, co::n~sco Riel<and kisseshi.!':l.

A?t~!NA MG!'.Rid~-• I

R!:"z< H~•s justa lu:ky guy.

CA7:.L (soli::it~u:.ty) 11~~,Ige~=,-~u~c1•pof cl!)ffee,

1-i:-:ieurRi.~l;:?

RI:~ No) t.L:-.nk~~c~·l.

177 HEI'•f.iIOT•·REi·~ULT,AN~l!iAAt:DJi~1

in a c.1rn2-:-n::!-<i::_th~b.ar1Ja:1is;;·-:cosingt!'lebillsupon him.

JI,,~ CaptainRenault, •a.:::.yI••

RE'•.U~U:.T Ob 1notye-::~·ple~:;~.C.Jmc:to I rrf'loff-~~einth2;u~i-ning.Uell d:,ev -:::ryd.l!lgb~::1.ness-likcc

JC~ We'll be there ~t six.

-RF··~ULT I'ilbe there at ::-e~. (c~iling b~~Rclly, 1:-~l'ci.,~i:.:~ereJ.y) Hr.r:;b~~)PY:Z.&ufc,~:bat.~ofY,:)t!. S~~ll-• l~'s very G~r~ngeth~t you wo:1-- (:,e:l~o!-:s-;.ff)

173 MED. SHOT- RICK

at the bar.

'

179 FULL SHOT• RE'K'AUL:',AI·1NIi~AAND JAN

REHA!JLT · (s~eing RL!k) Well, ·perhopsnot so strsnge.

I lls~e you in the mor:iing.

AN:'~INA

, Thank you so much~ CaptainRerui.ult. i-

She andJan, bee.rt!r.g~'1thh~ppin~es,goofZ. tenault looks ~ft:erher,rc~etiully. Then ilcwalks towardRick.

,.

I Cbrlwhis;>crsin Socha s l'&r.Sa-:~a _says,''no."Sacha i:unstoRic~;.

RI :;K Go aw~!?,you craz: -·3.usGianI

r

Renaultcoc~s froir.ge~lingroom and e>:itstobar.

l~·~ .ED•SHOT - RI::.Y.

I Pretendingnot to d~ ::o,lieisglancing in Ilsa sdirec• tion. RcnE.ultcocr.~suptc,him.

RC:'.AtI'....T As I c.uspect:ed,y·•.l1rearank sen~i.ncntalisc.

t.

Yeuh? Why?

f

(:OI~TINL'ED)

l

r l

10~.

l~ObCOI\"T:nruED: (

RCI-:Atn.? (chidingly) Whydo you incerferewith my littlerom~ces?

Rir.K Putit d~~ as a tcstureto love.

REl'!AULT (good-naturedly) Iforgive you this ti.T.c.But,I will be in ~o=or::-.::wnightwi.t.ha breath-ccl:~6 brJ~ct~e. IC will 03lc-:?i:r:s:v~ryh~ppyifshelo.sen. Uh nu:-1

He smiles,walks into the gamblingroo:n.

181 O?-ll'!TED

·r - 182 LASZLO

approQ:.:hini:;Ric!<.

LA~·n.o M'h.e~::Bl:-.ineJm·}!::alkl:o.~;cu?

RI:~: Go ..1head.

'i

LA!"Zl-0 Wel1, iS!1::.::~he:.:-e!i~imcotherrlacc? l1li.1i~rntl1a'!9cor~fid~ntiol•• wh.::.:I~1Za.vet:osa)".

r-.:c:~ (no·h:ii.ngt::·;1 .,:r.cisic) c~~c up to my or.fl.~~.

As theysc~-e cp -

I

is seateds: his dcak•

t

(CONT!!WED)

i L ;- I

163 COI''TIN:JED:

R!CIC

Th~re s nous~ ou:-fencing around. You've co:n~abouttr.oscLettersof

·Transit, havent y!lu?

RI~ It seemst~ b~ tb~ gen~rnl iztpres• sion inCaGablan:: t.b~tI have those Lett:~s.

••... ve=l'ti~ea,Jily) i Haveyou? f,••..

I

I don•twru.1ttod;··anyt,hingtc eitherb~l3tcr or di£pcl Chat

b imI=ression. ' '...

Pause.

L/'.:,ZLO Sur•poscweprncccJ under chc.as- su:..-ptionthaty~~_havetheLc~ters-

RI~ {shruggi:ug) Coahc~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-~hatIb;;ive:>ec:.,duir.;~You

t kn~.iwI1is.•:itmea!.:;t:~thew~~k--

to tb:!liv-.2s_,..·c.:thc,us~-,::i.z~cl th~..-usm~dcc£pc..-,I-~ctbatIbefree t,::ireu~h-h.i!le1:ica.1.!",cie:cntinuemy York.

P.7~ I'~n~~ inte=estci inpolitics. T!lr:p:·c-bl.::r::isoft.icworlcia::enot in my d~p~r~ent. I'ma sal~on keeper.

lll.

183 COi~tn::utD:(1)

"'l•.- ,

,!•'- ' • ....:.

L/. :::::-0 If,,':'t:·.,..~.::·.:~nr.e:::::-.i: h<J,.,:..-::.·.,.;;d.:.>c1::onrti2 ur. ··-.~r-:::og·:

Ric.:kthink:·.a!,rOme-:-.t..

RI:."K (~i:;es) Yes. I fc1.:njtba:avery e::iq:.e:\:isive hobby, too. But ~henI never was mucb of a busines;.man•

...

I

LA~Zl.O

( I'11 re.:tsemyoff.~rtotwo hundred .._

thousand•

Rl:K My friend, 7ou c2'."'\malteitamillion francs -• o~ tbrc.2...myanSt-1c.:- would be the same.

There mus: be SCI:' .~reasonwhyyou

WOD t let rnch~v£them.

From the cnfe ~-1eH£ARTHEsomm of male voicesraised in

r

song. Riel..gu!:sl".{>•

'

Rlr:K Th~re is. I sugr~stchat you ask

t your wife..

Laszlo lool:s.'.ltbir.i,puz:c·1.cd•

I • l I L!.-;;:.!.Q ' t I heg ~,ourpc".!.rcio;:·? I I ~ RI:-:1~

I c~ic -- azkyou: \.:!fc.

L/i<3ZLO My wifal (COlITilWED)

The SOtnIDof th~ir.clesincinggrot1slouder.

l

RlC1t Yer.. (he~rsthe singing)

He goes out, leavingLasz~c to stareafter him.

184 nrr. CAFE - n~oGE'Rl-:!J.~OF~:-ICERs

beer mugs inb~d, are st~~dins by t~epiano1 singing the

''Wachtam F.him,~ S~> lc"lkingveryuncomfort:able,is accompanyi~g them. Everyjody in tneroom is looking at t~emM Sud~enlySam sc~ps playing. A.iofficer s-wea~sat S&.1in German,g:-al>sSamr:nclif::shw off the stool. The officersrc~Ul.l~theirsi~sing.

185 MED. SHOT -Kr BAR - A FRENCH Orr:C!t:t

Startt:forw.:ird.Sa~hal~"'.nsforwar:iquietlyandlaysa rescrainingh~md Cj bis Q"':'m.

•t 186 MED. SHOT- RI:K • ON STE~S

He listens tothe o!fic~~~ ~inr, his ~xr=ession dead-pan. Laszlo hasco~e c,,.1~o-2tlL.!roo:.il.Hislipsareverytight as he !istensc~ tba song.

187 CRANE SHOT- Qi.TEP.THERao:-! i I The room ;:r::-.:>~s·deE:.dlyquf"t:.StrassP.ris0.1hisfeet, l I_ singin5 too. As the CR.1E::APASS~Sthe:DarkEuropcnnwe t see t:h:1theici:ingingtb -~''W~c:htamr~hine"t::io.:ilutno- l

•body elsei:-ith~ro.:)mie,.nensulthas come in from the gai:::.blingrc,om,ands1:onc\sbyt~ecloo~.Wecan'ttell from hise!'.·1-:resGi-mHh.:i.:, ·,cisth::.u!d.ng.

CUT 'IO:

I ' t t

t I '

108 FULLS~OT • GERK•\NOFFICEr.S•AT Tl:!EPI..\J.'lO (

Theofficers singingthe song.

189• PANSHIJT

as Las1.loc=osses floorto the orchestra.

191 ~D. $!-{OT-•LL.SZLO

..

Sam lo~ks t~wardsthe sters -- towardsRick.

l~2 CLOSE ~HOT - RI~C

He nods almost impc~ceptilly.

' .I

t: ~- 193 MED. S!IOT• SAHAl~ LASZL(1~1) ORCHESTI'.A I ~ I I as they start topl~y the first fewbars•- i ~ • CUT TO: I 1 ~ I 194 M~D. SROT - YVONNEAND CER:-1.WOFFICER ~

Sbe jurnpsto_berfeet.

\.

YVC~-mE

I

(cinging)

'All~use~f.mcs ~0 la p~tri~--

i

195 FULL SHOT• SAM,ORCHESTRA AND LASZLO

(singingwith Yvonne)

'Le jourde gloir~ esc arrive••

Soc..eoneinthebacl:of th? roo:naddshis voice.. A women joins in. A Frenchofiic2r stepsdafiantly forward and stands besideLsszlo.

lS~ FULL SHOT• ROOM

.. as others standat their tables, singingthe •~·Iarseil- laise.11

CtJTTO:

His expressionbasn t cbG~ged.

..... ...·.•:LOSESHOT• RENAULT

is smilingfaintly but we stillcan't tell what he thinks.

1~, FULL SHOT• ROOM

Everyoneb.:isgatheredtog~t.herandic Si!lging. TheCer• an officersac th~ bar, and Strasserat his cable.are -.~eryconspicuousbecausetheyare so alone. The singing grows moreferve~t.

Cl!JRUS

Other~now jcin in from allparts of the room -guests, w.i::!.cers1b.1rtend~rs,n.ai~!-..,epolice,et~.Thechorus &wells. By now che Germaj son&can scarcely bebeard.

200 MED. SHOT• THEGEili0.iAf.~OFFICr::-.5

For a few ·,oir.entstbeytrytococr.pe:et-Tiththeotherend

of the roo\, b~ti~ £ no ~sc. ·TheGe=~~n song is s~och- ered u.iderLa.~-izr~~illc:is';.Onebyonetheystop singin£, st~e cut ~·escnc.iullytot-:'lrcitheca.ble:s.

201 CLOSE SHOT -I:!E:DARI~I:U~.:PEAN

He.ha::;edg~ds.:-:ayfro1:1th ,~Gercan.'.i.H~isnowsingingLa Y.1arseillaij~asfc~ventlyas~~ did the German song.

202 CLOS£ SHOT• RICK

His e.Y.!'r_~s!jionhasntcha \1ged•

..

203 CLCSE SHOT• REiMU!..'!'-ATDOORTOGAMBLING ROOM

He is smilingfaintly, be: wecan't tell what he ~hinks.

204 FULL SHOT• ~ONG

as they si~g. Their f~ces areagl~J.

\ . 205 MED. SHOT- ~SA

singingat the table. ll~aglances proudly atLaszlo.

206 FULL SHOT -SINGIN~ FEOPV:

TheMUSIC ~-lELLSas th~ ~~~sis fini~hed on a high1tti• umphZJil~not·?.

~ i 207 CLOSESllOT- YVONNE

Herface e~al~~d. She d~liberatelyfeces the sho~ where the C-2rlllu..,sa~eWi:it~hing.the:ibouesatthetop ofher lungs.

YV:;tJ'i{E Vive L~ France. \ive La Dcmocraci:J.

20~ AT ORCHESTRAPL4.TF0Rlvl

SeveralFrench offic~rs surroundLaszlo, offeringhim a drink.

209 !-.iED.S1!0T•STRASSER

His !.od-.sa::enotpleasantoH-2strides ac-=ossthefloo:- tom::rd: .icr.c!ult,C.:-':.1-!ERATP.:JCKn,Gt·1il:hhim.Hereaches R~n~~t -- who is £CundingoutsidQ che door tothe gamb- liniroom.

Stt.AS::iEn (uno~rhis b~cath1

r•r... to Renault)

You see wh.'.:..t:!a:ee.n?IfLa.sz!.o'3

f preaenc~ in a cafeCAn inspire

this unfort·..matecl~monE-t~a.tion1 what ~o~e willhis prec~nce in Cc1s,,bla.~cabringc-n.It1d•1i:.e thut this placeb~ shut up ac once.

I-.

(innoce:nt:l:,)

r-~

But everyb~dyseac!Sto be h:ivins such a g~od time.

j:..•

sn~ASSER

t I, Yes, n;uchtoogoo~ a ti~e. Th~

place is tobe 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~>enheblo.-1saloudblaston bis whiGtle~ Theroo:n~:dia~ely grousquiet. All.eyes ei,rntoward Renault.

RE!,\ULT (l~udly) Everybadyis :o le~ve here i!i.r.:ed- i~t-~lyIThis =i-:!£c.'.isc:,~,.:;,..:..1~:1~tl furt:herno~iccd

Rm: .\ULT Clc.:rti)er:1orn.!l.t.--,r,cef

(CONTIl=-JED)

209 CONl'IlWED:

Rick c:>rtesquicklyt:ptoRenault.

(

RI·:Y. H<Y.·'can·youcloseme up? OD wh.ztgrou:ids?

Re11aultthrc~1sopenthe dJo:-tothe ga!Cbling.room.

PJ::JAU!.T (p~inci:-,g~nsidewith a drm:'.'lti~gesture)

I• I I'mshoclced-- ~·v,ck~dtofinc1

th.!.t:thereisgac·,TG;·goingon in herl.?1

... l'bisdisplnyof nerve lce·,esRickat n loss. The croupier

comes outof th~ gam:.i1ingroomandup to Renault.

CROUP!ER (b!l-,ding~..~:ial.!1.:a roll ofbilld) 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~: atonce!

curTo:

I t 210 MED.~HOT • ILSA A~ 'V3ll

St~nc5~rent~rs. His·m:m~~=is h~avily co~c!ial.During this r.c~.net.beca~cis3:.~Muallyemptying.The scene

;-'

shouldbe play~d at:a sur.pense::ful,fnsttempo.

i ~ £1'RASSE!t

Mlle, a-ite::~b;.sdis~rrb.snce!t

~ is not ~afe io~l~szlo to st~y I in Ca::.:lblci~cg.

l Ilsar.iotions~oa chefr. Se:-:isserbowsand sitsdown. I t Shalcoks at him que::ti-::rr,ingly.. I

I!.~A This corning:ro:iimpliedit W.:J.6 not r.,,£-afo::-hi!nt.ole.aveCasablanca.

(:ONI'INUED)

210 COl\TINUED:

SI~SSEE. n,~t isalso t:r-ue.Exceptfo~ one de!:tinati«n. (l~onsclo3cr to her) To returnto Occupied Fra:1ce.

211 FULL SHOT -ROOM

.. as cha cro:1d,prod-5edont'Ygendar~e~.stares streaming

....

out. Th£y ~remuri:;.Jringdisappoiutcdly.

CUT BAO. '!0:

212 l1ED.SHOT - ILSAAND STRJ-.S.SERATTAB'!.2

n .sA

•

(•dth int•.:.nsi.t:y) What v~l1Jci~ t::,:.t:?1'ouc:iay rc.~allwh.:.t:G<!rm.::iguarant~es hnvebeen wcrth ln the paGt.

r Il.SA

What are th~y?

S:"":"~SSE~

, It1s p:n::iiblet1•~FrenchP.Utbo~-

ities-_.•j_l1find1:rc.::iso!lt~pu·.:him

·• intb= ccncenc:a~i~n c.1i.Lph~rec I ,

!_SA And ti1eo~:iere!t~rn.1tive?

S:~..\SSER My deS:lrIlsa,p~;-~-;~~~yc,uhave alreedy 1:11>sel--vedthatin:nsablanca b~~n life is ch~~p•••

She locksat him, undcrct~ndir,s\..:J.:J.t!Jen-.eans.Hebows and e~its.isL.:i~;;lo~riv~~~~ tn<=t.ible..

S:'RASSER.

l Good night, Mlle·.

t t •

213 MED.SHOT- USA AlIDLASZLO

Leszlcis 1:elpingher o:i\1!.t.hherwrap.Theystart out.

(

I!.SA. What happened~t:l Rick?

LA.:iZLO (looking~;:her closaly) We'll diSC-:.J.SSitlater.

214 !AR

as people are hastilyd,m .~i;::gt:heird:.:inks,andleaving. One of tbe G2rrnancffl~er;acicire~sesSa::b.o..

GE!MAN 01:F!~ Think I'll hav~a quid: one::before

I go. t-i~aestba:you 'remixing?

SA~HA

slipof p·1p-::) Soce naw ci:.:ink--

I il have it.

He re£J.chP.sover•t -~kesit. ·,d!:'i:iksit.Thenhethrows so~e cb~nsc 01.'\thebar,s::arr.sout:,CAl-JERATRu~"INGt..•ich ~im. Afce= a few ctepsa gla?.~del:pre~sioncocesinco

I ~ bis eyes. He e;·l11t::he~c0"1.·J..1lsivelyatbisstomach.He t- is runnL~g bel!-be~tfer :~e d~or, nswe - i!

~ I I: I i 2l5 INT.DAfUCHO~£LRJOM

A door 1s t!EJ..'?nt:oopena .~dth:~::at~~light:isswitchEdon. RE'lEA~~~ r"L~..1:inJLaszl~ast.h2ye1H.:ertheroom.Ilsa ta.1<esoffher.wrap~\:!.i~.leh'?rh"t..s::1ar.ciwalksovert,;,th~ ~i:idouand i:.::ertst:cd:o:~wc..'leshad~r,.Tb~reareno1:ords I spoken - and w~ se~!;et!.t:,::1csionbe:wcenthetwo.I! .sas eyes follc:-r.1b:!.r.::i,butLa.s-:-.1oapparentlyt:akesnonotice. He looks o~t:c,zt:bewL.lJ ,')....

216 LO!~GS!lOT -M~H ACaosss::n::r:r

- standing in t:hed~o'!'".Jaycfnhou:.e.

l I

I- I ~

12C..

217 IHI. HOTELR001"£-AT WINDOW

Ilsa entersto Laszlo, st~ndsc:cse beside him.

Vic~or, please don tgo to the Und~r- ground meecing to~ight.

-~ heroics belore biswife. ' r

IL!1\ Wbatevc= I say,you'd carry on~

Victor, why d?n tyou tell me about Rick? Whac didynu find o~t:?

LM-:zto Apparently hebas the Letters.

ILfu\ Ye~?

11&aturns a~ay to c~~cealher emotic~~ Shesits on tbe edge of the bed. La~zlofollows her withbis eye1:. i;e • slookin8 at hearsceadilyand though~fully- but in no ~ay antogotii~tically.

LA~ZLO But no intenr.1.onc.fsellingthem. one would t:hi:1kifser.til!l.ent

wouldn t persuadebim, m~ney would.

Il..rA (illat on~e, tr'.'yingto keepher voice steady) Cid he givaany reason? (COh'TINUED)

'f ; •

217 cm~Tn:m:n:

LASZ!.O He sugge!:ited Ias:~you.

t .

Ask m~?

He ~alks acro~s toher an1 looks dew~at her.

He s~id-- ask yJ~"TYife'. I don'tknow why he sc.idthae.

Ilsa finds it imposGibleto look athim~ She looks ~way. ·Laszloturns offtileligt~ c;-..,itch:,makingtheroe~c..:1.ck exc~p: for thedi~ lig~t that c~mcsfr~m the shaded

... windows.··

He sits d~m ont~e bed bgeide be~. A silence f~llt ba- tween them~ ltgrows ~t:r~:!.ned.Fi!l.ally.

ILSA

Pauoe.

.ASZLO Ilsa....wb~nI was in ebe concen- o.·~ti~nc~~p-- were you lo~elyi~ Pal:'iG?

Tbeir f~cesa~e b3~ely visible i~ t~eda=kness.

llSA Yes,Viet~=~ I w~s.

L!•.:~ZLO sympat~~t~c~lly) Ikno-wi1hooit~s ;:obe lonely-• (pause; ver:yquietly) Is th~re~~y~~i~g you want t~tell me?

He~ lips trembleas she c~~t:rolsherself. (CON!'r:roED)

nsA (verylou) No1Victor -- tb~re icn't.

Silence. The~•••

I VICTOR S VOT.CE I loveyou very.m:1ch,mydear.

LASZLO

r ',

Youd~n•t even have to sayit.

1 11 believe.

219 MED. SHOT• TilETWO Ir

l her cheek',

Gcod night1 ciear.

ILS..6.

... Good nigh~.

He walksout of scene. S'.1ewatcheshim,then •••

n..c;A

• Victo=I DOJ f-

She getsup an·dezit~ aft.:;rhie...

L I ~.. ~- 220 MED. SHOT- THE TWO - AT~ DOOR I I 'I

He isjust npening ft. !~saenterE to him. Inth~ slit of lightfrac t~~ parti~l.yope~ed door, we can seeher face,\:bich!.sstt.:i.ineda::dworried.

LASZ!.O Yes, dear7

Shehesita~:s. After llp::u!:c....

(:CNTINUfD)

220 COKTINUED:

(in a tonewhich sug• gests thi~is not what shebas been temptedto say) Be careful. ·

LA~ZLO Of course I'llbe careful.

He kissesher ·onthe forel,eadandgoes outthe door. She standsthere for a few seco~ds,eben crossesto look out of thesame window as-before.

221 LONGSHOT- THE FIGURE INTEE DOORW/.Y

•has gone.

• l

222 HOTELROOM- ll.SA

- watcbes for a 1t0!lle.ntlonger.

Laszlo•s figure isvisible agai~ct t:hewall,going down the nnrrm: screet.

224 HOTEL ROOM • l!.SA

- leaves the wind:,~~andcrossestheroom to the place she dropped her wrapu She pu~s it on. Then,after a second•s pau~e, she wnlksto th~ do~r and goesout.

r

t

- are be~: overledgers. c~rl isvery busy figuring.

CAR:. ( lookingu~·> Well- ycu .:irein:·,rettygood sbspe,Herr Itick.

R!C ·< How longcan I aff·Jrdto stay clo~~cl?

• (CONTINUED)

l r

( ?

125 COlITll..JED :

l . CARL

oh••two weeks --maybe three.

Maybe I won e haveco. A bribe has worked before. In the mean• time, everyone stayson salary.

Hewalks to the door.

l

meccing of the--

l. RICK

(interruptJ.ng)

j Don't tell mewhe=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.

CtrrTO:

•I I

I r

I

227 D.'T.RICKS APARTMEh'T

It is dark. The door is :,penedbyRick 1letting in come light fro~the h~ll. A figureis revcaled_in theroo~. Rick lightsa scall la:p. Thereis Ilsa facing him,her face~bite but determined.Rick pauses for a mo~entin aston1shcier;t:.

RI·:~

I told you thisrr 1rnin~you d cor..eorour.:i--bu;thinis a "littleahr:a<lofs.~hcdule. (~ith muchpoliteness)

Won t you sit do~:.?

n~ (as she t:a~es th.?chair, Richard. I hadto see you.

R.I"!K

So I m Richardag1in? We re back in Paris.

IL·,A Pl~ase•••

RI:X

r (lightsa ~igarette)

nected by anycba:Jcewith the

I i Letters cfTransi.:? I (llzaTema~ns silent) i

It seems.n1le I have those let•

I 1

ters1 1 11 neverbe lonely.

' i ILSA

(looksat liimsteadily)

I

Richard1 youcan ask any price

you war:t.Sut you must give me

[ those Let:ters.

, ··Rili{ I \Jentallthrouglithat with your husband. It'sn~ deal.

ll.:iA I know howyou fe,·labout a:c,but I'1i1askingyo-atoput your f~elings aside 1~r:0~thi:1g more important.

t ( CONTlliUED)

i t I

227 CQi-;T~:.JED:

Rict Do Ihnve to hear againwhat a gr.!atcanyour h~~band is? t·;hat

sn importantCa~s~ he s fighti~g fo~·,

~ ownway, you were fightingfor l

tb2 samething.

I l A pause. llsadelibe~ately take&a new approach.

I!.SA

r Richard,we loved each otheronce,

Iftho=e days m~a~t anythingat allco you -

RIC.t< (harshly) I It1ouldnt bri.,gup Parisif I we.e ycu. It's p~or salesw..an~hip.

I!.SA Please. Flea~e ll~cen tome. If yo·1knsw t-1hatrea..lybappened.If yo~ only knew the truth••

R.l:K (cuts i..91) Iuouldn't beli~·..•.Jy~·i.1,nomatter what you tole re. You 11say any- ctlingnotr,toget ,-,batyouwant.

r-.~ (her temper flaring • scornfully) You wnnt to feel sorryf~r yourself, don'cyou? t-JithJOmuch atstake, al!.you can t~in!tcf isyour own

r feeling~. Cbe w~~an hashurt you, i anJyo·.lt..ikeyourrev~n~eonthe t I res: of d1~ w:>rld. Youre a cow- I

ard, and u wea!cli:1g. (breakr-)

No. Oh. r..ichw:-i,Imsorry. But

' you arc our la;'.;t·~ope.Ifyou I I I don t h~11;U!:,Vi~t~r Laszlowill t..

die in Ca£ablance~

r ~ t •· ·-

221 co1-:-r:rnutn1Cl)

228 CLOSESHOT- ILSA

She is boldinga smali re~olverin ber hand.

!SA All right. I tri~citoreason

I witb you. I tried everything.

Now I want those Letters.

i 11-- r 229 CLOSESHOT• RiCK

Fer a moment, alook of e1~ira:ioncomes into hiseyes.

230 MED. SHOT -!L1A A!IDR:CK I •1- !!SA

Gee them for me.

l I

P.2.~ Idon't have to. Igot 'emright here. (reachi:igL,to bis in~~r pocket)

He bas tb2L~tcers in =ic hand.

rA.~A Put them a~ thi-t~ble.

Il':A • For t:helast time, pu~them en tb~ tabl~.

Rl=< U La3zlo a:1d~~= Ca~3emean so

much co you, you -.-10:1tst:opat

anything. All ri.3ht,1 11make

,(

l I I I l I f r ... '

230 CONTINUED: I.

RICK (CONTD)

l it easierfor you, go ahead,

shoot. You ll be doing~ a favor, ...

l31 CLOSE SHOT • ILSA

Sbe risas, stillpointing th~ gun atRick. Her finger rests on the trigger. It seems as ifshe is summoning nerve to pressi~. Then, sc.ddenly,herband tre~bles and the pistolfalls to tbe t3ble. She breaks up, cover• ing her facewith her hen~ia. Rickwalks into the SHOT, stands closeto he~. SudJenly, shefl~ngs herself into his arms.-·

nsA (almost hy~terical) Richard,I tried ~o Gtayaway. I cboughtI would never seeyou ag:iin•••cbatyouwere outof my lire. Tbe day you leftPa:'is, ifyou knew t·1hatIwenttl.iroughJ liyou knew ho::,muchIloved you •••bowmuch I s~ill loveyou•-

Her wordsnre smot~ered a~ hepresses her tight to him, kisses herpassionately. She islost 1n·his embrace.

l•