"CASABLANCA"
Screenplay by
Julius J. Epstein, Philip G. Epstein
and Howard Koch
Based on the play
"EVERYBODY GOES TO RICK'S"
by
Murray Burnett and Joan Alison
FADE IN:
INSERT - 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 (V.O.)
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
tranquillity. 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 pockets.
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
highvaulted 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:
EXT. SIDEWALK CAFE - DAY
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 bell boy.
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 solitary
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 from 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.
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.
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.
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 Corina 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.
DISSOLVE TO:
MONTAGE - PARIS IN THE SPRING
A) The Arc de Triomphe from a distance.
B) Rick drives a small, open car slowly along the boulevard.
He puts his arm around Ilsa. The background scenery changes
to a country road as she snuggles close to him and puts her
head on his shoulder.
C) An excursion boat on the Seine. Rick and Ilsa stand at
the rail of the boat. They seem to be transported by each
other as Ilsa laughs.
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:
MONTAGE - NEWSREEL FOOTAGE OF THE GERMAN OCCUPATION OF FRANCE.
A) The rubble of a burned-out, demolished building. A sign
with an arrow points to Paris.
B) German troops crossing a river.
C) Tanks rolling down the road toward Paris.
D) German war planes overhead.
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.