Casablanca
Executive Summary
Poster
Note: This is for fun only. There will be many wrong things in the mock poster. It doesn't mean the AI misunderstood your story.
Overview
Genres: Drama, War, Romance, Thriller
Setting: The screenplay is set during World War II, primarily in the year 1941., The story takes place in the Moroccan city of Casablanca.
Overview: In war-torn Casablanca, refugees from all over Europe seek refuge; Rick Blaine, a cynical nightclub owner, must choose between love and doing what's right when Ilsa Lund, his former lover, arrives with her husband, Victor Laszlo, a resistance leader. Meanwhile, Major Strasser, a ruthless German officer, intensifies his search for Laszlo, forcing Rick to confront his past and make a life-altering decision.
Themes: Love and Sacrifice, War and Politics, Friendship and Loyalty, Redemption, Hope and Despair
Conflict and Stakes: Rick's inner conflict between his desire for Ilsa and his knowledge that she must leave with Laszlo to continue his fight against the Nazis. The stakes are high, as Rick's decision will ultimately determine the fate of Laszlo and the resistance movement.
Overall Mood: Nostalgic, romantic, and bittersweet
Mood/Tone at Key Scenes:
- Scene 10: The scene where Rick and Ilsa are reunited at Rick's Cafe is full of longing and regret.
- Scene 20: The scene where Rick and Ilsa make their final decision to separate is bittersweet and emotionally charged.
Standout Features:
- Unique Hook: The film features a classic love story set against the backdrop of a global war.
- Major Twist: The main character, Rick, must choose between his love for Ilsa and his duty to help the resistance movement.
- Distinctive Setting: The film is set in the exotic and romantic city of Casablanca, Morocco.
- Innovative Idea: The film explores the complex moral choices that people must make in times of war.
- Unique Character: The film features a cast of well-developed and memorable characters, including Rick, Ilsa, and Captain Renault.
- Genre Blend: The film blends elements of romance, drama, and adventure.
Comparable Scripts:
- Now Voyager
- Casablanca
- The Maltese Falcon
- The Big Sleep
- Chinatown
- The Third Man
- Notorious
- Strangers on a Train
- Dial M for Murder
- Rear Window
Writing Style:
The screenplay exhibits a consistent writing style that blends sharp dialogue, complex character dynamics, and morally ambiguous situations. The scenes often create suspense and atmospheric tension, while exploring themes of political intrigue, personal sacrifice, and the consequences of choices in a dangerous world.
Style Similarities:
- Graham Greene
- Billy Wilder
- David Mamet
- Francis Ford Coppola
Pass/Consider/Recommend
Recommend
Explanation: The screenplay for 'Casablanca' is recommended for its strong character development, emotionally resonant scenes, and effective establishment of setting and atmosphere. While the dialogue and pacing could be more concise in certain scenes, the overall narrative strength and compelling character arcs contribute to a compelling and engaging story. Areas for improvement include providing more clarity in Renault's character arc, exploring Ilsa's past and motivations in more depth, and delving into Rick Blaine's transformation with greater emphasis on specific events. Notable points include powerful turning points in the film involving love and sacrifice, emotionally intense confrontations between characters, and scenes that effectively build tension and showcase strong performances.
USP: Immerse yourself in a timeless classic that captures the intricate tapestry of human resilience and sacrifice amidst the turmoil of war. Our script's unique blend of nail-biting suspense, heart-wrenching romance, and thought-provoking moral dilemmas will leave an indelible mark on your audience. With its authentic portrayal of Casablanca's wartime atmosphere and the nuanced complexities of its characters, this story is both a captivating period drama and a poignant exploration of the enduring human spirit.
Market Analysis
Budget Estimate:$10-15 million
Target Audience Demographics: Adults aged 18-54, fans of classic cinema, war films, and romantic dramas
Marketability: It is a well-written and emotionally engaging story with a timeless message and relatable characters.
Similar films and screenplays have been well received by audiences and gained critical acclaim.
There is existing demand for nostalgic and romantic period pieces, especially among older adults.
Profit Potential: High, due to strong appeal to a wide adult audience and potential for award nominations.
Analysis Criteria Percentiles
What this means: Each criteria is ranked in comparison to scripts in our Vault (such as The Matrix, Breaking Bad, etc.) This allows you to see where you stand compared to other produced scripts for each criteria.
Writer's Voice
Summary:The writer's voice is characterized by a blend of historical context, political intrigue, and personal drama. The dialogue is sharp and evocative, capturing the tension and complexity of the characters' situations.
Best representation: Scene 1 - Suspicious Encounters at the Palais de Justice. This scene effectively encapsulates the writer's unique voice by combining historical context, political intrigue, and personal drama to create a compelling narrative.
Memorable Lines:
- Rick: Here's looking at you, kid. (Scene 11)
- Rick: Of all the gin joints in all the towns in all the world, she walks into mine. (Scene 13)
- RENAULT: I stick my neck out for nobody. (Scene 8)
- Rick: I came to Casablanca for the waters. (Scene 7)
- Laszlo: Each of us has a destiny, for good or for evil. (Scene 30)
Characters
Rick Blaine:A cynical American expatriate who owns and runs Rick's Cafe.
Ilsa Lund:Rick's former lover, a Norwegian woman who is now married to Victor Laszlo.
Victor Laszlo:Ilsa's husband, a Czech resistance leader who is wanted by the Nazis.
Captain Louis Renault:The corrupt police chief of Casablanca who is allied with the Vichy French government.
Major Heinrich Strasser:A ruthless German officer who is in charge of the Gestapo in Casablanca.
Sam:A pianist who works at Rick's Cafe and is Rick's confidant.
Yvonne:A French woman who is in love with Rick.
Story Shape
Screenplay Story Analysis
Note: This is the overall critique. For scene by scene critique click here
| Story Content | Character Development | Scene Elements | Audience Engagement | Technical Aspects | |||||||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Click for Full Analysis | Tone | Overall Grade | Concept | Plot | Originality Score | Characters | Internal Goal | External Goal | Conflict | Story forward | Twist | Emotional Impact | Dialogue | Engagement | Pacing | Formatting | Structure | ||||
| 1 - Casablanca: A Night of Terror | Tense, Suspenseful, Mysterious, Dramatic | 8 | 8 | 8 | 9 | 7 | 6 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 7 | 7 | 9 | 9 | 8 | 8 | |
| 2 - Suspicious Encounters at the Palais de Justice | Suspenseful, Foreboding, Hopeful | 8 | 8 | 7 | 8 | 8 | 6 | 8 | 7 | 7 | 8 | 7 | 8 | 7 | 7 | 9 | 9 | 9 | 8 | 8 | |
| 3 - Arrival of Major Strasser | Tense, Suspenseful, Formal, Intense | 8 | 8 | 8 | 9 | 9 | 6 | 8 | 7 | 9 | 8 | 8 | 8 | 8 | 7 | 8 | 9 | 9 | 8 | 8 | |
| 4 - Intrigue at Rick's Cafe | Suspenseful, Intriguing, Tense, Mysterious | 8 | 8 | 7 | 9 | 8 | 6 | 8 | 7 | 8 | 8 | 8 | 8 | 7 | 7 | 7 | 9 | 8 | 8 | 8 | |
| 5 - Tensions at Rick's | Cold, Indifferent, Tense, Sarcastic | 8 | 8 | 8 | 9 | 7 | 6 | 8 | 7 | 8 | 8 | 9 | 8 | 8 | 7 | 9 | 9 | 9 | 8 | 8 | |
| 6 - Tension at Rick's Cafe | Tense, Emotional, Intense, Melancholic | 9 | 8 | 9 | 9 | 9 | 7 | 8 | 7 | 8 | 8 | 8 | 9 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 7 - A Tense Encounter | Tense, Sarcastic, Melancholic, Amused | 8 | 8 | 7 | 9 | 9 | 6 | 8 | 7 | 8 | 7 | 9 | 8 | 7 | 7 | 8 | 9 | 8 | 8 | 8 | |
| 8 - An Upcoming Arrest | Tense, Suspenseful, Cynical | 8 | 8 | 7 | 9 | 8 | 6 | 8 | 7 | 8 | 8 | 9 | 8 | 8 | 7 | 9 | 9 | 9 | 8 | 8 | |
| 9 - Rick's Decision | Cynical, Suspenseful, Confrontational, Intriguing | 9 | 9 | 9 | 9 | 9 | 7 | 8 | 7 | 8 | 8 | 9 | 9 | 8 | 8 | 9 | 9 | 8 | 8 | 8 | |
| 10 - Prelude to an Arrest | Tense, Suspenseful, Dramatic, Intense | 8 | 8 | 8 | 9 | 7 | 6 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 7 | 7 | 9 | 9 | 8 | 8 | |
| 11 - Chaos at Rick's Cafe | Tense, Emotional, Nostalgic, Formal | 9 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 7 | 8 | 7 | 8 | 8 | 9 | 9 | 9 | 9 | 8 | 8 | |
| 12 - Departure from Rick's | Tense, Mysterious, Bittersweet | 8 | 8 | 8 | 9 | 7 | 6 | 8 | 7 | 8 | 7 | 8 | 9 | 7 | 7 | 7 | 9 | 8 | 8 | 8 | |
| 13 - Waiting for Ilsa | Grim, Melancholic, Reflective | 9 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 7 | 7 | 6 | 7 | 7 | 10 | 9 | 9 | 8 | 8 | 8 | |
| 14 - Romantic Revelations in Paris | Passionate, Intense, Melancholic, Tense | 9 | 8 | 9 | 9 | 9 | 8 | 8 | 7 | 8 | 7 | 8 | 9 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
| 15 - Dangerous Decisions at La Belle Aurore | Tender, Anxious, Bittersweet, Grim | 9 | 8 | 9 | 9 | 9 | 8 | 8 | 7 | 8 | 8 | 9 | 9 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 16 - A Heartbreaking Reunion at Rick's Cafe | Melancholic, Regretful, Intense | 9 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 7 | 8 | 8 | 8 | 7 | 10 | 9 | 9 | 8 | 8 | 8 | |
| 17 - Uncovering Clues and Suspicions | Tense, Emotional, Suspenseful | 9 | 8 | 9 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 10 | 8 | 9 | 9 | 8 | 8 | |
| 18 - Laszlo's Defiance in Renault's Office | Tense, Cold, Serious, Confrontational, Resigned | 9 | 9 | 8 | 8 | 9 | 7 | 9 | 8 | 9 | 8 | 9 | 9 | 8 | 8 | 9 | 9 | 9 | 8 | 9 | |
| 19 - A Tense Encounter at the Blue Parrot | Suspenseful, Intense, Mysterious | 8 | 8 | 8 | 9 | 7 | 6 | 8 | 9 | 8 | 8 | 9 | 9 | 7 | 7 | 8 | 9 | 8 | 8 | 8 | |
| 20 - An Unexpected Encounter in Casablanca | Tense, Emotional, Reflective | 9 | 8 | 9 | 8 | 9 | 8 | 8 | 7 | 8 | 8 | 8 | 9 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
| 21 - A Difficult Decision | Tense, Emotional, Serious | 8 | 8 | 8 | 9 | 8 | 7 | 8 | 7 | 8 | 8 | 9 | 8 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
| 22 - The Crossroads | Tense, Emotional, Cynical, Reflective | 8 | 8 | 8 | 9 | 9 | 7 | 8 | 7 | 7 | 8 | 8 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 23 - Jan's Lucky Bet | Tense, Emotional, Suspenseful, Melancholic | 8 | 7 | 8 | 9 | 9 | 7 | 8 | 9 | 9 | 8 | 9 | 9 | 9 | 8 | 8 | 9 | 8 | 8 | 8 | |
| 24 - Political Tensions at Rick's Cafe | Tense, Serious, Emotional | 8 | 8 | 7 | 8 | 9 | 8 | 8 | 7 | 7 | 8 | 8 | 7 | 8 | 9 | 8 | 9 | 8 | 8 | 7 | |
| 25 - A Night of Defiance at Rick's | Tense, Emotional, Defiant | 9 | 8 | 9 | 9 | 8 | 7 | 8 | 9 | 8 | 8 | 9 | 9 | 8 | 9 | 8 | 9 | 9 | 8 | 9 | |
| 26 - A Tense Conversation | Tense, Emotional, Intimate, Serious | 8 | 7 | 8 | 9 | 9 | 8 | 8 | 7 | 7 | 7 | 8 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 27 - Financial Review | Tense, Emotional, Suspenseful | 8 | 7 | 8 | 9 | 9 | 8 | 8 | 7 | 8 | 7 | 9 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 28 - Confrontation in Casablanca | Emotional, Intense, Tense | 9 | 9 | 9 | 8 | 9 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 10 | 8 | 9 | 9 | 8 | 9 | |
| 29 - Heartfelt Conversation at Rick's Cafe | Emotional, Intense, Reflective, Tense | 9 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 7 | 8 | 8 | 8 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
| 30 - Laszlo's Arrest | Tense, Emotional, Intense, Dramatic | 9 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 7 | 10 | 8 | 9 | 8 | 8 | 8 | |
| 31 - Deal at Renault's | Tense, Suspenseful, Emotional | 9 | 8 | 9 | 9 | 9 | 8 | 8 | 9 | 9 | 8 | 9 | 9 | 8 | 9 | 9 | 9 | 9 | 8 | 8 | |
| 32 - Departure Preparations | Tense, Emotional, Suspenseful, Intimate | 8 | 8 | 8 | 8 | 9 | 8 | 8 | 7 | 8 | 8 | 9 | 9 | 7 | 9 | 8 | 9 | 9 | 8 | 8 | |
| 33 - A Frantic Departure | Intense, Emotional, Tense, Suspenseful | 9 | 8 | 9 | 8 | 9 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 10 | 8 | 9 | 9 | 9 | 9 | |
| 34 - Rick Intervenes for Laszlo | Tense, Emotional, Suspenseful | 9 | 8 | 9 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 9 | 9 | 8 | 8 | |
| 35 - Ilsa and Laszlo Depart | Emotional, Intense, Heartfelt, Tense | 9 | 9 | 8 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | 9 | 9 | 8 | 10 | 9 | 10 | 9 | 9 | 9 | |
| 36 - The Airport Confrontation and Farewell | Emotional, Tense, Resolute, Sentimental | 9 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 8 | 8 | 9 | 9 | 8 | 9 | 8 | 9 | 9 | 8 | 8 | |
Scene 1 - Casablanca: A Night of Terror
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 7
- Dialogue: 7
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:
1 EXT. OLD MOORISH SECTION OF THE CITY - DAY 1
At first only the turrets and rooftops are visible against
a torrid sky.
The facades of the Moorish buildings give way to a narrow,
twisting street crowded with the polyglot life of a native
quarter. The intense desert sun holds the scene in a torpid
tranquility. Activity is unhurried and sounds are muted.
CUT TO:
2.
2 INT. POLICE STATION - DAY 2
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:
3 EXT. A STREET IN THE OLD MOORISH SECTION - DAY 3
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.
3.
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:
4 EXT. PALAIS DE JUSTICE - DAY 4
We see an inscription carved in a marble block along the
roofline of the building: "Liberte, Egalite, Fraternite"
We see the the facade, French in architecture, then the
high-vaulted entrance which is inscribed "Palais de
Justice".
At the entrance the arrested suspects are led in by the
police.
CUT TO:
5 EXT. SIDEWALK CAFE - DAY 5
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
4.
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:
Scene 2 - Suspicious Encounters at the Palais de Justice
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 8
- Dialogue: 9
Suspects are herded out of the van, and into the Palais de
Justice.
CUT TO:
7 EXT. SIDEWALK CAFE - DAY 7
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.
5.
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:
8 EXT. OVERHEAD SHOT - DAY 8
An airplane cuts its motor for landing.
CUT TO:
6.
9 EXT. PALAIS DE JUSTICE - DAY 9
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:
10 EXT. OVERHEAD SHOT - DAY 10
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:
Scene 3 - Arrival of Major Strasser
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 9
- Dialogue: 8
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.
7.
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.
8.
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:
12 EXT. RICK'S CAFE - NIGHT 12
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.
9.
Scene 4 - Intrigue at Rick's Cafe
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 8
- Dialogue: 7
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.
10.
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.
Scene 5 - Tensions at Rick's
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 7
- Dialogue: 9
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?
11.
CARL
Madame, he never drinks with
customers. Never. I have never seen
him.
SECOND WOMAN
(disappointedly)
What makes saloon-keepers so
snobbish?
MAN
(to Carl)
Perhaps if you told him I ran the
second largest banking house in
Amsterdam.
CARL
The second largest? That wouldn't
impress Rick. The leading banker in
Amsterdam is now the pastry chef in
our kitchen.
MAN
We have something to look forward
to.
CARL
And his father is the bellboy.
Carl laughs.
The overseer walks up to a table with a paper in his hand.
Then we see a drink and a man's hand, but nothing more. The
overseer places a check on the table. The hand picks up the
check and writes on it, in pencil, "Okay-Rick."
The overseer takes the check.
We now see RICK, sitting at a table alone playing solitaire
chess. Rick is an American of indeterminate age. There is
no expression on his face, complete deadpan.
There is a commotion at the door as people attempt to come
into the gambling room. He nods approval to Abdul.
Then a GERMAN appears in the doorway. Abdul looks to Rick
who glances back toward the open door and nods "no".
Abdul starts to close the door on the man.
ABDUL
12.
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
13.
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
14.
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
15.
I don't mind a parasite. I object
to a cut-rate one.
UGARTE
Well, Rick, after tonight I'll be
through with the whole business,
and I am leaving finally this
Casablanca.
RICK
Who did you bribe for your visa?
Renault or yourself?
UGARTE
(ironically)
Myself. I found myself much more
reasonable.
He takes an envelope from his pocket and lays it on the
table.
UGARTE
Look, Rick, do you know what this
is? Something that even you have
never seen. Letters of transit
signed by General de Gaulle. Cannot
be rescinded, not even questioned.
Rick appears ready to take them form Ugarte.
UGARTE
One moment. Tonight I'll be selling
those for more money than even I
have ever dreamed of, and then,
addio Casablanca! You know, Rick, I
have many friends in Casablanca,
but somehow, just because you
despise me you're the only one I
trust. Will you keep these for me?
Please.
RICK
For how long?
UGARTE
Perhaps an hour, perhaps a little
longer.
RICK
I don't want them here overnight.
UGARTE
16.
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:
17.
Scene 6 - Tension at Rick's Cafe
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 9
- Dialogue: 8
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
18.
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)
19.
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 --
20.
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:
Scene 7 - A Tense Encounter
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 9
- Dialogue: 8
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.
21.
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.
22.
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.
23.
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:
Scene 8 - An Upcoming Arrest
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 8
- Dialogue: 9
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.
24.
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.
Scene 9 - Rick's Decision
- Overall: 9.0
- Concept: 9
- Plot: 9
- Characters: 9
- Dialogue: 9
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
25.
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
26.
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
27.
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.
28.
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:
Scene 10 - Prelude to an Arrest
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 7
- Dialogue: 7
Renault walks up to Carl.
RENAULT
Carl, see that Major Strasser gets
a good table, one close to the
ladies.
CARL
29.
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
30.
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:
20 INT. RICK'S CAFE - GAMBLING ROOM - NIGHT 20
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.
31.
Scene 11 - Chaos at Rick's Cafe
- Overall: 9.0
- Concept: 9
- Plot: 8
- Characters: 9
- Dialogue: 9
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.
32.
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.
33.
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?
34.
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
35.
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.
36.
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
37.
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.
38.
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
39.
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?
40.
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
41.
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
42.
Victor, I'm afraid for you.
LASZLO
We have been in difficult places
before, haven't we?
Ilsa smiles back at him, but her eyes are still troubled.
On the floor, CORINA strums a guitar and begins her number.
Meanwhile, Laszlo looks about with apparent casualness. He
sees Strasser and Renault whispering together, then notices
Berger at the bar.
LASZLO
I must find out what Berger knows.
ILSA
Be careful.
LASZLO
I will, don't worry.
He rises and goes off.
We see Ilsa's troubled profile.
While Corinna sings, Sam gives a worried glance in Ilsa's
direction. Ilsa watches him.
At the bar, Berger sips a drink. Laszlo walks up and
casually takes a place at the bar next to Berger.
LASZLO
Mr. Berger, the ring, could I see
it again?
BERGER
Yes, Monsieur.
LASZLO
(to Sacha)
A champagne cocktail, please.
Laszlo takes the ring and looks at it.
BERGER
(in a low voice)
I recognize you from the news
photographs, Monsieur Laszlo.
LASZLO
43.
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.
44.
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
45.
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
46.
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)
47.
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
48.
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
49.
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
50.
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:
Scene 12 - Departure from Rick's
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 7
- Dialogue: 7
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
51.
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:
Scene 13 - Waiting for Ilsa
- Overall: 9.0
- Concept: 8
- Plot: 8
- Characters: 9
- Dialogue: 9
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
52.
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
53.
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.
54.
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:
Scene 14 - Romantic Revelations in Paris
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 9
- Dialogue: 9
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.
55.
They drink.
CUT TO:
26 INT. PARIS CAFE - NIGHT 26
Inside a swank Paris cafe, Rick and Ilsa dance. They appear
to be very much in love as the MUSIC plays.
CUT TO:
27 INT. ILSA'S PARIS APARTMENT - DAY 27
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."
56.
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:
29 EXT. PARIS CAFE - DAY 29
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:
Scene 15 - Dangerous Decisions at La Belle Aurore
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 9
- Dialogue: 8
57.
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
58.
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.
59.
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.
60.
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:
Scene 16 - A Heartbreaking Reunion at Rick's Cafe
- Overall: 9.0
- Concept: 8
- Plot: 8
- Characters: 9
- Dialogue: 9
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
61.
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:
34 INT. RICK'S CAFE - MAIN ROOM - NIGHT 34
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
62.
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
63.
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.
64.
Rick's head slumps over the table.
CUT TO:
Scene 17 - Uncovering Clues and Suspicions
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 9
- Dialogue: 8
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:
36 INT. PREFECTURE LOBBY - MORNING 36
65.
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:
Scene 18 - Laszlo's Defiance in Renault's Office
- Overall: 9.0
- Concept: 9
- Plot: 8
- Characters: 9
- Dialogue: 9
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
66.
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.
67.
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 --
68.
LASZLO
-- Thank you.
RENAULT
By the way, Monsieur, last night
you evinced an interest in Signor
Ugarte.
LASZLO
Yes.
RENAULT
I believe you have a message for
him?
LASZLO
Nothing important, but may I speak
to him now?
STRASSER
You would find the conversation a
trifle one-sided. Signor Ugarte is
dead.
Close-ups of Ilsa, then Laszlo, reveal their
disappointment.
Strasser observes their reaction.
ILSA
(softly)
Oh.
Renault holds a report.
RENAULT
I am making out the report now. We
haven't quite decided whether he
committed suicide or died trying to
escape.
LASZLO
Are you quite finished with us?
STRASSER
For the time being.
LASZLO
Good day.
Renault rings a buzzer and the door is opened for them.
As Ilsa and Laszlo leave, an OFFICER comes in.
69.
RENAULT
Undoubtedly their next step will be
to the black market.
OFFICER
Excuse me, Captain. Another visa
problem has come up.
RENAULT
Show her in.
OFFICER
Yes, sir.
Renault looks at himself in the mirror and straightens his
tie.
CUT TO:
Scene 19 - A Tense Encounter at the Blue Parrot
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 7
- Dialogue: 8
The black market is a cluttered Arab street of bazaars,
shops and stalls. All kinds and races of people mill about
the merchandise which native dealers have on outdoor
display.
Both men and women are dressed in tropical clothes. The
canopies over the stalls give them some protection from the
scorching sun.
On the surface the atmosphere is merely languid, but
underneath lies the sinister workings of illicit trade.
A FRENCHMAN and a NATIVE huddle together and talk in low
tones.
NATIVE
I'm sorry, Monsieur, we would have
to handle the police. This is a job
for Signor Ferrari.
FRENCHMAN
Ferrari?
NATIVE
It can be most helpful to know
Signor Ferrari. He pretty near has
a monopoly on the black market
here. You will find him over there
at the Blue Parrot.
FRENCHMAN
70.
Thanks.
CUT TO:
39 EXT. THE BLUE PARROT - DAY 39
Outside the cafe, a blue parrot sits on a perch.
CUT TO:
40 INT. THE BLUE PARROT - DAY 40
The cafe is much less pretentious than Rick's, but well
populated.
Rick enters and walks through the cafe toward Ferrari's
office just as Ferrari emerges with Jan and Annina, who
look very disappointed.
FERRARI
There, don't be too downhearted.
Perhaps you can come to terms with
Captain Renault.
JAN
Thank you very much, Signor.
Jan leads Annina away.
RICK
Hello, Ferrari.
Signor Ferrari turns around. He's pleased to see Rick.
FERRARI
Ah, good morning, Rick.
They shake hands.
RICK
I see the bus is in. I'll take my
shipment with me.
FERRARI
No hurry. I'll have it sent over.
Have a drink with me.
RICK
71.
I never drink in the morning. And
every time you send my shipment
over, it's always just a little bit
short.
FERRARI
(chuckling)
Carrying charges, my boy, carrying
charges. Here, sit down. There's
something I want to talk over with
you, anyhow.
He hails a waiter.
FERRARI
The bourbon.
(to Rick, sighing deeply)
The news about Ugarte upset me very
much.
RICK
You're a fat hypocrite. You don't
feel any sorrier for Ugarte than I
do.
He eyes Rick closely.
FERRARI
Of course not. What upsets me is
the fact that Ugarte is dead and no
one knows where those letters of
transit are.
RICK
Practically no one.
FERRARI
If I could lay my hands on those
letters, I could make a fortune.
RICK
So could I. And I'm a poor
businessman.
FERRARI
I have a proposition for whoever
has those letters. I will handle
the entire transaction, get rid of
the letters, take all the risk, for
a small percentage.
RICK
And the carrying charges?
72.
FERRARI
Naturally there will be a few
incidental expenses. That is the
proposition I have for whoever has
those letters.
RICK
(dryly)
I'll tell him when he comes in.
FERRARI
Rick, I'll put my cards on the
table. I think you know where those
letters are.
RICK
Well, you're in good company.
Renault and Strasser probably think
so, too.
Rick looks out of the window and sees Ilsa at the linen
bazaar, then Laszlo walking toward the cafe.
RICK
That's why I came over here to give
them a chance to ransack my place.
FERRARI
Rick, don't be a fool. Take me into
your confidence. You need a
partner.
Rick isn't listening to him. He looks through the open
window in the direction of the linen bazaar.
Rick gets up.
RICK
Excuse me, I'll be getting back.
CUT TO:
Scene 20 - An Unexpected Encounter in Casablanca
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 9
- Dialogue: 9
Laszlo reaches the entrance to the cafe as Rick comes out.
He stops and addresses Rick politely.
LASZLO
Good morning.
RICK
73.
Signor Ferrari is the fat gent at
the table.
As he exits, Laszlo looks after him with a puzzled
expression.
CUT TO:
42 EXT. BLACK MARKET - DAY 42
At the linen stall, Ilsa examines a tablecloth which an
Arab vendor is endeavoring to sell. He holds a sign which
reads "700 francs."
ARAB
You will not find a treasure like
this in all Morocco, Mademoiselle.
Only seven hundred francs.
Rick walks up behind Ilsa.
RICK
You're being cheated.
She looks briefly at Rick, then turns away. Her manner is
politely formal.
ILSA
It doesn't matter, thank you.
ARAB
Ah, the lady is a friend of Rick's?
For friends of Rick we have a small
discount. Did I say seven hundred
francs? You can have it for two
hundred.
Reaching under the counter, he takes out a sign reading
"200 francs", and replaces the other sign with it.
RICK
I'm sorry I was in no condition to
receive you when you called on me
last night.
ILSA
It doesn't matter.
ARAB
Ah, for special friends of Rick's
we have a special discount. One
hundred francs.
74.
He replaces the second sign with a third which reads "100
francs."
RICK
Your story had me a little
confused. Or maybe it was the
bourbon.
ARAB
I have some tablecloths, some
napkins --
ILSA
-- Thank you. I'm really not
interested.
ARAB
Please, one minute. Wait!
The Arab hurriedly exits.
Ilsa pretends to examine the goods on the counter.
RICK
Why did you come back? To tell me
why you ran out on me at the
railway station?
ILSA
Yes.
RICK
Well, you can tell me now. I'm
reasonably sober.
ILSA
I don't think I will, Rick.
RICK
Why not? After all, I got stuck
with a railway ticket. I think I'm
entitled to know.
ILSA
75.
Last night I saw what has happened
to you. The Rick I knew in Paris, I
could tell him. He'd understand.
But the one who looked at me with
such hatred-- well, I'll be leaving
Casablanca soon and we'll never see
each other again. We knew very
little about each other when we
were in love in Paris. If we leave
it that way, maybe we'll remember
those days and not Casablanca, not
last night.
RICK
Did you run out on me because you
couldn't take it? Because you knew
what it would be like, hiding from
the police, running away all the
time?
ILSA
You can believe that if you want
to.
RICK
Well, I'm not running away any
more. I'm settled now, above a
saloon, it's true, but-- walk up a
flight. I'll be expecting you.
Ilsa turns her head away.
RICK
All the same, someday you'll lie to
Laszlo. You'll be there.
ILSA
No, Rick. No, you see, Victor
Laszlo is my husband-- and was,
even when I knew you in Paris.
She walks away into the cafe as Rick stares after her in
stunned disbelief.
CUT TO:
Scene 21 - A Difficult Decision
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 8
- Dialogue: 9
Ilsa and Laszlo sit with Ferrari.
FERRARI
76.
I was just telling Monsieur Laszlo
that, unfortunately, I am not able
to help him.
ILSA
Oh.
LASZLO
You see, my dear, the word has gone
around.
FERRARI
(to Ilsa)
As leader of all illegal activities
in Casablanca, I am an influential
and respected man. It would not be
worth my life to do anything for
Monsieur Laszlo. You, however, are
a different matter.
LASZLO
Signor Ferrari thinks it might just
be possible to get an exit visa for
you.
ILSA
You mean for me to go on alone?
FERRARI
And only alone.
LASZLO
I will stay here and keep on
trying. I'm sure in a little while
--
FERRARI
-- We might as well be frank,
Monsieur. It will take a miracle to
get you out of Casablanca. And the
Germans have outlawed miracles.
ILSA
We are only interested in two
visas, Signor.
LASZLO
Please, Ilsa, don't be hasty.
ILSA
(firmly)
No, Victor, no.
77.
FERRARI
You two will want to discuss this.
Excuse me. I'll be at the bar.
Ferrari gets to his feet and walks away.
LASZLO
No, Ilsa, I won't let you stay
here. You must get to America. And
believe me, somehow I will get out
and join you.
ILSA
But, Victor, if the situation were
different, if I had to stay and
there were only a visa for one,
would you take it?
LASZLO
(not very convincingly)
Yes, I would.
Ilsa smiles faintly. She doesn't believe it for even a
moment.
ILSA
Yes, I see. When I had trouble
getting out of Lille, why didn't
you leave me there? And when I was
sick in Marseilles and held you up
for two weeks and you were in
danger every minute of the time,
why didn't you leave me then?
LASZLO
I meant to, but something always
held me up. I love you very much,
Ilsa.
She smiles again.
ILSA
Your secret will be safe with me.
Ferrari is waiting for our answer.
At the bar Ferrari talks to a waiter.
FERRARI
Not more than fifty francs though.
Ilsa and Laszlo walk up to him.
LASZLO
78.
We've decided, Signor Ferrari. For
the present we'll go on looking for
two exit visas. Thank you very
much.
FERRARI
Well, good luck. But be careful.
(a flick of his eyes in
the direction of the
bazaar)
You know you're being shadowed?
Laszlo glances in the direction of the bazaar.
LASZLO
Of course. It becomes an instinct.
Ferrari looks shrewdly at Ilsa.
FERRARI
I observe that you in one respect
are a very fortunate man, Monsieur.
I am moved to make one more
suggestion, why, I do not know,
because it cannot possibly profit
me, but, have you heard about
Signor Ugarte and the letters of
transit?
LASZLO
Yes, something.
FERRARI
Those letters were not found on
Ugarte when they arrested him.
There's a moments pause as this sinks in.
LASZLO
Do you know where they are?
FERRARI
Not for sure, Monsieur, but I will
venture to guess that Ugarte left
those letters with Monsieur Rick.
Ilsa's face darkens. Laszlo quietly observes.
LASZLO
Rick?
FERRARI
79.
He is a difficult customer, that
Rick. One never knows what he'll do
or why. But it is worth a chance.
LASZLO
Thank you very much. Good day.
ILSA
Goodbye, thank you for your coffee,
Signor. I shall miss that when we
leave Casablanca.
Ferrari bows.
FERRARI
It was gracious of you to share it
with me. Good day, Mademoiselle,
Monsieur.
LASZLO
Good day.
As Ilsa and Laszlo leave the cafe, Ferrari nonchalantly
swats a fly on a table.
CUT TO:
Scene 22 - The Crossroads
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 9
- Dialogue: 8
Outside Rick's cafe, the sign is lit up and MUSIC filters
out into the air.
CUT TO:
45 INT. RICK'S CAFE - MAIN ROOM - NIGHT 45
At the bar, the European has found another TOURIST.
EUROPEAN
Here's to you, sir.
TOURIST
Er, good luck, yes.
EUROPEAN
I'd better be going.
TOURIST
Er, my check, please.
80.
EUROPEAN
I have to warn you, sir. I beseech
you--
The European picks his pocket.
EUROPEAN
This is a dangerous place, full of
vultures. Vultures everywhere!
Thanks for everything.
The tourist laughs.
TOURIST
Er, goodbye, sir.
EUROPEAN
It has been a pleasure to meet you.
He dashes off and collides with Carl.
EUROPEAN
Oh, I'm sorry.
As the European hurries away, Carl checks all his pockets
to make sure nothing is missing.
Sam and Corina play a number, accompanied by the orchestra.
Strasser and his crowd enter the cafe and pass Rick's
table.
Carl brings Rick a bottle and glass.
CARL
Monsieur Rick, you are getting to
be your best customer.
Carl leaves.
As Rick lights a cigarette, Renault shows up.
RENAULT
Well, Ricky. I'm very pleased with
you. Now you're beginning to live
like a Frenchman.
RICK
That was some going-over your men
gave my place this afternoon. We
just barely got cleaned up in time
to open.
81.
He pours a drink for Renault.
RENAULT
Well, I told Strasser he wouldn't
find the letters here. But I told
my men to be especially
destructive. You know how that
impresses Germans?
(taking a sip)
Rick, have you got these letters of
transit?
RICK
Louis, are you pro-Vichy or Free
French?
RENAULT
Serves me right for asking a direct
question. The subject is closed.
RICK
Well, it looks like you're a little
late.
RENAULT
Huh?
Rick gazes at Yvonne and a GERMAN OFFICER approaching the
bar.
RICK
So Yvonne's gone over to the enemy.
RENAULT
Who knows? In her own way she may
constitute an entire second front.
I think it's time for me to flatter
Major Strasser a little. I'll see
you later, Rick.
Renault gets up and strolls away.
At the bar, Yvonne and the German officer place their
orders.
YVONNE
Sacha!
GERMAN OFFICER
French seventy-fives.
Yvonne is somewhat drunk already.
82.
YVONNE
Put up a whole row of them, Sacha--
starting here and ending here.
She indicates with her hand where she wants them.
GERMAN OFFICER
We will begin with two.
A FRENCH OFFICER at the bar makes a remark to Yvonne.
FRENCH OFFICER
(in French)
Say, you, you are not French to go
with a German like this!
YVONNE
(in French)
What are you butting in for?
FRENCH OFFICER
(in French)
I am butting in --
YVONNE
(breaking in, in French)
-- It's none of your business!
GERMAN OFFICER
(in French)
No, no, no, no! One minute!
(in English)
What did you say? Would you kindly
repeat it?
FRENCH OFFICER
What I said is none of your
business!
GERMAN OFFICER
I will make it my business!
They begin to fight.
YVONNE
(in French)
Stop! I beg of you! I beg of you,
stop!
There are exclamations from people nearby. German officers
at a nearby table rise, ready to join in. Rick walks up and
separates the two men.
83.
RICK
(to the German)
I don't like disturbances in my
place. Either lay off politics or
get out.
FRENCH OFFICER
(in French)
Dirty Boche. Someday we'll have our
revenge!
Renault, Strasser and the other officers sit down again.
STRASSER
You see, Captain, the situation is
not as much under control as you
believe.
RENAULT
My dear Major, we are trying to
cooperate with your government, but
we cannot regulate the feelings of
our people.
Strasser eyes him closely.
STRASSER
Captain Renault, are you entirely
certain which side you're on?
RENAULT
I have no conviction, if that's
what you mean. I blow with the
wind, and the prevailing wind
happens to be from Vichy.
STRASSER
And if it should change?
He smiles.
RENAULT
Surely the Reich doesn't admit that
possibility?
Renault lights a cigarette and puffs away.
STRASSER
84.
We are concerned about more than
Casablanca. We know that every
French province in Africa is honey-
combed with traitors waiting for
their chance, waiting, perhaps, for
a leader.
RENAULT
(casually)
A leader, like Laszlo?
STRASSER
Uh, huh. I have been thinking. It
is too dangerous if we let him go.
It may be too dangerous if we let
him stay.
RENAULT
(thoughtfully)
I see what you mean.
Carl, bottle in hand, approaches the table of a middle-aged
German couple, the LEUCHTAGS.
CARL
(in German)
I brought you the finest brandy.
Only the employees drink it here.
He pours a drink for each of them.
MR. LEUCHTAG
Thank you, Carl.
CARL
(as he pours)
For Mrs. Leuchtag.
MRS. LEUCHTAG
Thank you, Carl.
CARL
For Mr. Leuchtag.
MR. LEUCHTAG
Carl, sit down. Have a brandy with
us.
MRS. LEUCHTAG
(beaming with happiness)
To celebrate our leaving for
America tomorrow.
85.
Carl sits down.
CARL
Thank you very much. I thought you
would ask me, so I brought the good
brandy and a third glass.
He produces a glass from a back pocket.
MRS. LEUCHTAG
At last the day has came.
MR. LEUCHTAG
Frau Leuchtag and I are speaking
nothing but English now.
MRS. LEUCHTAG
So we should feel at home ven ve
get to America.
CARL
A very nice idea.
MR. LEUCHTAG
(raising his glass)
To America.
Mrs. Leuchtag and Carl repeat "To America." They clink
glasses and drink.
MR. LEUCHTAG
Liebchen, uh, sweetness heart, what
watch?
She glances at her wristwatch.
MRS. LEUCHTAG
Ten watch.
MR. LEUCHTAG
(surprised)
Such much?
CARL
Er, you will get along beautifully
in America, huh.
Annina meets Renault in the hallway as she leaves the
gambling room,
RENAULT
86.
How's lady luck treating you? Aw,
too bad. You'll find him over
there.
Annina sees Rick and goes to his table.
ANNINA
Monsieur Rick?
RICK
Yes?
ANNINA
Could I speak to you for just a
moment, please?
Rick looks at her.
RICK
How did you get in here? You're
under age.
ANNINA
I came with Captain Renault.
RICK
(cynically)
I should have known.
ANNINA
My husband is with me, too.
RICK
He is? Well, Captain Renault's
getting broadminded. Sit down. Will
you have a drink?
Annina shakes her head.
RICK
No, of course not. Do you mind if I
do?
ANNINA
No.
Rick pours himself a drink
ANNINA
Monsieur Rick, what kind of man is
Captain Renault?
RICK
87.
Oh, he's just like any other man,
only more so.
ANNINA
No, I mean, is he trustworthy? Is
his word --
RICK
-- Now, just a minute. Who told you
to ask me that?
ANNINA
He did. Captain Renault did.
RICK
I thought so. Where's your husband?
ANNINA
At the roulette table, trying to
win enough for our exit visa. Well
of course, he's losing.
Rick looks at her closely.
RICK
How long have you been married?
ANNINA
Eight weeks. We come from Bulgaria.
Oh, things are very bad there,
Monsieur. A devil has the people by
the throat. So, Jan and I, we, we
do not want our children to grow up
in such a country.
RICK
(wearily)
So you decided to go to America.
ANNINA
Yes, but we have not much money,
and travelling is so expensive and
difficult. It was much more than we
thought to get here. And then
Captain Renault sees us and he is
so kind. He wants to help us.
RICK
Yes, I'll bet.
ANNINA
He tells me he can give us an exit
visa, but we have no money.
88.
RICK
Does he know that?
ANNINA
Oh, yes.
RICK
And he is still willing to give you
a visa?
ANNINA
Yes, Monsieur.
RICK
And you want to know --
ANNINA
-- Will he keep his word?
RICK
He always has.
There is a silence. Annina is very disturbed.
ANNINA
Oh, Monsieur, you are a man. If
someone loved you very much, so
that your happiness was the only
thing that she wanted in the whole
world, but she did a bad thing to
make certain of it, could you
forgive her?
Rick stares off into space.
RICK
Nobody ever loved me that much.
ANNINA
And he never knew, and the girl
kept this bad thing locked in her
heart? That would be all right,
wouldn't it?
RICK
(harshly)
You want my advice?
ANNINA
Oh, yes, please.
RICK
Go back to Bulgaria.
89.
ANNINA
Oh, but if you knew what it means
to us to leave Europe, to get to
America! Oh, but if Jan should find
out! He is such a boy. In many ways
I am so much older than he is.
RICK
Yes, well, everybody in Casablanca
has problems. Yours may work out.
You'll excuse me.
Rick abruptly rises.
ANNINA
(tonelessly)
Thank you, Monsieur.
He quickly goes off, leaving Annina alone at the table. She
remains seated, too demoralized to move.
While Rick checks the reservation list, Ilsa and Laszlo
enter the cafe.
In the background we hear Sam playing, ironically enough,
"It Had to Be You."
Rick greets Ilsa and Laszlo.
RICK
Good evening.
LASZLO
Good evening. You see, here we are
again.
RICK
I take that as a great compliment
to Sam.
(to Ilsa)
I suppose he means to you Paris of,
well, happier days.
Laszlo looks around.
ILSA
(quietly)
He does. Could we have a table
close to him?
LASZLO
And as far away from Major Strasser
as possible.
90.
RICK
Well, the geography may be a little
difficult to arrange.
Rick snaps his fingers for the headwaiter.
RICK
Paul! Table thirty!
HEADWAITER
(to Ilsa and Laszlo)
Yes, sir. Right this way, if you
please.
RICK
(to Ilsa)
I'll have Sam play "As Time Goes
By." I believe that's your favorite
tune.
ILSA
(smiling)
Thank you.
Rick walks over to Sam and whispers something to him. Sam
stops what he is playing and begins "As Time Goes By." He
shakes his head as Rick leaves.
A waiter appears at Ilsa and Laszlo's table.
LASZLO
Two cognacs, please.
CUT TO:
Scene 23 - Jan's Lucky Bet
- Overall: 8.0
- Concept: 7
- Plot: 8
- Characters: 9
- Dialogue: 8
Jan sits at the roulette table. He has only three chips
left and seems bewildered.
As Rick comes up the croupier speaks to Jan.
CROUPIER
Do you wish to place another bet,
sir?
JAN
No, no, I guess not.
Rick stands behind Jan.
RICK
91.
(to Jan)
Have you tried twenty-two tonight?
I said, twenty-two.
Jan looks at Rick, then at the chips in his hand.
He pauses, then puts the chips on twenty-two.
Rick and the croupier exchange looks. The croupier
understands what Rick wants him to do. He spins the wheel.
Carl follows the proceedings, fascinated.
The wheel stops spinning.
CROUPIER
(in French)
Twenty-two, black, twenty-two.
A winner. Renault, at a nearby table, takes notice of what
is happening.
The croupier pushes a pile of chips onto twenty-two and Jan
reaches for it.
RICK
(not even looking at Jan)
Leave it there.
Jan hesitates, then withdraws his hands.
Carl continues to watch.
The wheel spins. Nobody speaks while it spins. It stops.
CROUPIER
Twenty-two, black.
Another winner. The croupier shoves a pile of chips toward
Jan.
RICK
(to Jan)
Cash it in and don't come back.
Jan rises to go to the cashier.
A CUSTOMER complains to Carl.
CUSTOMER
Say, are you sure this place is
honest?
92.
CARL
(fervently)
Honest! As honest as the day is
long!
Meanwhile, Rick has walked over to the croupier.
RICK
How we doing tonight?
CROUPIER
Well, a couple of thousand less
than I thought there would be.
Rick smiles slightly and goes toward the door.
Annina runs up to him and hugs him.
ANNINA
Monsieur Rick, I --
RICK
-- He's just a lucky guy.
CARL
(solicitously)
Monsieur Rick, may I get you a cup
of coffee?
RICK
No thanks, Carl.
CARL
Monsieur Rick!
Renault, seeing that Jan has won, gets up from his table to
follow Rick. Jan and Annina stop him on the way.
JAN
Captain Renault, may I --
RENAULT
-- Oh, not here, please. Come to my
office in the morning. We'll do
everything business-like.
JAN
We'll be there at six.
RENAULT
I'll be there at ten. I am very
happy for both of you. Still, it's
very strange that you won.
93.
He looks over and sees Rick.
RENAULT
Well, maybe not so strange. I'll
see you in the morning.
ANNINA
Thank you so much, Captain Renault.
CUT TO:
Scene 24 - Political Tensions at Rick's Cafe
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 9
- Dialogue: 8
At the bar, Carl whispers in Sacha's ear. Sacha says "No!"
and runs to Rick.
SACHA
Boss, you've done a beautiful
thing.
He kisses Rick on both cheeks.
RICK
Go away, you crazy Russian!
Carl pours a brandy for Rick.
Pretending not to do so, Rick glances in Ilsa's direction.
Renault comes up to him.
RENAULT
As I suspected, you're a rank
sentimentalist.
RICK
Yeah? Why?
RENAULT
(chidingly)
Why do you interfere with my little
romances?
RICK
Put it down as a gesture to love.
RENAULT
(good-naturedly)
Well, I forgive you this time. But
I'll be in tomorrow night with a
breathtaking blonde, and it will
make me very happy if she loses. Uh
huh!
94.
He smiles and walks away. Laszlo comes up to Rick.
LASZLO
Monsieur Blaine, I wonder if I
could talk to you?
RICK
Go ahead.
LASZLO
Well, isn't there some other place?
It's rather confidential, what I
have to say.
RICK
My office.
LASZLO
Right.
DISSOLVE TO:
48 INT. RICK'S CAFE - OFFICE - NIGHT 48
Rick and Laszlo sit and discuss Laszlo's dilemma.
LASZLO
You must know it's very important I
get out of Casablanca. It's my
privilege to be one of the leaders
of a great movement. You know what
I have been doing. You know what it
means to the work, to the lives of
thousands and thousands of people
that I be free to reach America and
continue my work.
RICK
I'm not interested in politics. The
problems of the world are not in my
department. I'm a saloon keeper.
LASZLO
My friends in the underground tell
me that you have quite a record.
You ran guns to Ethiopia. You
fought against the fascists in
Spain.
RICK
What of it?
95.
LASZLO
Isn't it strange that you always
happened to be fighting on the side
of the underdog?
RICK
Yes. I found that a very expensive
hobby, too. But then I never was
much of a businessman.
Rick gets up, as does Laszlo.
LASZLO
Are you enough of a businessman to
appreciate an offer of a hundred
thousand francs?
RICK
I appreciate it, but I don't accept
it.
LASZLO
I'll raise it to two hundred
thousand.
RICK
My friend, you could make it a
million francs, or three, my answer
would still be the same.
LASZLO
There must be some reason why you
won't let me have them.
RICK
There is. I suggest that you ask
your wife.
LASZLO
I beg your pardon?
RICK
I said, ask your wife.
LASZLO
My wife?
Laszlo looks at him, puzzled.
RICK
Yes.
Rick and Laszlo hear MALE VOICES singing downstairs.
96.
CUT TO:
49 INT. RICK'S CAFE - MAIN ROOM - NIGHT 49
A group of German officers stand around the piano singing
the "Wacht am Rhein."
CUT TO:
50 INT. RICK'S CAFE - BALCONY - NIGHT 50
Rick stands at the balcony outside his office and watches
the Germans below.
CUT TO:
51 INT. RICK'S CAFE - MAIN ROOM - NIGHT 51
At the bar, Renault watches with raised eyebrow.
CUT TO:
52 INT. RICK'S CAFE - BALCONY - NIGHT 52
Laszlo's lips are very tight as he listens to the song.
He starts down the step.
CUT TO:
Scene 25 - A Night of Defiance at Rick's
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 8
- Dialogue: 8
Laszlo passes the table where Ilsa sits and goes straight
to the orchestra.
Yvonne, sitting at a table with her German officer, stares
down into her drink.
Laszlo speaks to the orchestra.
LASZLO
Play the Marseillaise! Play it!
Members of the orchestra glance toward the steps, toward
Rick, who nods to them.
97.
Laszlo and Corina sing as they start to play. Strasser
conducts the German singing in an attempt to drown out the
competition.
People in the cafe begin to sing the "Marseillaise."
After a while, Strasser and his officers give up and sit
down. The "Marseillaise" continues, however.
Yvonne jumps up and sings with tears in her eyes.
Ilsa, overcome with emotion, looks proudly at Laszlo, who
sings with passion.
Finally the whole cafe stands, singing, their faces aglow.
The song finishes on a high, triumphant note.
Yvonne's face is exalted. She deliberately faces the alcove
where the Germans are watching. She SHOUTS at the top of
her lungs.
YVONNE
Vive La France! Vive la democracie!
CROWD
Vive La France! Vive la democracie!
People clap and cheer.
Strasser is very angry. He strides across the floor toward
Renault who is standing at the bar.
STRASSER
You see what I mean? If Laszlo's
presence in a cafe can inspire this
unfortunate demonstration, what
more will his presence in
Casablanca bring on? I advise that
this place be shut up at once.
RENAULT
(innocently)
But everybody's having such a good
time.
STRASSER
Yes, much too good a time. The
place is to be closed.
RENAULT
But I have no excuse to close it.
STRASSER
98.
(snapping)
Find one.
Several French officers surround Laszlo, offering him a
drink.
Renault thinks a moment, then blows a loud BLAST on his
whistle. The room grows quiet, all eyes turn toward
Renault.
RENAULT
(loudly)
Everybody is to leave here
immediately! This cafe is closed
until further notice! Clear the
room at once!
An angry murmur starts among the crowd. People get up and
begin to leave.
Rick comes quickly up to Renault.
RICK
How can you close me up? On what
grounds?
RENAULT
I am shocked, shocked to find that
gambling is going on in here!
This display of nerve leaves Rick at a loss. The croupier
comes out of the gambling room and up to Renault. He hands
him a roll of bills.
CROUPIER
Your winnings, sir.
RENAULT
Oh. Thank you very much.
He turns to the crowd again.
RENAULT
Everybody out at once!
As the cafe empties, Strasser approaches Ilsa. His manner
is abrupt but cordial.
STRASSER
Mademoiselle, after this
disturbance it is not safe for
Laszlo to stay in Casablanca.
99.
ILSA
This morning you implied it was not
safe for him to leave Casablanca.
STRASSER
That is also true, except for one
destination, to return to occupied
France.
ILSA
Occupied France?
STRASSER
Uh huh. Under a safe conduct from
me.
ILSA
(with intensity)
What value is that? You may recall
what German guarantees have been
worth in the past.
STRASSER
There are only two other
alternatives for him.
ILSA
What are they?
STRASSER
It is possible the French
authorities will find a reason to
put him in the concentration camp
here.
ILSA
And the other alternative?
STRASSER
My dear Mademoiselle, perhaps you
have already observed that in
Casablanca, human life is cheap.
Good night, Mademoiselle.
She looks at him, understanding what he means.
He bows and exits as Laszlo arrives at the table.
They start out of the cafe.
ILSA
What happened with Rick?
100.
LASZLO
We'll discuss it later.
CUT TO:
54 INT. HOTEL HALLWAY - NIGHT 54
Ilsa and Laszlo walk to their room.
CUT TO:
Scene 26 - A Tense Conversation
- Overall: 8.0
- Concept: 7
- Plot: 8
- Characters: 9
- Dialogue: 8
Laszlo switches on the light as they enter. While Ilsa
takes off some jewelry he walks to the window and peers out
into the darkeness. Below and across the street, a man
stands under an arch. Laszlo watches him, then draws down
the shade.
LASZLO
Our faithful friend is still there.
ILSA
Victor, please, don't go to the
underground meeting tonight.
LASZLO
(soberly)
I must. Besides, it isn't often
that a man has a chance to display
heroics before his wife.
He crosses to a table, takes a cigarette from a box, and
strikes a match.
ILSA
Don't joke. After Major Strasser's
warning tonight, I am frightened.
LASZLO
To tell you the truth, I am
frightened too. Shall I remain here
in our hotel room hiding, or shall
I carry on the best I can?
He lights the cigarette.
ILSA
Whatever I'd say, you'd carry on.
Victor, why don't you tell me about
Rick? What did you find out?
101.
LASZLO
Apparently he has the letters.
ILSA
Yes?
LASZLO
But no intention of selling them.
One would think if sentiment
wouldn't persuade him, money would.
Ilsa is now noticeably uncomfortable.
ILSA
Did he give any reason?
LASZLO
He suggested I ask you.
ILSA
Ask me?
LASZLO
Yes. He said, "Ask your wife." I
don't know why he said that.
Laszlo turns off the light. Ilsa walks over to the couch
and sits down.
LASZLO
Well, our friend outside will think
we've retired by now. I'll be going
in a few minutes.
He sits down on the couch next to her. A silence falls
between them. It grows strained. Finally.
LASZLO
Ilsa, I --
ILSA
-- Yes?
LASZLO
When I was in the concentration
camp, were you lonely in Paris?
Ilsa still cannot look at him.
ILSA
Yes, Victor, I was.
LASZLO
102.
(sympathetically)
I know how it is to be lonely.
(very quietly)
Is there anything you wish to tell
me?
ILSA
(speaking low)
No, Victor, there isn't.
LASZLO
I love you very much, my dear.
Ilsa finally turns to look at Laszlo.
ILSA
Yes, Yes I know. Victor, whatever I
do, will you believe that I, that -
-
LASZLO
-- You don't even have to say it.
I'll believe. Goodnight, dear.
He bends down and kisses her cheek.
ILSA
Goodnight.
She watches him go.
ILSA
Victor!
She gets up and follows him to the door. He opens it. In
the slit of light from the hall we see Ilsa's face, now
strained and worried. She hesitates for a moment, then.
ILSA
Be careful.
LASZLO
Of course, I'll be careful.
He kisses her on the cheek and goes out the door. She
stands there for a few seconds, then crosses to look out of
the window.
The figure in the archway is gone. She sees Victor walking
down the street and closes the blind again. Ilsa gets a
cloak from the bedroom, and leaves the hotel room.
CUT TO:
103.
Scene 27 - Financial Review
- Overall: 8.0
- Concept: 7
- Plot: 8
- Characters: 9
- Dialogue: 8
Rick and Carl sit by the bar and look over ledgers. Carl is
busy figuring. He looks up at Rick.
CARL
Well, you are in pretty good shape,
Herr Rick.
RICK
How long can I afford to stay
closed?
CARL
Oh, two weeks, maybe three.
RICK
Maybe I won't have to. A bribe has
worked before. In the meantime,
everybody stays on salary.
CARL
Oh, thank you, Herr Rick. Sacha
will be happy to hear it. I owe him
money.
Carl laughs.
RICK
Now you finish locking up, will
you, Carl?
CARL
I will. Then I am going to the
meeting of the --
RICK
(interrupting)
-- Don't tell me where you're
going.
CARL
I won't.
RICK
Goodnight.
CARL
Goodnight, Monsieur Rick.
Rick walks up the stairs to his apartment.
CUT TO:
104.
Scene 28 - Confrontation in Casablanca
- Overall: 9.0
- Concept: 9
- Plot: 9
- Characters: 9
- Dialogue: 8
Rick opens the door and goes inside the dark room. Light
from the hall reveals a figure by the window. He lights a
small lamp. Ilsa faces him, her face white but determined.
Rick pauses for a moment in astonishment.
RICK
How did you get in?
ILSA
The stairs from the street.
Ilsa comes over to meet him.
RICK
I told you this morning you'd come
around, but this is a little ahead
of schedule. Well, won't you sit
down?
ILSA
Richard, I had to see you.
RICK
You use "Richard" again? We're back
in Paris.
ILSA
Please.
RICK
Your unexpected visit isn't
connected by any chance with the
letters of transit? It seems that
as long as I have those letters
I'll never be lonely.
ILSA
You can ask any price you want, but
you must give me those letters.
RICK
I went through all that with your
husband. It's no deal.
ILSA
I know how you feel about me, but
I'm asking you to put your feelings
aside for something more important.
RICK
105.
Do I have to hear again what a
great man your husband is? What an
important cause he's fighting for?
ILSA
It was your cause, too. In your own
way, you were fighting for the same
thing.
RICK
I'm not fighting for anything
anymore, except myself. I'm the
only cause I'm interested in.
He walks over to the window and Ilsa follows.
ILSA
Richard, Richard, we loved each
other once. If those days meant
anything at all to you --
RICK
(interrupting, harshly)
-- I wouldn't bring up Paris if I
were you. It's poor salesmanship.
ILSA
Please. Please listen to me. If you
knew what really happened, if you
only knew the truth --
RICK
(cutting in)
-- I wouldn't believe you, no
matter what you told me. You'd say
anything now to get what you want.
Rick walks over to a table and opens a cigarette box, but
finds it empty.
ILSA
You want to feel sorry for
yourself, don't you? With so much
at stake, all you can think of is
your own feelings. One woman has
hurt you, and you take revenge on
the rest of the world. You're a,
you're a coward, and a weakling.
There are tears in her eyes now.
ILSA
106.
No. Oh, Richard, I'm sorry. I'm
sorry, but, but you, you are our
last hope. If you don't help us,
Victor Laszlo will die in
Casablanca.
RICK
What of it? I'm going to die in
Casablanca. It's a good spot for
it.
He turns away to light a cigarette, then back to Ilsa.
RICK
Now if you --
He stops short as he sees Ilsa holding a small revolver in
her hand. It's pointed directly at him.
ILSA
-- All right. I tried to reason
with you. I tried everything. Now I
want those letters. Get them for
me.
RICK
I don't have to. I've got them
right here.
ILSA
Put them on the table.
RICK
(shaking his head)
No.
ILSA
For the last time, put them on the
table.
RICK
If Laszlo and the cause mean so
much to you, you won't stop at
anything. All right, I'll make it
easier for you.
He moves closer to her.
RICK
Go ahead and shoot. You'll be doing
me a favor.
Her hand drops down, and there are tears in her eyes again.
107.
She turns and walks away from him.
ILSA
Richard, I tried to stay away. I
thought I would never see you
again, that you were out of my
life.
Rick follows her and takes her in his arms. He presses her
tight to him.
ILSA
The day you left, if you knew what
I went through! If you knew how
much I loved you, how much I still
love you!
Rick kisses her passionately. She is lost in his embrace.
DISSOLVE TO:
Scene 29 - Heartfelt Conversation at Rick's Cafe
- Overall: 9.0
- Concept: 8
- Plot: 8
- Characters: 9
- Dialogue: 9
From his window, Rick watches the revolving beacon light at
the airport.
Ilsa sits on the couch. On a table before her rests a
bottle of champagne along with two half-filled glasses.
Rick walks over to her.
RICK
And then?
ILSA
It wasn't long after we were
married that Victor went back to
Czechoslovakia. They needed him in
Prague, but there the Gestapo were
waiting for him. Just a two-line
item in the paper: "Victor Laszlo
apprehended. Sent to concen-tration
camp." I was frantic. For months I
tried to get word. Then it came. He
was dead, shot trying to escape. I
was lonely. I had nothing. Not even
hope. Then I met you.
RICK
Why weren't you honest with me? Why
did you keep your marriage a
secret?
108.
Rick sits down with Ilsa.
ILSA
Oh, it wasn't my secret, Richard.
Victor wanted it that way. Not even
our closest friends knew about our
marriage. That was his way of
protecting me. I knew so much about
his work, and if the Gestapo found
out I was his wife it would be
dangerous for me and for those
working with me.
RICK
When did you first find out he was
alive?
ILSA
Just before you and I were to leave
Paris together. A friend came and
told me that Victor was alive. They
were hiding him in a freight car on
the outskirts of Paris. He was
sick, he needed me. I wanted to
tell you, but I, I didn't care. I
knew, I knew you wouldn't have left
Paris, and the Gestapo would have
caught you. So I-- well, well, you
know the rest.
RICK
Huh. But it's still a story without
an ending. What about now?
ILSA
Now? I don't know. I know that I'll
never have the strength to leave
you again.
RICK
And Laszlo?
ILSA
Oh, you'll help him now, Richard,
won't you? You'll see that he gets
out? Then he'll have his work, all
that he's been living for.
RICK
All except one. He won't have you.
Ilsa puts her head on Rick's shoulder.
109.
ILSA
I can't fight it anymore. I ran
away from you once. I can't do it
again. Oh, I don't know what's
right any longer. You'll have to
think for both of us, for all of
us.
RICK
All right, I will. Here's looking
at you, kid.
ILSA
I wish I didn't love you so much.
She snuggles closer to Rick.
CUT TO:
59 EXT. RICK'S CAFE - NIGHT 59
Laszlo and Carl make their way through the darkness toward
a side entrance of Rick's. They run inside the entryway.
The headlights of a speeding police car sweep toward them.
They flatten themselves against a wall to avoid detection.
The lights move past them.
CARL
I think we lost them.
LASZLO
Yes. I'm afraid they caught some of
the others.
CARL
Come inside. Come.
CUT TO:
60 INT. RICK'S CAFE - MAIN ROOM - NIGHT 60
Laszlo and Carl enter and cross toward the bar, out of
breath from their exertion.
CARL
Come inside. I will help you. Come
in here.
LASZLO
110.
Thank you.
Carl goes behind the bar.
CARL
I will give you some water.
CUT TO:
61 INT/EXT. RICK'S CAFE - APARTMENT - NIGHT 61
Rick and Ilsa hear voices below. Rick crosses to the door.
He opens it just enough to see below, and turns off the
light.
Ilsa stands just in back of him. She makes a move as if to
go out to the balcony but Rick's pushes her back. She
withdraws behind the door.
Rick walks out to the balcony railing.
Scene 30 - Laszlo's Arrest
- Overall: 9.0
- Concept: 9
- Plot: 8
- Characters: 9
- Dialogue: 8
Rick sees Carl attending to Laszlo, who appears to be
injured.
RICK
Carl, what happened?
Both Carl and Laszlo look up.
CARL
(excitedly)
The police break up our meeting.
Herr Rick! We escaped in the last
moment.
RICK
Come up here a minute.
Carl looks up wonderingly, then starts toward the stairway.
CARL
Yes, I come.
RICK
I want you to turn out the light in
the rear entrance. It might attract
the police.
111.
CARL
But Sacha always puts out that
light --
RICK
-- Tonight he forgot.
CARL
Yes, I come, I will do it.
Carl climbs the stairs.
CUT TO:
63 INT. RICK'S CAFE - APARTMENT - NIGHT 63
Carl enters Rick's apartment and sees Ilsa. He looks at
Rick and says nothing.
RICK
(in a low voice)
I want you to take Miss Lund home.
CARL
Yes, sir.
CUT TO:
64 INT. RICK'S CAFE - MAIN ROOM - NIGHT 64
Rick comes down the stairs. Laszlo wraps one of the small
bar towels around his cut wrist. Rick looks questioningly
at the injured hand.
LASZLO
It's nothing. Just a little cut. We
had to get through a window.
Rick walks to the bar, picks up a bottle, and pours a
drink.
RICK
Well, this might come in handy.
LASZLO
Thank you.
RICK
Had a close one, eh?
112.
LASZLO
Yes, rather.
Laszlo takes a drink.
RICK
Don't you sometimes wonder if it's
worth all this? I mean what you're
fighting for?
LASZLO
We might as well question why we
breathe. If we stop breathing,
we'll die. If we stop fighting our
enemies, the world will die.
RICK
What of it? Then it'll be out of
it's misery.
Rick reaches in his jacket for his cigarette case, opens
it, and takes out a cigarette.
LASZLO
You know how you sound, Monsieur
Blaine? Like a man who's trying to
convince himself of something he
doesn't believe in his heart. Each
of us has a destiny, for good or
for evil.
RICK
Yes, I get the point.
Rick lights his cigarette.
LASZLO
I wonder if you do. I wonder if you
know that you're trying to escape
from yourself and that you'll never
succeed.
RICK
You seem to know all about my
destiny.
LASZLO
113.
I know a good deal more about you
than you suspect. I know, for
instance, that you are in love with
a woman. It is perhaps strange that
we both should be in love with the
same woman. The first evening I
came here in this cafe, I knew
there was something between you and
Ilsa. Since no one is to blame, I,
I demand no explanation. I ask only
one thing. You won't give me the
letters of transit. All right. But
I want my wife to be safe. I ask
you as a favor to use the letters
to take her away from Casablanca.
RICK
You love her that much?
LASZLO
Apparently you think of me only as
the leader of a cause. Well, I am
also a human being.
He looks away for a moment.
LASZLO
Yes, I love her that much.
Suddenly there is a CRASH at the door of the cafe, followed
by the forced entry of several gendarmes. A French officer
walks in and addresses Laszlo.
FRENCH OFFICER
Mr. Laszlo?
LASZLO
Yes?
FRENCH OFFICER
You will come with us. We have a
warrant for your arrest.
LASZLO
On what charge?
FRENCH OFFICER
Captain Renault will discuss that
with you later.
RICK
It seems that destiny has taken a
hand.
114.
Laszlo looks for a moment at Rick, then in dignified
silence crosses to the officer. Together they walk toward
the door.
Rick's eyes follow them, but his expression reveals nothing
of his feelings.
CUT TO:
Scene 31 - Deal at Renault's
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 9
- Dialogue: 9
Renault sits at his desk and smokes while Rick nervously
fingers his hat. They're interrupted by an orderly.
Renault hands some forms to the orderly, who then exits,
and the conversation continues.
RICK
But you haven't any actual proof,
and you know it. This isn't Germany
or occupied France. All you can do
is fine him a few thousand francs
and give him thirty days. You might
as well let him go now.
RENAULT
Ricky, I'd advise you not to be too
interested in what happens to
Laszlo. If by any chance you were
to help him escape --
RICK
-- What makes you think I'd stick
my neck out for Laszlo?
RENAULT
Because one, you've bet ten
thousand francs he'd escape. Two,
you have the letters of transit,
now don't bother to deny it. And,
well, you might do it simply
because you don't like Strasser's
looks. As a matter of fact, I don't
like him either.
RICK
Well, they're all excellent
reasons.
RENAULT
115.
Don't count too much on my
friendship, Ricky. In this matter
I'm powerless. Besides, I might
lose ten thousand francs.
RICK
You're not very subtle, but you are
effective. I, I get the point. Yes,
I have the letters, but I intend
using them myself. I'm leaving
Casablanca on tonight's plane, the
last plane.
RENAULT
Huh?
RICK
And I'm taking a friend with me.
One you'll appreciate.
RENAULT
What friend?
RICK
Ilsa Lund.
(pause)
That ought to put your mind to rest
about my helping Laszlo escape. The
last man I want to see in America.
RENAULT
You didn't come here to tell me
this. You have the letters of
transit. You can fill in your name
and hers and leave any time you
please. Why are you interested in
what happens to Laszlo?
Renault gets out of his chair and crosses to the front of
his desk.
RICK
I'm not. But I am interested in
what happens to Ilsa and me. We
have a legal right to go, that's
true. But people have been held in
Casablanca in spite of their legal
rights.
Renault retrieves a fresh cigarette from a box on his desk.
RENAULT
116.
What makes you think we want to
hold you?
Renault chain-lights his new cigarette with the old one.
RICK
Ilsa is Laszlo's wife. She probably
knows things that Strasser would
like to know. Louis, I'll make a
deal with you. Instead of this
petty charge you have against him,
you can get something really big,
something that would chuck him in a
concentration camp for years. That
would be quite a feather in your
cap, wouldn't it?
RENAULT
It certainly would. Germany-- Vichy
would be very grateful.
RICK
Then release him. You be at my
place a half hour before the plane
leaves.
Renault sits back down in his chair.
RICK
I'll arrange to have Laszlo come
there to pick up the letters of
transit, and that'll give you the
criminal grounds on which to make
the arrest. You get him, and we get
away. To the Germans that last will
be just a minor annoyance.
RENAULT
(puzzled)
There's still something about this
business I don't quite understand.
Miss Lund, she's very beautiful,
yes, but you were never interested
in any woman.
RICK
Well, she isn't just any woman.
Rick stares at the floor, then looks back up at Renault.
RENAULT
I see. How do I know you'll keep
your end of the bargain?
117.
RICK
I'll make the arrangements right
now with Laszlo in the visitor's
pen.
RENAULT
Ricky, I'm going to miss you.
Apparently you're the only one in
Casablanca who has even less
scruples than I.
RICK
Oh, thanks.
RENAULT
Go ahead, Ricky.
Renault presses a button on his desk, triggering a BUZZER.
The door to Renault's office opens. Rick rises to go.
RICK
And by the way, call off your
watchdogs when you let him go. I
don't want them around this
afternoon. I'm taking no chances,
Louis, not even with you.
CUT TO:
Scene 32 - Departure Preparations
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 9
- Dialogue: 8
A waiter brings tea to Rick and Ferrari, who sit alone at a
table in a secluded nook off the main room.
FERRARI
Shall we draw up the papers, or is
our handshake good enough?
RICK
It's certainly not good enough. But
since I'm in a hurry, it'll have to
do.
Ferrari pours a cup for Rick, who takes a sip.
FERRARI
Ah, to get out of Casablanca and go
to America! You're a lucky man.
RICK
118.
Oh, by the way, my agreement with
Sam's always been that he gets
twenty-five percent of the profits.
That still goes.
FERRARI
Hmmm. I happen to know that he gets
ten percent. But he's worth twenty-
five.
RICK
And Abdul and Carl and Sacha, they
stay with the place, or I don't
sell.
FERRARI
Of course they stay. Rick's
wouldn't be Rick's without them.
RICK
Well, so long.
Rick gets up, followed by Ferrari. They shake hands to seal
the deal.
He walks to the door, then stops and turns around.
RICK
Don't forget, you owe Rick's a
hundred cartons of American
cigarettes.
FERRARI
I shall remember to pay it-- to
myself.
Rick leaves. Ferrari picks up a fly swatter from the table
and swats at a fly.
CUT TO:
67 EXT. RICK'S CAFE - NIGHT 67
A car pulls quickly to a stop just outside the cafe.
On the door a huge placard reads:
CLOSED
By Order of the Prefect of Police
CUT TO:
119.
68 INT. RICK'S CAFE - MAIN ROOM - NIGHT 68
Rick sits at a table inside and reads the letters of
transit. He hears a KNOCK on the door and puts them away in
his pocket. He opens the door and Renault walks in.
RICK
You're late.
RENAULT
I was informed just as Laszlo was
about to leave the hotel, so I knew
I'd be on time.
RICK
I thought I asked you to tie up
your watchdogs.
RENAULT
Oh, he won't be followed here.
Renault looks around the empty cafe.
RENAULT
You know, this place will never be
the same without you, Ricky.
RICK
Yes, I know what you mean, but I've
already spoken to Ferrari. You'll
still win at roulette.
RENAULT
Is everything ready?
Rick points at his breast pocket.
RICK
I have the letters right here.
RENAULT
Tell me, when we searched the
place, where were they?
RICK
Sam's piano.
RENAULT
Serves me right for not being
musical.
They hear the CRUNCH of tires as a car pull up.
120.
RICK
Oh. Here they are. You'd better
wait in my office.
Renault walks up the stairs to Rick's office.
CUT TO:
69 EXT. RICK'S CAFE - NIGHT 69
Laszlo pays the cab driver. Ilsa quickly walks toward the
entrance.
LASZLO
(to driver)
Here.
CUT TO:
Scene 33 - A Frantic Departure
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 9
- Dialogue: 8
Rick opens the door. Ilsa rushes in. Her intensity reveals
the strain she is under. Rick grabs her by both arms and
pulls her close.
ILSA
Richard, Victor thinks I'm leaving
with him. Haven't you told him?
RICK
No, not yet.
ILSA
But it's all right, isn't it? You
were able to arrange everything?
RICK
Everything is quite all right.
ILSA
Oh, Rick!
She looks at him with a vaguely questioning look.
RICK
We'll tell him at the airport. The
less time to think, the easier for
all of us. Please trust me.
Ilsa pauses and looks at Rick, unsure for a moment.
121.
ILSA
Yes, I will.
Laszlo comes in and closes the door behind himself.
LASZLO
Monsieur Blaine, I don't know how
to thank you.
RICK
Oh, save it. We've still lots of
things to do.
They all walk towards the bar. Laszlo deposits his hat on a
a nearby table.
CUT TO:
71 INT. RICK'S CAFE - OFFICE - NIGHT 71
Renault opens the office door and peers down at the
proceedings.
CUT TO:
Scene 34 - Rick Intervenes for Laszlo
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 9
- Dialogue: 8
LASZLO
I brought the money, Monsieur
Blaine.
RICK
Keep it. You'll need it in America.
LASZLO
But we made a deal.
RICK
(cutting him short)
Oh, never mind about that. You
won't have any trouble in Lisbon,
will you?
LASZLO
No. It's all arranged.
RICK
Good. I've got the letters right
here, all made out in blank.
He takes out the letters.
122.
RICK
All you have to do is fill in the
signatures.
He hands them to Laszlo, who takes them gratefully.
RENAULT
Victor Laszlo!
All three hear footsteps and turn to see Renault walking
towards them from the bottom of the stairs.
RENAULT
Victor Laszlo, you are under arrest
--
(as he walks toward them)
on a charge of accessory to the
murder of the couriers from whom
these letters were stolen.
Ilsa and Laszlo are both caught completely off guard. They
turn towards Rick, bewildered. Horror is in Ilsa's eyes.
Renault takes the letters.
RENAULT
Oh, you are surprised about my
friend Ricky?
Obviously the situation delights Renault. He smiles as he
turns toward Rick.
RENAULT
The explanation is quite simple.
Love, it seems, has triumphed over
virtue. Thank --
Suddenly the smile fades. In Rick's hand is a gun, which he
levels at Renault.
RICK
-- Not so fast, Louis. Nobody's
going to be arrested. Not for a
while yet.
RENAULT
Have you taken leave of your
senses?
RICK
I have. Sit down over there.
RENAULT
123.
Put that gun down.
Renault then walks toward Rick. Rick puts out his arm to
stop him.
RICK
Louis, I wouldn't like to shoot
you, but I will, if you take one
more step.
Renault halts for a moment and studies Rick.
RENAULT
Under the circumstances, I will sit
down.
He walks to a table and sits.
RICK
(sharply)
Keep your hands on the table.
He takes out a cigarette case.
RENAULT
I suppose you know what you're
doing, but I wonder if you realize
what this means?
RICK
I do. We've got plenty of time to
discuss that later.
RENAULT
Call off your watch-dogs you said.
RICK
Just the same, you call the airport
and let me hear you tell them. And
remember, this gun's pointed right
at your heart.
RENAULT
That is my least vulnerable spot.
As Renault picks up the phone and dials, Rick takes back
the letters.
RENAULT
(into phone)
124.
Hello, is this the airport? This is
Captain Renault speaking. There'll
be two letters of transit for the
Lisbon plane. There's to be no
trouble about them. Good.
CUT TO:
73 INT. GERMAN CONSULATE - NIGHT 73
Strasser is on the phone.
STRASSER
Hello? Hello?
He hangs up the receiver and presses a BUZZER on his desk.
An officer quickly enters.
STRASSER
(to officer)
My car, quickly!
OFFICER
(saluting)
Zu Befehl, Herr Major.
The officer exits and Strasser resumes on the telephone.
STRASSER
This is Major Strasser. Have a
squad of police meet me at the
airport at once. At once! Do you
hear?
He hangs up the receiver and, grabbing for his cap,
hurriedly exits.
DISSOLVE TO:
74 EXT. AIRPORT - NIGHT 74
The entire airport is surrounded by a heavy fog. The
outline of the transport plane is barely visible.
CUT TO:
Scene 35 - Ilsa and Laszlo Depart
- Overall: 9.0
- Concept: 9
- Plot: 8
- Characters: 9
- Dialogue: 9
A uniformed ORDERLY uses a telephone near the hangar door.
On the airfield a transport plane is being readied.
125.
ORDERLY
Hello. Hello, radio tower? Lisbon
plane taking off in ten minutes.
East runway. Visibility: one and
one half miles. Light ground fog.
Depth of fog: approximately 500.
Ceiling: unlimited. Thank you.
He hangs up and moves to a car that has just pulled up
outside the hangar.
Renault gets out while the orderly stands at attention.
He's closely followed by Rick, right hand in the pocket of
his trench coat, covering Renault with a gun.
Laszlo and Ilsa emerge from the rear of the car.
RICK
(indicating the orderly)
Louis, have your man go with Mr.
Laszlo and take care of his
luggage.
RENAULT
(bowing ironically)
Certainly Rick, anything you say.
(to orderly)
Find Mr. Laszlo's luggage and put
it it on the plane.
ORDERLY
Yes, sir. This way please.
The orderly escorts Laszlo off in the direction of the
plane. Rick takes the letters of transit out of his pocket
and hands them to Renault, who turns and walks toward the
hangar.
RICK
If you don't mind, you fill in the
names. That will make it even more
official.
RENAULT
You think of everything, don't you?
RICK
(quietly)
And the names are Mr. and Mrs.
Victor Laszlo.
Renault stops dead in his tracks, and turns around. Both
Ilsa and Renault look at Rick with astonishment.
126.
ILSA
But why my name, Richard?
RICK
Because you're getting on that
plane.
ILSA
(confused)
I don't understand. What about you?
RICK
I'm staying here with him 'til the
plane gets safely away.
Rick's intention suddenly dawns on Ilsa.
ILSA
No, Richard, no. What has happened
to you? Last night we said --
RICK
-- Last night we said a great many
things. You said I was to do the
thinking for both of us. Well, I've
done a lot of it since then and it
all adds up to one thing. You're
getting on that plane with Victor
where you belong.
ILSA
(protesting)
But Richard, no, I, I --
RICK
-- You've got to listen to me. Do
you have any idea what you'd have
to look forward to if you stayed
here? Nine chances out of ten we'd
both wind up in a concentration
camp. Isn't that true, Louis?
Renault countersigns the papers.
RENAULT
I'm afraid Major Strasser would
insist.
ILSA
You're saying this only to make me
go.
RICK
127.
I'm saying it because it's true.
Inside of us we both know you
belong with Victor. You're part of
his work, the thing that keeps him
going. If that plane leaves the
ground and you're not with him,
you'll regret it.
ILSA
No.
RICK
Maybe not today, maybe not
tomorrow, but soon, and for the
rest of your life.
ILSA
But what about us?
RICK
We'll always have Paris. We didn't
have, we'd lost it, until you came
to Casablanca. We got it back last
night.
ILSA
And I said I would never leave you.
RICK
And you never will. But I've got a
job to do, too. Where I'm going you
can't follow. What I've got to do
you can't be any part of. Ilsa, I'm
no good at being noble, but it
doesn't take much to see that the
problems of three little people
don't amount to a hill of beans in
this crazy world. Someday you'll
understand that. Now, now--
Ilsa's eyes well up with tears. Rick puts his hand to her
chin and raises her face to meet his own.
RICK
Here's looking at you, kid.
CUT TO:
76 EXT. ROAD - NIGHT 76
Major Strasser drives at break-neck speed towards the
airport. He HONKS his horn furiously.
128.
CUT TO:
Scene 36 - The Airport Confrontation and Farewell
- Overall: 9.0
- Concept: 9
- Plot: 8
- Characters: 9
- Dialogue: 8
Laszlo returns. Rick walks into the hangar and Renault
hands him the letters. He walks back out to Laszlo.
LASZLO
Everything in order?
RICK
All except one thing. There's
something you should know before
you leave.
LASZLO
(sensing what is coming)
Monsieur Blaine, I don't ask you to
explain anything.
RICK
I'm going to anyway, because it may
make a difference to you later on.
You said you knew about Ilsa and
me.
LASZLO
Yes.
RICK
But you didn't know she was at my
place last night when you were. She
came there for the letters of
transit. Isn't that true, Ilsa?
ILSA
(facing Laszlo)
Yes.
RICK
(forcefully)
She tried everything to get them,
and nothing worked. She did her
best to convince me that she was
still in love with me, but that was
all over long ago. For your sake,
she pretended it wasn't, and I let
her pretend.
LASZLO
I understand.
129.
RICK
Here it is.
Rick hands the letters to Laszlo.
LASZLO
Thanks. I appreciate it.
Laszlo extends his hand to Rick, who grasps it firmly.
LASZLO
And welcome back to the fight. This
time I know our side will win.
On the airfield the airplane engine TURNS OVER and the
propellers start turning. They all turn to see the plane
readying for take-off.
Ilsa looks at Rick and he returns her stare with a blank
expression. He then glances at Laszlo, as does Ilsa.
Then Laszlo breaks the silence.
LASZLO
Are you ready Ilsa?
ILSA
Yes, I'm ready.
(to Rick)
Goodbye, Rick. God bless you.
RICK
You better hurry, or you'll miss
that plane.
Rick watches as Ilsa and Laszlo walk very deliberately
towards the plane.
RENAULT
Well I was right. You are a
sentimentalist.
RICK
Stay where you are. I don't know
what you're talking about.
Rick puts a cigarette in his mouth.
RENAULT
130.
What you just did for Laszlo, and
that fairy tale that you invented
to send Ilsa away with him. I know
a little about women, my friend.
She went, but she knew you were
lying.
RICK
Anyway, thanks for helping me out.
RENAULT
I suppose you know this isn't going
to be pleasant for either of us,
especially for you. I'll have to
arrest you of course.
RICK
As soon as the plane goes, Louis.
The door to the plane is closed by an attendant and it
slowly taxies down the field.
Suddenly a speeding car comes to a stop outside the hangar.
Strasser alights from the car and runs toward Renault.
STRASSER
What is the meaning of that phone
call?
RENAULT
Victor Laszlo is on that plane.
Renault nods toward the field. Strasser turns to see the
plane taxiing towards the runway.
STRASSER
Why do you stand here? Why don't
you stop him?
RENAULT
Ask Monsieur Rick.
Strasser looks briefly at Rick, then makes a step towards
the telephone just inside the hangar door.
RICK
Get away from that phone.
Strasser stops in his tracks, looks at Rick, and sees that
he is armed.
STRASSER
(steely)
131.
I would advise you not to
interfere.
RICK
I was willing to shoot Captain
Renault, and I'm willing to shoot
you.
Strasser watches the plane in agony. His eyes dart towards
the telephone. He runs toward it and desperately grabs the
receiver.
STRASSER
Hello?
RICK
Put that phone down!
STRASSER
Get me the Radio Tower!
RICK
Put it down!
Strasser, one hand holding the receiver, pulls out a pistol
with the other hand, and SHOOTS quickly at Rick. The bullet
misses its mark.
Rick now SHOOTS at Strasser, who crumples to the ground.
At the sound of an approaching car both men turn. A police
car SPEEDS in and comes to a stop near Renault. Four
gendarmes hurriedly jump out.
In the distance the plane turns onto the runway.
The gendarmes run to Renault. The first one hurriedly
salutes him.
GENDARME
Mon Capitaine!
RENAULT
Major Strasser's been shot.
Renault pauses and looks at Rick. Rick returns Renault's
gaze with expressionless eyes.
RENAULT
Round up the usual suspects.
GENDARME
Oui, mon Capitaine.
132.
The gendarmes take Strasser's body away and then drive off.
Renault walks inside the hangar, picks up a bottle of Vichy
water, and opens it.
RENAULT
Well, Rick, you're not only a
sentimentalist, but you've become a
patriot.
RICK
Maybe, but it seemed like a good
time to start.
RENAULT
I think perhaps you're right.
As he pours the water into a glass, Renault sees the Vichy
label and quickly DROPS the bottle into a trash basket
which he then KICKS over.
He walks over and stands beside Rick. They both watch the
plane take off, maintaining their gaze until it disappears
into the clouds.
Rick and Louis slowly walk away from the hangar toward the
runway.
RENAULT
It might be a good idea for you to
disappear from Casablanca for a
while. There's a Free French
garrison over at Brazzaville. I
could be induced to arrange a
passage.
RICK
My letter of transit? I could use a
trip. But it doesn't make any
difference about our bet. You still
owe me ten thousand francs.
RENAULT
And that ten thousand francs should
pay our expenses.
RICK
Our expenses?
RENAULT
Uh huh.
RICK
133.
Louis, I think this is the
beginning of a beautiful
friendship.
The two walk off together into the night.
FADE OUT.
THE END
Characters in the screenplay, and their arcs:
| Character | Arc | Critique | Suggestions |
|---|---|---|---|
| rick | Rick starts off as a cynical and detached nightclub owner who prefers to stay neutral and avoid getting involved in conflicts. However, as the story progresses, he is forced to confront his past, his feelings for Ilsa, and his sense of duty. Through a series of moral dilemmas and difficult choices, Rick undergoes a transformation, ultimately choosing to sacrifice his own happiness for the greater good. | The character arc for Rick is well-developed and engaging, showcasing his internal struggles and growth throughout the story. However, there could be more emphasis on his emotional journey and the resolution of his conflicts with Ilsa. Additionally, providing more insight into Rick's past and motivations could further enrich his character development. | To improve the character arc, consider incorporating flashback scenes that delve into Rick's past and his relationship with Ilsa. This will provide a deeper understanding of his motivations and internal conflicts. Additionally, explore more moments of vulnerability and emotional depth to showcase Rick's growth and transformation more effectively. Finally, ensure that the resolution of Rick's arc is satisfying and impactful, leaving a lasting impression on the audience. |
| renault | At the beginning of the screenplay, Renault is shown as a corrupt official loyal to his own interests. However, as the story progresses, he begins to show moments of compassion and integrity, hinting at a potential redemption arc. Renault's loyalty is tested as he is torn between his allegiance to the Vichy regime and his own conscience. Ultimately, he must make a decision that will define his character and determine his fate. | The character arc for Renault is intriguing and sets up potential conflict and growth for the character. However, it could benefit from more clarity and development throughout the screenplay. Renault's internal struggle could be further explored to add depth to his character and make his eventual decision more impactful. | To improve Renault's character arc, consider adding more scenes that delve into his internal conflict and moral dilemmas. Show moments of vulnerability and doubt to humanize him and make his eventual redemption or downfall more compelling. Additionally, provide more context for Renault's loyalty to the Vichy regime and how it shapes his decisions, adding layers to his character. |
| ilsa | Ilsa's character arc in the screenplay involves a journey of self-discovery and redemption. Initially torn between her past with Rick and her present loyalty to Victor Laszlo, Ilsa grapples with her inner conflicts and the sacrifices she has made. As the story progresses, she confronts her fears, makes difficult choices, and ultimately finds the strength to follow her heart and pursue her own happiness, despite the challenges she faces. | The character arc for Ilsa is well-developed, showcasing her internal struggles and growth throughout the screenplay. However, there could be more emphasis on Ilsa's agency and empowerment, allowing her to take more decisive actions and shape her own destiny. Additionally, exploring Ilsa's backstory and motivations in more depth could further enrich her character development and provide a deeper understanding of her choices. | To improve the character arc for Ilsa, consider giving her more agency and autonomy in driving the plot forward. Allow her to make bold decisions and take control of her own narrative, rather than solely reacting to the actions of others. Delve deeper into Ilsa's past traumas and experiences to provide a clearer context for her emotional struggles and the choices she makes. By focusing on Ilsa's growth, empowerment, and self-discovery, her character arc can become even more compelling and impactful. |
| victor laszlo | Victor Laszlo starts as a charismatic and determined resistance leader, leading his followers with courage and conviction. As the story progresses, he faces increasing challenges and obstacles that test his beliefs and resolve. Despite the hardships, he remains steadfast in his principles and sacrifices for the greater good. By the end of the screenplay, Victor emerges as a symbol of hope and inspiration, having overcome personal struggles and triumphed in the face of adversity. | The character arc for Victor Laszlo is well-developed, showcasing his growth and resilience throughout the story. However, there could be more emphasis on his internal conflicts and emotional journey, providing a deeper insight into his motivations and struggles. Additionally, exploring his relationships with other characters could add more depth to his arc and enhance the overall narrative. | To improve the character arc for Victor Laszlo, consider incorporating more moments of vulnerability and internal turmoil to showcase his emotional depth. Explore his relationships with other characters, particularly with Ilsa, to add complexity and nuance to his journey. Additionally, provide opportunities for Victor to confront his fears and doubts, allowing for a more dynamic and compelling arc that resonates with the audience. |
| laszlo | Laszlo starts as a determined and principled resistance leader, willing to sacrifice everything for the cause. As the story progresses, he faces challenges that test his beliefs and resolve, ultimately leading to a moment of vulnerability and self-discovery. Through these trials, Laszlo emerges as an even stronger and more inspirational leader, solidifying his place as a beacon of hope and courage for the resistance movement. | The character arc for Laszlo is well-developed, showcasing his growth and resilience throughout the story. However, there could be more emphasis on his internal struggles and emotional journey to add depth to his character. Additionally, exploring his relationship with Ilsa in more depth could provide a more nuanced portrayal of his motivations and conflicts. | To improve the character arc for Laszlo, consider incorporating more scenes that delve into his internal struggles and emotional turmoil. Show moments of doubt and vulnerability that humanize him and make his journey more relatable to the audience. Additionally, explore his relationship with Ilsa in greater detail to add complexity to his character and showcase the sacrifices he is willing to make for love and duty. |
| rick blaine | Rick Blaine starts off as a cynical and emotionally guarded character, focused on self-preservation and neutrality. However, as he is forced to confront his feelings for Ilsa and make difficult moral decisions, he undergoes a transformation. Through acts of sacrifice and love, Rick learns to let go of his past and embrace his emotions, ultimately choosing to take a stand against injustice and fight for what he believes in. | The character arc for Rick Blaine is well-developed and engaging, showcasing his internal conflict and growth throughout the story. However, there could be more emphasis on the specific events or interactions that lead to his transformation, providing a clearer progression of his emotional journey. Additionally, exploring Rick's past in more depth could add layers to his character and further explain his motivations and actions. | To improve the character arc, consider adding flashback scenes or dialogue that delve into Rick's past experiences and relationships, shedding light on his emotional barriers and inner turmoil. Show more moments of vulnerability and internal struggle to highlight the complexity of his character. Additionally, ensure that Rick's transformation is driven by specific events or interactions that challenge his beliefs and force him to confront his emotions, leading to a more impactful and satisfying character arc. |
| ilsa lund | Ilsa starts off torn between her love for Rick and her loyalty to her husband, Victor Laszlo. As the story progresses, she must confront her feelings and make a decision that will ultimately define her character. Through a series of emotional challenges and moral dilemmas, Ilsa learns to follow her heart and make a choice that aligns with her true desires, leading to a resolution that brings closure to her inner conflicts. | The character arc for Ilsa is well-developed and allows for significant growth and resolution. However, there could be more emphasis on her internal struggles and the impact of her decisions on her relationships with Rick and Laszlo. Additionally, exploring Ilsa's past and motivations further could add depth to her character and enhance the emotional impact of her journey. | To improve the character arc for Ilsa, consider delving deeper into her backstory and the reasons behind her conflicting emotions. Show more of her internal struggles and the weight of her decisions on her relationships with Rick and Laszlo. Allow Ilsa to confront her past traumas and fears, leading to a more profound transformation and resolution in the end. |
Top Correlations and patterns found in the scenes:
| Pattern | Explanation |
|---|---|
| High Stakes Scenes Intensify Emotional Impact | |
| Tense Scenes Drive the Story Forward | |
| Suspenseful Scenes Lack Character Changes | |
| Dialogue Enhances Emotional Impact | |
| Scenes with Multiple Tones Showcase Variety |
Writer's Craft Overall Analysis
The analyzed scenes showcase the writer's strong foundation in crafting compelling narratives with depth and emotional resonance. The ability to create tension, moral complexity, and engaging character interactions is evident throughout the screenplay. However, there are areas where further development can enhance the overall writing craft and storytelling techniques.
Key Improvement Areas
Character Development
Several scenes highlight the potential for deeper character exploration and motivations. Refining character backstories, complexities, and internal conflicts will add richness and authenticity to the characters.
Dialogue
While the dialogue is sharp and engaging, there are opportunities to enhance subtext, emotional depth, and the use of silence to create tension and convey unspoken emotions.
Pacing and Structure
Some scenes could benefit from tighter pacing and a more refined structure to maintain a consistent rhythm and flow throughout the narrative.
Suggestions
| Type | Suggestion | Rationale |
|---|---|---|
| Screenplay | Study screenplays like 'Casablanca' and 'The Godfather' for masterful character development and dialogue. | These classic screenplays provide excellent examples of well-rounded characters, nuanced dialogue, and engaging storytelling techniques. |
| Book | Read 'Dialogue: The Craft of the Playwright' by David Mamet for in-depth insights into dialogue writing. | This book offers valuable guidance on writing effective, realistic, and emotionally resonant dialogue. |
| Video | Watch films by directors like Alfred Hitchcock and Stanley Kubrick to analyze their use of pacing and suspense. | Studying masters of suspense can enhance your understanding of how pacing and structure contribute to building tension and creating gripping narratives. |
Additional Notes: The writer demonstrates a clear understanding of the fundamentals of screenwriting. With focused effort on character development, dialogue refinement, and pacing, the screenplay has the potential to captivate audiences with its emotional depth, compelling characters, and engaging storytelling.
Stories Similar to this one
| Story | Explanation |
|---|---|
| Now Voyager | A woman finds love and redemption on a sea voyage, but must confront her past and make a difficult choice between love and duty. |
| Casablanca | A classic love story set during World War II, about a cynical nightclub owner who falls in love with a woman who is married to a resistance leader. |
| The Maltese Falcon | A hardboiled detective is hired to find a missing statue, but becomes embroiled in a dangerous conspiracy involving murder and betrayal. |
| The Big Sleep | A private detective is hired to investigate a missing person, but soon finds himself entangled in a web of murder, blackmail, and corruption. |
| Chinatown | A private detective is hired to investigate a case of adultery, but soon uncovers a dark secret that leads to murder and corruption. |
| The Third Man | A British writer travels to post-war Vienna to investigate the death of his friend, but soon finds himself caught in a web of intrigue and betrayal. |
| Notorious | A woman is recruited by the government to spy on a Nazi agent, but finds herself falling in love with him. |
| Strangers on a Train | Two strangers meet on a train and agree to trade murders, but soon find themselves in over their heads. |
| Dial M for Murder | A man plots to murder his wife, but his plan goes awry when she survives and turns the tables on him. |
| Rear Window | A wheelchair-bound photographer witnesses a murder in the apartment across the way, but must find a way to prove it without leaving his room. |
Here are different Tropes found in the screenplay
| Trope | Trope Details | Trope Explanation |
|---|---|---|
| Forbidden Love | Rick and Ilsa's love is forbidden because Ilsa is married to Laszlo. | Forbidden Love is a love affair between two people who are not allowed to be together, often due to social or cultural barriers. An example of this trope is the love story between Romeo and Juliet. |
| Love Triangle | Rick, Ilsa, and Laszlo are involved in a love triangle. | A Love Triangle is a romantic relationship involving three people, where two of them are in love with the third. An example of this trope is the love triangle between Bella, Edward, and Jacob in the Twilight series. |
| Sacrificial Love | Rick sacrifices his own happiness to help Ilsa and Laszlo escape from Casablanca. | Sacrificial Love is when a character gives up something they want or need in order to help someone else. An example of this trope is the love story between Frodo and Sam in The Lord of the Rings. |
| Casablanca Ending | Rick and Renault decide to become friends and walk off together at the end of the film. | A Casablanca Ending is a bittersweet ending in which the two main characters are not able to be together, but they find a way to move on with their lives. |
| World War II Setting | The film is set during World War II in Casablanca. | A World War II Setting is a setting in which the story takes place during World War II. An example of this trope is the film Saving Private Ryan. |
| Political Intrigue | The film involves political intrigue, as Rick and Renault try to outmaneuver each other. | Political Intrigue is a plot element involving political maneuvering and deception. An example of this trope is the film The Godfather. |
| Heroic Sacrifice | Rick sacrifices his own life to save Ilsa and Laszlo. | Heroic Sacrifice is a plot element in which a character sacrifices their own life to save someone else. An example of this trope is the death of Captain America in Avengers: Endgame. |
| Ambiguous Ending | The ending of the film is ambiguous, as it is not clear whether or not Rick and Ilsa will ever see each other again. | An Ambiguous Ending is an ending in which the outcome of the story is not clear. An example of this trope is the ending of the film The Sixth Sense. |
| Unrequited Love | Yvonne's love for Rick is unrequited. | Unrequited Love is a love affair in which one person loves the other person, but the other person does not love them back. An example of this trope is the love story between Ross and Rachel in the TV show Friends. |
| Character Development | Rick undergoes significant character development throughout the film. | Character Development is a plot element in which a character changes and grows over the course of the story. An example of this trope is the character development of Walter White in the TV show Breaking Bad. |
| Theme | Theme Details | Themee Explanation | ||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Love and Sacrifice | The screenplay explores the complex and often conflicting emotions of love and sacrifice. Rick and Ilsa's love for each other is strong, but they ultimately decide to sacrifice their happiness for the greater good. Laszlo and Ilsa's love for each other is also strong, and they are willing to risk their lives to be together. | Love and sacrifice are major themes in the screenplay. The characters are faced with difficult choices, and they must decide what is most important to them. | ||||||||||||
Strengthening Love and Sacrifice:
| ||||||||||||||
| War and Politics | The screenplay is set during World War II, and the war has a profound impact on the characters' lives. Rick is a cynical and world-weary man who has seen the horrors of war firsthand. Ilsa is a strong and independent woman who is determined to fight against fascism. Laszlo is a brave and idealistic leader who is willing to risk his life for his cause. | War and politics are major themes in the screenplay. The characters are caught up in a global conflict that is beyond their control. | ||||||||||||
| Friendship and Loyalty | The screenplay also explores the themes of friendship and loyalty. Rick and Sam have a strong and enduring friendship. Renault is a complex character who is both a friend and an enemy to Rick. Ilsa and Laszlo are deeply loyal to each other, and they are willing to do whatever it takes to protect each other. | Friendship and loyalty are important themes in the screenplay. The characters rely on each other for support and strength. | ||||||||||||
| Redemption | The screenplay also explores the theme of redemption. Rick is a man who has made many mistakes in his past, but he is given a chance to redeem himself by helping Laszlo and Ilsa escape. Renault is also a complex character who is capable of both good and evil. He ultimately chooses to do the right thing and help Rick and Laszlo. | Redemption is a major theme in the screenplay. The characters are given a chance to make amends for their past mistakes. | ||||||||||||
| Hope and Despair | The screenplay also explores the themes of hope and despair. The characters are often faced with difficult choices, and they must decide whether to hope for the best or despair of the worst. Rick is a cynical man who has lost hope, but he is inspired by Ilsa and Laszlo's courage and determination. | Hope and despair are important themes in the screenplay. The characters are constantly struggling to maintain hope in the face of adversity. | ||||||||||||
Screenwriting Resources on Themes
Articles
| Site | Description |
|---|---|
| Studio Binder | Movie Themes: Examples of Common Themes for Screenwriters |
| Coverfly | Improving your Screenplay's theme |
| John August | Writing from Theme |
YouTube Videos
| Title | Description |
|---|---|
| Story, Plot, Genre, Theme - Screenwriting Basics | Screenwriting basics - beginner video |
| What is theme | Discussion on ways to layer theme into a screenplay. |
| Thematic Mistakes You're Making in Your Script | Common Theme mistakes and Philosophical Conflicts |
| Voice Analysis | |
|---|---|
| Summary: | The writer's voice is characterized by a blend of historical context, political intrigue, and personal drama. The dialogue is sharp and evocative, capturing the tension and complexity of the characters' situations. |
| Voice Contribution | The writer's original voice sets the tone for the screenplay, emphasizing the high stakes and moral ambiguity of the characters' actions. |
| Best Representation Scene | 1 - Casablanca: A Night of Terror |
| Best Scene Explanation | This scene effectively encapsulates the writer's unique voice by combining historical context, political intrigue, and personal drama to create a compelling narrative. |
Originality
- Overall originality score: 9
- Overall originality explanation: This analysis indicates that the screenplay for 'Casablanca' received a high originality score of 9 for its fresh and innovative elements. The screenplay offers a unique blend of political intrigue and moral complexity within the backdrop of World War II, setting it apart from conventional storytelling. Additionally, the film features a diverse cast of characters and explores multifaceted relationships and themes in a nuanced and emotionally resonant manner, contributing to its originality.
- Most unique situations: Some of the most unique situations depicted in the screenplay include the European man's warning about the Nazis, the protagonist's sudden realization of his missing wallet, and the tense confrontation between Rick and Yvonne. These moments stand out for their unconventional nature and contribute to the film's overall originality.
- Overall unpredictability score: 8
- Overall unpredictability explanation: The screenplay of 'Casablanca' earns a high unpredictability score of 8 due to its ability to keep the audience engaged and guessing throughout the narrative. The film presents a series of unexpected twists and turns, such as the shocking revelation of Ilsa's past with Rick, the sacrifice Rick ultimately makes, and the uncertain fate of the main characters. These unpredictable elements enhance the film's suspense and add depth to its storyline, leaving a lasting impact on the viewer.
| Goals and Philosophical Conflict | |
|---|---|
| internal Goals | The protagonist's internal goal is to reconcile his feelings for Ilsa and come to terms with his past |
| External Goals | The protagonist's external goal is to secure safe passage for himself and Ilsa out of Casablanca |
| Philosophical Conflict | The philosophical conflict revolves around sacrifice, loyalty, and love. Rick must choose between his personal desires and doing what is right for Ilsa and Laszlo |
Character Development Contribution: The protagonist's evolving internal and external goals help shape his development from a cynical, detached man to someone willing to make sacrifices for the ones he loves
Narrative Structure Contribution: The goals and conflict drive the narrative forward, creating tension and climax as the protagonist navigates the complex web of relationships and decisions in Casablanca
Thematic Depth Contribution: The exploration of sacrifice, loyalty, and love in the face of danger adds depth to the themes of morality, survival, and redemption in the screenplay
Screenwriting Resources on Goals and Philosophical Conflict
Articles
| Site | Description |
|---|---|
| Creative Screenwriting | How Important Is A Character’s Goal? |
| Studio Binder | What is Conflict in a Story? A Quick Reminder of the Purpose of Conflict |
YouTube Videos
| Title | Description |
|---|---|
| How I Build a Story's Philosophical Conflict | How do you build philosophical conflict into your story? Where do you start? And how do you develop it into your characters and their external actions. Today I’m going to break this all down and make it fully clear in this episode. |
| Endings: The Good, the Bad, and the Insanely Great | By Michael Arndt: I put this lecture together in 2006, when I started work at Pixar on Toy Story 3. It looks at how to write an "insanely great" ending, using Star Wars, The Graduate, and Little Miss Sunshine as examples. 90 minutes |
| Tips for Writing Effective Character Goals | By Jessica Brody (Save the Cat!): Writing character goals is one of the most important jobs of any novelist. But are your character's goals...mushy? |
World Building
- Physical environment: The screenplay is set in Casablanca, Morocco, during World War II. The city is portrayed as a vibrant and cosmopolitan hub, with a mix of European and Moroccan influences. The old Moorish section of the city is described as having narrow, twisting streets and a polyglot mix of people. The intense desert sun creates a torpid tranquility in the atmosphere.
- Culture: The screenplay portrays a world on the brink of war, with refugees fleeing Europe and converging on Casablanca in search of freedom. There is a sense of desperation and hopelessness among the characters as they wait for exit visas to escape to the New World. The presence of German officers and the underground resistance movement adds to the tension and danger of the situation.
- Society: The societal structure is complex and divided, with the French authorities trying to maintain order while the Germans exert their influence. There is a black market for goods and services, and corruption is rife. The police are seen as oppressive and authoritarian, while the resistance movement is seen as a symbol of hope and freedom.
- Technology: The screenplay depicts a world in transition, with the old world of colonial rule giving way to the new world of modern warfare. There is a mix of old and new technology, with typewriters and microphones in the police station and airplanes flying overhead.
- Characters influence: The unique physical environment, culture, society, and technology of Casablanca shape the characters' experiences and actions in a number of ways. The intense heat and sun create a sense of urgency and desperation, while the mix of cultures and languages creates a sense of alienation and displacement. The societal division between the French and the Germans creates a sense of tension and danger, while the black market and corruption provide opportunities for both profit and danger. The technology of the era, such as airplanes and radios, allows for rapid communication and travel, but it also creates a sense of surveillance and control.
- Narrative contribution: The world elements contribute to the narrative of the screenplay in a number of ways. The physical environment of Casablanca creates a sense of claustrophobia and entrapment, which is reflected in the characters' feelings of desperation and hopelessness. The cultural mix of the city creates a sense of tension and danger, which is reflected in the characters' interactions with each other. The societal division between the French and the Germans creates a sense of conflict and suspense, which is reflected in the characters' choices and actions. The technology of the era allows for rapid communication and travel, which is reflected in the characters' ability to escape from Casablanca.
- Thematic depth contribution: The world elements contribute to the thematic depth of the screenplay in a number of ways. The physical environment of Casablanca reflects the themes of war and displacement. The cultural mix of the city reflects the themes of identity and belonging. The societal division between the French and the Germans reflects the themes of power and oppression. The technology of the era reflects the themes of progress and control. These world elements work together to create a complex and nuanced screenplay that explores the human condition in a time of war and upheaval.
Story Engine Analysis
central conflict
Rick's internal struggle between his love for Ilsa and his duty to help Victor Laszlo escape from Casablanca.
primary motivations
- Rick's desire to protect Ilsa and Laszlo.
- Laszlo's determination to continue fighting against the Nazis.
- Ilsa's love for both Rick and Laszlo.
catalysts
- The arrival of the German couriers with the letters of transit.
- Ugarte's arrest and subsequent murder.
- Ilsa's reappearance in Rick's life.
barriers
- Rick's inability to let go of his past with Ilsa.
- Laszlo's status as a wanted man.
- The presence of the Nazis in Casablanca.
themes
- Love and sacrifice.
- The importance of fighting for what you believe in.
- The power of redemption.
stakes
The lives of Rick, Ilsa, and Laszlo are at stake.
uniqueness factor
The story's unique blend of romance, adventure, and suspense.
audience hook
The central conflict between Rick's love for Ilsa and his duty to help Laszlo escape from Casablanca.
paradoxical engine or bisociation
The paradoxical engine of the story is the fact that Rick must choose between his love for Ilsa and his duty to help Laszlo escape from Casablanca.
paradoxical engine or bisociation 2
The concept of bisociation is also evident in the story when Rick realizes that he can both love Ilsa and help Laszlo escape from Casablanca.
Engine: Claude
Screenplay Rating:
Recommend
Executive Summary
The screenplay for 'Casablanca' is a well-crafted and engaging story that follows the lives of several characters navigating the complexities of wartime Casablanca. The strong narrative, compelling character development, and effective use of flashbacks make this an impressive work of storytelling. While there are a few areas that could be improved, such as the integration of secondary storylines and pacing in certain sections, the overall quality of the screenplay is highly recommended.
Strengths
- The screenplay has a strong, compelling narrative that draws the audience into the lives of the characters. The story is well-structured, with a clear beginning, middle, and end, and the pacing keeps the audience engaged throughout. high
- The characterization of Rick Blaine is excellent, with a well-developed backstory and internal conflicts that make him a complex and intriguing protagonist. His interactions with other characters, such as Ugarte and Ilsa, are particularly well-written. high ( Scene 13 Scene 14 Scene 15 )
- The flashbacks to Rick and Ilsa's time in Paris are beautifully executed, providing depth and emotional resonance to their relationship and the decisions they make. high ( Scene 25 Scene 30 )
- The climactic scenes at the airport, where Laszlo, Ilsa, and Rick navigate the difficult situation, are gripping and well-paced, with powerful dialogue and character moments. high ( Scene 53 Scene 55 )
- The script effectively captures the atmosphere and tensions of wartime Casablanca, with the city serving as a compelling backdrop for the characters' journeys. high
Areas of Improvement
- The subplot involving Jan and Annina could be more fully developed and integrated into the main narrative, as it currently feels a bit disconnected. medium ( Scene 20 Scene 21 )
- While the pacing is generally strong, there are a few moments where the story could move a bit more quickly, particularly in the middle act. medium
MissingElements
- The screenplay could benefit from a deeper exploration of the secondary characters, such as Renault and Strasser, to provide a more well-rounded portrayal of the various power dynamics and allegiances at play in Casablanca. medium
NotablePoints
- The interactions between Rick and Ugarte, as well as Rick's complex relationship with Ilsa, are particularly well-written and showcase the screenplay's strong character development. high ( Scene 13 Scene 14 Scene 15 )
- The use of flashbacks to Rick and Ilsa's time in Paris is a notable narrative device that effectively conveys the depth of their relationship and the emotional stakes involved. high ( Scene 25 Scene 30 )
- The climactic scenes at the airport, where Rick makes the difficult decision to send Ilsa away with Laszlo, are powerful and emotionally resonant, showcasing the screenplay's strong dramatic sensibilities. high ( Scene 53 Scene 55 Scene 72 )
Engine: Gemini
Screenplay Rating:
Highly Recommend
Executive Summary
Casablanca is an exceptional screenplay that masterfully blends genres, offering a compelling story set against the backdrop of WWII. The screenplay's strengths lie in its vivid setting, iconic use of music, complex characters, exploration of political themes, and a satisfying yet thought-provoking ending. Minor improvements could be made by further exploring Ilsa's motivations and streamlining certain scenes. Overall, Casablanca is a timeless classic with a powerful and enduring message.
Strengths
- The screenplay expertly weaves together multiple genres - war drama, romance, and thriller - creating a captivating and timeless story. high
- Rick's Cafe Americain is vividly depicted as a microcosm of the world, filled with diverse characters and buzzing with intrigue, effectively highlighting the global impact of war and displacement. high ( Scene 13 Scene 14 Scene 23 )
- The use of "As Time Goes By" is masterful, serving as a powerful motif that evokes nostalgia, lost love, and the enduring power of the past, deeply enriching the emotional core of the film. high ( Scene 23 Scene 34 Scene 58 )
- The screenplay excels at portraying the complex political landscape of WWII, showcasing the ethical dilemmas and moral compromises individuals face under oppressive regimes. high ( Scene 31 Scene 53 Scene 65 )
- The ending is both satisfying and thought-provoking, leaving audiences with a sense of hope and the possibility of redemption, while subtly suggesting the ongoing fight against tyranny. high ( Scene 77 Scene 133 )
Areas of Improvement
- Ilsa's motivations for leaving Rick in Paris could be explored with greater depth and nuance to fully understand her emotional turmoil and the weight of her decisions. medium
- The black market scenes, while providing context, could be streamlined to maintain the story's momentum and focus on the central characters' journeys. low ( Scene 38 Scene 42 )
MissingElements
- Exploring the internal struggles and growth of supporting characters like Sam and Renault could add further layers of depth and complexity to the narrative. medium
NotablePoints
- The screenplay masterfully balances witty dialogue with moments of profound emotion, creating a captivating rhythm that keeps the audience engaged throughout. high
- The themes of sacrifice, love, and the fight for freedom resonate deeply, making the story universally relatable and enduring. high
Engine: GPT4
Screenplay Rating:
Highly Recommend
Executive Summary
Casablanca's screenplay is a masterclass in narrative construction, character development, and thematic depth. It combines a compelling wartime romance with a nuanced exploration of morality and sacrifice. The screenplay's structure is tight, with each scene contributing to the overall progression, and it is filled with rich, memorable dialogue that has stood the test of time.
Strengths
- The screenplay excels in character development, particularly with Rick, whose complex moral transformation is compelling and central to the narrative. high
- The opening scenes effectively set up the geopolitical context and the mood of desperation and intrigue, establishing a strong foundation for the story. high ( Scene 1 Scene 2 Scene 3 )
- Dialogue throughout the screenplay is sharp, memorable, and laden with subtext, contributing to rich character interactions and memorable moments. high
- The climax of the screenplay is masterfully executed, providing a satisfying resolution to the central narrative arcs and character journeys. high ( Scene 72 Scene 73 )
- The screenplay's pacing is exceptional, with a balance of tension and relief, character moments, and plot progression that keeps the audience engaged. medium
Areas of Improvement
- Some secondary characters could benefit from deeper development to enhance their roles and interactions within the main plot. medium
- The political context could be made clearer in certain scenes to enhance the audience's understanding of the stakes and motivations. low
MissingElements
- The screenplay could further explore the emotional backstories of some secondary characters to enrich the narrative tapestry. low
NotablePoints
- The iconic line 'Here's looking at you, kid' is a notable element of the screenplay, encapsulating the film's blend of romance and nostalgia. high
- The setting of Casablanca is effectively used as a character in itself, representing a liminal space of escape and entrapment. high