"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. 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 OFFI