l•

FADE IN:
l LONG SHOT - REVOLVING GLOBE
As the globe revolves· it becomes animated -- Long lines
of people (in miniature) stream f·rom all sections of
Europe --to co.overge upon one point on tbe tip of Africa.
OVER THIS animated scene comes a voice of a Narrator.
NARRATOR
Refugees -- streaming from all cor­
ners of Europe towards the freedom
of tbe New World -- all eyes turned
toward Lisbon, tbe great embarkation
point -- But now everybody could 1et
to Lisbon directly -- so a Refugee
Trail sprang up --
DISSOLVE TO:

2 ANlMATED MAP
wbich illustrates tbe trail as the Narrator mentions the
points.
NARRATOR
(continuing)
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 --
DISSOLVE TO:

3 RELIEF MAP - OF CASA�LANCA

sbowing the ocean on one side and the desert on the other.
The voice of tbe Narrator COWES OVER.
NARRATOR
Here -- the fortunate ones tbrough
money -- or influence -- or luck -­
obtain exit visas and scurry to
Lisbon -- and from Lisbon to the
Americas -- But the otbers -- wait
in Casablanca -- and wait -- and
wait --
As tbe Narrator's voice fades away --
CAMERA ZOOMS TO:
4 CLOSE SHOT - RELl EF MAP OF CASABLANCA
A street on the map.

DISSOLVE TO:
FULL SHOT - GLASS SHOT - OLD MOORISH SECTION OF CITY - DAY
At first only the turrets and rooftops are visible against
a torrid sky. In tbe distance is a haze-enveloped sky.
Tbe CAMERA PANS OOWN tbe facades of the
Moorish buildings to a narrow, twisting street crowded
witb the polyglot life of a native quarter. Tbe intense
desert sun bolds tbe scene in a torpid tranquility. Act­
ivity is unhurried and sounds are muted... Suddenly the
screech of a siren sbatters the calm. Veiled women run
screaming for shelter. Street vendors, beggars and urch­
ins melt into doorways. A police car speeds into the SHOT
and pulls up before an old-fashioned Moorish hotel
flop-bouse would be a better worà for it.
CUT TO:

6 INT. CORRIDOR
of this decrepit hotel. Native French police officers run
up the steps, crash into the doors of the various r ooms,
come out -- dragging frightened refugees.
CUT TO:

7 CLOSE SHOT - DOOR

as one police officer flings it open. The shadow of a man
hanging by a rope from a chandelier is seen on the wall.
The officer slams the door sbut.

8 STREET CORNER
Two other policemen have stopped a white civilian and are
ta lking to bim.
1ST POLICEMAN
May we see your papers, please?

(CONTI NUED)
 3.

8 CONTINUED:
CIVILIAN
( nervously)
I -- I don't think I bave them
on me.
1ST POLICEMAN
In that case, we'll bav� to ask
you to come along.
CIVILIAN
(patting bis pockets)
lt's just possible tbat I -- Yes,
bere they are.
He brings out bis papers. Tbe 2nd policeman examines them.
2ND POLICEMAN
These papers expired three weeks
ago. You'11 bave to
Suddenly the civilian breaks away, starts to run wil dly
down the street. The CA MERA TRUCKS with him. From off
scene we HEAH the policeman shout "Halt!" -- But the
civilian keeps going. A shot rings out, the man falls.
The CAMERA PANS to a --
9 MEO. CLOSE SHOT
JAN and ANNINA BRANDEL are huddled in a doorway, the
dazed and frightened spectators to this casual tragedy.
They are an Austrian couple, very young and attractive,
thrust by circumstances from a simple country life into
an unfamiliar hectic world. Annina's band clutches her
husband's arm as their eyes follow the police who are ex­
amining the victim.
CUT TO:

10 JAN AND ANNINA

They both speak with a Central European accent. At. t.his
moment the police car sweeps past them on its way back.
Jan takes his wife by tbe band.
JAN
Tbe Prefecture must be tbis way.
Tbey start off in the direction taken by the police car.
 4.

11 AN INSCRIPTION
"Liber te, Egalito, Fraternite".
carved in a marble block along the roofline of a building.
· Tbe CAMERA PANS DOWN the facade, French in architecture,
to the higb-vaulted entrance over which is inscribed:
"Palais de Justice." CAMERA CONTINUES TO PAN DOWN to the
entrance. A queue of people of all ages and nationalities
overflow from inside the building and down the steps.
The CAMERA PANS OVER the line of waiting people extending
into the square. W e PlCK UP a babel of languages wi th
only a few recognizable words such as, "visa", "Monsieur
le Prefect", "Portugal", "a bundred francs", etc. Sudden­
ly the attention of the people 1s attracted toward the
street.

12 THE S�UARE (FROM THE ANGLE OF THE WAlTING LINE)

The square is typically French in its landscaping and
architecture. This is the center of the modern city of
Casablanca. The police car is just pulling up to the curb
io froot of the Prefecture. A policeman opens the grated
door at the back of the car and a nondescript assortment
of refugees begi n to pour out.

13 SlDEWALK CAFE ON ONE SlD E OF THE SQUARE

A middle-aged English couple are standing in front of
tbeir table for a better view of tbe commotion in front
of the Preîecture. A dark-visaged E uropean smoking a cig­
arette le ans against a lamp post a sbort distance away.
He is watching the English couple more closely than the
scene on the street.
ENGLISHWOMAN
What on earth's going on there?
DARK EUROPEAN
(walking over to
tbe couple)
Pardon, Madame ••• bave you not
beard?
ENGLISHWOMAN
We hear very little -- and we
understand even less.
(CONTI NUED )
Cba cges - "CASABLANCA" - 6/5 /42 5.

13 CONTINUED:
. DARK EUR0PEAN
Two German couriers were found
murdered in the desert.
(with an ironie smile)
The••• unoccupied desert.

14 I NT. FRONT OF THE PALAIS DE JUSTICE (FROM THE ANGLE OF

THE CAFE)
as the refugees are unloaded from tbe police car.
DARK EUR0PEAN'S VOICE
(over scene)
This 1s the customary roundup of
refugees, liberals and .••
(as a young blonde girl
- the last to leave
the car - is herded with
the others in front of
the Prefecture)
Of course, a beautiful young girl
for M'Sieur Renault, the Prefect
of Police.

15 THE SIDEWALK CAFE

ENGLISHW0MAN
(puzz led)
1 don't understand.
DARK EUR0PEAN
As usual, the refugees and the
liberals will be released in a
few bours.
(smiling slightly)
The girl will be released later.
ENGLISHWOMAN
(horse-fa ced an
past middle-age)
Why, a woman isn't safe in tbis
wretcbed place!
DARK EUR0PEAN
(sbruggiDg)
To get out of Casablanca tbey say
one needs two dollars for an exit
visa and two bundred for the Pre­
fect. Unless, of course, one is a
beautif ul y ou ng girl. T be r 1 cb a nd
tbe beautiful sail to Lisbon. The
poor are always with us. (CONTINUED)
15 CONTlNUED:
ENGL!SHWOMAN
Dreadful .••
DARK EUROPEAN
Unf'ortunately, a.long with these
unbappy refugees the scum of
Europe bas gravitated to Casablanca.
Some of tbem bave been waiting
years for a visa.
(puts bis arms com­
passionately around
tbe Englishman)
M'sieur, I beg of you, watcn your­
se l:f. Take ca.re. Be on guard ..•

ENGLlSHMAN
(rather taken aback
by this sudden dis­
play of conce rn)
Er -- er -- thank you. Than.it you
verY much.
DARK EUROPEAS
Not at all.
( raises his hat
poli tely)
Bon jour, Madame. Bon jour t M'sieur.
He walks OUT of the SHOT. The Englishman, still a tri:fle
disconcer t ed by the European's action, looks after him,
mopping hiS brow witb his pocket handkerchief.
ENGLISHMAN
(restoring bis pocket
bandkerchief)
Friendly chap, wasn't be?
As be pats bis breast pocket tbere is something lacking.
He opens hi& coat, feels inside.
ENGLISHMAN
SillY of me•••
ENGLISHWOMAN
What, dear?
ENGLISHMAN
Leav ing my wallet in the hotel room ...
He closes bis coat, tben sudden ly b e looks off 1n the dir­
ection of the departing dark European, tbe clouds of sus­
picion gathering. But now, overheaé, the DRONE of a low­
flying airplane 1s HEARD. Heads look up.
 7.

16 AlRPLANE FLYING 0VERHEAD

- its motor eut for a landing.

17 PLANE
Showing tbe swastika on its tail.

18 'l'RUCKING SHOT - ALONG THE IAITING LINE OF REFUGEES

0UTSIDE THE PALAIS DE JUSTICE
'l'beir upturned gaze follows the fligbt of the plane. ln
t.heir faces 1s revealed one hope tbey all have in common -­
and the plane is the symbol of that bope. The CAMERA STOPS
at the last of the Une far out on the street, just as Jan
and A nnina appear and take tbeir places at the very end.
Their eyes also follow the droning plane.
ANNlNA
Perhaps tomorrow we sball be on
the plane.
(wistfully)
Jan smiles at his wife with superior knowledge.
DlSSOLVE TO:

19 AI RPORT - THE PLANE

is swooping down -- past a neon sign on a building on the
edge of the airport. The sign reads: "RlCKS".

20 GROUP SHOT
CAP:I'AlN LOUIS RENAULT, a French officer appointed by Vichy
as Prefect of Police in Casablanca, stands chatting with
other officers. He is a bandsome, middle-aged Frencbman,
debonair and gay, but witbal a sbrewd and alert official.
A round bim are clustered the German Consul, HERR HElNZE,
a young I talian officer, CAP:I'AlN T0NELLI , and Renault's
aide, LIEUTENANT CASSELLE. Bebind tbem is a detail of
Prencb native soldiers. The officers watch the approach­
ing plane as it taxis toward tbem. Tbe German and Itali an

(CONTI NUED)
20 CONTI NUED:

detach themselves !rom the group and walk to ward the pla ce
where the plane will stop. The German walks briskly a
step ahead of the I talian, who appears to be making an
effort to catch up.

21 THE PLANE - WITH THE SWASTIKA OVER THE DOOR

When the door is opened, tbe first passenger to step out

1s a large German wearing beavy, born-rimmed spectacles.
He is bland-faced, with a perpetual smile that seems more
tbe resul t of a frozen face muscle than a cheerful dispo­
sition. On any occasion when MAJOR STRASSER is crossed,
tbe smile melts and the expression hardens into iron.
Herr Heinze s teps up to him with upraised arm.

HEINZE
Heil Hitler.

STRASSER
(with a more
relax ed gesture)
Heil hi tler.

Tbey sha�e bands.

HEINZE
(in German)
I t is good to see you aga in, Major
S trasser.

STRASSER
(in German)
Tbank you , thank you.

Strasser turns to greet Renault and Casselle, who hav e

corne lNTO THE SHOT. Herr Heinze makes tbe introduction.

HEINZE
(in Englisb)
May I present Captain Renault,
Poli ce Prefect of Casablanca •••
Major Strasser.

Tbe two sbake bands.

(CONTINUED)
21 CONTINUED:
RENAULT
(ccurteously - but
with just a suggestion
of mockery underneath
bis words)
Unoccupied France welcomes Jou
to Casablanca.
STRASSER
(in perfect English -
beaming on the
Frenchman)
Tbank you, Captain. It is very
go od to be here.
TONELLI
Captain Tonelli, of the Italian
staff, at your service, sir.
STRASSER
That 1s kind of you.
TONELLI
Our staff is anxious to cooperate.
RENAULT
Major, may 1 present my aide,
Lieutenant Casselle.
Casselle does not offer to shake bands. They merely sal­
ute and bow. Renault leads Strasser toward the edge of tbe
air field, where their cars await them. Heinze and
Casselle follow, with the Italian capt.a1n left to bring up
the rear.
22 TRUCKING SHOT - RENAULT AND STRASSER
walking toward the cars.
RENAULT
(again tbe suggestion
of a double-edged
inference)
You may find the climate of Casa­
blanca a trifle warm, Major.
STRASSER
Oh, we Germans must get used to
all climates - from Russia to the
Sahara.
(suddenly the smile fades
and the eyes barden)
But perhaps you were Dot referring
to the weather. (CONTINUED)
 10.

22 CONTINUED:
RENAULT
{sidesteps the impli­
cation witb a smile)
What else, my dear Major?
STRASSER
(casual again)
By the way, the murder of the
couriers -- what bas been done?
RENAULT
Realizing tbe importance of the
case, my men are rounding up
twice the usual number of sus­
pects.
Again Strasser looks at him sharply.
HEINZE
captain Renault means that the
round-up 1s a blind. We already
k n ow who the murderer is.
STRASSER
Good. I s he in custody?
RENAULT
There is no hurry. Tonight he
will corne to Rick's.
(indicating the
cafe at tbe air-
port 's edge)
Everybody cornes to Rick's.
Hei nze shrugs to indicate tha t he can do nothing wi th
Renault.
STRASSER
I bave already beard about tbis
cafe -- and also about M'sieur
Rick bimself.
As tbey arrive at tbe car -

DISSOLVE TO:
 11.

23 OMITT ED.

24 ELECTRlC SIGN - "RICK'S" - NlGHT

CAMERA PANS DOWN TO:

25 ENTRANCE TO RICK'S
Rick's car drives up. People in b.g. enter cafe tbrough
tbe revolving door. From t.be cafe we HEAR SOUNDS of mu­
sic and laughter.

CUT TO:

26 INT. RICK'S - BOOM SHOT

An expensive and chic night club which definitely possess­
es an air of sophistication and intrigue. The CAMERA PANS
AROUND the room, soaking in the atmosphere.
A four-piece orchestra 1 s playing. The piano 1s a small,
salmon-colored instrument on wheels. There is a negro on
the stool. He is dressed in bright b lue s lacks and sport
shirt. He is playing and singing.
About him there is a 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 fuares. Levantines. Naval officers. Members of
the Foreign Legion, distinguisbed by tbeir kopis
Across the room, stretching the entire length of the wall,
is a tremendous, resplendent bar.
a) CAMERA HOLDS on Sam singing, with orchestra in b.g.,
tben PANS TO CLOSEUP of customers.
KAN
laiting - waiting -- l'll never
get out of bere. l'll die 1D
Casablanca.
b) CAMERA PANS to weepiDg woman.
WOMAN
I ca n 't stand it.
KAN
Tbere, tbere.
(CONTINUED)
 12.

26 CON'Il NUED:
c) CAMERA PANS AND HOLDS on Sam, as he finishes tbe num­
ber.
,d) CLOSEUP - A WOMAN AND A MOOR - a very well-dressed
woman talking to a Moor. Sbe bas a bracelet on her
wrist - no otber jewelry.
WOMAN
But can' t you make 1 t just a 11 ttle
more. Please.
MOOR
I 'D'l sorry, Madame. But diarnonds
ar e a drug on the market. Every-
b odY sells diamonds. Tbere are
diamonds everywhere. Two thousand.
four hundred --
WOMAN
• (distressed)
All right.
Tbe Moor bands her tbe money - she gives him her bracelet.
e) TWO CONSPIRATORS are talking.
FIRST MAN
The trucks are waiting, tbe rnen
are waiting.
f) 'IWO MEN are sitting at a table.
MAN
lt's the fishing smack Santiago.
lt leaves at one tomorrow night,
here from the end of La Medica.
The tbird boat.
REFUGEE
Thank you, oh, thank you.
MAN
And bring the fifteen tbousand
francs 1D cash. Rernember, 1D
cash.
g) THE CAMERA OOLLIES to the bar. As tbe CAMERA PASSES
the various tables we HEAR a babel of foreign tongues.
Here and tbere we catcb a scattered phrase or sen­
tence in Eng lish.
Now we are at the bar.
CUT TO:
 13.

27 MED. SHOT - RUSSIAN BARTENDER

a �uge, jovia 1 looking pers on. He wears a si lk &mock. He
bands e drink to a customer, with the Russian equiva lent
of "Bottoms lJp". Tben be calls out to a pas sing wai ter:
SACHA
Carl --
'The wai ter stops, turns, wa lk& to the bar. He is a sma11,
mild-t:'lllDnered man with spectacles. Sacha places neveral
àrinks on a tray, instructs Carl about delivering tbem.

28 CARL
tray in har�d, walking up to a private door, over which a
�urly man stands guard.
CARL
(to the burly man)
Open up, Abdul.
ABDùL
(rP.spectfully - as
he opens the door)
�es, Herr Professor.
Carl g oe s ::. :'l •

CUT TU:

29 LONG SHOT - INT. GAMBLING ROOM

as Carl cornes in. The CAMERA TAKES IN the activity at
the vario�s tables; then -

CUT TO:

30 IIED. SHOT - AT TABLE

A woman bands a check to the dealer. He, in turn, turns
around and bands it on to a -overseer. who looks
at the check, tben at the woman.
OVERSEER
(to woman)
Just one minute, please.
He walks towards a table.
CUT TO:
 14.

31 CLOSE SHOT - A MAN'S HAND

boldiDg a dri Dk• We SEE the Overseer 's body corne I NTO THE
SCENE. His band places a check on tbe table. The other
man's band pi cks up tbe check. Obviously, the man is
studying the check. Tben bis band comes INTO THE SCEN!. and
, on tbe back of tbe check, in pencil, it wri tes:

11 0kay -- Rick"

The overseer 's band takes the check as -

CAMERA PULLS BACK TO:

32 MEO. SHOT - RICK

sittiog a't the table alone. He just sits staring at the

drink. There is no expression in his eyes. He is a com­
P let e de a d p a c • Rick is a n Amer ica n of i nde te rm i na te age.

CUT TO:

33 TABLE - T WO WOMEN AND A MAN

The women are glancing offscene at Rick 's table, fascina­

ted. Carl is in the sce ne, preparing Turkish coffee.
WOMAN
(to Carl)
Will you ask Rick if he'll have
a drick with us.

CARL
Ma dame, he never drinks with cus­
tomers. Never unless be invites
tbem to his table.

2ND WOMAN
(disappointedly -
glancing towards Rick)
Wbat makes saloon-keepers so
snobèish?

MAN
(to Carl - holding
out a bill)
Perhaps if you told bim 1 ran tbe
second lar gest banking bouse in
Amsterdam ••• ?

(CONTI NUED)
 15.

33 CONTINUED:
CARL
(shaking bis head)
That wouldn't impress Rick. The
leading banker in Amsterdam is
now tbe pastry chef in our kit­
cben, and bis fatber is the bell­
boy.
He takes tbe bill from the man's band and walks away.
CAMERA PANS 11TH him, disclosing:

34 MED. S HOT - RICK

(ALTERNATE SCENE NUMBER AS SHOT AND CREDITED - 38)
He 1s glancing towards the open door and indicating that
the person seeking admittance 1s not to be let in.
There is a commotion at the door. A voice with a German
accent is HEARD shouting.
GERMAN VOICE
Of a11 the nerve ! Who do you
think --
Rick gets up, and with no change of expression, walks
across the floor to the door, CAMERA TRUCKING with him.
CUT TO:

35 EXT. DOOR - A RED-FACED G ERMAN

(ALTERNATE SCENE NUMBER AS SHOT AND CREDITED - 3�)
is protesting to A bdul.
GERMAN
1 know tbere's gambling in tbere !
There 's no secret. You dare not
keep me out of bere.
Rick ENTERS SHOT.
RICK
(coldly)
Yes? lhat 's tbe t.rouble?
SACHA
E r -- this gentleman --
CUT TO:
 lô.

36 MED. SHO T - RICK AND GERMAN

(ALTERNATE SCEN!:: NUMBER AS SHOT AND CREDl TED - 41)

GERMAN
(waving bis card )
I 've been in every gambling room
be 'tWeen Honolulu and Berlin and
if' you tbink I 'm going to be kept
ou 't of a saloon like tbis, you're
verY much miataken.

37 ENTRANCE TO RICK' S
(ALTERNATE SCENE NUMBER AS SHOT AND CREDITED - 40)

As UGARTE comes in. He 1s a sma 11, thin man wi th a ner-

vous air. If be were an American, be would look like a
tout . He l ooks interestedly in the direction of Rick and
the German.
UGUARTE
E r, er - ex cu se me, pleas e • He 11o ,
Rick

Rick just. looks at the German calmly, takes the card out
of the· German' s band.
RICK
(to German - tearing
up the card)
Your cash 1s 100d at the bar.

GERMAN
(to Rick)
What -- Do you know wbo I am?

RICK
( coldly)
I do. You 1 re lucky tbe bar' s open
to you.
GERMAN
This is outrageous. 1 sball report
it to the Angriff.

He turns a way from the sputtering German, catches the ne­

gro's eye at the piaDo. Tbe negro. wbo while still play­
ing bas been watcbing the by-pla.y, winks at Rick. Rick
acknowledges the wink with some f riendly gesture. It
isn't quite a smile, but it 1s probably the closest tbing
to a smi le that Rick can manage. A nyway, i t estab lishes
the tac t. that as far as Rick is concerned, the negro is a
privileged person.

Rick goes back into the bar.

CUT TO:
 17.

38 MED. SHOT - AT TABLE - IN GAMBLING ROOM

(ALTERNATE SCENE NUMBER AS SHOT AND CREDITED - 42)
as Rick comes INTO THE SCENE. A moment later Ugarte
:follows bim INTO THE SCENE. Tbere is nobody near them.
UGARTE
(fawning)
Hub. You know, Rick, watching
you just now with the Deutches
Bank, one would think you had
been doing tbis all your life.
RICK
(stiffening)
Well, what makes you think 1
haven't?
UGARTE
(vague ly)
Oh, nothing. When you f1rst
came to Casablanca, I thought
RICK
(coldly)
You thought what?
UGARTE
(fearing to offend
Rick - laughs)
What right have I to think?
(hastily changing
the subject)
Too bad about those German cour­
iers, wasn't it?
RICK
(1ndifferently)
They got a break. Yesterday they
were just two German clerks; to­
day tbey're the Honored Dead.
UGARTE
(shaking bis head)
You will forgive me for saying
tbis, M'sieur Rick, but you are
a very cynical person.
RICK
(sbortly)
I f orgi ve you.
 18.

39 BARTENDER
(ALTERNATE SCENE NO. AS SHOT AND CRED!TED - 42)
coming l NTO SCENE wit.b tWO drinks' Which be sets be:ore
the men.
UGARTE
(bis eyes lighting up)
Er, thank you. Will you bave a
drink with me, please?
RICK
No.
UGARTE
(Sadly)
You despise me, don't you?
RICK
(indiffereotly)
1 f l gave you u1y thought, l
probably would.
UGARTE
You object to tbe kind of busi­
ness I do. But think of the poor
refugees who must rot in this
place if l did not belp tbem. Is
it so bad that t.brough ways of my
own I provide them •ith exit visas?
RICK
(staring at his drink)
For a price, Ugarte, for a price.
·uGARTE
But think of those poor devils who
cannot meet Renault's price. I
get it for tbem for half. Is tbat
so parasitic?
JU ck turcs to look at Ugarte
RICK
I don't mind a parasite. I object
to a eut-rate one.
UGARTE
Well, after tonigbt I am througb
with the whole business. Rick, 1
am leaving Casablanca.
RICK
Who did you bribe for your visa?
Renault or yourself?
(CONTINUED)
 19.

39 CONTINUED:
UGARTB
(ironi ca.lly)
Myself. l found myself mucb more
reasonable.
(he takes envelope from
bis pocket - taps it on
bis band)
Do Jou know wbat this is? Some­
thing tbat not even Jou bave ever
seen -
(lowers bis voice)
Letters of Transit signed by �arsh­
all Waygand, They cannot be
rescinded, not even questioned.
Rick looks at him then holds out bis hand for tbe envel­
ope.
UGARTE
One moment. Tonight I will sell
these for more money tban even I
ever dreamed of. Then -- fare­
well to Casablanca. Rick -- l
bave many friends in Casablanca,
but because you despise me you're
the only one I trust. Will you
keep these Letters for me?
RICK
For how l·ong?
UGARTE
Perhaps an hour - perbaps longer.
RICK
(taking them)
I don't want them bere over night.
UGARTE
Don't be afraid of tbat. Please
keep tbem for me. Tbank you. I
know I could trust Jou.
CUT TO:
40 MED. SHOT - IAITER
(ALTERNATE SCENE NO. AS SHOT AND CREDITED - 44)
coming INTO THE SCENE.
UGARTE
(to wai ter)
Oh, waiter. I am expecting some
people. If anyone asks for me,
l Will be bere. (CONTINUED)
 20.

40 CON'IlNUED:
The waiter nods, lea ves. Ugarte turns to Rick.
UGARTE
Ri ck, l bope you are more im­
pressed with me. If you 'll for­
gi ve me, I 'll sbare my good luck
with your roulette wbeel.
He starts a cross the floor.
klCK
Wait a minu�e --. Yeab.
Ugarte stops. Rick comes up to bim.
41 CLOSE SHOT - RICK AND UGARTE
(ALîERNATE SCENE NO. AS SHOT AND CREDlîED - 45)
Rick's VOlCE 1s barely audible.
RICK
I heard a rumor tha t those German
couriers were carrying Letters of
Transit.
Ugarte doeso I t reply for a moment
UGARTE
Yes -- I heard that rumor, too.
Poor devi 1s.
Rick looks at Ugar�e steadily.
R ICK
(slow ly)
You're righ�, Ugarte. 1 am a
little more impressed with you.
Ugarte smiles and almost swaggers toward the gambling
table. Rick starts for the door.
41a MED. SHOT - CAFE
Sam iS playing and singing the "Knock Wood'' number, accom­
panied by the orchestra. The cafe is in semi-darkness.
The spotligbt is on Sam, and every time the orchestra
comes in on the "Knock Wood" business, the spotlight
swings over to the orchestra.
4lb MED. SHOT - RICK
as he makes his way from the gambling room to Sam on tbe
f loor.
CUT TO:
41C MED. CLOSE SHOT - AT PIANO
Rick comes into SHOT, and during one of the periods 'When
the spotlight is on the orchestra, Rick slips the
Letters of Transit into the piano, then exits towards
tbe bar.
CUT TO:

-41D MED. SHOT - AT BAR

Rick comes in and watches Sam in bis number.
CUT TO:
41E CLOSE SHOT AT SMALL TABLE - FERRARI
He sees Rick at bar, exits in his direction.
CUT TO:

42 MED. SHOT AT BAR - RICK

Ferrari comes INTO SHOT.
FERRARI
(as he cornes up
to Rick)
Hello, Ri ck
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 baven't beard my offer.
RlCK
lt's not for sale at any price.
. Ferrari si&bs.
FERRARI
What do you want for Sam?
(CONTI NUED)
42 CONT l NUED:

RlCK
I don' t buy or sell human beings.

FERRARI
Tha t 1 s too bad. Tbat 's Casablanca's
leading commodity. In refugees alone
we could make a fortune if you would
work wi th me through the Black Mar ket.

RICK
Suppose you let me run my business
and you run yours.

FERRARI
Suppose we ask Sam? Maybe he 'd like
t o make a change.

RICK
Suppose we do.

42A NEGRO - AT Pl ANO

He bas just finished bis number. Rick and Ferrari come

up to him.
RICK
Sam -- Ferrari wants you to work
for him at the Blue Parrot.

SAM
Ah likes it fine here.
RICK
He'll double what I pay you.

SAM
Ah ain't got time to spend what
ab makes here.

RICK
Sorry, Ferrari.

Rick looks at Ferrari, smiles, sbakes bis head; then he

winks at Sam. Ferrari exits.

CUT TO:

43 MED. SHOT - AT LONG BAR IN CAFE PROPER - YVONNE

is sitting on a stool, drin king br andy. Sacha, who

(CONTINUED)
43 CONTINUED:
i.& looking at her with lovesick eyes, is filling her
-tumbler.
SACHA
The boss's private stock. Be­
cause -- Yvonne -- I loff you.
YVONNE
(morosely)
Ob, sbut up.
SACHA
(fondly)
For you. Yvonne, I sbot opp.
Rick saunters into the scene, leans aga i nst the bar next
t o Yvonne. But he pays no attention to her. She looks
at him bitterly. without saying a word.
SACHA
Oh, Monsieur Rick. Sorne Germans,
boom. boom, boom, gave this check.
Is it all right?
R ick looks check over.
CUT TO:

44 MED. SHOT - SAM

is in the midst of a num b e r.
CUT TO:

4o MED. SH OT - RICK AND YVONNE

As only Samis spotlighted at the piano, Rick and Yvonne
stand 1n tbe gloom. Yvonne, wbo bas never taken ber eyes
off Rick, finallJ blurts out:
YVONNE
Where were Jou last night?
RICK
Tbat's so long ago. l don't
remember.
Pause.
YVONNE
Will l see JOU tonight?
(CONTINUED)
 24.
45 CONTINUED:

RICK
(calmly)
I Dever plan that far abead.

Yvonne turDs, looks at Sacha, extenàs her glass to bim.

As he is about to fill the glass, Rick turns, stops him
,witb a gesture.

YVONNE
(to Sacha)
Give me another.

RICK
Sa cba, she's had enougb.

YVONNE
DoD't listen to bim, Sacha.
Fi 11 il !!E.•

Sacha besi tates, looks at Rick.

SACHA
(putting the
bot t le down)
1 loff you, Yvonne, but he pays
me.

Yvon ne whee 1s on Rick with drunken fury.

YVONNE
Rick, l'm sick and tired of having
you --

RICK
sacba , ca 11 a cab .

SACHA
Yes, Boss.
(be walk s toward
tbe cafe entrance)

RICK
(taking Yvonne by
tbe arm)
Come on, we're going to get your
coat.

YVONNE
Take your bands off me

He pull s ber along toward the ball door.

RICK
No. You're going home. You've
bad a little too much to drink.
46 STREET IN FRONT OF RICK'S - SACHA
stands at the curb signalling a cab. Finally one pulls up.

47 EXT. RICK'S (SHOOTING TOWARD THE ENTRANCE)

Rick and Yvonne come out of the cafe. H e is putti ng a
coat over ber sboulders. Sbe is objecting violently.
YVONNE
Who do you tbink you are, pusbing
me around? lbat a fool I was to
fall for a man like you.
RICK
(to Sacha - as be
and Yvonne approach
the waiting cab)
You 'd better go with ber, Sacha, to
be sure sbe gets home.
SACHA
Yes, Boss .
One on each arm, they belp Yvonne in the cab. Sacha
follows her in.
RICK
Sach a ...
(Sacha looks out
through the window)
Come right back.
SACHA
(his face f alling)
Yes, Boss .
The cab starts off.

48 TRUCKING SHOT - RICK

as be walks back into the cafe. He lights a cigarette,
bears Renault and walks towar d bim.
RENAULT
Hello, Rick
RICK
He 11o, Louis .
(CONTINUED)
 2ë.

48 CONTI NUED:

RENAULT'S VOIC.:E
(over scene)
How extravagant you are -- throw­
ing away women like tbat. Some
daY tbey may be very scarce.

4Y A TABLE ON THE CAFE TERRACE

Renault is sipping some brandy. His· eyes are amused.
Rick walks into the SHOT.

RENAULT
You know, I think DOW I shall
pa y a ca 11 on Yvonne -- maybe
ge t her on the rebound, eh?

RICK
(as b e takes a
seat at the table)
When it comes to women, you're a
true democrat.

Renault laughs, pours Rick a drink. There is the SOUND

of a plane warming up on tbe adjacent air field. Ric.k
looks in the direction of the SOUND. Renault follows
bis gaze .

50 MEO. SHOT - TRANSPORT PLANE

in tbe full glare of the floodl igbts, standing poised
o n the runway. i ts motors ra ci ng, ready for the take- off.
CUT TO:

51 MEO. SHOT - RICK AND RENAUL T

Ric k is s till looking steadfastly at the plane.

RENAULT
Tbe plane to Lisbon -­
(looks at R 1 ck
sbrewdly)
You would like to be on i t?

RICK
( curtly)
Wby? What's in Lisbon?

(CONT 1 NUEU)
51 CONTINUED:
RENAULT
Tbe Clipper to America.
Rick doesn't answer; looks at the plane warming up, but
bis look is-n't a bappy one.
RENAULT
J bave often speculated on wby
Jou do not retur n to America.
Did Jou abscond witb the cburcb
funds? Did you run off with a
Senator's wife? 1 should like to
think JOU killed a man. lt 1& the
romantic 111 me.
RICK
(still looking at the
plane - sarconically)
It was a combination of all three.
RENAULT
And what in Heaven's name brougbt
you to Casablanca?
Tbe plane'& motors grow louder.
RICK
My health. I came to Casablanca
for the waters.
RENAULT
Waters? What waters? We are in
the desert.
RICK
I was misinformed.
Renault shakes bis bead but can say nothing for the plane
1& speedin1 down the runway. Jts ligbts &bine on the
faces of Rick and Renault. Rick cannot take bis eyes from
the plane. Now 1t leaves the 1round and passes almost
directly over tbem. He watches tbe plane until its lights
disappear into tbe distance.

52 IIED. SHOT - A CROUPIER - (EMIL)

so identified bJ tbe green visor over bis eyes, comes
INTO THE SCENE.
EMIL
Excuse me, M'sieur Rick, but a
gentleman inside bas won twenty
tbousand francs. The cashier
would like some money.
(CONTINUED)
 28.
52 CONTINUED:
RICK
(not at all perturbed)
Well, I '11 get it from the saf e.
CROUPIER
I am humiliated, M'sieur Rick.
1 do not unders tand how --
RICK
It's all right, Emil. Mistakes
like that happen all the time.
EMIL
I 'm awfully sorry.
Rick and Renault both rise and start in.
RENAULT
Rick, there is going to be some
excitement here tonight. We are
going to make an arrest in your
cafe.
RICK
(not at all excited)
Wbat, again?
CUT TO:

53 INT. CAFE
as Rick and Renault come in, Emil following.
RENAULT
This is no ordinary arrest. A
murèerer, no less.
CUT TO:
54 CLOSE SHOT - RICK
as bis eyes react. lnvoluntarily, tbey glance toward tbe
gambling room.
CUT TO:

55 MED. SHOT - RICK AND RENAULT

Tbey are starting for tbe steps alongside the bar.
RENAULT
(wbo bas caugbt the
look)
If you are tbinking of warning
bim --
(CONT l NUED)
55 CONTINUED:
RENAULT (CONTD)
don't put yourself out. He
can 't possibly escape.
RICK
(starting up the
&teps)
I stick my neck out for nobody.
RENAULT
A wise foreign policy
Renault starts upstairs after Rick.
RENAULT
(up the steps -
dri Dk i Il ha Ild)
You know, Rick, we could have
made this arrest earlier in the
evening at the Blue Parrot
Rick enters a room on the landing.
CUT TO:

50 INT. RlCK'S OFFICE

as he cornes in, followed by Renault and Emil.
RENAULT
-- But out of my bigh regard for
you we are stagi ng it here. I t
will amuse y�ur customers.
RICK
(ope ning a door)
Our entertainment is enough.
CUT TO:

57 MED. SHOT - AT DOOR

to a small, dark room off tbe office wbere tbe safe is
kept. Rick goes in, starts to open the safe. Renault,
drink in band, leans against the door jamb.
RENAULT
Rick, we are to bave an important
guest tonight - Major Strasser of
the Tbird Reich - no less. le want
him to be here when we make the ar­
rest. A little demonstration of
the efficiency of my administration.
(CONTI NUED)
 30.

57 CONTI�UED:
RICK
I see. And wbat's Strasser doing
bere? He basn' t corne all the way
to Casablanca to wi tness a demon­
s tration of your efficiency.
RENAULT
Per baps no't.
RICK
(to Emil)
Here you are.
EMIL
I t shall not. bappen again, Monsie ur.
RICK
Tbat 's all right..
(to Renault)
Louis, you bave something on your
mind. Why don't. you spill it.?
RENAULT
(admi ring ly)
You are very observant. As a
matt.er of fact, I wanted to give
you a word of advice.
RICK
Yeab? Have a brandy.
RENAULT
Th&Dk you, Rick. There are many
exit visas sold in this cafe, but
we know that. you have never sold
tbem. Tbat. 1s the reason we per­
mit you to remain open.
RICK
(amiably)
I tbought it was because we let
you win a't roulette.
RENAULT
Er ••. tbat is anotber reason •••
Tbere 1s a man wbo bas arrived in
Casablanca on bis way to America.
He will offer a fortune to anyone
wbo will furnish bim witb an exit
v1sa.
RICK
Yeab? Wbat's bis name.
RENAULT
Victor Lasz lo.
RICK
Victor Lasz lo?
(CONTINU ED)
 31.
f>7 CONTINUED: RENAULT
(watching Rick'& reaction)
Rick, this is tbe first time I bave
ever seen you so impressed.
_ RICK
( ca su a l again )
Well, he's succeeded in impressing
balf the world.
RENAULT
It 1s my duty to see that be does
not impress tbe other half.
(now intensely serious)
Rick, Lasz.lo must never reach America.
He stays in Casablanca.
RICK
lt'll be 1nteresting to see how
he manages.
RENAULT
Manages what?
RICK
His escape.
RENAULT
But I just told you --
RICK
Stop i t. He escaped from a concen­
tration camp and the Nazis have been
chasing him all over Europe.
RENAULT
(grimly)
This is the end of tbe chase.
RICK
Twenty tbousand francs says it isn't.
RENAULT
Is that a ser1ous offer?
RICK
I just paid out twenty tbousand
fran CS. l I d like t O Iet 1 t b a ck •
RENAULT
Make 1 t ten tbousand. 1 am only a
poor corrupt official.
(Rick nods)
Done. No ma tter bow clever be is,
be still needs an exit visa -- or
I should say, two.
They start out of tbe room and down the steps, CAMERA
TRUCKING WITH THEM. (C0NTINUED)
 32.

CONTINUED: (2)
RICK.
WbY two?
RJ::NAULT
He is traveling witb a lady.
RICK
He' 11 take one.
RENAULT
I think not. I bave seen tbe lady.
Acd if he did not leave ber in Mar­
seilles, cor in Oran, be will no't
1ea ve her in Casablanca.
RICK
Ma y be he ' s no t as roman t i c a s
1:ou !.!:!·
RENAULT
I t does not matter -- there is no
exit visa for him.
RICK
Louis, where did you get the ide a
I might be interested in helping
Laszlo escape?
RENAULT
Because, my dear Ricky, I suspec�
under that cynical shell, you are
at heart a sentimentalist.
(Rick breaks into a laugh)
Laugh if you �ill, but I happen �o
be familiar with your recorc. Le't
me po int out two items. Y ou foug h t
witb the Ethiopians agains't !taly,
and you risked your neck wi'tb the
Royalists in Spain...
RICK
(casually)
And got •ell paid for it on both
occasions.
RENAULT
Tbe winning side would bave paid
you much more.
RICK
uaybe.
(anxious for a
change of subject)
Apparently you are det ermi n ed to
keep Laszlo bere.
(CONTI NUED)
 33.
57 CONTI NUED: (3)
RENAULT
I have my orders.
RICK
Oh, I see. Gestapo spank.

5� MEO. SHOT - RENAULT

'J"bey are down now. As be speaks be fa ces tbe hugh mir­
ror over the bar.
RENAULT
You over-estimate the influence
of tbe Gestapo, Ricky. I do not
interfere with them and tbey do
not interfere with me. In Casa­
blanca I am master of my fate.
1 am captain of my
He stops short as bis aide enters and speaks:·
AIDE
Major Strasser is bere, sir.
59 MED. SHOT - RICK AND RENAULT
RICK
Yeah, you were saying
RENAULT
(burriedly)
Excuse me --
He burries towards Strasser. Rick smi les cynically, and
exits.

60 CAFE
Renault is walking with Carl.
RENAULT
Carl, see tbat Herr Strasser gets
a good table - close to tbe ladies.
CARL
I bave already 1iven bim tbe best,
M'sieur!
(sadly)
••• Knowing be is German and would
take it anyway.
 34.

61 CAFE

as they en ter from the hall. Renault beckons to a

NATIVE OFFI CER who is apparent ly wai ti ng for the word.
He approa ches and sa lutes.

RENAULT
(in a low voi ce)
T ake him quietly. Two guards at
every door.

NATIVE OFFICER
Yes, sir. Everything is ready, sir.

He salu'tes and starts toward the door of the gambling

room. Tbe CAMERA TRAVELS with Renault, who walks te a
table oc one side of the cafe wbere Strasser and Heinze
are sea ted • At tbe adjoini ng table are some German of-
f 1 cers. Strasser beams as Renault approaches the table.

RENAULT
Good evening, gentlemen.

STRASSER
Good evening, Captain.

HEINZE
WoD 't you join us?

RENAULT
(sit ti ng down)
Thank you. lt is a pleasure to
bav e you here, Major.

STRASSER
Er - champagne and a tin of caviar.
RENAULT
Er - may I recommend Veuve Cliquet
11 26" , a good French w ine.

STRASSER
T.bank you.

WAITER
Very well, sir.

STRASSER
A very interesting club.

RENAULT
Especially so this evening, Major.
(low voice)
In just a minute you �ill see the
arrest of the man who murdered
your couriers. (CONTINUED)
 35.

61 CONTINUED:
STRASSER
I expected no less, Captain.

CUT TO:

62 CLOSE SHOT - UGARTE

(ALT ERNATE SCENE NO. AS SHOT AND CREDITED - 69)

a 't the roulette table in the gambling room. Piled in

:front of bim is a huge stack of chips. He is baving a
run of luck and bis eyes are feverisb as tbey follow the
m.arble that is bouncing on the wbeel. Tbe marble stops
on number 13. EzultaDtly Ugarte reaches for the chips
w.bich the Croupier shoves on the table. But just then
a nother haDd closes onto Ugarte 's arm. A look of terror
crosses bis face.

NATIVE OFFlCER 'S VOICE

(0VER SCENE)
You will come with me, Mon sieur
Ugarte.

UGARTE
( in a low v oic e)
Allow me to cash my chips.

The native officer nods, follows Ugarte to the Cashier.

63 THE CASHlER'S BOOTH

(ALTERNATE SCENE NO. AS SHOT AND CREDITEO - 70)

The Cashier pays Ugarte the amount of his chips. Ugar te

thrusts the money in bis inside coat pocket. As bis ·band
comes out of the pocket, it grips a sma l l revolver,
pointed at the Native Officer. The Officer makes a jump
for Ugarte, and the gun goes off. Tbe Of ficer clasps his
&houlder. A woman screams. People at the gambling
tables duck for cover. Ugarte runs toward the ballway.

64 QUICK FLASHES
a) Rick crossing the floor of the cafe, turns abruptly
toward the door to the gambling room.

b) A woman in a booth jumps to ber feet, looks in the

direction of the sound.

( CONTl NUED )
 36.

64 CONTINUED:

(c) A man at the bar is lifting his glass to drink.

Abrup tly he pu ts the glass down.

(d) 'Tbe music stops as Sam I s bands hold on the pia DO

keys.

(e) Carl. behind the bar, flashes &D expectant look

toward Strasser's booth.

(f) Renault, Strasser and Heinze all jump to their feet.

65 HALLWAY BETWEEN THE ROOMS

(ALTERNATE SCENE NO. AS SHOT AND CREDITEU - 72)

Ugarte rusbes ioto the hallway as Rick appears from 'the

opposite direction.

UGARTE
Ri ck ! Rick , h elp me !

RICK
(low voice)
Don I t be a foo l. Y ou can ' 't get
a way.

UGARTE
Hide me. Do some th i Dg • Y ou must
help me, Rick. Do somethicg!

RlCK
Shut up !

Before be can finish, Renault, Strasser, Heinze a nd

others rusil in from behiod Rick. Otber police officers
a ppear from the gambling room, grab Ugarte. Without a
word, Rick pushes his way tbrough tbe group to tbe cafe.

STRASSER
Excellent, Captain.

MAN
(half kiddingly,
half eartest)
When they come to get me, Rick,
l bope you'll be of more belp.

RICK
1 stick my neck out for nobody.
 37.
66 THE CAFE
Rick comes out on the floor. An air of tense expectancy
pervades the room. A few customers are on the point of
1eaving. Rick speaks in a very calm voice.
RICK
J 'm sorry tbere was a disturbance,
folks; but it's all over. Every­
tbing's all rigbt. Just sit down
and bave a good time. Enjoy your-
!.tl!•
(glances toward
bis piano player)
All rigbt, Sam ..•

67 AT THE PIANO - SAM

Nods. begi ns to play,
SAM
Okay, boss.
SAM
01' Noah, what'd be do?
(he shouts a t
the audience)
C'mon folks --
(he starts again)
01' Noah, what'd be do?
He waits and plays tbe next phrase.

68 FULL SHOT
TAKING IN several tables. Tbere is a balf-bearted re­
sponse from tbe people.
THE PEOPLE
01' Noab, what'd be do?
SAM
(grinning, playing
louder and faster)
Dat's rig bt. He built a floatin'
zoo.
69 TABLES

Tbe people, under Sam's spell again, join in and sicg.

The gloom iS somewhat lifted. We PAN 0VER va.rious -cables,
picking up a 11 types of people during the course of the
song.

70 STRASSER 'S TABLE

Tbe song is finished and the excitement bas quieted down.

Renault, S trasser and Heinze are now ba ck at their table.

RENAULT
(calls to Rick, who
is off scelle)
Ob, Rick •••

Rick walks into the SHOT.

RENAULT
Rick, this is Major Heiorich
Strasser o:f the Third Reich.

STRASSER
How do you do, Mr. Ric.k?

RICK
Oh, how do you do?

RENAULT
And you already know Herr Heinze
-- of the Tbird Reich.

Rick nods to Strasser and Heinze.

STRASSER
Please join us, Mr. Rick.

Rick sits dowc bes ide Heinze, facing Renault and Strasser.

RENAULT
(changing the subject)
R ick, we are very bonored tonight.
Major Strasser is one of the reas­
ons the Third Reich enjoys tbe
reputation it has today.
(Rick nods)

STRASSER
(&miles)
You repea t "Third Reich" as t hough
you expected tbere to be others.

(CONTI NtJElJ)
70 CONTINUED:
RENAULT
lell, personally, Major, I will
take what cornes.
The waiter appears with drinks, begins to open the bot­
tles &Dd pour duriDg the ensuing conversation.
STRASSER
Do you mind if 1 ask Jou a few
questions? UnofficiallJ, of course.
RICK
(shrugging)
Make it official, if JOU like.
STRASSER
What is your nationality?
Rick looks at him a moment before replying.
RICK
(poker face)
I 'm a drunkard.
Strasser looks closely at him.

71 CLOSE SHOT - RENAULT

RENAULT
That makes Rick a citizen of the
world.

72 MEO. SHOT - RlCK, RENAULT AND STRASSER

RICK
1 was born in New York City if
that'll hel p JOU any.
STRASSER
(to Rick - very amiably).
I understand Jou came bere from
Paris at the time of tbe Occupation.
RICK
Tbat seems to be no secret.
STRASSER
Are you one of those people who
cannot imagine the Germans in
their beloved Paris?
(CONTINUED)
72 CONTI SUED:
RICK
I t 's not parti cularly !!!. be love ci
Paris.
HEINZE
(slight laugh)
Can you imagine us in London?
RICK
Wben you get there, ask me.
STRASSER
(digging into tbe
caviar)
How abou't �ew York?
RICK
Tbere are certain sections of New
York, Major, that l would no't a.a­
vise you to try to invade.
STRASSER
Wbo do you think will •in tbe war?
RICK
l haven't tbe sligbtest idea.
RENAULT
Rick is completely neutral about
everytbing. And that takes in the
field of women, too.
Strasser takes a little black book from his pocket,
rit!les through the pages.
STRASSER
(to Rick)
You werec't always so carefully
neutral. We bave a complete
dOSS ier OD you.
(reads)
'Ricbard Blaine, American. Age
tbir�y-seven. Canno� re'turn �o
bis COUD'try. '
(looks up from book)
The reason 1s a 11ttle vague. We
also knew •bat you did in Paris -­
(Renault, very cur-
ious, tries to look
over Strasser's shoulder)
Also, Mr. Blaine, we know wny you
left: Paris.
Rick reacbes over, t:akes the book !rom Strasser 1 s haoé.
(CONT!�tED)
 41.

72 CONTINUED: (l)
STRASSER
Don't worry. le are Dot going
to broadcast 1t.
RICK
(looking in
tbe book)
Are my eyes really brown?
STRASSER
You •111 f orgi ve my curiosity,
Mr. Blaine. Tbe point is, an
enemy of the Reich bas come to
Casablanca and we are checking
on anyone wbo can possibly be
of help to us.
RICK
My interest in Victor Laszlo's
staying or going --
(with a glance
toward Renault)
is only a sporting oDe.
STRASSER
In tbis case, you have no sympathy
for the fox.
RICK
• Not particularly. I uDderstand
the hound's peint of view, too.
STRASSER
Victor Laszlo published the foul­
est lies in the Prague newspapers
until the very day we marcbed in,
and even after that be continued
to print scandal sheets in a cellar.
RENAULT
Of course, one must admit he bas
1reat courage.
STRASSER
1 admit be is very clever. Three
times be &lipped tbrougb our fiD-
1ers. In Paris be continued bis
activities. We intend not to let
it bappen again.
RICK
Crises witb a
slight smile)
You '11 excuse me, gentlemen. Your
business is politics. Mine is run-
ning a saloon. (CONTINUED)
 42.

72 CONTlNUED: (2)
STRASSER
Good eveni.cg, Mr. Blaine.
Rick walkS out of the SHOT, toward the gambling room,
RENAULT
You see, you have nothing to
worry about, Rick.
STRASSER
(bis eyes following
tbe direction Rick
bas gone)
Perbaps.•.
CUT TO:

73 MED. SHOT - AT ANOTHER TABLE

The dark-appearing foreigner we had seen in the opening
sequence is busily engaged witb a middle-aged p rosperous­
looking man.
DARK FOREIGNER
(bis arms tbrown sol­
icitously around the
otber man)
1 beseech you, my friend -- be
on guard. Take care. Use every
precaution.

74 SAM - AT PIANO
He is idling away at something sentimental. The people
at tbe tables have resumed tbeir chatter.
As he plays Sam glances casually around. Suddenly, as
bis eyes look toward the entrance, bis playing falters,
tben stops altogether.

75 MED. SHOT - THE CAFE - (SHOOTING TOWARD THE ENTRANCE)

le SEE wbat Sam is staring at. A couple bas just come

in and we recognize them as Victor Laszlo and bis com­
panion wbose face we saw in tbe car window outside of
(CONTINUED)
 43.

75 CONTINU ED:
Ugarte 's bote 1. She wears a simple white gown. Her beauty
is such tbat people turn to stare. The head-waiter comes
up to them.
HEADWAITER
Yes, M'sieur.
LASZLO
(in quiet, even tones)
I reserved a table. Victor Laszlo.
76 CLOSEUP - BERGER
looking intently at Laszlo.

77 CLOSE SHOT·- THE WOMAN

- who bas been looking a round casually. When she sees
Sam, ber face registers a startled surprise for just an
instant.
HEADWAlTER 1 S VOlCE
(over scene)
Yes, M 1 sieur Laszlo. Right this
way.

78 CLOSE SHOT - SAM

He sees her looking at bim, turns bis g aze away, resumes
bis piano playing.

79 TRUCKING SHOT - GROUP

- as the hèadwaiter takes them to a t able. Although
tbey pass right by tbe piano and tbe woman, (wbo 1s
later to be identified as ILSA LUND), looks directly
at Sam, the latter witb a conscious effort keeps bis
eyes on the keyboard. Ilsa smiles sligbtly. CAMERA
STOPS on Sam. After sbe bas gone out of scene, Sam
steals a lo.ok in ber direction.
 44.

80 AT LASZLO 'S TABLE

The headwaiter seats Ilsa nd goes OUT OF SHOT. Laszl o
takes the chair opposite. He surveys tbe room with a
sweeping glance.
LASZLO
Two cointreaux, please.
WAITER'S VOICE
Yes, Monsieur.
LASZLO
(to Ilsa)
1 see no one of Ugarte's descrip­
tion.
ILSA
Victor, I - 1 feel, somehow, we
sbouldn'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.
, ·MAN'S VOl CE
(off scene)
Excuse me, but you look like a
couple who are on their way to
America.
A small blond man, later identified as BERGER, walks INTO
SCENE.
LASZLO
Well?
The man reacbes into his vest pocket, brings out a ring
with a large aquamarine stone.
BERGER
You will find a market tbere for
this ring. l am forced to sell it
at a great sacrifice.
LASZLO
Thank you, but I bardly tbink --
BERGER
Theo perhaps for the lady. Tbe
ring is quite unique.
He holds it d own to their view, begins to twist the
stone, which is apparently screwed into the setting.
 45.

81 1 NSERT - THE RING - l N BERGER' S HAND

T be stone comes loose in bis fingers. ln the setting und­
e rneath, on a gold plate, is a faint impression of the
Lorraine Cross of Genera l De Gaulle.
LASZLO'S VOICE
Yes, l am very interested.

62 THE TABLE
BERGER
Good.
LASZLO
(lower voi ce)
What is your name?
BERGER
Berger..• And at your service,
sir.
ILSA
(looking o.s., gives
Laszlo a signal)
Victor!
LASZLO
(to Berger, low
voice as be compr€­
hends the signal)
Meet me in a few minutes at the bar.
(in a louder voice.
obviously for the
benefit of someone
off scene)
1 do not think we want to buy the
ring. But tbank you for sbowing it
to me.
Berger takes the eue. He sighs, puts the ring away.
BERGER
Sucb a bargain. But if tbat is
your decision --
LASZLO
I 'm sorry. It is.
He bows and turns away. CAMERA PANS. As he walks away,
be brusbes by Captain Renault, who is approaching the
table. He glances sbarply at Berger as be passes. Then
Renault beams as CAMERA PANS BACK witb bim to the table.
(CONTINUED)
 46.

82 CONTlNUED:
RENAULT
Monsieur Laszlo, is it no't?
LASZLO
Yes.
RENAULT
I am Captain Renault, Prefect of
Police.
LASZLO
Yes. What is it you wan't?
RENAULT
(amiab ly)
Merely to welcome you to Casablanca
and wish you a pleasant s'tay. 1 t is
net often we have so dis'tinguished a
visitor.
LASZLO
Thank you. You'll forgive me,
Captaine, but the present French
Administra'tion bas not always been
s o cordial. May I presen't Miss
I lsa Lund --
RENAULT
(bows)
l was informed you were tbe most
beautiful woman ever to visit Casa­
blanca -- that is a gross under-
s ta'tement.
llsa's manner is friendly and reserved, her voice low and
soft.
ILSA
Yeu are very kind.
LASZLO
(motions to a chair)
lon't you join us?
RENAULT
If you will permit me.
(calls to w&iter)
Ob, Emil.
WAI TER
(walkiag into shot)
Yes, Captaine.
RENAULT
A bottle o f your best champagne,
and put it on my bill. (CONTINUED)
 47.
82 CONTlNUED: (l)
EMIL
Very well, sir.

LASZLO
No, Captaine -- please

RENAULT
(bowing waiter away)
I t is a 11 ttle came we play -- they
put it oo my bi 11 -- l tear tbe bi 11
up. I t is very convenieot.

I lsa laughs and I lances off in Sam's direction.

ILSA
Captain -- the b oy who is playi ng
the piano somewhere I bave seen
him --

RENAULT
Sam?

lLSA
Yes.

RENAULT
He came from Paris with Rick.

ILSA
Rick? Who 's be?

RENAULT
(smiling)
Mademoiselle -- you are in Rick' s
and Rick is -- er --

ILSA

RENAULT
lell, Mademoiselle, be's the kind
of a man that -- well, if 1 were
a woman and 1 --
(tapping bis cbe&t)
were not around -- 1 would be in
love with Rick. But wbat a fool
l am -- talking to a beautiful
woman about anot.ber man.

Renault stops and looks of f, tben jumps t.o bis feet as

Strasser enters.

RENAULT
Er, ezcuse me.
(1 nt rodu ci ng I l sa and La sz lo)
Mademoiselle llsa Lund -- Monsieur Laszlo
may l present Major Heinrich Strasser. (CONTINUED)
 48.
82. CONTINUE 0: (2)
s trasser bows and smiles pleasantly.
STRASSER
How do you do -- this is a pleas­
ure I have long looked forward to.
Tbere 1s not the slightest recognition from ei ther I lsa
or LaszlO• Strasser waits to be asked to seat himself.
LASZLO
l 'm sure you'll excuse me if I am
not gracious -- but you see Major
Strasser, I 'm a Czecboslovak1an --
STRASSER
You were a Czechoslovakian -- now
you are a subject of the German
Reich!
LASZLO
l 've never accepted tbat privilege.
and now I 'm on French soi 1.
STRASSER
l should like to discuss some mat­
ters arising from your presence
on French soil.
LASZLO
This is hardly the time or tbe place --
STRASSER
(bardening)
Then we shall state aoother t ime and
another place -- tomorrow at ten in
tbe Prefect's office witb Mademoiselle.
LASZLO
(to Renault)
Captaine Renault, I am uoder your
autbority -- is it 70ur order tbat
we come to your office?
RENAULT
(amiably)
Let us say tbat it 1s my request -­
that is a much more pleasant word.
LASZLO
Very well.
Renault and Strasser rise, bow shortly to Las�lo and
deeply to I lsa•
RENAULT
Mademoiselle. (CONTINUED)
 49.

82 CONTINUED (3)
STRASSER
Mademoiselle.
CAMERA PANS WITH RENAULT AND STRASSER as they walk away.
RENAULT
A very clever tàctical retreat,
Major.
Strasser looks at Renault sharply, but sees only a non­
committal smile on Renault'& face.

83 CLOSE SHOT - LASZLO'S TABLE

Laszlo watches after Strasser and Renault. He turns back
to llsa with a ·slight smile.
LASZLO
This time tbey realll mean to
stop me.
ILSA
Victor, I 'm afraid for you.
LASZLO
We have been in difficult places
before, haven't we?
He puts a hand over hers. llsa smiles· back to him, but
her eyes are still troubled. OVER SCENE comes an orchestra
fanfare.

�4 FULL SHOT - DANCE FLOOR

Sam stands up from his piano, holding bis bands up for sil­
ence. Corina enter&, ligbts go off and sbe starts number.

85 CLOSE SHOT - SAM

Sam plays last cborus and looks towards llsa, off.

86 LARGE CLOSEOP - ILSA

llsa watches Sam.