HomeScript PDFSchemaMethodsReading ViewEndingsGithub

Casablanca

Scenes

[1][2][3][4][5][6][7][8][9][10][11][12][13][14][15][16][17][18][19][20][21][22][23][24][25][26][27][28][29][30][31][32][33][34][35][36][37][38][39][40][41][42][43][44][45][46][47][48][49][50][51][52][53][54][55][56][57][58][59][60][61][62][63][64][65][66][67][68][69][70][71][72][73][74]
Character Codes Character Names Count of Appearances First scene in which they speak
ABD ABDUL 3 Scene 13
AIDE AIDE 1 Scene 18
ANN ANNINA 23 Scene 9
ARAB ARAB 5 Scene 42
BER BERGER 13 Scene 21
CARL CARL 31 Scene 13
CAS CASHIER 1 Scene 20
CIV CIVILIAN 2 Scene 3
CON CONSPIRATOR 1 Scene 13
CRO CROUPIER CROWD 6 Scene 46
CUS CUSTOMER 2 Scene 21
EMIL EMIL 5 Scene 16
ENGM ENGLISHMAN 6 Scene 5
ENGW ENGLISHWOMAN 3 Scene 5
EUR EUROPEAN 11 Scene 5
FER FERRARI 35 Scene 15
FOFF FRENCH OFFICER 7 Scene 45
FRE FRENCHMAN 2 Scene 38
GEN GENDARME 4 Scene 20
GER GERMAN 4 Scene 14
GOFF GERMAN OFFICER 4 Scene 45
HEA HEADWAITER 3 Scene 21
HEI HEINZE 6 Scene 11
ILSA ILSA 136 Scene 21
JAN JAN 4 Scene 40
LAS LASZLO 130 Scene 21
MAN MAN 5 Scene 13
MOOR MOOR 1 Scene 13
MRL MR. LEUCHTAG 6 Scene 45
MRSL MRS. LEUCHTAG 4 Scene 45
NARR NARRATOR 1 Scene 0
NAT NATIVE 2 Scene 38
OFF OFFICER 5 Scene 19
ORD ORDERLY 2 Scene 75
POL POLICE OFFICER 1 Scene 2
POL1 FIRST POLICEMAN 2 Scene 3
POL2 SECOND POLICEMAN 1 Scene 3
REF REFUGEE 1 Scene 13
REN RENAULT 169 Scene 11
RICK RICK 331 Scene 14
SAC SACHA 10 Scene 15
SAM SAM 34 Scene 15
STR STRASSER 73 Scene 11
TON TONELLI 1 Scene 11
TOU TOURIST 3 Scene 45
UGA UGARTE 26 Scene 14
WAITER WAITER 5 Scene 14
WOM WOMAN 2 Scene 13
WOM1 FIRST WOMAN 2 Scene 14
WOM2 SECOND WOMAN 1 Scene 14
YVO YVONNE 14 Scene 15
Locations Number of Appearances First Scene Appearance
Rick's Café 39 Scene 12
Police Station 1 Scene 2
Old Moorish Section of the City 1 Scene 1
A Street in the Old Moorish Section 1 Scene 3
Palais De Justice 3 Scene 4
Sidewalk Café 1 Scene 5
Airfield 1 Scene 11
Rick's Paris Apartment 1 Scene 25
Paris Café 3 Scene 26
Ilsa's Paris Apartment 1 Scene 27
La Belle Aurore 1 Scene 30
Gare De Lyon 1 Scene 31
Renault's Office 4 Scene 35
Prefecture Lobby 1 Scene 36
The Blue Parrot 5 Scene 39
Black Market 3 Scene 38
Hotel Hallway 1 Scene 54
Hotel Room 1 Scene 55
German Consulate 1 Scene 73
Airport 4 Scene 74
Airport Hangar 2 Scene 75
Movie Data Script Data
Director: Michael Curtiz Number of Scenes: 77
World Premier: Nov. 26 1942 Publisher: StudioBinder Inc.
Locations: WB studios, Burbank, CA; Van Nuys Airport, LA Generated By: Brent Dunham
Producer: Hal B. Wallis, Warner Bros Generated On: Dec. 2
Writers: Howard Koch, Julius J. Epstein, Philip G. Epstein Website: https://www.studiobinder.com/
Based On: Everybody Comes to Rick’s (stage play); written by Murray Burnett and Joan Alison
Composer: Max Steiner
Starring: Humphrey Bogart, Ingrid Bergman, Paul Henreid, Conrad Veidt, Claude Rains
Editor: Owen Marks
FADE IN: LONG SHOT — REVOLVING GLOBE
A revolving globe. When it stops revolving it turns briefly into a contour map of Europe, then into a flat map. Superimposed over this map are scenes of refugees fleeing from all sections of Europe by foot, wagon, auto, and boat, and all converging upon one point on the tip of Africa -- Casablanca. Arrows on the map illustrate the routes taken as the voice of a NARRATOR describes the migration.
NARRATOR With the coming of the Second World War, many eyes in imprisoned Europe turned hopefully, or desperately, toward the freedom of the Americas. Lisbon became the great embarkation point. But not everybody could get to Lisbon directly, and so, a tortuous, roundabout refugee trail sprang up. Paris to Marseilles, across the Mediterranean to Oran, then by train, or auto, or foot, across the rim of Africa to Casablanca in French Morocco. Here, the fortunate ones, through money, or influence, or luck, might obtain exit visas and scurry to Lisbon, and from Lisbon to the New World. But the others wait in Casablanca -- and wait -- and wait -- and wait. The narrator's voice fade away...
CUT TO:
EXT. OLD MOORISH SECTION OF THE CITY - DAY At first only the turrets and rooftops are visible against a torrid sky. The facades of the Moorish buildings give way to a narrow, twisting street crowded with the polyglot life of a native quarter. The intense desert sun holds the scene in a torpid tranquility. Activity is unhurried and sounds are muted.
CUT TO:
INT. POLICE STATION - DAY A POLICE OFFICER takes a piece of paper from the typewriter, turns to a microphone, and reads.
POLICE OFFICER To all officers! Two German couriers carrying important official documents murdered on train from Oran. Murderer and possible accomplices headed for Casablanca. Round up all suspicious characters and search them for stolen documents. Important!
CUT TO:
EXT. A STREET IN THE OLD MOORISH SECTION - DAY An officer BLOWS his whistle several times. There is pandemonium as native guards begin to round up people. A police car, full of officers, with SIREN BLARING, screams through the street and stops in the market. Some try to escape but are caught by the police and loaded into a police wagon. At a street corner TWO POLICEMEN stop a white CIVILIAN and question him.
FIRST POLICEMAN May we see your papers? CIVILIAN nervously I don't think I have them on me. FIRST POLICEMAN In that case, we'll have to ask you to come along. The civilian pats his dir. CIVILIAN Wait. It's just possible that I -\- Yes, here they are. He brings out his papers. The second policeman examines them. SECOND POLICEMAN These papers expired three weeks ago. You'll have to come along. Suddenly the civilian breaks away and starts to run wildly down the street. The policeman SHOUTS "Halt", but the civilian keeps going. JAN and ANNINA BRANDEL, a very young and attractive refugee couple from Bulgaria, watch as the civilian passes. They've been thrust by circumstances from a simple country life into an unfamiliar and hectic world. A shot RINGS out, and the man falls to the ground. Above him, painted on the wall, is a large poster of Marshal Petain, which reads: "Je tiens mes promesses, meme celles des autres." The policeman frantically searches the body, but only finds Free French literature.
CUT TO:
EXT. PALAIS DE JUSTICE - DAY We see an inscription carved in a marble block along the roofline of the building: "Liberte, Egalite, Fraternite" We see the the facade, French in architecture, then the high-vaulted entrance which is inscribed "Palais de Justice". At the entrance the arrested suspects are led in by the police.
CUT TO:
EXT. SIDEWALK CAFE - DAY A middle-aged ENGLISH COUPLE sit at a table just off the square, and observe the commotion across the way in front of the Palais de Justice. The police van pulls up. The rear doors are opened and people stream out. A EUROPEAN man, sitting at a table nearby, watches the English couple more closely than the scene on the street.
ENGLISHWOMAN What on earth's going on there? ENGLISHMAN I don't know, my dear. The European walks over to the couple. EUROPEAN Pardon, pardon, Monsieur, pardon Madame, have you not heard? ENGLISHMAN We hear very little, and we understand even less. EUROPEAN Two German couriers were found murdered in the desert -\- the unoccupied desert. This is the customary roundup of refugees, liberals, and uh, of course, a beautiful young girl for Monsieur Renault, the Prefect of Police.
CUT TO:
EXT. PALAIS DE JUSTICE - DAY Suspects are herded out of the van, and into the Palais de Justice.
CUT TO:
EUROPEAN Unfortunately, along with these unhappy refugees the scum of Europe has gravitated to Casablanca. Some of them have been waiting years for a visa. He puts his left arm compassionately around the Englishman, and reaches behind the man with his right hand. EUROPEAN I beg of you, Monsieur, watch yourself. Be on guard. This place is full of vultures, vultures everywhere, everywhere. The Englishman seems to be taken aback by this sudden display of concern. ENGLISHMAN Ha, ha, thank you, thank you very much. EUROPEAN Not at all. Au revoir, Monsieur. Au revoir, Madame. He leaves. The Englishman, still a trifle disconcerted by the European's action, watches him as he leaves. ENGLISHMAN Au revoir. Amusing little fellow. Waiter! As he pats both his breast and pants pockets he realizes there is something missing. ENGLISHMAN Oh. How silly of me. ENGLISHWOMAN What, dear? ENGLISHMAN I've left my wallet in the hotel. ENGLISHWOMAN Oh. Suddenly the Englishman looks off in the direction of the departed European, the clouds of suspicion gathering. Interrupting overhead is the DRONE of a low flying airplane. They look up.
CUT TO:
EXT. OVERHEAD SHOT - DAY An airplane cuts its motor for landing.
CUT TO:
EXT. PALAIS DE JUSTICE - DAY Refugees wait in line outside the Palais de Justice. Their upturned gaze follows the flight of the plane. In their faces is revealed one hope they all have in common, and the plane is the symbol of that hope. Jan and Annina look up at the plane.
ANNINA wistfully Perhaps tomorrow we'll be on that plane.
CUT TO:
EXT. OVERHEAD SHOT - DAY The plane SWOOPS down past a sign atop a building at the edge of the airport. The sign reads "Rick's Cafe Americain."
CUT TO:
EXT. AIRFIELD - DAY As the plane lands a swastika on its tail is clearly visible. It taxis to a stop as a group of officers march into formation in front of it. Behind them stand a detail of native soldiers keeping guard. In the group is CAPTAIN LOUIS RENAULT, a French officer appointed by Vichy as Prefect of Police in Casablanca. He is a handsome, middle-aged Frenchman, debonair and gay, but withal a shrewd and alert official. With him are HERR HEINZE, the German consul, CAPTAIN TONELLI, an Italian officer, and LIEUTENANT CASSELLE, Renault's aide. When the plane door opens, the first passenger to step out is a tall, middle-aged, pale German with a smile that seems more the result of a frozen face muscle than a cheerful disposition. On any occasion when MAJOR STRASSER is crossed, his expression hardens into iron. Herr Heinze steps up to him with upraised arm.
HEINZE Heil Hitler. STRASSER Heil Hitler. They shake hands. HEINZE It is very good to see you again, Major Strasser. STRASSER Thank you. Thank you. Heinze introduces Strasser to Renault. HEINZE May I present Captain Renault, Police Prefect of Casablanca. Major Strasser. Renault salutes. RENAULT Unoccupied France welcomes you to Casablanca. STRASSER in perfect English, smiling Thank you, Captain. It's very good to be here. RENAULT Major Strasser, my aide, Lieutenant Casselle. As they acknowledge each other, Captain Tonelli barges in front of Casselle and salutes Strasser. TONELLI Captain Tonelli, the Italian service, at your command, Major. STRASSER That is kind of you. But Tonelli gets no further than that as Strasser turns again to Renault. They walk away from the plane, Heinze following, with Casselle and Tonelli bringing up the rear, engaged in a heated exchange of words. RENAULT You may find the climate of Casablanca a trifle warm, Major. STRASSER Oh, we Germans must get used to all climates, from Russia to the Sahara. But perhaps you were not referring to the weather. RENAULT sidesteps the implication with a smile What else, my dear Major? STRASSER casually By the way, the murder of the couriers, what has been done? RENAULT Realizing the importance of the case, my men are rounding up twice the usual number of suspects. HEINZE We already know who the murderer is. STRASSER Good. Is he in custody? RENAULT Oh, there is no hurry. Tonight he'll be at Rick's. Everybody comes to Rick's. STRASSER I have already heard about this cafe, and also about Mr. Rick himself.
DISSOLVE TO:
EXT. RICK'S CAFE - NIGHT The neon sign above the door is brightly lit. Customers arrive and go in through the front door. From inside we hear sounds of MUSIC and LAUGHTER. The song is "It Had to Be You." Again we isolate on the neon sign. INSERT SIGN: "Rick's Cafe Americain". We follow a group of customers inside.
INT. RICK'S CAFE - MAIN ROOM - NIGHT Rick's is an expensive and chic nightclub which definitely possesses an air of sophistication and intrigue. SAM, a middle-aged Negro, sits on a stool before a small, salmon-colored piano on wheels, playing and singing while accompanied by a small orchestra. All about him there is the HUM of voices, CHATTER and LAUGHTER. The occupants of the room are varied. There are Europeans in their dinner jackets, their women beautifully begowned and bejeweled. There are Moroccans in silk robes. Turks wearing fezzes. Levantines. Naval officers. Members of the Foreign Legion, distinguished by their kepis. Two men sit at a table.
MAN Waiting, waiting, waiting. I'll never get out of here. I'll die in Casablanca. His companion seems uninterested in his dilemma. Sympathy is evidently in short supply in Casablanca. At another table a very well-dressed WOMAN talks to a MOOR. She has a bracelet on her wrist. No other jewelry. WOMAN But can't you make it just a little more? Please. MOOR I'm sorry, Madame, but diamonds are a drug on the market. Everybody sells diamonds. There are diamonds everywhere. Two thousand, four hundred. WOMAN All right. On to another table where two CONSPIRATORS talk. CONSPIRATOR The trucks are waiting, the men are waiting. Everything is -- He stops abruptly as two German officers walk by. A REFUGEE and another MAN converse at another table. MAN It's the fishing smack Santiago. It leaves at one tomorrow night, here from the end of La Medina. Third boat. REFUGEE Thank you, oh, thank you. MAN And bring fifteen thousand francs in cash. Remember, in cash. On the way to the bar we pass several tables and hear a Babel of foreign tongues. Here and there we catch a scattered phrase or sentence in English. SACHA, a friendly young Russian bartender, hands a drink to a customer with the Russian equivalent of "Bottoms Up." The customer answers with "Cheerio." CARL, the waiter, is a fat, jovial German refugee with spectacles. He walks, tray in hand, to a private door, over which ABDUL, a large, burly man, stands guard. CARL Open up, Abdul. ABDUL respectfully Yes, Herr Professor. Abdul opens the door and Carl goes into the gambling room.
INT. RICK'S CAFE - GAMBLING ROOM - NIGHT Their is much activity at the various tables. At one table TWO WOMEN and a MAN play cards. They glance at another table. One of them calls to Carl.
FIRST WOMAN Uh, waiter. CARL Yes, Madame? FIRST WOMAN Will you ask Rick if he'll have a drink with us? CARL Madame, he never drinks with customers. Never. I have never seen him. SECOND WOMAN disappointedly What makes saloon-keepers so snobbish? MAN to Carl Perhaps if you told him I ran the second largest banking house in Amsterdam. CARL The second largest? That wouldn't impress Rick. The leading banker in Amsterdam is now the pastry chef in our kitchen. MAN We have something to look forward to. CARL And his father is the bellboy. Carl laughs. The overseer walks up to a table with a paper in his hand. Then we see a drink and a man's hand, but nothing more. The overseer places a check on the table. The hand picks up the check and writes on it, in pencil, "Okay-Rick." The overseer takes the check. We now see RICK, sitting at a table alone playing solitaire chess. Rick is an American of indeterminate age. There is no expression on his face, complete deadpan. There is a commotion at the door as people attempt to come into the gambling room. He nods approval to Abdul. Then a GERMAN appears in the doorway. Abdul looks to Rick who glances back toward the open door and nods "no". Abdul starts to close the door on the man. ABDUL I'm sorry sir, this is a private room. GERMAN Of all the nerve! Who do you think -- I know there's gambling in there! There's no secret. You dare not keep me out of here! The man tries to push his way through the door as Rick walks up. RICK coldly Yes? What's the trouble? ABDUL This gentleman -- The German interrupts and waves his card. GERMAN I've been in every gambling room between Honolulu and Berlin and if you think I'm going to be kept out of a saloon like this, you're very much mistaken. At this moment UGARTE, a small, thin man with a nervous air, tries to squeeze through the doorway blocked by the German. If he were an American, Ugarte would look like a tout. He gets through and passes Rick. UGARTE Uh, excuse me, please. Hello, Rick. RICK softly Hello Ugarte. Rick looks at the German calmly, takes the card out of his hand, and tears it up. RICK Your cash is good at the bar. GERMAN What! Do you know who I am? RICK I do. You're lucky the bar's open to you. GERMAN This is outrageous. I shall report it to the Angriff! The German storms off, tossing the pieces of his card into the air behind him. Rick meets Ugarte on his way back to his table. UGARTE fawning Huh. You know, Rick, watching you just now with the Deutsches Bank, one would think you'd been doing this all your life. RICK stiffening Well, what makes you think I haven't? UGARTE vaguely Oh, nothing. But when you first came to Casablanca, I thought -- RICK coldly -- You thought what? Fearing to offend Rick, Ugarte laughs. UGARTE What right do I have to think? Ugarte pulls out a chair at Rick's table. UGARTE May I? Too bad about those two German couriers, wasn't it? RICK indifferently They got a lucky break. Yesterday they were just two German clerks. Today they're the 'Honored Dead'. UGARTE You are a very cynical person, Rick, if you'll forgive me for saying so. Ugarte sits down. RICK shortly I forgive you. A waiter comes up to the table with a tray of drinks. He places one before Ugarte. UGARTE Thank you. to Rick Will you have a drink with me please? RICK No. UGARTE I forgot. You never drink with -- to waiter I'll have another, please. to Rick, sadly You despise me, don't you? RICK indifferently If I gave you any thought, I probably would. UGARTE But why? Oh, you object to the kind of business I do, huh? But think of all those poor refugees who must rot in this place if I didn't help them. That's not so bad. Through ways of my own I provide them with exit visas. RICK For a price, Ugarte, for a price. UGARTE But think of all the poor devils who cannot meet Renault's price. I get it for them for half. Is that so parasitic? RICK I don't mind a parasite. I object to a cut-rate one. UGARTE Well, Rick, after tonight I'll be through with the whole business, and I am leaving finally this Casablanca. RICK Who did you bribe for your visa? Renault or yourself? UGARTE ironically Myself. I found myself much more reasonable. He takes an envelope from his pocket and lays it on the table. UGARTE Look, Rick, do you know what this is? Something that even you have never seen. Letters of transit signed by General de Gaulle. Cannot be rescinded, not even questioned. Rick appears ready to take them form Ugarte. UGARTE One moment. Tonight I'll be selling those for more money than even I have ever dreamed of, and then, addio Casablanca! You know, Rick, I have many friends in Casablanca, but somehow, just because you despise me you're the only one I trust. Will you keep these for me? Please. RICK For how long? UGARTE Perhaps an hour, perhaps a little longer. RICK I don't want them here overnight. UGARTE Don't be afraid of that. Please keep them for me. Thank you. I knew I could trust you. Rick takes them. Ugarte leaves the table just as the waiter comes up. UGARTE Oh, waiter. I'll be expecting some people. If anybody asks for me, I'll be right here. WAITER Yes, Monsieur. The waiter leaves. Ugarte turns to Rick. UGARTE Rick, I hope you are more impressed with me now, huh? If you'll forgive me, I'll share my good luck with your roulette wheel. He starts across the floor. RICK Just a moment. Ugarte stops as Rick comes up to him. RICK Yeah, I heard a rumor that those German couriers were carrying letters of transit. Ugarte hesitates for a moment. UGARTE Huh? I heard that rumor, too. Poor devils. Rick looks at Ugarte steadily. RICK slowly Yes, you're right, Ugarte. I am a little more impressed with you. Rick leaves the gambling room and goes into the main room.
CUT TO:
INT. RICK'S CAFE - MAIN ROOM - NIGHT Rick makes his way over to Sam, who plays and sings the "Knock Wood" number, accompanied by the orchestra. The cafe is in semi-darkness. The spotlight is on Sam, and every time the orchestra comes in on the "Knock Wood" business, the spotlight swings over to the orchestra. During one of the periods when the spotlight is on the orchestra, Rick slips the letters of transit into the piano. FERRARI, owner of the Blue Parrot, a competing night spot, comes into the cafe, sits down, and watches Sam. Then he sees Rick and they smile at each other. At the end of the number Ferrari goes to the bar to speak to Rick.
FERRARI Hello, Rick. RICK Hello, Ferrari. How's business at the Blue Parrot? FERRARI Fine, but I would like to buy your cafe. RICK It's not for sale. FERRARI You haven't heard my offer. RICK It's not for sale at any price. FERRARI What do you want for Sam? RICK I don't buy or sell human beings. FERRARI That's too bad. That's Casablanca's leading commodity. In refugees alone we could make a fortune if you would work with me through the black market. RICK Suppose you run your business and let me run mine. FERRARI Suppose we ask Sam. Maybe he'd like to make a change. RICK Suppose we do. FERRARI My dear Rick, when will you realize that in this world today isolationism is no longer a practical policy? Rick and Ferrari walk over to the piano. RICK Sam, Ferrari wants you to work for him at the Blue Parrot. SAM I like it fine here. RICK He'll double what I pay you. SAM Yeah, but I ain't got time to spend the money I make here. RICK Sorry. Apparently satisfied, Ferrari walks away. Back at the bar, YVONNE, an attractive young French woman, sits on a stool drinking brandy. Sacha, who looks at her with lovesick eyes, fills her tumbler. SACHA The boss's private stock. Because, Yvonne, I loff you. YVONNE morosely Oh, shut up. SACHA fondly All right, all right. For you, Yvonne, I shot opp, because, Yvonne, I loff you. Uh oh. Rick saunters over and leans on the bar, next to Yvonne. He pays no attention to her. She looks at him bitterly, without saying a word.s SACHA Oh, Monsieur Rick, Monsieur Rick. Some Germans, boom, boom, boom, boom, gave this check. Is it all right? Rick looks the check over and tears it up. Yvonne has never taken her eyes off Rick. YVONNE Where were you last night? RICK That's so long ago, I don't remember. YVONNE Will I see you tonight? RICK matter-of-factly I never make plans that far ahead. Yvonne turns, looks at Sacha, and extends her glass to him. YVONNE Give me another. RICK Sacha, she's had enough. YVONNE Don't listen to him, Sacha. Fill it up. SACHA Yvonne, I loff you, but he pays me. Yvonne wheels on Rick with drunken fury. YVONNE Rick, I'm sick and tired of having you -- RICK -- Sacha, call a cab. SACHA Yes, boss. Rick takes Yvonne by the arm. RICK Come on, we're going to get your coat. YVONNE Take your hands off me! He pulls her along toward the door. RICK No. You're going home. You've had a little too much to drink.
CUT TO:
EXT. RICK'S CAFE - NIGHT Sacha stands at the curb on the street in front of Rick's and signals for a cab.
SACHA Taxi! Soon one pulls up. Rick and Yvonne come out of the cafe. He puts a coat over her shoulders and she objects violently. YVONNE Who do you think you are, pushing me around? What a fool I was to fall for a man like you. Rick and Yvonne approach the waiting cab. RICK to Sacha You'd better go with her, Sacha, to be sure she gets home. SACHA Yes, boss. RICK And come right back. SACHA his face falling Yes, boss. Rick stands and looks up at the revolving beacon light from the airport. It intermittently sheds its light on Rick's face. Renault sits at a table on the cafe terrace, watching this evening's performance. RENAULT Hello, Rick. Rick walks over to him. RICK Hello, Louis. RENAULT How extravagant you are, throwing away women like that. Someday they may be scarce. Rick sits down at the table. RENAULT amused You know, I think now I shall pay a call on Yvonne, maybe get her on the rebound, eh? RICK When it comes to women, you're a true democrat. As they talk, Captain Tonelli and Lieutenant Casselle walk by toward the entrance of the cafe. Casselle talks non-stop and Tonelli tries. They both stop, salute Renault, and walk into the cafe. RENAULT If he gets a word in it'll be a major Italian victory. Rick laughs. Rick and Renault look up when they hear the BUZZ of a plane taking off from the adjacent airfield. The plane flies directly over their heads. RENAULT The plane to Lisbon. pause You would like to be on it? RICK curtly Why? What's in Lisbon? RENAULT The clipper to America. Rick doesn't answer. His look isn't a happy one. Rick doesn't answer. His look isn't a happy one. RENAULT I have often speculated on why you don't return to America. Did you abscond with the church funds? Did you run off with a senator's wife? I like to think you killed a man. It's the romantic in me. Rick still looks in the direction of the airport. RICK It was a combination of all three. RENAULT And what in heaven's name brought you to Casablanca? RICK My health. I came to Casablanca for the waters. RENAULT Waters? What waters? We're in the desert. RICK I was misinformed. RENAULT Huh! EMIL, the croupier, comes out of the cafe and walks over to Rick. EMIL Excuse me, Monsieur Rick, but a gentleman inside has won twenty thousand francs. The cashier would like some money. RICK Well, I'll get it from the safe. EMIL I am so upset, Monsieur Rick. You know I can't understand -- RICK -- Forget it, Emil. Mistakes like that happen all the time. EMIL I'm awfully sorry. The three men enter the cafe.
CUT TO:
INT. RICK'S CAFE - MAIN ROOM - NIGHT They pass Sam at the piano. He's playing "Baby Face". Rick pats Sam on the shoulder.
RENAULT Rick, there's going to be some excitement here tonight. We are going to make an arrest in your cafe. RICK somewhat annoyed What, again? RENAULT This is no ordinary arrest. A murderer, no less. Rick's eyes react. Involuntarily, they glance toward the gambling room. Renault catches the look. RENAULT If you are thinking of warning him, don't put yourself out. He cannot possibly escape. RICK I stick my neck out for nobody. RENAULT A wise foreign policy. They start upstairs to Rick's office, passing Casselle who is still haranguing Tonelli. RENAULT You know, Rick, we could have made this arrest earlier in the evening at the Blue Parrot, but out of my high regard for you we are staging it here. It will amuse your customers. RICK Our entertainment is enough. They go inside the office.
INT. RICK'S CAFE - OFFICE - NIGHT Rick opens up the safe in a small, dark room just off the office. Only Rick's shadow can be seen getting the money out.
RENAULT Rick, we are to have an important guest tonight, Major Strasser of the Third Reich, no less. We want him to be here when we make the arrest. A little demonstration of the efficiency of my administration. Rick moves out of the shadows and into view. RICK I see. And what's Strasser doing here? He certainly didn't come all the way to Casablanca to witness a demonstration of your efficiency. RENAULT Perhaps not. He gives the money to Emil. RICK Here you are. EMIL It shall not happen again, Monsieur. RICK That's all right. Emil departs. RICK Louis, you've got something on your mind. Why don't you spill it? Rick closes the door to the office, then goes over to close the safe. RENAULT How observant you are. As a matter of fact, I wanted to give you a word of advice. RICK Yeah? Have a brandy? RENAULT Thank you. Rick, there are many exit visas sold in this cafe, but we know that you have never sold one. That is the reason we permit you to remain open. RICK I thought it was because we let you win at roulette. RENAULT That is another reason. There is a man who's arrived in Casablanca on his way to America. He will offer a fortune to anyone who will furnish him with an exit visa. RICK Yeah? What's his name? RENAULT Victor Laszlo. RICK Victor Laszlo? Renault watches Rick's reaction. RENAULT Rick, that is the first time I have ever seen you so impressed. RICK Well, he's succeeded in impressing half the world. RENAULT It is my duty to see that he doesn't impress the other half. Rick, Laszlo must never reach America. He stays in Casablanca. RICK It'll be interesting to see how he manages. RENAULT Manages what? RICK His escape. RENAULT Oh, but I just told you. -\\- RICK -- Stop it. He escaped from a concentration camp and the Nazis have been chasing him all over Europe. RENAULT This is the end of the chase. RICK Twenty thousand francs says it isn't. They sit down to discuss the matter in earnest. RENAULT Is that a serious offer? RICK I just paid out twenty. I'd like to get it back. RENAULT Make it ten. I am only a poor corrupt official. RICK Okay. RENAULT Done. No matter how clever he is, he still needs an exit visa, or I should say, two. RICK Why two? RENAULT He is traveling with a lady. RICK He'll take one. RENAULT I think not. I have seen the lady. And if he did not leave her in Marseilles, or in Oran, he certainly won't leave her in Casablanca. RICK Maybe he's not quite as romantic as you are. RENAULT It doesn't matter. There is no exit visa for him. RICK Louis, whatever gave you the impression that I might be interested in helping Laszlo escape? RENAULT Because, my dear Ricky, I suspect that under that cynical shell you're at heart a sentimentalist. Rick makes a face. RENAULT Oh, laugh if you will, but I happen to be familiar with your record. Let me point out just two items. In 1935 you ran guns to Ethiopia. In 1936, you fought in Spain on the Loyalist side. RICK And got well paid for it on both occasions. RENAULT The winning side would have paid you much better. RICK Maybe. Well, it seems you are determined to keep Laszlo here. RENAULT I have my orders. RICK Oh, I see. Gestapo spank. Renault stands up. RENAULT My dear Ricky, you overestimate the influence of the Gestapo. I don't interfere with them and they don't interfere with me. In Casablanca I am master of my fate. I am captain of my -- He stops short as his AIDE enters. AIDE -- Major Strasser is here, sir. Renault starts to leave. RICK Yeah, you were saying? RENAULT hurriedly Excuse me. He hurries away. Rick smiles cynically.
CUT TO:
INT. RICK'S CAFE - MAIN ROOM - NIGHT Renault walks up to Carl.
RENAULT Carl, see that Major Strasser gets a good table, one close to the ladies. CARL I have already given him the best, knowing he is German and would take it anyway. Renault walks over to one of his officers. RENAULT Take him quietly. Two guards at every door. OFFICER Yes, sir. Everything is ready, sir. The officer salutes and goes off to speak to the guards. Renault walks over to Strasser's table as Rick comes down the stairs. RENAULT Good evening, gentlemen. STRASSER Good evening, Captain. HEINZE Won't you join us? Renault sits down. RENAULT Thank you. It is a pleasure to have you here, Major. STRASSER to the waiter Champagne and a tin of caviar. RENAULT May I recommend Veuve Cliquot '26, a good French wine. STRASSER Thank you. WAITER Very well, sir. STRASSER A very interesting club. RENAULT Especially so tonight, Major. In a few minutes you will see the arrest of the man who murdered your couriers. STRASSER I expected no less, Captain.
CUT TO:
INT. RICK'S CAFE - GAMBLING ROOM - NIGHT Ugarte stands at the roulette table. Two gendarmes approach him from behind.
GENDARME Monsieur Ugarte? Ugarte looks around. UGARTE Oh. Yes? GENDARME Will you please come with us. UGARTE Certainly. May I first please cash my chips? The officer nods. They follow Ugarte to the cashier's window. Ugarte puts his chips through the window to the CASHIER. UGARTE Pretty lucky, huh? Two thousand, please. Two more guards station themselves at the door in case there is trouble. CASHIER Two thousand. UGARTE Thank you. Ugarte starts to walk out, followed by the gendarmes. When he reaches the doorway he suddenly rushes through and slams the door behind himself.
INT. RICK'S CAFE - MAIN ROOM - NIGHT By the time the gendarmes manage to get the door open again, Ugarte has pulled a gun. He FIRES at the doorway. The SHOTS bring on pandemonium in the cafe. As Ugarte runs through the hallway he sees Rick, appearing from the opposite direction, and grabs him.
UGARTE Rick! Rick, help me! RICK Don't be a fool. You can't get away. UGARTE Rick, hide me. Do something! You must help me, Rick. Do something! Guards and gendarmes rush in and grab Ugarte. Rick stands impassively as they drag Ugarte off. UGARTE Rick! Rick! We move to Strasser's table, who has witnessed the event. STRASSER Excellent, Captain. Back to Rick, still standing where he was, as a CUSTOMER walks by. CUSTOMER When they come to get me, Rick, I hope you'll be more of a help. RICK I stick my neck out for nobody. Rick comes out to the middle of the floor. An air of tense expectancy pervades the room. A few customers are on the point of leaving. Rick speaks in a very calm voice. RICK I'm sorry there was a disturbance, folks, but it's all over now. Everything's all right. Just sit down and have a good time. Enjoy yourself. Rick glances toward Sam. RICK All right, Sam. Sam nods and begins to play. Renault, Strasser, and Heinze sit calmly at their table after witnessing the arrest. Rick walks by. RENAULT calling to Rick Oh, Rick? Rick stops and comes over to their table. RENAULT Rick, this is Major Heinrich Strasser of the Third Reich. STRASSER How do you do, Mr. Rick? RICK Oh, how do you do? RENAULT And you already know Herr Heinze of the Third Reich. Rick nods to Strasser and Heinze. STRASSER Please join us, Mr. Rick. Rick sits down with them. RENAULT We are very honored tonight, Rick. Major Strasser is one of the reasons the Third Reich enjoys the reputation it has today. STRASSER You repeat "Third Reich" as though you expected there to be others. RENAULT Well, personally, Major, I will take what comes. STRASSER to Rick Do you mind if I ask you a few questions? Unofficially, of course. RICK Make it official, if you like. STRASSER What is your nationality? RICK pokerfaced I'm a drunkard. RENAULT That makes Rick a citizen of the world. RICK I was born in New York City if that'll help you any. STRASSER I understand you came here from Paris at the time of the occupation. RICK There seems to be no secret about that. STRASSER Are you one of those people who cannot imagine the Germans in their beloved Paris? RICK It's not particularly my beloved Paris. HEINZE Can you imagine us in London? RICK When you get there, ask me. RENAULT Ho, diplomatist! STRASSER How about New York? RICK Well, there are certain sections of New York, Major, that I wouldn't advise you to try to invade. STRASSER Aha. Who do you think will win the war? RICK I haven't the slightest idea. RENAULT Rick is completely neutral about everything. And that takes in the field of women, too. STRASSER You weren't always so carefully neutral. We have a complete dossier on you. Strasser takes a little black book from his pocket and turns to a certain page. STRASSER "Richard Blaine, American. Age, thirty-seven. Cannot return to his country." Strasser looks up from the book STRASSER The reason is a little vague. We also know what you did in Paris, Mr. Blaine, and also we know why you left Paris. Rick reaches over and takes the book from Strasser's hand. STRASSER Don't worry. We are not going to broadcast it. Rick looks up from the book. RICK Are my eyes really brown? STRASSER You will forgive my curiosity, Mr. Blaine. The point is, an enemy of the Reich has come to Casablanca and we are checking up on anybody who can be of any help to us. RICK glances toward Renault My interest in whether Victor Laszlo stays or goes is purely a sporting one. STRASSER In this case, you have no sympathy for the fox, huh? RICK Not particularly. I understand the point of view of the hound, too. STRASSER Victor Laszlo published the foulest lies in the Prague newspapers until the very day we marched in, and even after that he continued to print scandal sheets in a cellar. RENAULT Of course, one must admit he has great courage. STRASSER I admit he is very clever. Three times he slipped through our fingers. In Paris he continued his activities. We intend not to let it happen again. Rick gets up. RICK You'll excuse me, gentlemen. Your business is politics. Mine is running a saloon. STRASSER Good evening, Mr. Blaine. Rick walks away toward the gambling room. RENAULT You see, Major, you have nothing to worry about Rick. STRASSER Perhaps. A couple comes in the front door. They are VICTOR LASZLO, the Czech resistance leader, and a very pretty young woman wearing a simple white gown, MISS ILSA LUND. She is so beautiful, in fact, that people turn to stare. The HEADWAITER comes up to them. HEADWAITER Yes, Monsieur? LASZLO I reserved a table. Victor Laszlo. HEADWAITER Yes, Monsieur Laszlo. Right this way. As the headwaiter takes them to a table they pass by the piano, and the woman looks at Sam. Sam, with a conscious effort, keeps his eyes on the keyboard as they go past. He appears to know this woman. After she has gone by Sam steals a look in her direction. BERGER, a slight, middle-aged man, observes the couple from a distance. The headwaiter seats Ilsa. Laszlo takes the chair opposite and surveys the room. Strasser and Renault look up at them from their table. LASZLO Two cointreaux, please. WAITER Yes, Monsieur. LASZLO to Ilsa I saw no one of Ugarte's description. ILSA Victor, I, I feel somehow we shouldn't stay here. LASZLO If we would walk out so soon, it would only call attention to us. Perhaps Ugarte's in some other part of the cafe. Berger walks up to their table. BERGER Excuse me, but you look like a couple who are on their way to America. LASZLO Well? Berger takes a ring from his finger. BERGER You will find a market there for this ring. I am forced to sell it at a great sacrifice. LASZLO Thank you, but I hardly think -- BERGER -- Then perhaps for the lady. The ring is quite unique. He holds it down for their view. Carefully lifting up the stone, he reveals-- INSERT - a gold plate in the setting underneath, an impression of the Lorraine Cross of General de Gaulle. LASZLO Oh, yes, I'm very interested. Berger sits down with them. BERGER Good. LASZLO lower voice What is your name? BERGER Berger, Norwegian, and at your service, sir. Renault approaches the table from behind Laszlo. Ilsa tries to warn him. ILSA Victor-- Laszlo understands. LASZLO in a low voice I'll meet you in a few minutes at the bar. in a louder voice I do not think we want to buy the ring. But thank you for showing it to us. Berger, taking the cue, sighs and puts the ring away.s BERGER Such a bargain. But that is your decision? LASZLO I'm sorry. It is.. Berger gets up and leaves as Renault moves to the table RENAULT Monsieur Laszlo, is it not? LASZLO Yes. RENAULT I am Captain Renault, Prefect of Police. LASZLO Yes. What is it you want? RENAULT amiably Merely to welcome you to Casablanca and wish you a pleasant stay. It is not often we have so distinguished a visitor. LASZLO Thank you. I hope you'll forgive me, Captain, but the present French administration has not always been so cordial. May I present Miss Ilsa Lund? RENAULT I was informed you were the most beautiful woman ever to visit Casablanca. That was a gross understatement. Ilsa's manner is friendly and reserved, her voice low and soft. ILSA You are very kind. LASZLO Won't you join us? He sits down. RENAULT If you will permit me. calls to the waiter Oh, Emil. Please, a bottle of your best champagne, and put it on my bill. EMIL Very well, sir. LASZLO No, Captain, please. RENAULT No. Please, Monsieur, it is a little game we play. They put it on the bill, I tear the bill up. It is very convenient. Ilsa glances off in Sam's direction. ILSA Captain, the boy who is playing the piano, somewhere I have seen him. RENAULT Sam? ILSA Yes. RENAULT He came from Paris with Rick. ILSA Rick? Who's he? RENAULT smiling Mademoiselle, you are in Rick's and Rick is -- ILSA -- Is what? RENAULT Well, Mademoiselle, he's the kind of a man that, well, if I were a woman and I-- taps his chest were not around, I should be in love with Rick. But what a fool I am talking to a beautiful woman about another man. Renault jumps to his feet as Strasser enters. RENAULT Excuse me. Ah, Major. Mademoiselle Lund, Monsieur Laszlo, may I present Major Heinrich Strasser. Strasser bows and smiles pleasantly. STRASSER How do you do. This is a pleasure I have long looked forward to. There is not the slightest recognition from either Ilsa or Laszlo. Strasser waits to be asked to seat himself. LASZLO I'm sure you'll excuse me if I am not gracious, but you see, Major Strasser, I'm a Czechoslovakian. STRASSER You were a Czechoslovakian. Now you are a subject of the German Reich! Laszlo stands. LASZLO I've never accepted that privilege, and I'm now on French soil. STRASSER I should like to discuss some matters arising from your presence on French soil. LASZLO This is hardly the time or the place. STRASSER hardening Then we shall state another time and another place. Tomorrow at ten in the Prefect's office, with Mademoiselle. LASZLO Captain Renault, I am under your authority. Is it your order that we come to your office? RENAULT amiably Let us say that it is my request. That is a much more pleasant word. LASZLO Very well. Renault and Strasser bow shortly. RENAULT Mademoiselle. STRASSER Mademoiselle. Renault and Strasser walk away. RENAULT A very clever tactical retreat, Major. Strasser looks at Renault sharply, but sees only a noncommittal smile on Renault's face. Laszlo remains standing at the table as Strasser and Renault leave. LASZLO This time they really mean to stop me. ILSA Victor, I'm afraid for you. LASZLO We have been in difficult places before, haven't we? Ilsa smiles back at him, but her eyes are still troubled. On the floor, CORINA strums a guitar and begins her number. Meanwhile, Laszlo looks about with apparent casualness. He sees Strasser and Renault whispering together, then notices Berger at the bar. LASZLO I must find out what Berger knows. ILSA Be careful. LASZLO I will, don't worry. He rises and goes off. We see Ilsa's troubled profile. While Corinna sings, Sam gives a worried glance in Ilsa's direction. Ilsa watches him. At the bar, Berger sips a drink. Laszlo walks up and casually takes a place at the bar next to Berger. LASZLO Mr. Berger, the ring, could I see it again? BERGER Yes, Monsieur. LASZLO to Sacha A champagne cocktail, please. Laszlo takes the ring and looks at it. BERGER in a low voice I recognize you from the news photographs, Monsieur Laszlo. LASZLO In a concentration camp, one is apt to lose a little weight. BERGER We read five times that you were killed in five different places. LASZLO smiles wryly As you see, it was true every single time. Thank heaven I found you, Berger. I am looking for a man by the name of Ugarte. He is supposed to help me. Berger shakes his head. BERGER Ugarte cannot even help himself, Monsieur. He is under arrest for murder. He was arrested here tonight. Laszlo absorbs the shock quietly. LASZLO I see. BERGER with intense devotion But we who are still free will do all we can. We are organized, Monsieur, underground like everywhere else. Tomorrow night there is a meeting at the Caverne du Bois. If you would come-- He stops when Sacha brings the drink to Laszlo. Corina finishes her song, and the crowd applauds quite enthusiastically. Ilsa sits alone at her table. ILSA to waiter Will you ask the piano player to come over here, please? WAITER Very well, Mademoiselle. Renault comes up to the bar near Berger and Laszlo. RENAULT How's the jewelry business, Berger? BERGER Er, not so good. to Sacha May I have my check, please? RENAULT Too bad you weren't here earlier, Monsieur Laszlo. We had quite a bit of excitement this evening, didn't we, Berger? BERGER Er, yes. Excuse me, gentlemen. LASZLO My bill. RENAULT No. Two champagne cocktails, please. SACHA Yes, sir. Sam wheels in the piano to Ilsa's table. On his face is that funny fear. Ilsa herself is not as self-possessed as she tries to appear. There is something behind this, some mystery. ILSA Hello, Sam. SAM Hello, Miss Ilsa. I never expected to see you again. He sits down and is ready to play. ILSA It's been a long time. SAM Yes, ma'am. A lot of water under the bridge. ILSA Some of the old songs, Sam. SAM Yes, ma'am. Sam begins to play a number. He is nervous, waiting for anything. ILSA Where is Rick? SAM evading I don't know. I ain't seen him all night. . Sam looks very uncomfortable ILSA When will he be back? SAM Not tonight no more. He ain't coming. Uh, he went home. ILSA Does he always leave so early? SAM Oh, he never-- well-- desperately he's got a girl up at the Blue Parrot. He goes up there all the time. ILSA You used to be a much better liar, Sam. SAM Leave him alone, Miss Ilsa. You're bad luck to him. ILSA Play it once, Sam, for old time's sake. SAM I don't know what you mean, Miss Ilsa. ILSA Play it, Sam. Play "As Time Goes By." SAM Oh I can't remember it, Miss Ilsa. I'm a little rusty on it. Of course he can. He doesn't want to play it. He seems even more scared now. ILSA I'll hum it for you. Ilsa starts to hum. Sam begins to play it very softly. ILSA Sing it, Sam. And Sam sings. SAM You must remember this, A kiss is just a kiss, A sigh is just a sigh, The fundamental things apply, As time goes by. The door to the gambling room opens. Rick comes swinging out. He's heard the music and he's livid. SAM And when two lovers woo, They both say I love you, On that you can rely, No matter what the future brings, As time goes by. Rick walks briskly up to the piano. RICK Sam, I thought I told you never to play-- As he sees Ilsa he stops short. Sam stops playing. Two close-ups reveal Ilsa and Rick seeing each other. Rick appears shocked. For a long moment he just looks at her. Sam prepares to move the piano away. Renault and Laszlo approach the table from the bar. RENAULT to Ilsa Well, you were asking about Rick and here he is. Mademoiselle, may I present -- RICK -- Hello, Ilsa. ILSA Hello, Rick. RENAULT Oh, you've already met Rick, Mademoiselle? There's no answer from either. RENAULT Well then, perhaps you also --- ILSA -- This is Mr. Laszlo. LASZLO How do you do? RICK How do you do? LASZLO One hears a great deal about Rick in Casablanca. RICK And about Victor Laszlo everywhere. LASZLO Won't you join us for a drink? RENAULT laughing Oh, no, Rick never -- RICK -- Thanks. I will. Rick sits down. RENAULT Well! A precedent is being broken. Er, Emil! LASZLO This is a very interesting cafe. I congratulate you. RICK And I congratulate you. LASZLO What for? RICK Your work. LASZLO Thank you. I try. RICK We all try. You succeed. RENAULT I can't get over you two. She was asking about you earlier, Rick, in a way that made me extremely jealous. ILSA to Rick I wasn't sure you were the same. Let's see, the last time we met -- RICK -- It was "La Belle Aurore." ILSA How nice. You remembered. But of course, that was the day the Germans marched into Paris. RICK Not an easy day to forget. ILSA No. RICK I remember every detail. The Germans wore gray, you wore blue. ILSA Yes. I put that dress away. When the Germans march out, I'll wear it again. RENAULT Ricky, you're becoming quite human. I suppose we have to thank you for that, Mademoiselle. LASZLO Ilsa, I don't wish to be the one to say it, but it's late. RENAULT glancing at his wristwatch So it is. And we have a curfew here in Casablanca. It would never do for the Chief of Police to be found drinking after hours and have to fine himself. Rick and Ilsa look at each other. Laszlo signals the waiter LASZLO I hope we didn't overstay our welcome. RICK Not at all. WAITER to Laszlo Your check, sir. Rick takes the check. RICK to waiter Oh, it's my party. RENAULT Another precedent gone. This has been a very interesting evening. I'll call you a cab. Gasoline rationing, time of night. Renault leaves. LASZLO We'll come again. RICK Any time. ILSA Say goodnight to Sam for me. RICK I will. ILSA There's still nobody in the world who can play "As Time Goes By" like Sam. RICK He hasn't played it in a long time. Ilsa smiles. ILSA Goodnight. LASZLO Goodnight. RICK Goodnight. Rick and Laszlo nod goodnight to each other. Laszlo and Ilsa start to the door as Rick sits down again and stares off in their direction.
CUT TO:
EXT. RICK'S CAFE - NIGHT Ilsa and Laszlo leave the cafe.
LASZLO A very puzzling fellow, this Rick. What sort is he? Ilsa doesn't look at him. ILSA Oh, I really can't say, though I saw him quite often in Paris. They join Renault at the curb. RENAULT Tomorrow at ten at the Prefect's office. LASZLO We'll be there. RENAULT Goodnight. ILSA Goodnight. LASZLO Goodnight. They get into a waiting cab, leaving Renault on the curb, smoking and looking bemused. The neon sign goes off and the doorway is now illuminated by the revolving beacon from the airport.
CUT TO:
INT. RICK'S CAFE - MAIN ROOM - NIGHT The customers have all gone. The house lights are out. Rick sits alone at a table. There is a glass of bourbon on the table directly in front of him, and another empty glass on the table before an empty chair. Near at hand is a bottle. He fills his glass and drinks it quickly. Rick just sits. His face is entirely expressionless. The beacon light from the airport sweeps around the room creating a mood of unreality. Sam comes in and stands hesitantly beside Rick.
SAM Boss. No answer, as Rick drinks. SAM Boss! RICK Yeah? SAM Boss, ain't you going to bed? RICK Not right now. Sam now realizes Rick is in a very grim mood. SAM lightly Ain't you planning on going to bed in the near future? RICK No. SAM You ever going to bed? RICK No. SAM Well, I ain't sleepy either. RICK Good. Then have a drink. SAM No. Not me, boss. RICK Then don't have a drink. SAM Boss, let's get out of here. RICK emphatically No, sir. I'm waiting for a lady. SAM earnestly Please, boss, let's go. Ain't nothing but trouble for you here. RICK She's coming back. I know she's coming back. SAM We'll take the car and drive all night. We'll get drunk. We'll go fishing and stay away until she's gone. RICK Shut up and go home, will you? SAM stubbornly No, sir. I'm staying right here. Sam sits down at the piano and starts to play softly, improvising. RICK They grab Ugarte and she walks in. Well, that's the way it goes. One in, one out. Sam? SAM Yeah, boss? RICK Sam, if it's December 1941 in Casablanca, what time is it in New York? SAM Uh, my watch stopped. RICK I bet they're asleep in New York. I'll bet they're asleep all over America. Suddenly he pounds the table and buries his head in his arms. Then he raises his head, trying to regain control. RICK Of all the gin joints in all the towns in all the world, she walks into mine. He holds his head in his hands. RICK What's that you're playing? SAM Just a little something of my own. RICK Well, stop it. You know what I want to hear. SAM No, I don't. RICK You played it for her and you can play it for me. SAM Well, I don't think I can remember it. RICK If she can stand it, I can. Play it! SAM Yes, boss. Sam starts to play "As Time Goes By." Rick just stares ahead as orchestra MUSIC slowly joins Sam's playing.
CUT TO:
INT. RICK'S PARIS APARTMENT - DAY Ilsa fixes flowers at the window while Rick opens champagne. She walks over and joins him.
RICK Who are you really? And what were you before? What did you do and what did you think? Huh? ILSA We said "no questions." RICK Here's looking at you, kid. They drink.
CUT TO:
INT. PARIS CAFE - NIGHT Inside a swank Paris cafe, Rick and Ilsa dance. They appear to be very much in love as the MUSIC plays.
CUT TO:
INT. ILSA'S PARIS APARTMENT - DAY Ilsa flips a coin, then tosses it over to Rick.
ILSA A franc for your thoughts. RICK In America they'd bring only a penny. I guess that's about all they're worth. ILSA I'm willing to be overcharged. Tell me. RICK And I was wondering. ILSA Yes? RICK Why I'm so lucky. Why I should find you waiting for me to come along. ILSA Why there is no other man in my life? RICK Uh huh. ILSA That's easy. There was. He's dead. RICK I'm sorry for asking. I forgot we said "no questions." ILSA Well, only one answer can take care of all our questions. They kiss passionately.
CUT TO:
EXT. PARIS CAFE - DAY A man sells newspapers to people crowded around him. There is much excitement. Rick and Ilsa sit at a table. They buy a newspaper and begin to read it. Nearby, a group of frightened French people cluster around a loudspeaker on a wagon. A harsh voice barks out the tragic news of the Nazi push toward Paris.
RICK Nothing can stop them now. Wednesday, Thursday at the latest, they'll be in Paris. ILSA frightened Richard, they'll find out your record. It won't be safe for you here. RICK I'm on their blacklist already, their roll of honor.
CUT TO:
INT. LA BELLE AURORE - AFTERNOON A small cafe in the Montmartre. A shadow on the floor reflects the cafe sign "La Belle Aurore." Rick, at the bar, gets glasses and a bottle of champagne. He walks over to Ilsa and Sam at the piano. Sam plays "As Time Goes By." Ilsa seems unnerved. There is evidently something on her mind. Rick pours the champagne. His manner is wry, but not the bitter wryness we have seen in Casablanca.
RICK Henri wants us to finish this bottle and then three more. He says he'll water his garden with champagne before he'll let the Germans drink any of it. Sam looks at his glass. SAM This sort of takes the sting out of being occupied, doesn't it, Mr. Richard? RICK You said it! to Ilsa Here's looking at you, kid.
Suddenly a loudspeaker BLARES out something in German.
Rick and Ilsa look at each other, then hurry to the window. RICK My German's a little rusty. ILSA It's the Gestapo. They say they expect to be in Paris tomorrow. They are telling us how to act when they come marching in. She smiles faintly. ILSA With the whole world crumbling, we pick this time to fall in love. RICK Yeah. It's pretty bad timing. Where were you, say, ten years ago? ILSA Ten years ago? Let's see-- pause as she thinks a bit --Yes. I was having a brace put on my teeth. Where were you? RICK Looking for a job. Ilsa looks at him tenderly. Rick takes her in his arms, and kisses her hungrily. While they are locked in an embrace they hear the dull BOOM of cannons. ILSA frightened Was that cannon fire, or is it my heart pounding? RICK grimly Ah, that's the new German 77. And judging by the sound, only about thirty-five miles away.
Another BOOM from the cannons.
RICK And getting closer every minute. Here. Drink up. We'll never finish the other three. SAM The Germans'll be here pretty soon now, and they'll come looking for you. And don't forget there's a price on your head. Ilsa reacts to this worriedly. RICK I left a note in my apartment. They'll know where to find me. Ilsa looks at Rick. ILSA Strange. I know so very little about you. RICK I know very little about you, just the fact that you had your teeth straightened. He chuckles. ILSA But be serious, darling. You are in danger and you must leave Paris. RICK No, no, no, no. We must leave. ILSA seriously Yes, of course, we -- RICK -- The train for Marseilles leaves at five o'clock. I'll pick you up at your hotel at four-thirty. ILSA quickly No, no. Not at my hotel. I, uh, I have things to do in the city before I leave. I'll meet you at the station, huh? RICK All right. At a quarter to five. a thought strikes him Say, why don't we get married in Marseilles? Rick chuckles again. ILSA evasively That's too far ahead to plan. RICK Yes, I guess it is a little too far ahead. Well, let's see. What about the engineer? Why can't he marry us on the train? ILSA Oh, darling! Suddenly Ilsa turns away and starts to cry. RICK Well, why not? The captain on a ship can. It doesn't seem fair that-- Hey, hey, what's wrong, kid? ILSA I love you so much, and I hate this war so much. Oh, it's a crazy world. Anything can happen. If you shouldn't get away, I mean, if, if something should keep us apart, wherever they put you and wherever I'll be, I want you to know-- She can't go on. She lifts her face to his. He kisses her gently. ILSA Kiss me. Kiss me as if it were the last time. He looks into her eyes, then he does kiss her as though it were going to be the last time. Her hand falls to the table and knocks over a glass.
CUT TO:
INT. GARE DE LYON - NIGHT It's raining very hard at the train station. There is a hectic, fevered excitement, evident in the faces of the people that pass by. This is the last train from Paris. Rick appears in the crowd. He stops and puts his suitcase down and glances at his watch. A conductor calls out "All aboard, last train leaving in three minutes." Rain pours over his head and shoulders, but he doesn't seem to notice. He nervously checks his watch again. Suddenly Sam appears.
RICK Where is she? Have you seen her? SAM No, Mr. Richard. I can't find her. She checked out of the hotel. But this note came just after you left. Sam pulls an envelope from his pocket. Rick grabs it, opens it, and stares down at the letter. INSERT LETTER Richard, I cannot go with you or ever see you again. You must not ask why. Just believe that I love you. Go, my darling, and God bless you. Ilsa
Raindrops pour down the letter, smudging the writing.
BACK TO SCENE
A whistle BLOWS.
SAM frantically That's the last call, Mr. Richard, do you hear me? Come on, Mr. Richard. Let's get out of here. Come on, Mr. Richard, come on. Sam pulls a stunned, reluctant Rick to the train. The train starts to move just as he boards. From the steps he looks off into the distance, then crumbles the letter and tosses it away as the steam from the engine clouds over him.
DISSOLVE TO:
INT. RICK'S CAFE - MAIN ROOM - NIGHT Close-up of a glass on the table in the cafe. Rick's hand reaches for it and knocks it over. We now see Rick's face and he's very drunk. Sam walks over to the table to pick up the glass and a fallen chair. Just then the door opens and it's Ilsa. Rick stares at the doorway. Ilsa lingers a moment, then comes over to the table.
ILSA Rick, I have to talk to you. Her manner is a little uncertain, a little tentative, but with a quiet determination beneath it. RICK Oh. I saved my first drink to have with you. Here. ILSA No. No, Rick. Not tonight. RICK Especially tonight. She sits down in the chair before the empty glass. Her eyes are searching his face, but there is no expression on it except a cold and impassive one. Rick reaches for the bottle, and pours himself another drink. ILSA Please. RICK Why did you have to come to Casablanca? There are other places. ILSA I wouldn't have come if I had known that you were here. Believe me, Rick, it's true. I didn't know. RICK It's funny about your voice, how it hasn't changed. I can still hear it. "Richard dear, I'll go with you any place. We'll get on a train together and never stop." ILSA Please don't. Don't, Rick. I can understand how you feel. RICK Huh! You understand how I feel. How long was it we had, honey? ILSA I didn't count the days. RICK Well, I did. Every one of them. Mostly I remember the last one. A wow finish. A guy standing on a station platform in the rain with a comical look on his face, because his insides had been kicked out. He takes a drink. ILSA Can I tell you a story, Rick? RICK Has it got a wow finish? ILSA I don't know the finish yet. RICK Well, go on, tell it. Maybe one will come to you as you go along. ILSA It's about a girl who had just come to Paris from her home in Oslo. At the house of some friends she met a man about whom she'd heard her whole life, a very great and courageous man. He opened up for her a whole beautiful world full of knowledge and thoughts and ideals. Everything she knew or ever became was because of him. And she looked up to him and worshipped him with a feeling she supposed was love. RICK Yes, that's very pretty. I heard a story once. As a matter of fact, I've heard a lot of stories in my time. They went along with the sound of a tinny piano playing in the parlor downstairs, "Mister, I met a man once when I was a kid," it'd always begin. Huh. I guess neither one of our stories was very funny. Tell me, who was it you left me for? Was it Laszlo, or were there others in between? Or aren't you the kind that tells? Ilsa gets up and leaves. Rick's head slumps over the table.
CUT TO:
INT. RENAULT'S OFFICE - MORNING A sign on the door reads: Captain Renault, Prefect de Police. Strasser sits while Renault attends to some paperwork.
STRASSER I strongly suspect that Ugarte left the letters of transit with Mr. Blaine. I would suggest you search the cafe immediately and thoroughly. RENAULT If Rick has the letters, he's much too smart to let you find them there. STRASSER You give him credit for too much cleverness. My impression was that he's just another blundering American. RENAULT But we mustn't underestimate American blundering. I was with them when they "blundered" into Berlin in 1918. Strasser looks at him. STRASSER As to Laszlo, we want him watched twenty-four hours a day. RENAULT reassuringly It may interest you to know that at this very moment he is on his way here.
CUT TO:
INT. PREFECTURE LOBBY - MORNING Laszlo and Ilsa make their way through the jam in the lobby of the Prefecture. Jan and Annina talk to an officer.
OFFICER to Jan and Annina There's nothing we can do.
CUT TO:
INT. RENAULT'S OFFICE - MORNING Laszlo and Ilsa enter Renault's office. Renault bows to them both.
RENAULT I am delighted to see you both. Did you have a good night's rest? LASZLO I slept very well. RENAULT That's strange. Nobody is supposed to sleep well in Casablanca. LASZLO coldly May we proceed with the business? RENAULT With pleasure. Won't you sit down? LASZLO Thank you. They take their seats. STRASSER now as cold as Laszlo Very well, Herr Laszlo, we will not mince words. You are an escaped prisoner of the Reich. So far you have been fortunate enough in eluding us. You have reached Casablanca. It is my duty to see that you stay in Casablanca. LASZLO Whether or not you succeed is, of course, problematical. STRASSER Not at all. Captain Renault's signature is necessary on every exit visa. turns to Renault Captain, would you think it is possible that Herr Laszlo will receive a visa? RENAULT I am afraid not. My regrets, Monsieur. LASZLO Well, perhaps I shall like it in Casablanca. STRASSER And Mademoiselle? ILSA You needn't be concerned about me. LASZLO Is that all you wish to tell us? STRASSER Don't be in such a hurry. You have all the time in the world. You may be in Casablanca indefinitely-- or you may leave for Lisbon tomorrow, on one condition. LASZLO And that is? STRASSER You know the leaders of the underground movement in Paris, in Prague, in Brussels, in Amsterdam, in Oslo, in Belgrade, in Athens. LASZLO Even in Berlin. STRASSER Yes, even in Berlin. If you will furnish me with their names and their exact whereabouts, you will have your visa in the morning. RENAULT And the honor of having served the Third Reich. LASZLO I was in a German concentration camp for a year. That's honor enough for a lifetime. STRASSER You will give us the names? LASZLO If I didn't give them to you in a concentration camp where you had more "persuasive methods" at your disposal, I certainly won't give them to you now. The passionate conviction in his voice now reveals the crusader. LASZLO And what if you track down these men and kill them? What if you murdered all of us? From every corner of Europe, hundreds, thousands, would rise to take our places. Even Nazis can't kill that fast. STRASSER Herr Laszlo, you have a reputation for eloquence which I can now understand. But in one respect you are mistaken. You said the enemies of the Reich could all be replaced, but there is one exception. No one could take your place in the event anything unfortunate should occur to you while you were trying to escape. LASZLO You won't dare to interfere with me here. This is still unoccupied France. Any violation of neutrality would reflect on Captain Renault. RENAULT Monsieur, insofar as it is in my power -- LASZLO -- Thank you. RENAULT By the way, Monsieur, last night you evinced an interest in Signor Ugarte. LASZLO Yes. RENAULT I believe you have a message for him? LASZLO Nothing important, but may I speak to him now? STRASSER You would find the conversation a trifle one-sided. Signor Ugarte is dead. Close-ups of Ilsa, then Laszlo, reveal their disappointment. Strasser observes their reaction. ILSA softly Oh. Renault holds a report. RENAULT I am making out the report now. We haven't quite decided whether he committed suicide or died trying to escape. LASZLO Are you quite finished with us? STRASSER For the time being. LASZLO Good day. Renault rings a buzzer and the door is opened for them. As Ilsa and Laszlo leave, an OFFICER comes in. RENAULT Undoubtedly their next step will be to the black market. OFFICER Excuse me, Captain. Another visa problem has come up. RENAULT Show her in. OFFICER Yes, sir. Renault looks at himself in the mirror and straightens his tie.
CUT TO:
EXT. BLACK MARKET - DAY The black market is a cluttered Arab street of bazaars, shops and stalls. All kinds and races of people mill about the merchandise which native dealers have on outdoor display. Both men and women are dressed in tropical clothes. The canopies over the stalls give them some protection from the scorching sun. On the surface the atmosphere is merely languid, but underneath lies the sinister workings of illicit trade. A FRENCHMAN and a NATIVE huddle together and talk in low tones.
NATIVE I'm sorry, Monsieur, we would have to handle the police. This is a job for Signor Ferrari. FRENCHMAN Ferrari? NATIVE It can be most helpful to know Signor Ferrari. He pretty near has a monopoly on the black market here. You will find him over there at the Blue Parrot. FRENCHMAN Thanks.
CUT TO:
EXT. THE BLUE PARROT - DAY Outside the cafe, a blue parrot sits on a perch.
CUT TO:
INT. THE BLUE PARROT - DAY The cafe is much less pretentious than Rick's, but well populated. Rick enters and walks through the cafe toward Ferrari's office just as Ferrari emerges with Jan and Annina, who look very disappointed.
FERRARI There, don't be too downhearted. Perhaps you can come to terms with Captain Renault. JAN Thank you very much, Signor. Jan leads Annina away. RICK Hello, Ferrari. Signor Ferrari turns around. He's pleased to see Rick. FERRARI Ah, good morning, Rick. They shake hands. RICK I see the bus is in. I'll take my shipment with me. FERRARI No hurry. I'll have it sent over. Have a drink with me. RICK I never drink in the morning. And every time you send my shipment over, it's always just a little bit short. FERRARI chuckling Carrying charges, my boy, carrying charges. Here, sit down. There's something I want to talk over with you, anyhow. He hails a waiter. FERRARI The bourbon. to Rick, sighing deeply The news about Ugarte upset me very much. RICK You're a fat hypocrite. You don't feel any sorrier for Ugarte than I do. He eyes Rick closely. FERRARI Of course not. What upsets me is the fact that Ugarte is dead and no one knows where those letters of transit are. RICK Practically no one. FERRARI If I could lay my hands on those letters, I could make a fortune. RICK So could I. And I'm a poor businessman. FERRARI I have a proposition for whoever has those letters. I will handle the entire transaction, get rid of the letters, take all the risk, for a small percentage. RICK And the carrying charges? FERRARI Naturally there will be a few incidental expenses. That is the proposition I have for whoever has those letters. RICK dryly I'll tell him when he comes in. FERRARI Rick, I'll put my cards on the table. I think you know where those letters are. RICK Well, you're in good company. Renault and Strasser probably think so, too. Rick looks out of the window and sees Ilsa at the linen bazaar, then Laszlo walking toward the cafe. RICK That's why I came over here to give them a chance to ransack my place. FERRARI Rick, don't be a fool. Take me into your confidence. You need a partner. Rick isn't listening to him. He looks through the open window in the direction of the linen bazaar. Rick gets up. RICK Excuse me, I'll be getting back.
CUT TO:
EXT. THE BLUE PARROT - DAY Laszlo reaches the entrance to the cafe as Rick comes out. He stops and addresses Rick politely.
LASZLO Good morning. RICK Signor Ferrari is the fat gent at the table. As he exits, Laszlo looks after him with a puzzled expression.
CUT TO:
EXT. BLACK MARKET - DAY At the linen stall, Ilsa examines a tablecloth which an Arab vendor is endeavoring to sell. He holds a sign which reads "700 francs."
ARAB You will not find a treasure like this in all Morocco, Mademoiselle. Only seven hundred francs. Rick walks up behind Ilsa. RICK You're being cheated. She looks briefly at Rick, then turns away. Her manner is politely formal. ILSA It doesn't matter, thank you. ARAB Ah, the lady is a friend of Rick's? For friends of Rick we have a small discount. Did I say seven hundred francs? You can have it for two hundred. Reaching under the counter, he takes out a sign reading "200 francs", and replaces the other sign with it. RICK I'm sorry I was in no condition to receive you when you called on me last night. ILSA It doesn't matter. ARAB Ah, for special friends of Rick's we have a special discount. One hundred francs. He replaces the second sign with a third which reads "100 francs." RICK Your story had me a little confused. Or maybe it was the bourbon. ARAB I have some tablecloths, some napkins -- ILSA -- Thank you. I'm really not interested. ARAB Please, one minute. Wait! The Arab hurriedly exits. Ilsa pretends to examine the goods on the counter. RICK Why did you come back? To tell me why you ran out on me at the railway station? ILSA Yes. RICK Well, you can tell me now. I'm reasonably sober. ILSA I don't think I will, Rick. RICK Why not? After all, I got stuck with a railway ticket. I think I'm entitled to know. ILSA Last night I saw what has happened to you. The Rick I knew in Paris, I could tell him. He'd understand. But the one who looked at me with such hatred-- well, I'll be leaving Casablanca soon and we'll never see each other again. We knew very little about each other when we were in love in Paris. If we leave it that way, maybe we'll remember those days and not Casablanca, not last night. RICK Did you run out on me because you couldn't take it? Because you knew what it would be like, hiding from the police, running away all the time? ILSA You can believe that if you want to. RICK Well, I'm not running away any more. I'm settled now, above a saloon, it's true, but-- walk up a flight. I'll be expecting you. Ilsa turns her head away. RICK All the same, someday you'll lie to Laszlo. You'll be there. ILSA No, Rick. No, you see, Victor Laszlo is my husband-- and was, even when I knew you in Paris. She walks away into the cafe as Rick stares after her in stunned disbelief.
CUT TO:
INT. THE BLUE PARROT - DAY Ilsa and Laszlo sit with Ferrari.
FERRARI I was just telling Monsieur Laszlo that, unfortunately, I am not able to help him. ILSA Oh. LASZLO You see, my dear, the word has gone around. FERRARI to Ilsa As leader of all illegal activities in Casablanca, I am an influential and respected man. It would not be worth my life to do anything for Monsieur Laszlo. You, however, are a different matter. LASZLO Signor Ferrari thinks it might just be possible to get an exit visa for you. ILSA You mean for me to go on alone? FERRARI And only alone. LASZLO I will stay here and keep on trying. I'm sure in a little while -- FERRARI -- We might as well be frank, Monsieur. It will take a miracle to get you out of Casablanca. And the Germans have outlawed miracles. ILSA We are only interested in two visas, Signor. LASZLO Please, Ilsa, don't be hasty. ILSA firmly No, Victor, no. FERRARI You two will want to discuss this. Excuse me. I'll be at the bar. Ferrari gets to his feet and walks away. LASZLO No, Ilsa, I won't let you stay here. You must get to America. And believe me, somehow I will get out and join you. ILSA But, Victor, if the situation were different, if I had to stay and there were only a visa for one, would you take it? LASZLO not very convincingly Yes, I would. Ilsa smiles faintly. She doesn't believe it for even a moment. ILSA Yes, I see. When I had trouble getting out of Lille, why didn't you leave me there? And when I was sick in Marseilles and held you up for two weeks and you were in danger every minute of the time, why didn't you leave me then? LASZLO I meant to, but something always held me up. I love you very much, Ilsa. She smiles again. ILSA Your secret will be safe with me. Ferrari is waiting for our answer. At the bar Ferrari talks to a waiter. FERRARI Not more than fifty francs though. Ilsa and Laszlo walk up to him. LASZLO We've decided, Signor Ferrari. For the present we'll go on looking for two exit visas. Thank you very much. FERRARI Well, good luck. But be careful. a flick of his eyes in the direction of the bazaar You know you're being shadowed? Laszlo glances in the direction of the bazaar. LASZLO Of course. It becomes an instinct. Ferrari looks shrewdly at Ilsa. FERRARI I observe that you in one respect are a very fortunate man, Monsieur. I am moved to make one more suggestion, why, I do not know, because it cannot possibly profit me, but, have you heard about Signor Ugarte and the letters of transit? LASZLO Yes, something. FERRARI Those letters were not found on Ugarte when they arrested him. There's a moments pause as this sinks in. LASZLO Do you know where they are? FERRARI Not for sure, Monsieur, but I will venture to guess that Ugarte left those letters with Monsieur Rick. Ilsa's face darkens. Laszlo quietly observes. LASZLO Rick? FERRARI He is a difficult customer, that Rick. One never knows what he'll do or why. But it is worth a chance. LASZLO Thank you very much. Good day. ILSA Goodbye, thank you for your coffee, Signor. I shall miss that when we leave Casablanca. Ferrari bows. FERRARI It was gracious of you to share it with me. Good day, Mademoiselle, Monsieur. LASZLO Good day. As Ilsa and Laszlo leave the cafe, Ferrari nonchalantly swats a fly on a table.
CUT TO:
EXT. RICK'S CAFE - NIGHT Outside Rick's cafe, the sign is lit up and MUSIC filters out into the air.
CUT TO:
INT. RICK'S CAFE - MAIN ROOM - NIGHT At the bar, the European has found another TOURIST.
EUROPEAN Here's to you, sir. TOURIST Er, good luck, yes. EUROPEAN I'd better be going. TOURIST Er, my check, please. EUROPEAN I have to warn you, sir. I beseech you-- The European picks his pocket. EUROPEAN This is a dangerous place, full of vultures. Vultures everywhere! Thanks for everything. The tourist laughs. TOURIST Er, goodbye, sir. EUROPEAN It has been a pleasure to meet you. He dashes off and collides with Carl. EUROPEAN Oh, I'm sorry. As the European hurries away, Carl checks all his pockets to make sure nothing is missing. Sam and Corina play a number, accompanied by the orchestra. Strasser and his crowd enter the cafe and pass Rick's table. Carl brings Rick a bottle and glass. CARL Monsieur Rick, you are getting to be your best customer. Carl leaves. As Rick lights a cigarette, Renault shows up. RENAULT Well, Ricky. I'm very pleased with you. Now you're beginning to live like a Frenchman. RICK That was some going-over your men gave my place this afternoon. We just barely got cleaned up in time to open. He pours a drink for Renault. RENAULT Well, I told Strasser he wouldn't find the letters here. But I told my men to be especially destructive. You know how that impresses Germans? taking a sip Rick, have you got these letters of transit? RICK Louis, are you pro-Vichy or Free French? RENAULT Serves me right for asking a direct question. The subject is closed. RICK Well, it looks like you're a little late. RENAULT Huh? Rick gazes at Yvonne and a GERMAN OFFICER approaching the bar. RICK So Yvonne's gone over to the enemy. RENAULT Who knows? In her own way she may constitute an entire second front. I think it's time for me to flatter Major Strasser a little. I'll see you later, Rick. Renault gets up and strolls away. At the bar, Yvonne and the German officer place their orders. YVONNE Sacha! GERMAN OFFICER French seventy-fives. Yvonne is somewhat drunk already. YVONNE Put up a whole row of them, Sacha-- starting here and ending here. She indicates with her hand where she wants them. GERMAN OFFICER We will begin with two. A FRENCH OFFICER at the bar makes a remark to Yvonne. FRENCH OFFICER in French Say, you, you are not French to go with a German like this! YVONNE in French What are you butting in for? FRENCH OFFICER in French I am butting in -- YVONNE breaking in, in French -- It's none of your business! GERMAN OFFICER in French No, no, no, no! One minute! in English What did you say? Would you kindly repeat it? FRENCH OFFICER What I said is none of your business! GERMAN OFFICER I will make it my business! They begin to fight. YVONNE in French Stop! I beg of you! I beg of you, stop! There are exclamations from people nearby. German officers at a nearby table rise, ready to join in. Rick walks up and separates the two men. RICK to the German I don't like disturbances in my place. Either lay off politics or get out. FRENCH OFFICER in French Dirty Boche. Someday we'll have our revenge! Renault, Strasser and the other officers sit down again. STRASSER You see, Captain, the situation is not as much under control as you believe. RENAULT My dear Major, we are trying to cooperate with your government, but we cannot regulate the feelings of our people. Strasser eyes him closely. STRASSER Captain Renault, are you entirely certain which side you're on? RENAULT I have no conviction, if that's what you mean. I blow with the wind, and the prevailing wind happens to be from Vichy. STRASSER And if it should change? He smiles. RENAULT Surely the Reich doesn't admit that possibility? Renault lights a cigarette and puffs away. STRASSER We are concerned about more than Casablanca. We know that every French province in Africa is honey-combed with traitors waiting for their chance, waiting, perhaps, for a leader. RENAULT casually A leader, like Laszlo? STRASSER Uh, huh. I have been thinking. It is too dangerous if we let him go. It may be too dangerous if we let him stay. RENAULT thoughtfully I see what you mean. Carl, bottle in hand, approaches the table of a middle-aged German couple, the LEUCHTAGS. CARL in German I brought you the finest brandy. Only the employees drink it here. He pours a drink for each of them. MR. LEUCHTAG Thank you, Carl. CARL as he pours For Mrs. Leuchtag. MRS. LEUCHTAG Thank you, Carl. CARL For Mr. Leuchtag. MR. LEUCHTAG Carl, sit down. Have a brandy with us. MRS. LEUCHTAG beaming with happiness To celebrate our leaving for America tomorrow. Carl sits down. CARL Thank you very much. I thought you would ask me, so I brought the good brandy and a third glass. He produces a glass from a back pocket. MRS. LEUCHTAG At last the day has come. MR. LEUCHTAG Frau Leuchtag and I are speaking nothing but English now. MRS. LEUCHTAG So we should feel at home ven ve get to America. CARL A very nice idea. MR. LEUCHTAG raising his glass To America. Mrs. Leuchtag and Carl repeat "To America." They clink glasses and drink. MR. LEUCHTAG Liebchen, uh, sweetness heart, what watch? She glances at her wristwatch. MRS. LEUCHTAG Ten watch. MR. LEUCHTAG surprised Such much? CARL Er, you will get along beautifully in America, huh. Annina meets Renault in the hallway as she leaves the gambling room, RENAULT How's lady luck treating you? Aw, too bad. You'll find him over there. Annina sees Rick and goes to his table. ANNINA Monsieur Rick? RICK Yes? ANNINA Could I speak to you for just a moment, please? Rick looks at her. RICK How did you get in here? You're under age. ANNINA I came with Captain Renault. RICK cynically I should have known. ANNINA My husband is with me, too. RICK He is? Well, Captain Renault's getting broadminded. Sit down. Will you have a drink? Annina shakes her head. RICK No, of course not. Do you mind if I do? ANNINA No. Rick pours himself a drink ANNINA Monsieur Rick, what kind of man is Captain Renault? RICK Oh, he's just like any other man, only more so. ANNINA No, I mean, is he trustworthy? Is his word -- RICK -- Now, just a minute. Who told you to ask me that? ANNINA He did. Captain Renault did. RICK I thought so. Where's your husband? ANNINA At the roulette table, trying to win enough for our exit visa. Well of course, he's losing. Rick looks at her closely. RICK How long have you been married? ANNINA Eight weeks. We come from Bulgaria. Oh, things are very bad there, Monsieur. A devil has the people by the throat. So, Jan and I, we, we do not want our children to grow up in such a country. RICK wearily So you decided to go to America. ANNINA Yes, but we have not much money, and travelling is so expensive and difficult. It was much more than we thought to get here. And then Captain Renault sees us and he is so kind. He wants to help us. RICK Yes, I'll bet. ANNINA He tells me he can give us an exit visa, but we have no money. RICK Does he know that? ANNINA Oh, yes. RICK And he is still willing to give you a visa? ANNINA Yes, Monsieur. RICK And you want to know -- ANNINA -- Will he keep his word? RICK He always has. There is a silence. Annina is very disturbed. ANNINA Oh, Monsieur, you are a man. If someone loved you very much, so that your happiness was the only thing that she wanted in the whole world, but she did a bad thing to make certain of it, could you forgive her? Rick stares off into space. RICK Nobody ever loved me that much. ANNINA And he never knew, and the girl kept this bad thing locked in her heart? That would be all right, wouldn't it? RICK harshly You want my advice? ANNINA Oh, yes, please. RICK Go back to Bulgaria. ANNINA Oh, but if you knew what it means to us to leave Europe, to get to America! Oh, but if Jan should find out! He is such a boy. In many ways I am so much older than he is. RICK Yes, well, everybody in Casablanca has problems. Yours may work out. You'll excuse me. Rick abruptly rises. ANNINA tonelessly Thank you, Monsieur. He quickly goes off, leaving Annina alone at the table. She remains seated, too demoralized to move. While Rick checks the reservation list, Ilsa and Laszlo enter the cafe. In the background we hear Sam playing, ironically enough, "It Had to Be You." Rick greets Ilsa and Laszlo. RICK Good evening. LASZLO Good evening. You see, here we are again. RICK I take that as a great compliment to Sam. to Ilsa I suppose he means to you Paris of, well, happier days. Laszlo looks around. ILSA quietly He does. Could we have a table close to him? LASZLO And as far away from Major Strasser as possible. RICK Well, the geography may be a little difficult to arrange. Rick snaps his fingers for the headwaiter. RICK Paul! Table thirty! HEADWAITER to Ilsa and Laszlo Yes, sir. Right this way, if you please. RICK to Ilsa I'll have Sam play "As Time Goes By." I believe that's your favorite tune. ILSA smiling Thank you. LASZLO Two cognacs, please. Rick walks over to Sam and whispers something to him. Sam stops what he is playing and begins "As Time Goes By." He shakes his head as Rick leaves. A waiter appears at Ilsa and Laszlo's table.
CUT TO:
INT. RICK'S CAFE - GAMBLING ROOM - NIGHT Jan sits at the roulette table. He has only three chips left and seems bewildered. As Rick comes up the croupier speaks to Jan.
CROUPIER Do you wish to place another bet, sir? JAN No, no, I guess not. Rick stands behind Jan. RICK to Jan Have you tried twenty-two tonight? I said, twenty-two. Jan looks at Rick, then at the chips in his hand. He pauses, then puts the chips on twenty-two. Rick and the croupier exchange looks. The croupier understands what Rick wants him to do. He spins the wheel. Carl follows the proceedings, fascinated. The wheel stops spinning. CROUPIER in French Twenty-two, black, twenty-two. A winner. Renault, at a nearby table, takes notice of what is happening. The croupier pushes a pile of chips onto twenty-two and Jan reaches for it. RICK not even looking at Jan Leave it there. Jan hesitates, then withdraws his hands. Carl continues to watch. The wheel spins. Nobody speaks while it spins. It stops. CROUPIER Twenty-two, black. Another winner. The croupier shoves a pile of chips toward Jan. RICK to Jan Cash it in and don't come back. Jan rises to go to the cashier. A CUSTOMER complains to Carl. CUSTOMER Say, are you sure this place is honest? CARL fervently Honest! As honest as the day is long! Meanwhile, Rick has walked over to the croupier. RICK How we doing tonight? CROUPIER Well, a couple of thousand less than I thought there would be. Rick smiles slightly and goes toward the door. Annina runs up to him and hugs him. ANNINA Monsieur Rick, I -- RICK -- He's just a lucky guy. CARL solicitously Monsieur Rick, may I get you a cup of coffee? RICK No thanks, Carl. CARL Monsieur Rick! Renault, seeing that Jan has won, gets up from his table to follow Rick. Jan and Annina stop him on the way. JAN Captain Renault, may I -- RENAULT -- Oh, not here, please. Come to my office in the morning. We'll do everything business-like. JAN We'll be there at six. RENAULT I'll be there at ten. I am very happy for both of you. Still, it's very strange that you won. He looks over and sees Rick. RENAULT Well, maybe not so strange. I'll see you in the morning. ANNINA Thank you so much, Captain Renault.
CUT TO:
INT. RICK'S CAFE - MAIN ROOM - NIGHT At the bar, Carl whispers in Sacha's ear. Sacha says "No!" and runs to Rick.
SACHA Boss, you've done a beautiful thing. He kisses Rick on both cheeks. RICK Go away, you crazy Russian! Carl pours a brandy for Rick. Pretending not to do so, Rick glances in Ilsa's direction. Renault comes up to him. RENAULT As I suspected, you're a rank sentimentalist. RICK Yeah? Why? RENAULT chidingly Why do you interfere with my little romances? RICK Put it down as a gesture to love. RENAULT good-naturedly Well, I forgive you this time. But I'll be in tomorrow night with a breathtaking blonde, and it will make me very happy if she loses. Uh huh! He smiles and walks away. Laszlo comes up to Rick. LASZLO Monsieur Blaine, I wonder if I could talk to you? RICK Go ahead. LASZLO Well, isn't there some other place? It's rather confidential, what I have to say. RICK My office. LASZLO Right.
DISSOLVE TO:
INT. RICK'S CAFE - OFFICE - NIGHT Rick and Laszlo sit and discuss Laszlo's dilemma.
LASZLO You must know it's very important I get out of Casablanca. It's my privilege to be one of the leaders of a great movement. You know what I have been doing. You know what it means to the work, to the lives of thousands and thousands of people that I be free to reach America and continue my work. RICK I'm not interested in politics. The problems of the world are not in my department. I'm a saloon keeper. LASZLO My friends in the underground tell me that you have quite a record. You ran guns to Ethiopia. You fought against the fascists in Spain. RICK What of it? LASZLO Isn't it strange that you always happened to be fighting on the side of the underdog? RICK Yes. I found that a very expensive hobby, too. But then I never was much of a businessman. Rick gets up, as does Laszlo. LASZLO Are you enough of a businessman to appreciate an offer of a hundred thousand francs? RICK I appreciate it, but I don't accept it. LASZLO I'll raise it to two hundred thousand. RICK My friend, you could make it a million francs, or three, my answer would still be the same. LASZLO There must be some reason why you won't let me have them. RICK There is. I suggest that you ask your wife. LASZLO I beg your pardon? RICK I said, ask your wife. LASZLO My wife? Laszlo looks at him, puzzled. RICK Yes. Rick and Laszlo hear MALE VOICES singing downstairs.
CUT TO:
INT. RICK'S CAFE - MAIN ROOM - NIGHT A group of German officers stand around the piano singing the "Wacht am Rhein."
CUT TO:
INT. RICK'S CAFE - BALCONY - NIGHT Rick stands at the balcony outside his office and watches the Germans below.
CUT TO:
INT. RICK'S CAFE - MAIN ROOM - NIGHT At the bar, Renault watches with raised eyebrow.
CUT TO:
INT. RICK'S CAFE - BALCONY - NIGHT Laszlo's lips are very tight as he listens to the song. He starts down the step.
CUT TO:
INT. RICK'S CAFE - MAIN ROOM - NIGHT Laszlo passes the table where Ilsa sits and goes straight to the orchestra. Yvonne, sitting at a table with her German officer, stares down into her drink. Laszlo speaks to the orchestra.
LASZLO Play the Marseillaise! Play it! Members of the orchestra glance toward the steps, toward Rick, who nods to them. Laszlo and Corina sing as they start to play. Strasser conducts the German singing in an attempt to drown out the competition. People in the cafe begin to sing the "Marseillaise." After a while, Strasser and his officers give up and sit down. The "Marseillaise" continues, however. Yvonne jumps up and sings with tears in her eyes. Ilsa, overcome with emotion, looks proudly at Laszlo, who sings with passion. Finally the whole cafe stands, singing, their faces aglow. The song finishes on a high, triumphant note. Yvonne's face is exalted. She deliberately faces the alcove where the Germans are watching. She SHOUTS at the top of her lungs. YVONNE Vive La France! Vive la democracie! CROWD Vive La France! Vive la democracie! People clap and cheer. Strasser is very angry. He strides across the floor toward Renault who is standing at the bar. STRASSER You see what I mean? If Laszlo's presence in a cafe can inspire this unfortunate demonstration, what more will his presence in Casablanca bring on? I advise that this place be shut up at once. RENAULT innocently But everybody's having such a good time. STRASSER Yes, much too good a time. The place is to be closed. RENAULT But I have no excuse to close it. STRASSER snapping Find one. Several French officers surround Laszlo, offering him a drink. Renault thinks a moment, then blows a loud BLAST on his whistle. The room grows quiet, all eyes turn toward Renault. RENAULT loudly Everybody is to leave here immediately! This cafe is closed until further notice! Clear the room at once! An angry murmur starts among the crowd. People get up and begin to leave. Rick comes quickly up to Renault. RICK How can you close me up? On what grounds? RENAULT I am shocked, shocked to find that gambling is going on in here! This display of nerve leaves Rick at a loss. The croupier comes out of the gambling room and up to Renault. He hands him a roll of bills. CROUPIER Your winnings, sir. RENAULT Oh. Thank you very much. He turns to the crowd again. RENAULT Everybody out at once! As the cafe empties, Strasser approaches Ilsa. His manner is abrupt but cordial. STRASSER Mademoiselle, after this disturbance it is not safe for Laszlo to stay in Casablanca. ILSA This morning you implied it was not safe for him to leave Casablanca. STRASSER That is also true, except for one destination, to return to occupied France. ILSA Occupied France? STRASSER Uh huh. Under a safe conduct from me. ILSA with intensity What value is that? You may recall what German guarantees have been worth in the past. STRASSER There are only two other alternatives for him. ILSA What are they? STRASSER It is possible the French authorities will find a reason to put him in the concentration camp here. ILSA And the other alternative? STRASSER My dear Mademoiselle, perhaps you have already observed that in Casablanca, human life is cheap. Good night, Mademoiselle. She looks at him, understanding what he means. He bows and exits as Laszlo arrives at the table. They start out of the cafe. ILSA What happened with Rick? LASZLO We'll discuss it later.
CUT TO:
INT. HOTEL HALLWAY - NIGHT Ilsa and Laszlo walk to their room.
CUT TO:
INT. HOTEL ROOM - NIGHT Laszlo switches on the light as they enter. While Ilsa takes off some jewelry he walks to the window and peers out into the darkeness. Below and across the street, a man stands under an arch. Laszlo watches him, then draws down the shade.
LASZLO Our faithful friend is still there. ILSA Victor, please, don't go to the underground meeting tonight. LASZLO soberly I must. Besides, it isn't often that a man has a chance to display heroics before his wife. He crosses to a table, takes a cigarette from a box, and strikes a match. ILSA Don't joke. After Major Strasser's warning tonight, I am frightened. LASZLO To tell you the truth, I am frightened too. Shall I remain here in our hotel room hiding, or shall I carry on the best I can? He lights the cigarette. ILSA Whatever I'd say, you'd carry on. Victor, why don't you tell me about Rick? What did you find out? LASZLO Apparently he has the letters. ILSA Yes? LASZLO But no intention of selling them. One would think if sentiment wouldn't persuade him, money would. Ilsa is now noticeably uncomfortable. ILSA Did he give any reason? LASZLO He suggested I ask you. ILSA Ask me? LASZLO Yes. He said, "Ask your wife." I don't know why he said that. Laszlo turns off the light. Ilsa walks over to the couch and sits down. LASZLO Well, our friend outside will think we've retired by now. I'll be going in a few minutes. He sits down on the couch next to her. A silence falls between them. It grows strained. Finally. LASZLO Ilsa, I -- ILSA -- Yes? LASZLO When I was in the concentration camp, were you lonely in Paris? Ilsa still cannot look at him. ILSA Yes, Victor, I was. LASZLO sympathetically I know how it is to be lonely. very quietly Is there anything you wish to tell me? ILSA speaking low No, Victor, there isn't. LASZLO I love you very much, my dear. Ilsa finally turns to look at Laszlo. ILSA Yes, Yes I know. Victor, whatever I do, will you believe that I, that -- LASZLO -- You don't even have to say it. I'll believe. Goodnight, dear. He bends down and kisses her cheek. ILSA Goodnight. She watches him go. ILSA Victor! She gets up and follows him to the door. He opens it. In the slit of light from the hall we see Ilsa's face, now strained and worried. She hesitates for a moment, then. ILSA Be careful. LASZLO Of course, I'll be careful. He kisses her on the cheek and goes out the door. She stands there for a few seconds, then crosses to look out of the window. The figure in the archway is gone. She sees Victor walking down the street and closes the blind again. Ilsa gets a cloak from the bedroom, and leaves the hotel room.
CUT TO:
INT. RICK'S CAFE - MAIN ROOM - NIGHT Rick and Carl sit by the bar and look over ledgers. Carl is busy figuring. He looks up at Rick.
CARL Well, you are in pretty good shape, Herr Rick. RICK How long can I afford to stay closed? CARL Oh, two weeks, maybe three. RICK Maybe I won't have to. A bribe has worked before. In the meantime, everybody stays on salary. CARL Oh, thank you, Herr Rick. Sacha will be happy to hear it. I owe him money. Carl laughs. RICK Now you finish locking up, will you, Carl? CARL I will. Then I am going to the meeting of the -- RICK interrupting -- Don't tell me where you're going. CARL I won't. RICK Goodnight. CARL Goodnight, Monsieur Rick. Rick walks up the stairs to his apartment.
CUT TO:
INT. RICK'S CAFE - APARTMENT - NIGHT Rick opens the door and goes inside the dark room. Light from the hall reveals a figure by the window. He lights a small lamp. Ilsa faces him, her face white but determined. Rick pauses for a moment in astonishment.
RICK How did you get in? ILSA The stairs from the street. Ilsa comes over to meet him. RICK I told you this morning you'd come around, but this is a little ahead of schedule. Well, won't you sit down? ILSA Richard, I had to see you. RICK You use "Richard" again? We're back in Paris. ILSA Please. RICK Your unexpected visit isn't connected by any chance with the letters of transit? It seems that as long as I have those letters I'll never be lonely. ILSA You can ask any price you want, but you must give me those letters. RICK I went through all that with your husband. It's no deal. ILSA I know how you feel about me, but I'm asking you to put your feelings aside for something more important. RICK Do I have to hear again what a great man your husband is? What an important cause he's fighting for? ILSA It was your cause, too. In your own way, you were fighting for the same thing. RICK I'm not fighting for anything anymore, except myself. I'm the only cause I'm interested in. He walks over to the window and Ilsa follows. ILSA Richard, Richard, we loved each other once. If those days meant anything at all to you -- RICK interrupting, harshly -- I wouldn't bring up Paris if I were you. It's poor salesmanship. ILSA Please. Please listen to me. If you knew what really happened, if you only knew the truth -- RICK cutting in -- I wouldn't believe you, no matter what you told me. You'd say anything now to get what you want. Rick walks over to a table and opens a cigarette box, but finds it empty. ILSA You want to feel sorry for yourself, don't you? With so much at stake, all you can think of is your own feelings. One woman has hurt you, and you take revenge on the rest of the world. You're a, you're a coward, and a weakling. There are tears in her eyes now. ILSA No. Oh, Richard, I'm sorry. I'm sorry, but, but you, you are our last hope. If you don't help us, Victor Laszlo will die in Casablanca. RICK What of it? I'm going to die in Casablanca. It's a good spot for it. He turns away to light a cigarette, then back to Ilsa. RICK Now if you -- He stops short as he sees Ilsa holding a small revolver in her hand. It's pointed directly at him. ILSA -- All right. I tried to reason with you. I tried everything. Now I want those letters. Get them for me. RICK I don't have to. I've got them right here. ILSA Put them on the table. RICK shaking his head No. ILSA For the last time, put them on the table. RICK If Laszlo and the cause mean so much to you, you won't stop at anything. All right, I'll make it easier for you. He moves closer to her. RICK Go ahead and shoot. You'll be doing me a favor. Her hand drops down, and there are tears in her eyes again. She turns and walks away from him. ILSA Richard, I tried to stay away. I thought I would never see you again, that you were out of my life. Rick follows her and takes her in his arms. He presses her tight to him. ILSA The day you left, if you knew what I went through! If you knew how much I loved you, how much I still love you! Rick kisses her passionately. She is lost in his embrace.
DISSOLVE TO:
INT. RICK'S CAFE - APARTMENT - LATER From his window, Rick watches the revolving beacon light at the airport. Ilsa sits on the couch. On a table before her rests a bottle of champagne along with two half-filled glasses. Rick walks over to her.
RICK And then? ILSA It wasn't long after we were married that Victor went back to Czechoslovakia. They needed him in Prague, but there the Gestapo were waiting for him. Just a two-line item in the paper: "Victor Laszlo apprehended. Sent to concen-tration camp." I was frantic. For months I tried to get word. Then it came. He was dead, shot trying to escape. I was lonely. I had nothing. Not even hope. Then I met you. RICK Why weren't you honest with me? Why did you keep your marriage a secret? Rick sits down with Ilsa. ILSA Oh, it wasn't my secret, Richard. Victor wanted it that way. Not even our closest friends knew about our marriage. That was his way of protecting me. I knew so much about his work, and if the Gestapo found out I was his wife it would be dangerous for me and for those working with me. RICK When did you first find out he was alive? ILSA Just before you and I were to leave Paris together. A friend came and told me that Victor was alive. They were hiding him in a freight car on the outskirts of Paris. He was sick, he needed me. I wanted to tell you, but I, I didn't care. I knew, I knew you wouldn't have left Paris, and the Gestapo would have caught you. So I-- well, well, you know the rest. RICK Huh. But it's still a story without an ending. What about now? ILSA Now? I don't know. I know that I'll never have the strength to leave you again. RICK And Laszlo? ILSA Oh, you'll help him now, Richard, won't you? You'll see that he gets out? Then he'll have his work, all that he's been living for. RICK All except one. He won't have you. Ilsa puts her head on Rick's shoulder. ILSA I can't fight it anymore. I ran away from you once. I can't do it again. Oh, I don't know what's right any longer. You'll have to think for both of us, for all of us. RICK All right, I will. Here's looking at you, kid. ILSA I wish I didn't love you so much. She snuggles closer to Rick.
CUT TO:
EXT. RICK'S CAFE - NIGHT Laszlo and Carl make their way through the darkness toward a side entrance of Rick's. They run inside the entryway. The headlights of a speeding police car sweep toward them. They flatten themselves against a wall to avoid detection. The lights move past them.
CARL I think we lost them. LASZLO Yes. I'm afraid they caught some of the others. CARL Come inside. Come.
CUT TO:
INT. RICK'S CAFE - MAIN ROOM - NIGHT Laszlo and Carl enter and cross toward the bar, out of breath from their exertion.
CARL Come inside. I will help you. Come in here. LASZLO Thank you. Carl goes behind the bar. CARL I will give you some water.
CUT TO:
INT/EXT. RICK'S CAFE - APARTMENT - NIGHT Rick and Ilsa hear voices below. Rick crosses to the door. He opens it just enough to see below, and turns off the light. Ilsa stands just in back of him. She makes a move as if to go out to the balcony but Rick's pushes her back. She withdraws behind the door. Rick walks out to the balcony railing.
INT. RICK'S CAFE - BALCONY - MAIN ROOM - NIGHT Rick sees Carl attending to Laszlo, who appears to be injured.
RICK Carl, what happened? Both Carl and Laszlo look up. CARL excitedly The police break up our meeting. Herr Rick! We escaped in the last moment. RICK Come up here a minute. Carl looks up wonderingly, then starts toward the stairway. CARL Yes, I come. RICK I want you to turn out the light in the rear entrance. It might attract the police. CARL But Sacha always puts out that light -- RICK -- Tonight he forgot. CARL Yes, I come, I will do it. Carl climbs the stairs.
CUT TO:
INT. RICK'S CAFE - APARTMENT - NIGHT Carl enters Rick's apartment and sees Ilsa. He looks at Rick and says nothing.
RICK in a low voice I want you to take Miss Lund home. CARL Yes, sir.
CUT TO:
INT. RICK'S CAFE - MAIN ROOM - NIGHT Rick comes down the stairs. Laszlo wraps one of the small bar towels around his cut wrist. Rick looks questioningly at the injured hand.
LASZLO It's nothing. Just a little cut. We had to get through a window. Rick walks to the bar, picks up a bottle, and pours a drink. RICK Well, this might come in handy. LASZLO Thank you. RICK Had a close one, eh? LASZLO Yes, rather. Laszlo takes a drink. RICK Don't you sometimes wonder if it's worth all this? I mean what you're fighting for? LASZLO We might as well question why we breathe. If we stop breathing, we'll die. If we stop fighting our enemies, the world will die. RICK What of it? Then it'll be out of it's misery. Rick reaches in his jacket for his cigarette case, opens it, and takes out a cigarette. LASZLO You know how you sound, Monsieur Blaine? Like a man who's trying to convince himself of something he doesn't believe in his heart. Each of us has a destiny, for good or for evil. RICK Yes, I get the point. Rick lights his cigarette. LASZLO I wonder if you do. I wonder if you know that you're trying to escape from yourself and that you'll never succeed. RICK You seem to know all about my destiny. LASZLO I know a good deal more about you than you suspect. I know, for instance, that you are in love with a woman. It is perhaps strange that we both should be in love with the same woman. The first evening I came here in this cafe, I knew there was something between you and Ilsa. Since no one is to blame, I, I demand no explanation. I ask only one thing. You won't give me the letters of transit. All right. But I want my wife to be safe. I ask you as a favor to use the letters to take her away from Casablanca. RICK You love her that much? LASZLO Apparently you think of me only as the leader of a cause. Well, I am also a human being. He looks away for a moment. LASZLO Yes, I love her that much. Suddenly there is a CRASH at the door of the cafe, followed by the forced entry of several gendarmes. A French officer walks in and addresses Laszlo. FRENCH OFFICER Mr. Laszlo? LASZLO Yes? FRENCH OFFICER You will come with us. We have a warrant for your arrest. LASZLO On what charge? FRENCH OFFICER Captain Renault will discuss that with you later. RICK It seems that destiny has taken a hand. Laszlo looks for a moment at Rick, then in dignified silence crosses to the officer. Together they walk toward the door. Rick's eyes follow them, but his expression reveals nothing of his feelings.
CUT TO:
INT. RENAULT'S OFFICE - MORNING Renault sits at his desk and smokes while Rick nervously fingers his hat. They're interrupted by an orderly. Renault hands some forms to the orderly, who then exits, and the conversation continues.
RICK But you haven't any actual proof, and you know it. This isn't Germany or occupied France. All you can do is fine him a few thousand francs and give him thirty days. You might as well let him go now. RENAULT Ricky, I'd advise you not to be too interested in what happens to Laszlo. If by any chance you were to help him escape -- RICK -- What makes you think I'd stick my neck out for Laszlo? RENAULT Because one, you've bet ten thousand francs he'd escape. Two, you have the letters of transit, now don't bother to deny it. And, well, you might do it simply because you don't like Strasser's looks. As a matter of fact, I don't like him either. RICK Well, they're all excellent reasons. RENAULT Don't count too much on my friendship, Ricky. In this matter I'm powerless. Besides, I might lose ten thousand francs. RICK You're not very subtle, but you are effective. I, I get the point. Yes, I have the letters, but I intend using them myself. I'm leaving Casablanca on tonight's plane, the last plane. RENAULT Huh? RICK And I'm taking a friend with me. One you'll appreciate. RENAULT What friend? RICK Ilsa Lund. pause That ought to put your mind to rest about my helping Laszlo escape. The last man I want to see in America. RENAULT You didn't come here to tell me this. You have the letters of transit. You can fill in your name and hers and leave any time you please. Why are you interested in what happens to Laszlo? Renault gets out of his chair and crosses to the front of his desk. RICK I'm not. But I am interested in what happens to Ilsa and me. We have a legal right to go, that's true. But people have been held in Casablanca in spite of their legal rights. Renault retrieves a fresh cigarette from a box on his desk. RENAULT What makes you think we want to hold you? Renault chain-lights his new cigarette with the old one. RICK Ilsa is Laszlo's wife. She probably knows things that Strasser would like to know. Louis, I'll make a deal with you. Instead of this petty charge you have against him, you can get something really big, something that would chuck him in a concentration camp for years. That would be quite a feather in your cap, wouldn't it? RENAULT It certainly would. Germany-- Vichy would be very grateful. RICK Then release him. You be at my place a half hour before the plane leaves. Renault sits back down in his chair. RICK I'll arrange to have Laszlo come there to pick up the letters of transit, and that'll give you the criminal grounds on which to make the arrest. You get him, and we get away. To the Germans that last will be just a minor annoyance. RENAULT puzzled There's still something about this business I don't quite understand. Miss Lund, she's very beautiful, yes, but you were never interested in any woman. RICK Well, she isn't just any woman. Rick stares at the floor, then looks back up at Renault. RENAULT I see. How do I know you'll keep your end of the bargain? RICK I'll make the arrangements right now with Laszlo in the visitor's pen. RENAULT Ricky, I'm going to miss you. Apparently you're the only one in Casablanca who has even less scruples than I. RICK Oh, thanks. RENAULT Go ahead, Ricky. Renault presses a button on his desk, triggering a BUZZER. The door to Renault's office opens. Rick rises to go. RICK And by the way, call off your watchdogs when you let him go. I don't want them around this afternoon. I'm taking no chances, Louis, not even with you.
CUT TO:
INT. THE BLUE PARROT - DAY A waiter brings tea to Rick and Ferrari, who sit alone at a table in a secluded nook off the main room.
FERRARI Shall we draw up the papers, or is our handshake good enough? RICK It's certainly not good enough. But since I'm in a hurry, it'll have to do. Ferrari pours a cup for Rick, who takes a sip. FERRARI Ah, to get out of Casablanca and go to America! You're a lucky man. RICK Oh, by the way, my agreement with Sam's always been that he gets twenty-five percent of the profits. That still goes. FERRARI Hmmm. I happen to know that he gets ten percent. But he's worth twenty-five. RICK And Abdul and Carl and Sacha, they stay with the place, or I don't sell. FERRARI Of course they stay. Rick's wouldn't be Rick's without them. RICK Well, so long. Rick gets up, followed by Ferrari. They shake hands to seal the deal. He walks to the door, then stops and turns around. RICK Don't forget, you owe Rick's a hundred cartons of American cigarettes. FERRARI I shall remember to pay it-- to myself. Rick leaves. Ferrari picks up a fly swatter from the table and swats at a fly.
CUT TO:
EXT. RICK'S CAFE - NIGHT A car pulls quickly to a stop just outside the cafe. On the door a huge placard reads: CLOSED By Order of the Prefect of Police
CUT TO:
INT. RICK'S CAFE - MAIN ROOM - NIGHT Rick sits at a table inside and reads the letters of transit. He hears a KNOCK on the door and puts them away in his pocket. He opens the door and Renault walks in.
RICK You're late. RENAULT I was informed just as Laszlo was about to leave the hotel, so I knew I'd be on time. RICK I thought I asked you to tie up your watchdogs. RENAULT Oh, he won't be followed here. Renault looks around the empty cafe. RENAULT You know, this place will never be the same without you, Ricky. RICK Yes, I know what you mean, but I've already spoken to Ferrari. You'll still win at roulette. RENAULT Is everything ready? Rick points at his breast pocket. RICK I have the letters right here. RENAULT Tell me, when we searched the place, where were they? RICK Sam's piano. RENAULT Serves me right for not being musical. They hear the CRUNCH of tires as a car pull up. RICK Oh. Here they are. You'd better wait in my office. Renault walks up the stairs to Rick's office.
CUT TO:
EXT. RICK'S CAFE - NIGHTLaszlo pays the cab driver. Ilsa quickly walks toward the entrance.
LASZLO to driver Here.
CUT TO:
INT. RICK'S CAFE - MAIN ROOM - NIGHTRick opens the door. Ilsa rushes in. Her intensity reveals the strain she is under. Rick grabs her by both arms and pulls her close.
ILSA Richard, Victor thinks I'm leaving with him. Haven't you told him? RICK No, not yet. ILSA But it's all right, isn't it? You were able to arrange everything? RICK Everything is quite all right. ILSA Oh, Rick! She looks at him with a vaguely questioning look. RICK We'll tell him at the airport. The less time to think, the easier for all of us. Please trust me. Ilsa pauses and looks at Rick, unsure for a moment. ILSA Yes, I will. Laszlo comes in and closes the door behind himself. LASZLO Monsieur Blaine, I don't know how to thank you. RICK Oh, save it. We've still lots of things to do. They all walk towards the bar. Laszlo deposits his hat on a a nearby table.
CUT TO:
INT. RICK'S CAFE - OFFICE - NIGHT Renault opens the office door and peers down at the proceedings.
CUT TO:
INT. RICK'S CAFE - MAIN ROOM - NIGHT
LASZLO I brought the money, Monsieur Blaine. RICK Keep it. You'll need it in America. LASZLO But we made a deal. RICK cutting him short Oh, never mind about that. You won't have any trouble in Lisbon, will you? LASZLO No. It's all arranged. RICK Good. I've got the letters right here, all made out in blank. He takes out the letters. RICK All you have to do is fill in the signatures. He hands them to Laszlo, who takes them gratefully. RENAULT Victor Laszlo! All three hear footsteps and turn to see Renault walking towards them from the bottom of the stairs. RENAULT Victor Laszlo, you are under arrest -- as he walks toward them on a charge of accessory to the murder of the couriers from whom these letters were stolen. Ilsa and Laszlo are both caught completely off guard. They turn towards Rick, bewildered. Horror is in Ilsa's eyes. Renault takes the letters. RENAULT Oh, you are surprised about my friend Ricky? Obviously the situation delights Renault. He smiles as he turns toward Rick. RENAULT The explanation is quite simple. Love, it seems, has triumphed over virtue. Thank -- Suddenly the smile fades. In Rick's hand is a gun, which he levels at Renault. RICK -- Not so fast, Louis. Nobody's going to be arrested. Not for a while yet. RENAULT Have you taken leave of your senses? RICK I have. Sit down over there. RENAULT Put that gun down. Renault then walks toward Rick. Rick puts out his arm to stop him. RICK Louis, I wouldn't like to shoot you, but I will, if you take one more step. Renault halts for a moment and studies Rick. RENAULT Under the circumstances, I will sit down. He walks to a table and sits. RICK sharply Keep your hands on the table. He takes out a cigarette case. RENAULT I suppose you know what you're doing, but I wonder if you realize what this means? RICK I do. We've got plenty of time to discuss that later. RENAULT Call off your watch-dogs you said. RICK Just the same, you call the airport and let me hear you tell them. And remember, this gun's pointed right at your heart. RENAULT That is my least vulnerable spot. As Renault picks up the phone and dials, Rick takes back the letters. RENAULT into phone Hello, is this the airport? This is Captain Renault speaking. There'll be two letters of transit for the Lisbon plane. There's to be no trouble about them. Good.
CUT TO:
INT. GERMAN CONSULATE - NIGHT Strasser is on the phone.
STRASSER Hello? Hello? He hangs up the receiver and presses a BUZZER on his desk. An officer quickly enters. STRASSER to officer My car, quickly! OFFICER saluting Zu Befehl, Herr Major. The officer exits and Strasser resumes on the telephone. STRASSER This is Major Strasser. Have a squad of police meet me at the airport at once. At once! Do you hear? He hangs up the receiver and, grabbing for his cap, hurriedly exits.
DISSOLVE TO:
EXT. AIRPORT - NIGHT he entire airport is surrounded by a heavy fog. The outline of the transport plane is barely visible.
CUT TO:
INT/EXT. AIRPORT HANGAR - NIGHT
A uniformed ORDERLY uses a telephone near the hangar door. On the airfield a transport plane is being readied. ORDERLY Hello. Hello, radio tower? Lisbon plane taking off in ten minutes. East runway. Visibility: one and one half miles. Light ground fog. Depth of fog: approximately 500. Ceiling: unlimited. Thank you. He hangs up and moves to a car that has just pulled up outside the hangar. Renault gets out while the orderly stands at attention. He's closely followed by Rick, right hand in the pocket of his trench coat, covering Renault with a gun. Laszlo and Ilsa emerge from the rear of the car. RICK indicating the orderly Louis, have your man go with Mr. Laszlo and take care of his luggage. RENAULT bowing ironically Certainly Rick, anything you say. to orderly Find Mr. Laszlo's luggage and put it it on the plane. ORDERLY Yes, sir. This way please. The orderly escorts Laszlo off in the direction of the plane. Rick takes the letters of transit out of his pocket and hands them to Renault, who turns and walks toward the hangar. RICK If you don't mind, you fill in the names. That will make it even more official. RENAULT You think of everything, don't you? RICK quietly And the names are Mr. and Mrs. Victor Laszlo. Renault stops dead in his tracks, and turns around. Both Ilsa and Renault look at Rick with astonishment. ILSA But why my name, Richard? RICK Because you're getting on that plane. ILSA confused I don't understand. What about you? RICK I'm staying here with him 'til the plane gets safely away. Rick's intention suddenly dawns on Ilsa. ILSA No, Richard, no. What has happened to you? Last night we said -- RICK -- Last night we said a great many things. You said I was to do the thinking for both of us. Well, I've done a lot of it since then and it all adds up to one thing. You're getting on that plane with Victor where you belong. ILSA protesting But Richard, no, I, I -- RICK -- You've got to listen to me. Do you have any idea what you'd have to look forward to if you stayed here? Nine chances out of ten we'd both wind up in a concentration camp. Isn't that true, Louis? Renault countersigns the papers. RENAULT I'm afraid Major Strasser would insist. ILSA You're saying this only to make me go. RICK I'm saying it because it's true. Inside of us we both know you belong with Victor. You're part of his work, the thing that keeps him going. If that plane leaves the ground and you're not with him, you'll regret it. ILSA No. RICK Maybe not today, maybe not tomorrow, but soon, and for the rest of your life. ILSA But what about us? RICK We'll always have Paris. We didn't have, we'd lost it, until you came to Casablanca. We got it back last night. ILSA And I said I would never leave you. RICK And you never will. But I've got a job to do, too. Where I'm going you can't follow. What I've got to do you can't be any part of. Ilsa, I'm no good at being noble, but it doesn't take much to see that the problems of three little people don't amount to a hill of beans in this crazy world. Someday you'll understand that. Now, now-- Ilsa's eyes well up with tears. Rick puts his hand to her chin and raises her face to meet his own. ] RICK Here's looking at you, kid.
CUT TO:
EXT. ROAD - NIGHT Major Strasser drives at break-neck speed towards the airport. He HONKS his horn furiously.
CUT TO:
INT/EXT. AIRPORT HANGAR - NIGHT
Laszlo returns. Rick walks into the hangar and Renault hands him the letters. He walks back out to Laszlo. LASZLO Everything in order? RICK All except one thing. There's something you should know before you leave. LASZLO sensing what is coming Monsieur Blaine, I don't ask you to explain anything. RICK I'm going to anyway, because it may make a difference to you later on. You said you knew about Ilsa and me. LASZLO Yes. RICK But you didn't know she was at my place last night when you were. She came there for the letters of transit. Isn't that true, Ilsa? ILSA facing Laszlo Yes. RICK forcefully She tried everything to get them, and nothing worked. She did her best to convince me that she was still in love with me, but that was all over long ago. For your sake, she pretended it wasn't, and I let her pretend. LASZLO I understand. RICK Here it is. Rick hands the letters to Laszlo. LASZLO Thanks. I appreciate it. Laszlo extends his hand to Rick, who grasps it firmly. LASZLO And welcome back to the fight. This time I know our side will win. On the airfield the airplane engine TURNS OVER and the propellers start turning. They all turn to see the plane readying for take-off. Ilsa looks at Rick and he returns her stare with a blank expression. He then glances at Laszlo, as does Ilsa. Then Laszlo breaks the silence. LASZLO Are you ready Ilsa? ILSA Yes, I'm ready. to Rick Goodbye, Rick. God bless you. RICK You better hurry, or you'll miss that plane. Rick watches as Ilsa and Laszlo walk very deliberately towards the plane. RENAULT Well I was right. You are a sentimentalist. RICK Stay where you are. I don't know what you're talking about. Rick puts a cigarette in his mouth. RENAULT What you just did for Laszlo, and that fairy tale that you invented to send Ilsa away with him. I know a little about women, my friend. She went, but she knew you were lying. RICK Anyway, thanks for helping me out. RENAULT I suppose you know this isn't going to be pleasant for either of us, especially for you. I'll have to arrest you of course. RICK As soon as the plane goes, Louis. The door to the plane is closed by an attendant and it slowly taxies down the field. Suddenly a speeding car comes to a stop outside the hangar. Strasser alights from the car and runs toward Renault. STRASSER What is the meaning of that phone call? RENAULT Victor Laszlo is on that plane. Renault nods toward the field. Strasser turns to see the plane taxiing towards the runway. STRASSER Why do you stand here? Why don't you stop him? RENAULT Ask Monsieur Rick. Strasser looks briefly at Rick, then makes a step towards the telephone just inside the hangar door. RICK Get away from that phone. Strasser stops in his tracks, looks at Rick, and sees that he is armed. STRASSER steely I would advise you not to interfere. RICK I was willing to shoot Captain Renault, and I'm willing to shoot you. Strasser watches the plane in agony. His eyes dart towards the telephone. He runs toward it and desperately grabs the receiver. STRASSER Hello? RICK Put that phone down! STRASSER Get me the Radio Tower! RICK Put it down! Strasser, one hand holding the receiver, pulls out a pistol with the other hand, and SHOOTS quickly at Rick. The bullet misses its mark. Rick now SHOOTS at Strasser, who crumples to the ground. At the sound of an approaching car both men turn. A police car SPEEDS in and comes to a stop near Renault. Four gendarmes hurriedly jump out. In the distance the plane turns onto the runway. The gendarmes run to Renault. The first one hurriedly salutes him. GENDARME Mon Capitaine! RENAULT Major Strasser's been shot. Renault pauses and looks at Rick. Rick returns Renault's gaze with expressionless eyes. RENAULT Round up the usual suspects. GENDARME Oui, mon Capitaine. The gendarmes take Strasser's body away and then drive off. Renault walks inside the hangar, picks up a bottle of Vichy water, and opens it. RENAULT Well, Rick, you're not only a sentimentalist, but you've become a patriot. RICK Maybe, but it seemed like a good time to start. RENAULT I think perhaps you're right. As he pours the water into a glass, Renault sees the Vichy label and quickly DROPS the bottle into a trash basket which he then KICKS over. He walks over and stands beside Rick. They both watch the plane take off, maintaining their gaze until it disappears into the clouds. Rick and Louis slowly walk away from the hangar toward the runway. RENAULT It might be a good idea for you to disappear from Casablanca for a while. There's a Free French garrison over at Brazzaville. I could be induced to arrange a passage. RICK My letter of transit? I could use a trip. But it doesn't make any difference about our bet. You still owe me ten thousand francs. RENAULT And that ten thousand francs should pay our expenses. RICK Our expenses? RENAULT Uh huh. RICK Louis, I think this is the beginning of a beautiful friendship. The two walk off together into the night. FADE OUT: THE END

Casablanca Project by Jessica Salemme, Sean Martin, Caleb King is licensed under CC BY-NC 4.0