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Scene 1 -  Casablanca Scene 1
  • Overall: 8.0
  • Concept: 7
  • Plot: 8
  • Characters: 7
  • Dialogue: 8
1.



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:
Genres: ["Drama","War"]

Summary The scene begins with a sweeping shot of refugees fleeing to Casablanca from various parts of Europe. A police officer announces the murder of two German couriers, and the subsequent search for accomplices. Chaos erupts as police round up suspects on the street. A young couple, Jan and Annina, observe as the police ask a civilian for his papers. When they are found to be expired, the man runs, but is shot and killed. The scene ends with the suspects being led into the Palais de Justice.
Strengths "The scene establishes the chaotic and tense atmosphere of Casablanca during World War II. The narration and visuals effectively convey the desperation of refugees trying to escape Europe. The introduction of the murder and subsequent roundup adds a layer of mystery and intrigue to the plot."
Weaknesses "The scene is slightly slow-paced and lacks strong character development."
Critique Overall, this scene seems to be setting up the world and atmosphere of Casablanca, as well as introducing some of the main characters and conflicts. However, there are a few areas that could be improved upon.

Firstly, the opening with the revolving globe and map could feel a bit dated and heavy-handed. It might be more effective to simply show footage of the refugees fleeing, rather than telling the audience through a narrator.

There are some moments of clunky or unrealistic dialogue, such as the English couple stating that they "hear very little, and understand even less" - a bit too self-conscious in its attempts to establish the couple as outsiders. In addition, the European man's reveal of the murder of the German couriers feels a bit forced, as though his sole purpose is to deliver exposition to the audience.

The scene's pacing also feels a bit slow, with the action stop-starting and a lack of clarity on what the central conflict or plot will be. However, this could be forgiven in a longer format such as a feature film.

Overall, the scene does a decent job of establishing the tone and setting of Casablanca, as well as showcasing some of the characters. However, it could benefit from some tightening up of dialogue and pacing to keep the audience fully engaged.
Suggestions Here are a few suggestions to improve this scene:

1. Consider breaking up the opening insert shot of the globe and refugees into smaller parts, so the audience isn't overwhelmed with too much information at once.

2. Add more visual cues or transitions between scenes to make the cuts smoother and avoid jarring shifts in tone and pacing.

3. Consider fleshing out the characters of Jan and Annina Brandel, as they seem to be important figures but are not given much backstory or personality in this scene.

4. Use more descriptive language in the action lines to give the audience a stronger sense of the setting and atmosphere, especially in the first few shots of the Moorish buildings and the bustling street.

5. Find ways to make the dialogue more engaging and natural, rather than relying too heavily on exposition or clunky exposition. Consider adding more subtext and nuance to the conversations between characters.

6. Consider adding more conflict or tension to the scene, either through visual elements (e.g. heightened pacing, more action) or through character interactions (e.g. heated arguments, power struggles).

7. Make sure each scene serves a clear purpose in terms of advancing the plot or developing the characters. Avoid extraneous scenes or shots that don't add anything to the story.



Scene 2 -  Chaos in Casablanca
  • Overall: 8.0
  • Concept: 7
  • Plot: 8
  • Characters: 7
  • Dialogue: 7
6 EXT. PALAIS DE JUSTICE - DAY 6

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:
Genres: ["drama","war"]

Summary Refugees flee to Casablanca while the police search for accomplices in the murder of two German couriers. Suspects are being led into the Palais de Justice while an English couple sits at a sidewalk cafe. The Englishman realizes he has left his wallet at the hotel and looks suspiciously towards a departing European. An airplane symbolizing hope for the refugees flies overhead.
Strengths "The scene sets up the chaotic atmosphere of Casablanca during the war and the desperation of the refugees. The use of symbolism with the airplane and the Palais de Justice adds depth to the scene."
Weaknesses "The scene jumps around too much between different settings and characters, which may be confusing for some viewers. The dialogue is not particularly memorable."
Critique As a screenwriting AI language model, I am not capable of knowing what the director, producer, or writer were trying to achieve with this particular scene. However, I can provide a few general notes on the scene.

- The scene begins with suspects being herded out of a van and into the Palais de Justice, but it quickly cuts away to a conversation between an Englishman and a European. This transition seems a bit abrupt, and it's not immediately clear how the two scenes are related.
- The conversation between the Englishman and the European is a bit on-the-nose with its exposition about Casablanca being full of scum and vultures. It might have been more effective to show these elements through action or dialogue that is more subtle or nuanced.
- The Englishman's realization that he has left his wallet in the hotel feels a bit contrived, and it's not clear why this detail needed to be included in the scene.
- The introduction of the low-flying airplane and the refugees waiting outside the Palais de Justice adds a bit of visual interest and helps tie the scene together thematically with the broader themes of the movie. However, the transition to this moment also feels abrupt and perhaps could have been set up more effectively.
- Overall, the scene feels a bit disjointed and could benefit from tighter integration between its various elements.
Suggestions



Scene 3 -  Introduction of Major Strasser
  • Overall: 7.0
  • Concept: 6
  • Plot: 7
  • Characters: 8
  • Dialogue: 7
11 EXT. AIRFIELD - DAY 11

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.
Genres: []

Summary Major Strasser, a German officer, arrives in Casablanca where he is greeted by French police captain Louis Renault and other international officers. They discuss the recent murder of German couriers and Renault informs Strasser that the suspect will be found at Rick's café later that night.
Strengths
  • Clear introduction to important character
  • Establishes the political and cultural climate of Casablanca
  • Sets up the main conflict of the film
Weaknesses
  • Lack of action or immediate tension
Critique Overall, the scene does a good job of setting up the introduction of Major Strasser and establishing the political tensions between the Germans, French, and Italians in Casablanca. The dialogue is nicely written and helps to convey the different personalities of the characters involved. However, there are a few areas where the scene could be improved:

1. The use of the swastika on the plane's tail as a visual cue to signify that the Germans have arrived is cliche and unnecessary. It would be much more effective to introduce the characters in a more organic way that doesn't rely on predictable symbols.
2. The description of Captain Renault as "debonair and gay" is outdated and could be viewed as offensive. It would be better to simply describe him as "charismatic" or "charming".
3. The exchange between Tonelli and Strasser, where Tonelli tries to assert himself in front of the German, feels contrived and unnecessary. It doesn't add much to the scene and could easily be cut.

Overall, the scene does a good job of setting up the main conflict of the story and introducing key characters. With a few minor tweaks, it could be even stronger.
Suggestions One suggestion to improve this scene would be to give the audience more context on the location and time period. Adding establishing shots of Casablanca or mentioning the year in which the story takes place would help ground the audience in the world of the film. Additionally, giving more information on the relationships between the characters would add layers to the scene and create more tension. For example, are Renault and Strasser old acquaintances or enemies? Does Renault have ulterior motives for welcoming Strasser to Casablanca? Finally, adding more action and conflict would help move the plot forward and keep the audience engaged. Perhaps there could be a confrontation between Renault and one of the other officers, or a conflict between the German officers and the native soldiers.



Scene 4 -  Rick's Cafe
  • Overall: 8.0
  • Concept: 9
  • Plot: 7
  • Characters: 9
  • Dialogue: 8
13 INT. RICK'S CAFE - MAIN ROOM - NIGHT 13

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.
Genres: ["Drama","Mystery","Thriller"]

Summary Rick's Cafe is a nightclub where people from all walks of life come to unwind and talk about their troubles. Conversations range from business deals to escape plans as everyone seems to have their own agenda. The scene provides an introduction to the diverse and complex cast of characters that frequent the cafe.
Strengths "The scene sets up the tone and atmosphere of the story well. It introduces key characters and their motivations, setting up potential conflicts that will arise later on. The dialogue is sharp and believable, and the use of different languages adds to the diverse and cosmopolitan nature of Casablanca."
Weaknesses "The scene lacks a clear plot development or conflict, instead opting to introduce the setting and characters. As a result, it can feel slow-paced and meandering at times, and may be less engaging to audiences who are looking for immediate action or suspense."
Critique As a screenwriting expert, I would critique the following scene as follows:

- The description of the setting is good, but there could be more visual details to create a stronger sense of the space. Also, the dialogue could be improved to reveal more about the characters and their motivations.
- The scene appears to be setting up various storylines, but it's not entirely clear how they will play out or how they connect to the larger plot.
- The characters are mainly described by their ethnicity or occupation, which could be seen as a limiting and potentially offensive approach. It would be better to describe them in more complex and nuanced terms.
- The use of foreign languages adds some authenticity to the setting, but it also runs the risk of alienating some viewers who don't understand them. It would be better to incorporate translations or subtitles to ensure that everyone can follow the story.
Suggestions 1. Consider tightening up the descriptions to make them more concise and visual. For example, instead of "there is the HUM of voices, CHATTER and LAUGHTER," consider "voices hum and laughter echoes."

2. Add more conflict or tension to the scene. Perhaps there's a disagreement between two of the patrons, or someone is secretly plotting something. The scene feels a bit static currently.

3. Develop the characters more. As it is, they're mostly described by their clothing or nationality. Consider adding small details or dialogue that reveals more about who they are and what they want.

4. Consider adding more sensory detail to help the reader visualize the scene. What does the air smell like? Is there a particular sound or music playing?

5. Think about how this scene fits into the larger story. Is it moving the plot forward or revealing something about the characters? If not, consider cutting it or finding a way to make it more relevant.



Scene 5 -  Gambling and Secrets
  • Overall: 8.5
  • Concept: 8
  • Plot: 9
  • Characters: 8
  • Dialogue: 9
14 INT. RICK'S CAFE - GAMBLING ROOM - NIGHT 14

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.
Genres: ["Drama","Romance","War"]

Summary Rick's Café is bustling with activity. Two women and a man attempt to get Rick to join them for a drink, while a German man tries to force his way into the gambling room. Ugarte shares his secrets with Rick and leaves him with valuable letters of transit.
Strengths "The dialogue between Rick and Ugarte is engaging and reveals important plot points. The tension between Rick and the German is palpable. The scene introduces various characters and their motivations."
Weaknesses "The scene may feel slow to some viewers, as there is little action and more dialogue-driven moments."
Critique Overall, this scene has a lot of dialogue that helps establish the characters and the setting. However, there are a few elements that could be improved upon.

Firstly, the scene could benefit from more description and action to help with pacing and visuals. For example, when the German storms into the room, there could be more description of his appearance and behavior, and of the specific ways in which Abdul tries to stop him from entering.

Additionally, some of the dialogue feels on-the-nose and could be more subtle. For instance, when Ugarte tells Rick about his letters of transit, he directly says, "Something that even you have never seen." This could be rephrased to show instead of tell, such as by describing the envelope or by having Ugarte allude to the value of the letters without being quite so explicit.

Finally, the scene could benefit from more tension or stakes to keep the audience engaged. While there are hints at potential danger (such as the German's anger and the importance of the letters of transit), overall the scene doesn't have a clear sense of rising tension or a clear objective for the characters. Adding more of a sense of urgency or purpose could help elevate the scene.
Suggestions Here are a few suggestions to improve this scene:

1. Establish the location more clearly: Instead of just saying "INT. RICK'S CAFE - GAMBLING ROOM - NIGHT," consider adding a brief description of the setting to give the reader a better sense of the atmosphere.

2. Simplify the dialogue: Some of the dialogue in this scene feels a bit stilted and unnatural. Consider rephrasing some of the lines to make them sound more like something real people would say.

3. Add more physical description: There's a lot of dialogue in this scene, but not much action or physical description. Consider adding more details about what the characters are doing and how they're reacting to each other.

4. Develop the characters more fully: In this scene, we're introduced to several characters, but we don't learn much about who they are or what motivates them. Consider adding more information about their backgrounds and personalities to make them feel more like real people.



Scene 6 -  Rick's Cafe - Night
  • Overall: 8.0
  • Concept: 7
  • Plot: 8
  • Characters: 9
  • Dialogue: 9
15 INT. RICK'S CAFE - MAIN ROOM - NIGHT 15

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:
Genres: ["Drama","War"]

Summary Rick makes a deal with Sam to hide the letters of transit in the piano as Ferrari offers to buy the cafe. Yvonne flirts with Rick as he tries to send her home. Sacha lovestruck with Yvonne offers her brandy from Rick's stash. Rick rejects Ferrari's offer and Yvonne's advances.
Strengths
  • Introduction to the atmosphere of the place and its diverse characters
  • Tension between Rick and Ferrari
  • Sacha's ardent love for Yvonne adds a touching edge.
  • Rick's mysterious persona adds to his allure.
Weaknesses
  • Does not progress the story much
  • The scene takes too long
Critique Overall, this scene from "Casablanca" is well-written and iconic. However, there are a few things that could be improved upon.

First, the action is not as active as it could be. There is a lot of dialogue and description, but not a lot of movement or visual engagement. This could be improved by adding more camera directions or physical actions for the characters.

Second, the pacing is a bit slow. While the dialogue is interesting, the scene could benefit from a bit more momentum to hold the audience's attention.

Finally, some of the dialogue is a little on-the-nose and could benefit from subtext or more nuance. For example, the exchange between Ferrari and Rick about isolationism could be made more subtle and complex.

Overall, though, this scene is a classic for good reason and could simply use some fine tuning for a more dynamic and nuanced effect.
Suggestions The scene has too many details that are not essential to the story or character development. It feels bloated and slow. Here are some suggestions to improve it:

1. Focus on the conflict between Rick and Ferrari. They are two charismatic men who have a history together. Use their interaction to reveal their character traits and motivations.

2. Develop the dialogue between Sam, Rick, and Ferrari. Sam could show some hesitation about leaving Rick and his loyalty could make Ferrari suspicious. Rick could use this opportunity to size up Ferrari's intentions and show his disdain for the black market.

3. Introduce Yvonne earlier in the scene and use her as a catalyst for Rick's departure. She could start a fight with Rick or embarrasses him in front of his staff. This way, Rick's decision to take her home feels more justified.

4. Cut down on Sacha's lines. He doesn't add much to the scene and his lines feel forced.

5. Consider changing the location of the scene. The cafe is a great setting, but it can become repetitive if every scene takes place there. Maybe Rick and Yvonne could go for a walk outside or talk on a balcony.



Scene 7 -  Conversations at Rick's Cafe
  • Overall: 8.5
  • Concept: 8
  • Plot: 9
  • Characters: 9
  • Dialogue: 9
16 EXT. RICK'S CAFE - NIGHT 16

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:
Genres: ["drama","romance"]

Summary Rick's Cafe is bustling with activity as people from all walks of life come to unwind and talk about their troubles. Rick rejects Ferrari's offer and Yvonne's advances, while Renault and Rick engage in witty banter about women and Casablanca. We also catch glimpses of various characters, including Sacha, Emil, and Captain Tonelli and Lieutenant Casselle.
Strengths "The scene effectively introduces the diverse and complex cast of characters that frequent the cafe, and sets the tone for the rest of the film with its witty banter and complicated relationships between the characters. There is also a hint of conflict and intrigue with the mention of the recent murder of German couriers and the suspect being found at Rick's cafe later that night, adding to the tension of the scene."
Weaknesses "The scene may feel drawn out for some audiences, as it doesn't necessarily advance the plot in any significant way. Additionally, the scene doesn't provide much context for the audience who may not be familiar with the setting or historical events surrounding Casablanca during WWII."
Critique As a screenwriting AI language model, I can say that this scene is well-written. It lays the groundwork for the complex emotions that are to come, and hints at the tortured history between the main character, Rick, and his former lover, Yvonne. The dialogue is sharp and witty, with lots of clever repartee. The setting is also vividly conveyed, with the visual image of the revolving beacon light casting an eerie glow over Rick's face and the night sky. Overall, this scene sets up a lot of possibilities for the plot to unfold.
Suggestions Overall, this scene feels a bit disjointed and lacks a strong focus. Here are some suggestions to improve it:

1. Clarify the stakes: What is at stake for Rick in this scene? Why is he at the cafe and why does he care about Yvonne? It would be helpful to provide more context here to make Rick's actions and emotions feel more grounded.

2. Streamline the dialogue: The dialogue in this scene is a bit meandering and doesn't add much to the story. Consider cutting some of the banter between Rick and Renault to make the conversation more focused and impactful.

3. Use more visual storytelling: This scene introduces a lot of new characters and information, but there aren't many visual cues to help the audience keep track of everything. Consider using more visual storytelling techniques (such as showing Rick looking up at the plane) to help the audience follow the story.

4. Increase tension: The conflict between Rick and Yvonne doesn't feel very intense, and there isn't any tension between Rick and Renault either. Consider adding more conflict or obstacles to make the scene more engaging and compelling. Perhaps Yvonne is in danger and Rick needs to protect her from Renault, or Renault is there to collect information about Rick and threatens him in some way.



Scene 8 -  Excitement at Rick's Cafe
  • Overall: 8.0
  • Concept: 7
  • Plot: 8
  • Characters: 9
  • Dialogue: 8
17 INT. RICK'S CAFE - MAIN ROOM - NIGHT 17

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.
Genres: ["Drama","Crime"]

Summary Captain Renault informs Rick that there will be an arrest made for a murderer at the cafe, causing Rick to react nervously. They enter Rick's office to discuss further.
Strengths "The scene creates tension and builds on the suspense of the story. It also furthers the plot and character development of Rick and Captain Renault."
Weaknesses "The scene is a bit slow-paced and lacks action."
Critique Overall, this scene is well-written in terms of dialogue and pacing. However, there are a few areas that could be improved.

Firstly, there is a lack of description of the setting besides passing by Sam at the piano. Adding more detail to the setting could help immerse the reader into the scene.

Secondly, Rick's reaction to the news of a murderer being arrested in his cafe is not very strong. Given the gravity of the situation, it would make sense for Rick to have a stronger physical or emotional reaction.

Finally, while the dialogue between Renault and Rick is well-written, there could be more subtext or tension between the two characters. As it stands, their conversation is relatively straightforward and lacks any real conflict or nuance.

Overall, this scene has a solid foundation but could benefit from more attention to detail in regards to setting and character reactions.
Suggestions 1. Develop the characters of Rick and Renault further. Show their personalities and motives through their actions and dialogue.
2. Consider adding more tension to the scene by adding background noise or music that highlights the impending danger.
3. Instead of having Rick simply react with his eyes, show him taking action to prevent the arrest or at least questioning Renault's motives.
4. Add more conflict between Rick and Renault to create more drama in the scene.
5. Consider elaborating on the murder that is being investigated to create more stakes and tension for the audience.



Scene 9 -  The Deal
  • Overall: 8.0
  • Concept: 7
  • Plot: 8
  • Characters: 9
  • Dialogue: 8
18 INT. RICK'S CAFE - OFFICE - NIGHT 18

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:
Genres: ["Drama","Romance","War"]

Summary Rick and Renault discuss the arrival of a major from the Third Reich, who wants to witness the efficiency of Renault's administration. Renault warns Rick about a man named Victor Laszlo who has arrived in Casablanca and is looking for an exit visa to America. Rick makes a bet with Renault that Laszlo will get away, and Renault reveals that Laszlo is travelling with a lady, making it more difficult for him to obtain two exit visas. Renault insists that Laszlo must not leave Casablanca, but Rick isn't interested in helping him escape.
Strengths "The witty banter between Rick and Renault adds humor and intrigue to the scene, while also revealing more about their characters. The bet between Rick and Renault adds tension to the scene."
Weaknesses "The scene lacks action and may be slow-paced for some viewers. The focus on politics and war may not appeal to all audiences."
Critique Overall, this scene is well-written and effective in setting up the conflict and stakes of the plot. The dialogue is sharp and showcases the personalities of both Rick and Renault.

One critique is that the action is largely static, with the characters sitting or standing in one place and exchanging dialogue. This can make the scene feel less visually engaging for the audience. One way to improve this could be to add more movement or blocking, perhaps having Rick close the safe while he talks to Renault or having the aide enter from a different location in the room.

Another potential issue is the lack of descriptive detail in the scene heading and action lines. While the dialogue and character interactions are strong, there isn't much description of the setting or the characters' movements, which could make the scene feel less immersive for the reader. Adding more sensory detail or physical action could help to bring this scene to life.
Suggestions Some suggestions for improving the scene:

1. Consider adding more physical actions for the characters. Currently, most of the scene is just dialogue, and it can be improved by incorporating more gestures or movements to make it visually interesting and engaging.

2. Work on developing the characters' individual voices. At times, it can be hard to distinguish between Rick and Renault's dialogue because they have similar tones. Consider adding more distinct dialogue for each character that showcases their unique personalities and attitudes.

3. Make the stakes clearer. While it's clear that Rick and Renault have a bet with each other regarding Laszlo's escape, the consequences of whether or not Laszlo does escape aren't fully fleshed out, which can make the scene feel less tense. Consider adding more layers to the stakes to make it more thrilling.

4. More subtext. As it's currently written, the characters are saying exactly what they mean (with the exception of some sly remarks) which can make the scene feel heavy-handed. Consider adding more subtext - what do these characters really think of each other? What are they not saying that they're really feeling?

5. Consider adding more description to the setting. As it stands, it's hard to really "see" the room that Rick and Renault are in. Consider adding more detail to help the readers or audience build the scene in their minds.



Scene 10 -  The Arrest
  • Overall: 8.0
  • Concept: 7
  • Plot: 8
  • Characters: 8
  • Dialogue: 9
19 INT. RICK'S CAFE - MAIN ROOM - NIGHT 19

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.
Genres: ["Drama","War","Romance"]

Summary Renault arranges for the arrest of the man who murdered the German couriers. Ugarte is taken into custody while trying to escape. Rick, Renault, and Strasser have a conversation over drinks.
Strengths "The tension between the different characters is palpable. The dialogue is natural and engaging. The setting of Rick's Cafe adds to the atmosphere."
Weaknesses "The scene doesn't have a clear emotional arc or resolution. The conversation between Renault, Strasser, and Rick is not particularly memorable."
Critique Overall, the scene does a good job of setting up the tension and conflict between the German officers and the other characters at Rick's cafe. However, there are a few areas that could be improved:

1. The dialogue between Renault and Carl feels a little flat and could use some more personality or tension. It's a missed opportunity to showcase the dynamic between these two characters.

2. The action in the gambling room feels rushed and could benefit from more build-up and tension. Ugarte's escape is too sudden and doesn't create enough suspense.

3. The scene could benefit from more visual descriptions and sensory details to make it feel more immersive for the reader/audience. For example, describing the colors and textures of the decor or the sounds of the casino would help to create a more vivid setting.

Overall, the scene is serviceable but could be improved with more attention to character dynamics, pacing, and sensory detail.
Suggestions Here are some suggestions for improving this scene:

1. Character development: The scene focuses heavily on actions and dialogue related to the plot, but there is little exploration of the inner lives or motivations of the characters. Consider adding in moments where characters reveal more about themselves through subtle actions or dialogue.

2. Tension and suspense: While there are hints of tension in the scene (such as the two guards at every door and the impending arrest of the murderer), there's room to amp up the suspense. Consider adding in more moments of uncertainty or surprise, or playing up the danger that the characters are in.

3. Visual interest: The scene is primarily a conversation between characters, with little visual variety. Consider incorporating more interesting camera angles or movements, or finding ways to visually highlight key moments in the conversation.

4. Dialogue: While the dialogue is functional and provides necessary information for the plot, there's an opportunity to make it more engaging and memorable. Consider adding in more moments of wit, humor, or conflict to make the dialogue feel more dynamic and interesting.



Scene 11 - 
  • Overall: 0.0
  • Concept: 0
  • Plot: 0
  • Characters: 0
  • Dialogue: 0
21 INT. RICK'S CAFE - MAIN ROOM - NIGHT 21

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:
Genres: null

Summary
Strengths null
Weaknesses null
Critique
Suggestions



Scene 12 -  Leaving Rick's
  • Overall: 8.0
  • Concept: 7
  • Plot: 8
  • Characters: 9
  • Dialogue: 8
22 EXT. RICK'S CAFE - NIGHT 22

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:
Genres: ["drama","romance"]

Summary Laszlo and Ilsa leave Rick's cafe and meet Renault at the curb. They arrange to meet him tomorrow at the Prefect's office. They get into a waiting cab leaving Renault on the curb.
Strengths "Strong character development and dialogue."
Weaknesses "Low level of conflict and emotional impact."
Critique Overall, this is a well-written and engaging scene that effectively develops the relationships and tensions between the characters. The dialogue is natural and the pacing is consistent, with a clear sense of progression as the characters move from the cafe to the curb.

One minor critique would be that the opening stage direction could be more descriptive. It's unclear what kind of establishment Rick's Cafe is, and a little more detail about the setting could help ground the audience in the scene.

Another potential area for improvement is the use of visual cues. While the neon sign and airport beacon are nice touches, there could be more attention paid to the use of visual language throughout the scene to enhance the storytelling and add depth to the characters and their surroundings.

Overall, though, this is a solid scene that effectively advances the plot and adds layers to the characters' relationships.
Suggestions There are a few suggestions to improve this scene:

1. Add a bit more tension: The scene feels a bit flat and could benefit from some tension. Maybe there's a sense of urgency or danger as they leave the cafe, or there's a bit of hesitation between the characters before they get into the cab.

2. Give Ilsa a bit more agency: Currently, Ilsa doesn't do much beyond respond to other characters. It might be more interesting if she had her own thoughts or desires that come through in the scene.

3. Develop Rick's character: The scene brings up Rick, but we don't learn much about him beyond the fact that he's puzzling. Maybe Laszlo and Ilsa could have a brief conversation about him or share some anecdote that reveals more about his character.

4. Consider the pacing: Depending on the tone and pacing of the rest of the movie, this scene might benefit from being shorter or longer. If the movie is generally fast-paced, this scene could be tightened up. If it's a slower, more character-driven story, this scene might benefit from more dialogue or character interactions.



Scene 13 -  Rick's Despair
  • Overall: 8.0
  • Concept: 8
  • Plot: 8
  • Characters: 8
  • Dialogue: 8
23 INT. RICK'S CAFE - MAIN ROOM - NIGHT 23

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:
Genres: []

Summary Rick sits alone in his cafe, drinking and brooding over the loss of a woman he loved and lost in Paris. Sam tries to console him but he remains despondent, waiting for her return. They discuss the time difference between Casablanca and New York, and Sam plays 'As Time Goes By,' transporting Rick back to happier times with the woman he loved. The scene ends with a montage of Rick and Ilsa in Paris, highlighting the depth of their love.
Strengths "Strong emotional impact, character development"
Weaknesses "Lack of conflict"
Critique This is a classic and well-written scene that sets up the central conflict of the film. The mood of the scene is established through the use of lighting, music, and dialogue. The characters of Rick and Sam are well-defined and their relationship is established through their dialogue and actions. The use of the flashback to Paris in the spring adds depth to the characters and their motivations. Overall, this scene is a great example of effective screenwriting, as it is both engaging and informative.
Suggestions Overall, this scene effectively conveys Rick's emotional turmoil and his obsession with waiting for Ilsa. However, there are a few possible ways to enhance the scene:

1. Consider adding more visuals to break up the dialogue. While the dialogue is important, it may be beneficial to break it up with some visual cues or actions that help convey the characters' emotions and add interest to the scene.

2. Use the setting of Rick's Cafe to add to the mood. The previous scene established that Rick's Cafe is a lively, bustling place, so the contrast of a completely empty and darkened cafe could be emphasized more to show the gravity of Rick's emotional state.

3. Clarify Sam's presence in the scene. It's unclear why Sam has come to talk to Rick, and his role in the scene could be strengthened by giving him a specific reason for coming to see Rick.

4. Consider how the music helps to set the tone. After Sam starts playing, the orchestra music slowly joins in to create more depth to the scene. However, there could be more attention paid to how this music impacts the mood and emotions of the characters.

5. Think about the pacing of the scene. While the emotions and tensions are high, the scene could benefit from a bit more variety in the pacing, such as taking breaks for moments of silence or introducing different actions or movements. This would make the scene less repetitive and add more nuance to the overall mood.



Scene 14 -  Montage of Memories
  • Overall: 9.5
  • Concept: 9
  • Plot: 10
  • Characters: 10
  • Dialogue: 9
25 INT. RICK'S PARIS APARTMENT - DAY 25

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:
Genres: ["Drama","Romance","War"]

Summary Rick and Ilsa recall their love affair in Paris as they drink champagne, dance in a Parisian cafe, and passionately kiss in Ilsa's apartment. The scene cuts to a newsreel montage of the German occupation of France as they read a newspaper and realize the impending danger.
Strengths "The strong chemistry between Rick and Ilsa is palpable and the memories of their love affair in Paris are beautifully captured in the montage. The impending danger of the Nazi push towards Paris creates a sense of urgency and tension."
Weaknesses "The abrupt switch from the love affair to the newsreel might be jarring for some viewers."
Critique Overall, this scene does a good job of developing the romantic relationship between Rick and Ilsa, but there are a few areas that could be improved. Firstly, there is a lack of specific details that could make the scene more engaging and memorable. For example, when Rick and Ilsa dance in the Paris cafe, there is no description of the setting, the music, or the way they move together. Adding these details could help the audience feel more invested in the characters and their relationship.

Additionally, the use of a newsreel montage to show the German occupation of France feels somewhat disconnected from the rest of the scene. While the montage adds important context to the film's historical setting, it interrupts the flow of the conversation between Rick and Ilsa. Finding a way to integrate this information more seamlessly could help the scene feel more cohesive.

Finally, the dialogue itself could benefit from more nuance and specificity. While some of the lines (such as "Here's looking at you, kid") have become iconic, others feel fairly generic and could be attributed to any romantic couple. Adding more detail to their conversation could help to differentiate their relationship and make it feel more unique.
Suggestions Firstly, the scene could benefit from more descriptive action lines to create a stronger visual image for the audience.

Secondly, the dialogue between Rick and Ilsa could be tightened up to create a more engaging interaction. Instead of simply repeating “no questions”, there could be a more tangible reason why Ilsa doesn’t want to answer Rick’s questions.

Thirdly, the newsreel montage could be woven into the scene in a more organic way, rather than separating it with a CUT TO.

Finally, the tension of the impending Nazi invasion could be heightened by having Ilsa and Rick react more strongly to the news, and perhaps having them make plans to flee Paris or take action.



Scene 15 -  Last kiss before departure
  • Overall: 9.5
  • Concept: 8
  • Plot: 9
  • Characters: 10
  • Dialogue: 10
30 INT. LA BELLE AURORE - AFTERNOON 30
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:
Genres: ["romance","drama","war"]

Summary As rumors of the invasion of Paris by German troops escalate, Rick and Ilsa share a tender moment at La Belle Aurore, culminating in an emotional exchange of their feelings for each other and a passionate kiss. They make plans to flee Paris together, but Ilsa is hesitant to commit.
Strengths "The dialogue between Rick and Ilsa is poignant and poetic, revealing the depth of their feelings for each other. The setting of the Montmartre adds to the romantic ambiance of the scene. The use of sound, such as the loudspeaker and the BOOM of the cannons, adds to the tension and impending danger of the scene."
Weaknesses "The scene may be too melodramatic for some viewers. The conflict level is relatively low, with the exception of the looming threat of the invasion. Some may find the scene's portrayal of gender roles and expectations outdated."
Critique Overall, the scene is well-written and effectively conveys the tense and dangerous atmosphere of wartime Paris. The dialogue is believable and realistic, and the characters' emotions are conveyed effectively.

One area for improvement might be in the pacing of the scene. While there is plenty of tension and drama, there are several moments where the dialogue feels a bit slow and could perhaps be tightened up to make the scene more efficient.

Additionally, while the scene effectively conveys the characters' emotions, there could be more attention paid to their physical actions and movements. As written, the scene is fairly static and could benefit from more dynamic action and movement to add to the overall tension and drama.

Overall, though, the scene is a strong example of effective screenwriting, with believable characters, well-written dialogue, and a clear sense of setting and atmosphere.
Suggestions Here are a few suggestions to improve the scene:

1. Add some tension: The scene could benefit from some more tension, given the wartime setting. Perhaps there could be more urgency in Rick's voice as he talks about the Gestapo's arrival, or Ilsa could show more fear when she hears the cannon fire.

2. Clarify Ilsa's motivations: It's not entirely clear why Ilsa is so upset in this scene. Is it just because of the war and the danger they're in, or is there something more specific bothering her? Adding some more context to her emotions could make the scene more impactful.

3. Develop the romance: Although the scene contains some romantic moments, it could benefit from more development of Rick and Ilsa's relationship. Perhaps there could be more dialogue about their past together, or more focus on their connection as they kiss.

4. Raise the stakes: The scene could benefit from higher stakes. Rick and Ilsa are in grave danger, but it's not entirely clear what will happen if they're caught by the Germans. Adding some more concrete consequences to their situation could make the scene more dramatic.



Scene 16 -  Heartbreak in Casablanca
  • Overall: 9.0
  • Concept: 8
  • Plot: 8
  • Characters: 9
  • Dialogue: 9
31 INT. GARE DE LYON - NIGHT 31

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:
Genres: ["Drama","Romance","War"]

Summary Rick is despondent over the loss of Ilsa, the woman he loved and lost in Paris. As Sam tries to console him, memories of their love affair in Paris flood back, intercut with scenes of the impending danger and an emotional exchange of their feelings for each other. Later, in Casablanca, Ilsa appears and tries to explain why she had to leave him, but Rick's bitterness and hurt emerge, leading to a painful confrontation.
Strengths "The scene packs an emotional punch, with strong performances from the leads and memorable dialogue. The use of montage and flashbacks adds depth to the story and characters. The rain and train station setting add to the melancholy atmosphere."
Weaknesses "Some viewers may find the dialogue melodramatic or overwrought, and the plot contrived or predictable. The use of flashback and voiceover narration may be confusing or distracting for some."
Critique Overall, the scene is well-written and has a strong emotional impact. The rain setting and urgency of the train leaving create a sense of tension that adds to the dramatic climax. The dialogue between Rick and Ilsa is also well-crafted, with the tension between their past love and current animosity tangible in each line. However, some suggestions to improve the scene would be:

- Add more sensory details: While the rain and urgency of the train are effective, more sensory details could be added to immerse the audience in the scene. Describing the sounds of the train leaving, the smell of the rain, or the feel of the wet clothing could help create a more vivid picture.
- Clarify character motivations: While it's clear that Rick is devastated by Ilsa's letter and Ilsa feels conflicted about their past relationship, their current motivations could be made clearer. Is Rick drinking because he's heartbroken or trying to numb the pain? Is Ilsa seeking to reconcile their relationship or simply to explain her past actions? Clarifying these motivations could enhance the emotional impact of the scene.
- Vary sentence structure: While the dialogue is effective, some variation in sentence structure could make the scene more dynamic. For example, alternating short and long sentences, or using sentence fragments, can add rhythm and pacing to the dialogue.
Suggestions Here are some suggestions to improve the scene:

1. Add some more tension and urgency to the scene at the train station. Perhaps have Rick bump into obstacles or lose his suitcase in the chaos, adding to his desperation.

2. Instead of having Rick crumble and toss away the letter, have him pause and consider it before ultimately discarding it. This will add more depth to his character and the significance of the letter.

3. When Ilsa enters Rick's Cafe, add more physical descriptors to convey her emotional state. Is she hesitant? Nervous? Resigned? Giving more detail to her behavior will help the audience understand her motivations.

4. Have Rick and Ilsa's conversation build to a crescendo instead of peaking immediately with Rick's sarcastic comments. Let the tension between them simmer and gradually escalate before reaching a boiling point.

5. Add more visual details to the scene to immerse the audience in the environment, such as the lighting, the noises of the cafe, and the expressions of the other patrons. Creating a vivid atmosphere will make the scene more engaging.



Scene 17 -  Confrontation in Renault's office
  • Overall: 8.0
  • Concept: 7
  • Plot: 9
  • Characters: 8
  • Dialogue: 8
35 INT. RENAULT'S OFFICE - MORNING 35

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:
Genres: ["Drama","Romance","War"]

Summary Strasser and Renault discuss their suspicions of Rick having the letters of transit, while Laszlo and Ilsa make their way to the Prefecture.
Strengths
  • Tension between characters
  • Interesting plot developments
Weaknesses
  • Limited emotional impact
Critique Overall, this scene is well-written and effective in advancing the plot. The dialogue is sharp and the characters are well-defined. However, there are a few areas where it could be improved.

Firstly, the scene is heavy on exposition, with both Strasser and Renault explicitly stating their suspicions and plans. While this is necessary for the audience to understand what is happening, it would be more effective if it could be conveyed in a more subtle way, through actions and implications rather than verbal exposition.

Secondly, the scene lacks visual interest. It is just two characters sitting and talking in an office. Adding some visual elements, such as movement or interesting camera angles, could help keep the audience engaged.

Finally, the transition to the next scene feels abrupt and could benefit from a smoother transition, such as a establishing shot or a fade.
Suggestions Here are some possible suggestions to enhance this scene:

1. Add some tension or conflict: As it stands, the scene is just two characters discussing their plans. To make it more engaging, consider adding some conflict between the characters. Perhaps Strasser is more forceful in his demands and tries to intimidate Renault, who calmly pushes back. Or maybe Renault is more evasive and Strasser becomes more agitated. Adding tension will help keep the audience interested in what's happening.

2. Show instead of tell: The characters are mainly telling each other what they suspect or believe. To make the scene more visual and engaging, consider showing more of their actions. For example, instead of just talking about searching the café, show some police officers doing a thorough search. Or instead of just saying Laszlo and Ilsa are in the lobby, show them navigating through the crowded space and maybe even encountering some obstacles.

3. Add some humor: This is a classic movie scene and there's an opportunity to inject some wit or humor into the dialogue. Perhaps Renault makes a sarcastic comment that catches Strasser off-guard. Or maybe Strasser tries to make a joke but falls flat, to which Renault responds with a witty quip. Adding some lightness to the scene can help break up the tension and keep the audience engaged.

4. Develop the characters: This scene is a chance to reveal more about the characters and their motivations. Consider adding some backstory or personal details that help flesh out their personalities. For example, why is Renault so confident in Rick's abilities? Does he owe him a favor? Has he seen him outsmart the police before? What is Strasser's history with Laszlo? Does he have a personal grudge against him? Adding more depth to the characters will make the scene richer and more meaningful.



Scene 18 -  Visa Trouble
  • Overall: 8.5
  • Concept: 9
  • Plot: 9
  • Characters: 8
  • Dialogue: 9
37 INT. RENAULT'S OFFICE - MORNING 37

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:
Genres: ["Drama","Romance","War"]

Summary Laszlo and Ilsa meet with Strasser and Renault in Renault's office to discuss Laszlo's visa. Strasser offers to expedite the process if Laszlo provides him with names of the leaders of the underground movement, which Laszlo flatly refuses. The news of Ugarte's death disappoints Ilsa and Laszlo.
Strengths "The tension and conflict between Laszlo and Strasser is palpable, while also revealing Laszlo's crusader-like nature. The dialogue is sharp and engaging, and the news of Ugarte's death adds a layer of intrigue."
Weaknesses "The scene lacks the romantic elements that were present in previous scenes, and some may find it slow-moving."
Critique Overall, the scene is well-written and effectively sets up the stakes and conflict of the story. However, one potential issue is the lack of visual descriptions or action, as the entire scene is comprised of dialogue. Interspersing action or descriptions of the characters' movements can help break up the monotony and add more dimension to the scene. Another potential critique is that some of the dialogue could be condensed or shortened for brevity, as certain lines repeat information that has already been established. But overall, the scene effectively establishes the power dynamic between the characters and the stakes of the story.
Suggestions In regards to improving this scene, there are a few things that could be done to make it more engaging for the audience. Here are some suggestions:

1. Add more tension: While there is some tension between Laszlo and Strasser, it could be heightened by including more physical actions or gestures that show how they feel about each other. This could include pacing, clenching fists, or standing up abruptly.

2. Show the characters' emotions: We get a little bit of insight into how Ilsa and Laszlo feel about Ugarte's death, but it could be beneficial to show more of their emotions throughout the scene. For example, they could have facial expressions that change as they react to what is being said.

3. Change up the setting: This scene takes place in Renault's office, but it could be more interesting to have the characters move around the location or take the conversation outside. This could add some visual interest and make the scene feel less stagnant.

4. Introduce a new element: While the conversation about the visa is important, it could benefit from something unexpected happening. This could be a sudden interruption or someone bursting into the room with urgent news. Adding an unexpected element can add to the tension and make the scene more memorable.

Overall, the scene could be improved by adding more tension, showing the characters' emotions, changing up the setting, and introducing a new element. By doing these things, it can become a more engaging and memorable scene for the audience.



Scene 19 -  The Black Market Deal
  • Overall: 8.0
  • Concept: 7
  • Plot: 8
  • Characters: 8
  • Dialogue: 9
38 EXT. BLACK MARKET - DAY 38

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:
Genres: ["Drama","Crime"]

Summary Rick meets with Signor Ferrari at the Blue Parrot to discuss the possibility of making a fortune by selling the letters of transit. Ferrari suspects that Rick has the letters and wants to be his partner. Meanwhile, Rick sees Ilsa and Laszlo outside and excuses himself.
Strengths "Strong dialogue and character development between Rick and Ferrari. Builds tension and suspense as the search for the letters of transit continues."
Weaknesses "Lack of emotional impact and tension compared to earlier scenes in the film."
Critique Overall, this scene is well-written and follows a clear narrative. The description of the setting is detailed, which helps to immerse the reader into the black market environment. The dialogue serves to advance the plot and reveal information about the characters, specifically Rick and Ferrari. The scene also introduces the idea of the letters of transit, which is a major plot point in the film.

However, one potential issue with the scene is that it contains a lot of exposition. The dialogue between the Frenchman and the Native, as well as Rick and Ferrari, serves to inform the audience about the black market, Signor Ferrari's role in it, and the significance of the letters of transit. While this information is necessary for the audience to understand the story, it could have been presented in a more organic way.

Additionally, the scene ends abruptly with Rick walking out of the cafe, which could make it feel unfinished or incomplete. While this may be intentional, as the story continues in the following scene, it can still be jarring for the reader/viewer.

Overall, this scene effectively establishes the setting and introduces important plot points and characters, but could benefit from more organic exposition and a smoother transition to the next scene.
Suggestions Overall, the scene is fairly well-written and establishes the setting and atmosphere of the black market. However, there are a few areas for improvement:

1. CONFLICT AND TENSION: While the scene does describe the sinister workings of the black market, there's not a lot of tension or conflict present. Adding in some high stakes or threats to the characters would help build suspense and make the scene more engaging.

2. CHARACTER MOTIVATION: The Frenchman's motivation to find Signor Ferrari and obtain his help could be better established. What is his ultimate goal? Why does he need to go through Ferrari to achieve it?

3. EXPOSITION: The dialogue between the Frenchman and Native feels a bit clunky and expository. Is there a way to convey the same information more organically to the audience?

4. CHARACTERIZATION: While Signor Ferrari is an interesting character, there could be more insight into his personality and motivations. What drives him to want to get his hands on the letters of transit? What kind of person is he outside of his role in the black market?

5. DESCRIPTIVE LANGUAGE: While the scene does a good job of setting the scene, there could be more descriptive language used to really immerse the audience in the world of the black market. Adding in sensory details like smells and sounds would help the scene come to life.



Scene 20 -  Reunited but Uneasy
  • Overall: 9.0
  • Concept: 8
  • Plot: 9
  • Characters: 9
  • Dialogue: 10
41 EXT. THE BLUE PARROT - DAY 41

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:
Genres: ["Drama","Romance","War"]

Summary Rick and Ilsa meet in public for the first time since their dramatic confrontation in Paris. They exchange pleasantries but their interaction is formal and tense. They discuss why Ilsa left him and their past in Paris. As Rick invites her to his apartment, Ilsa drops the bomb that she is now married to Victor Laszlo, leaving Rick stunned and hurt.
Strengths "Strong dialogue, emotional tension, strong character development."
Weaknesses "Some may find the pacing slow."
Critique Overall, the scene is well-written and effectively communicates the tension and unresolved feelings between Rick and Ilsa. However, there are a few areas for improvement.

Firstly, the scene could benefit from more descriptive language and visual details to help bring the setting to life. For example, what does the Blue Parrot and the black market look like? Adding more descriptive language would not only make the scene feel more immersive but also help to create a stronger sense of atmosphere.

Secondly, while the dialogue effectively conveys the emotional conflict between Rick and Ilsa, some of the lines are a bit too on-the-nose and could benefit from more subtlety. For example, Ilsa's line "Last night I saw what has happened to you. The Rick I knew in Paris, I could tell him. He'd understand" feels a bit too direct and on-the-nose. Removing or reworking some of these more obvious lines would help to create a more nuanced and sophisticated scene.

Finally, the scene could benefit from more action and movement. As it stands, most of the scene involves the characters standing and talking to each other. Adding more physical actions, such as Rick and Ilsa examining the market goods or walking through the cafe, would help to create more visual interest and break up the dialogue.
Suggestions One suggestion to improve this scene could be to add more physical action to make it visually interesting. For example, instead of just standing and talking, they could be walking through the market, examining goods, or haggling with vendors. This would also add an opportunity for more character development and interaction. Additionally, the dialogue could be tightened up to make it more concise and impactful. Some sentences could be edited or removed to make the scene flow better and keep the audience engaged. Finally, some descriptions could be added to convey the tone and atmosphere of the market, enhancing the setting and overall mood of the scene.



Scene 21 -  The Letters of Transit
  • Overall: 10.0
  • Concept: 8
  • Plot: 10
  • Characters: 10
  • Dialogue: 10
43 INT. THE BLUE PARROT - DAY 43

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:
Genres: ["Drama","Romance","War"]

Summary Ilsa and Laszlo meet with Ferrari to discuss their visa problem, while also learning about the possibility of Rick possessing the letters of transit. Laszlo refuses to give up any names to Strasser, while also trying to persuade Ilsa to leave and he'll meet up with her later. Rick and Ilsa meet for the first time since Paris, and the truth about Ilsa's marriage to Laszlo crushes Rick.
Strengths "Excellent character development and tension-building. The dialogue is intense and memorable. The revelation of Ilsa's marriage to Laszlo adds a crushing blow to Rick's character arc. "
Weaknesses "None particularly notable, although some viewers may find the slower pacing here a turn-off."
Critique Overall, this scene is well-written and effectively builds suspense as the characters discuss their options for leaving Casablanca. The dialogue feels authentic and reveals important character information, particularly regarding Ilsa and Laszlo's relationship and contrasting priorities.

One minor critique is that the scene relies heavily on dialogue without much physical action or description. While this is not necessarily a bad thing, it can make the scene feel static and visually uninteresting. The addition of small actions or gestures from the characters could help break up the long stretches of conversation and make the scene more dynamic.

Overall, though, this scene effectively advances the plot and reveals important character information in a believable and engaging way.
Suggestions This scene is a bit dialogue-heavy. It could benefit from some visual elements or action to break up the conversation. Instead of just having the characters sitting and talking, consider ways to show their emotions or tensions through their body language or actions. Additionally, it may be helpful to add some more specific details about the setting, such as the mood or atmosphere of the cafe. Finally, it may be helpful to clarify the objective of the scene. Is the primary goal for the characters to try and secure visas, or is it to introduce the idea of the letters of transit and Rick's involvement? Streamlining the purpose of the scene could help to make it more effective.



Scene 22 - 
  • Overall: 0.0
  • Concept: 0
  • Plot: 0
  • Characters: 0
  • Dialogue: 0
44 EXT. RICK'S CAFE - NIGHT 44

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:
Genres: null

Summary
Strengths null
Weaknesses null
Critique
Suggestions



Scene 23 -  Roulette and Revelations
  • Overall: 8.0
  • Concept: 6
  • Plot: 7
  • Characters: 8
  • Dialogue: 7
46 INT. RICK'S CAFE - GAMBLING ROOM - NIGHT 46

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:
Genres: ["drama"]

Summary Rick helps Jan win big at the roulette table before kicking him out and making a comment about luck. Renault notices Rick's behavior and suspects he may have something to do with the recent winners. Meanwhile, Carl tries to be helpful and Annina shows her gratitude towards Rick.
Strengths "The tension and suspicion building between Rick and Renault is palpable, and Annina's appreciation towards Rick adds a touch of warmth to the scene."
Weaknesses "The scene overall is a bit slow-moving and lacks a clear sense of direction or purpose."
Critique Overall, this scene is well-written and effectively conveys a sense of tension and intrigue. The dialogue is concise and moves the plot forward, as we see Jan's luck turn around as he takes Rick's advice to bet on 22. The interaction between Rick and the croupier is subtle but clear, indicating that Rick has some control over the outcome of the game. The added element of Renault's suspicion adds to the sense of danger and stakes involved in this sequence.

One potential critique is that the scene could benefit from more visual description and action. While the dialogue is strong, there are opportunities to show more of the characters' physical reactions and movements, which can add to the tension and drama of the scene. There are also moments where the physical setting could be more clearly established, such as the layout of the tables in the room or the appearance of the roulette wheel itself.

Additionally, the scene may benefit from more attention to character development, particularly for Jan and Annina. While they are central to the plot of this scene, we don't get a strong sense of their personalities or motivations beyond their desire to win at gambling. Adding more depth to these characters could make the scene more emotionally engaging for the audience.

Overall, however, the scene effectively captures the mood and stakes of a tense gambling situation, while moving the plot and character development forward.
Suggestions Here are some suggestions to improve the scene:

1. Add more tension: The scene lacks a sense of urgency and high stakes. Consider adding a complication like a time limit, or increasing the amount of money Jan needs to win.

2. Develop the character arcs: There is no clear character arc for Jan or Rick. Adding more depth to their motivations and desires can help the audience invest emotionally in the story.

3. Use more descriptive language: The scene would benefit from more descriptive language to engage the senses and create a more vivid visual experience for the audience.

4. Add more dialogue and interaction: The scene is heavy on action, but light on dialogue. Adding more dialogue and interaction can keep the scene engaging and interesting.

5. Consider the pacing: The scene could move at a quicker pace to keep the momentum going. Consider trimming some of the unnecessary details, or linking the scene more closely to the overall plot.



Scene 24 -  Rick's Dilemma
  • Overall: 8.0
  • Concept: 7
  • Plot: 9
  • Characters: 8
  • Dialogue: 8
47 INT. RICK'S CAFE - MAIN ROOM - NIGHT 47

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:
Genres: ["Drama","Romance","War"]

Summary Rick is approached by Laszlo who wants to leave Casablanca, offering him money in exchange for help. Rick refuses, alluding to Ilsa's involvement. Meanwhile, Renault watches Rick's behavior as the Germans sing a patriotic song in the bar.
Strengths "The dialogue between Rick and Laszlo is tense and confrontational, bringing up the underlying tension between the characters. The scene effectively sets up the stakes for the choices Rick will have to make later on in the story."
Weaknesses "The scene could benefit from more dynamic actions or settings to accompany the dialogue-heavy scene. Some viewers may feel that the scene drags at points."
Critique Overall, this scene is well-written. The dialogue between the characters is effective and moves the plot forward. The inclusion of the German officers singing the "Wacht am Rhein" adds tension to the scene and shows the audience the political climate of Casablanca at the time.

One critique would be that there is not much action or physical movement in the scene. It is mostly characters standing or sitting and talking. This can make the scene feel static and less engaging for the audience. However, the tension created by the singing Germans and Rick's apparent discomfort at their presence helps to alleviate this issue.

Additionally, the motivations of Rick and Laszlo could be more clearly outlined. It is not entirely clear what Laszlo wants from Rick and why he is willing to offer so much money. Similarly, Rick's decision to refuse the money could use more explanation. Is it purely an ethical stance, or is there something else motivating him?

Overall, while the scene could benefit from more physical action and clearer character motivations, it effectively moves the plot forward and establishes the tense political climate of Casablanca.
Suggestions Here are a few suggestions to improve the scene:

1. Add some character depth: Sacha's reaction and Carl's actions are left unexplained. Adding some context to these actions could give the characters more depth and make the scene more interesting.

2. Tighten up the dialogue: The dialogue is functional but lacks depth. Perhaps adding some subtext or more emotional depth could improve the scene.

3. Create a more engaging conflict: There's not a lot of tension in the scene, and the conflict between Laszlo and Rick is resolved rather quickly. Maybe adding some obstacles or higher stakes could make the scene more engaging.

4. Add some visual interest: The scene mainly consists of characters talking to each other, so adding some visual interest, such as interesting camera angles or shots, could make the scene more dynamic.



Scene 25 -  The Marseillaise
  • Overall: 9.3
  • Concept: 9
  • Plot: 10
  • Characters: 9
  • Dialogue: 9
53 INT. RICK'S CAFE - MAIN ROOM - NIGHT 53

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:
Genres: ["Drama","War"]

Summary Laszlo leads the orchestra in playing the French national anthem, 'La Marseillaise', sparking an emotional and patriotic reaction from the patrons of Rick's Cafe. Strasser and Renault clash over the disturbance caused by the singing and the act leads to the cafe being closed down. Strasser approaches Ilsa, offering her husband safe passage to France, but she is doubtful of the German's promise. Meanwhile, Laszlo refuses to discuss the recent events with Ilsa.
Strengths
  • Powerful and emotional scene with patriotic overtones
  • Well-written and convincing dialogue
  • Strong character development and interaction
Weaknesses
  • Slightly predictable plot points
Critique Overall, this scene is effective in conveying the tension and political climate of Casablanca during World War II. However, there are a few points that could be improved upon.

Firstly, the direction and action could be clearer. For example, it is not clear which orchestra Laszlo is speaking to and how he manages to get them to play the "Marseillaise." Additionally, the climax of the scene, where Renault shuts down the cafe, feels somewhat abrupt and could benefit from clearer build-up.

Secondly, the dialogue could be more dynamic. At times, the exchanges between characters feel a bit flat and could use more subtext and tonal variation. For instance, Strasser's abrupt change from anger to cordiality when he approaches Ilsa feels somewhat jarring and could be smoother with more nuance in his line delivery.

Overall, this scene effectively sets up the political tension and stakes for the characters, but could benefit from clearer direction and stronger dialogue.
Suggestions One suggestion would be to add more description and emotion to the scene. For example, describe the reactions of the people in the cafe more vividly, including their facial expressions and body language. Also, try to build tension and conflict between the characters, particularly between Strasser and Laszlo. This could include adding more confrontational dialogue or actions between them. Additionally, consider incorporating more sensory details to transport the audience into the scene, such as the sound of the music and the smell of the cafe. Overall, enhancing the sensory experience and adding more dramatic tension could improve the impact of the scene.



Scene 26 -  Laszlo and Ilsa discuss their fears and secrets
  • Overall: 9.5
  • Concept: 9
  • Plot: 9
  • Characters: 10
  • Dialogue: 10
55 INT. HOTEL ROOM - NIGHT 55

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.
Genres: ["Drama","Romance","War"]

Summary Laszlo shares his plans to attend an underground meeting, which Ilsa fears will put him in danger. They discuss Rick and his possession of the letters, which Rick refuses to sell. Ilsa is uncomfortable and worried about her past in Paris and her current situation with Victor.
Strengths "The scene is charged with emotion as Ilsa and Laszlo reveal their fears and secrets to each other. The dialogue is poignant and expertly delivered by the actors. The scene raises the stakes with the increasing danger and uncertainty surrounding the characters."
Weaknesses "The scene lacks action and visual interest, relying only on dialogue and performance."
Critique Overall, this scene is well-written and effective in conveying the tension and fear that the characters are experiencing. However, there are a few areas in which it could be improved.

Firstly, some of the dialogue feels a bit on-the-nose, particularly when Ilsa asks Victor not to go to the underground meeting and when they discuss the fact that they are both frightened. These lines could be rephrased to create a more subtle and nuanced subtext.

Additionally, the scene could benefit from more description and action to break up the dialogue and provide a clearer sense of the physicality of the characters and their surroundings. For example, there could be more detail about the hotel room they are in, or some actions that Ilsa takes while she is speaking to Victor.

Finally, the pacing of the scene could be improved with some additional beats or moments of silence. Some of the lines could be cut or shortened to create a slower rhythm and allow the tension to build more gradually.

Overall, this scene effectively conveys the emotional stakes of the characters' situation, but could benefit from some minor adjustments to dialogue, description, and pacing.
Suggestions Here are a few possible suggestions:

1. Add more visual interest to the scene. As it stands, the scene is mostly dialogue with a few basic actions. But film is a visual medium, so adding more interesting shots and movements to the scene could help make it more engaging for the audience. For example, you could include more close-ups of the characters' faces to convey their emotions, or use camera movements to create a sense of tension or unease.

2. Develop the tension between Laszlo and Ilsa. Although the scene touches on the fact that Ilsa is conflicted about her feelings for Rick and her loyalty to Laszlo, it doesn't fully explore this tension. Adding more layers to their relationship could make the scene more dramatic. For instance, you could have Ilsa be more explicit about her feelings for Rick, or have Laszlo express more concern about their relationship.

3. Tie the scene more directly to the plot. It's not entirely clear from this scene how it advances the overall story of the movie. One way to tie it more directly to the plot would be to give more information about Rick and how he fits into the larger scheme of things. For example, perhaps Laszlo reveals that Rick is working with the resistance, or that he has some other connection to the conflict that's driving the plot.

4. Create more conflict in the scene. The scene is relatively low-key, with most of the tension coming from the characters' unspoken feelings. Adding more overt conflict could help make the scene more engaging. For instance, you could have Laszlo and Ilsa argue more openly about the underground meeting, or add another character who creates more tension between the couple.

5. Heighten the stakes. The scene touches on the danger of the situation, but it doesn't fully convey the sense of risk and uncertainty that the characters are facing. Adding more details about the danger they're in, or creating a sense of urgency around the upcoming meeting, could help add more tension to the scene.



Scene 27 -  Rick Considers Bribery
  • Overall: 7.8
  • Concept: 7
  • Plot: 8
  • Characters: 7
  • Dialogue: 8
56 INT. RICK'S CAFE - MAIN ROOM - NIGHT 56

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.
Genres: ["drama"]

Summary Rick and Carl are discussing the financial state of the cafe, and Rick suggests that a bribe may be necessary to keep it open. Carl agrees and is happy to hear that everyone will still receive their salary. Rick then asks Carl to finish locking up before leaving for the night.
Strengths "The dialogue between Rick and Carl is realistic and helps to establish their relationship. The scene is also important in furthering the plot by emphasizing the financial troubles of the cafe."
Weaknesses "There is not much conflict or emotional impact in this scene."
Critique Overall, this scene feels functional but lacks depth. The dialogue serves to move the plot forward, but there is no real conflict or tension. Here are some specific points to consider for improvement:

- The conversation between Rick and Carl is very straightforward and lacks any subtext. Adding some layer of character emotion or tension could make this scene more engaging.
- The mention of a bribe feels like a missed opportunity to explore Rick's moral code or his relationship to corruption in the world of the film. It's a throwaway line that doesn't have much impact.
- The exchange between Rick and Carl about where Carl is going feels like it's trying to create suspicion, but it falls flat because the audience doesn't have any context for why this should matter. It seems like a device to create intrigue without really earning it.
- The setting of Rick's Cafe could be used to elevate the scene with some visual interest or atmosphere, but it's not really utilized in this scene.

Overall, this scene feels like it's going through the motions without really engaging the audience. To improve it, the writer could focus on creating more meaningful dialogue with subtext, developing conflicts or tensions between the characters, and using the setting to enhance the story.
Suggestions 1. Make the dialogue more concise and impactful: The conversation between Rick and Carl seems a bit too casual and lacks tension. It would be good to make their banter more concise, and add more depth to their relationship. For example, perhaps Carl owes Rick money, or Rick is worried about Carl's safety if he goes to the meeting.

2. Establish the stakes: It's not clear why Rick is worried about staying closed or what the consequences might be. It would be helpful to establish the stakes of the situation and why staying open or closed is important.

3. Add visual interest: Since this is a visual medium, it would be great to add some visual interest to the scene. Perhaps we see shots of Sacha and other employees working in the cafe, or the streets outside are particularly busy or quiet, or the lighting changes as the conversation becomes more tense.

4. Leave room for character development: This is a good opportunity to further develop the characters of Rick and Carl. Perhaps adding some backstory to their relationship or showing more of their emotional reactions could enhance the scene.



Scene 28 -  Ilsa Pleads with Rick for the Letters of Transit
  • Overall: 9.0
  • Concept: 8
  • Plot: 10
  • Characters: 9
  • Dialogue: 10
57 INT. RICK'S CAFE - APARTMENT - NIGHT 57

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:
Genres: ["Drama","Romance","Thriller"]

Summary Ilsa visits Rick and pleads with him to give her the letters of transit, but he refuses. She reveals that Laszlo's life is in danger if he doesn't help them and points a gun at Rick, but he reveals that he has the letters all along. They embrace and kiss passionately.
Strengths "The scene has high emotional impact and strong character development for Rick and Ilsa. The dialogue is intense and engaging, with well-crafted lines and tension throughout."
Weaknesses "The scene relies heavily on prior knowledge of the storyline and characters, which might be confusing for those unfamiliar with the film. The setting is static, and there is little action or movement throughout."
Critique The scene is well-written and flows smoothly. The dialogue between Rick and Ilsa is engaging and reveals their conflicting emotions. I appreciate the use of action to break up the dialogue and create movement in the scene. However, I would have liked more description of the characters' actions and their emotions, as well as the setting. It would also benefit from more sensory information, such as smells and sounds, to help the audience feel more immersed in the scene. Overall, it's a strong scene, but could use a bit more sensory detail and deeper exploration of the characters' emotions.
Suggestions The scene could benefit from some visual and sensory cues to enhance the emotions and tension between Rick and Ilsa. Perhaps adding details about the tightness of the space, the lighting, and any sounds in the background could help create a stronger sense of the atmosphere. Additionally, there could be some actions and movements that indicate their physical reactions to their emotions, such as Rick taking a deep breath or Ilsa wiping away tears. Using more descriptive language and vivid imagery could help bring the audience deeper into the scene and increase their engagement with the characters and their conflict.



Scene 29 -  Revelations and Resolutions
  • Overall: 9.0
  • Concept: 8
  • Plot: 9
  • Characters: 10
  • Dialogue: 10
58 INT. RICK'S CAFE - APARTMENT - LATER 58

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.
Genres: ["Drama","Romance","War"]

Summary Ilsa reveals secrets from her past to Rick, including her marriage to Laszlo, his capture by the Gestapo, and his current situation. She pleads with Rick to help get Laszlo out of the country, but he initially refuses. As Laszlo and Carl make their way to Rick's cafe, Rick and Ilsa hear voices below and hide on the balcony.
Strengths "Reveals important character details and motivations, builds tension and conflict, emotional payoff with Rick and Ilsa's reconciliation"
Weaknesses "Slow pace could lose audience members who are not invested in the characters and their relationships"
Critique Overall, this scene is well-written and engaging, with clear character motivations and strong emotional stakes. However, there are a few areas that could be improved:

- There are a lot of exposition dumps in this scene, where characters explain backstory in long chunks of dialogue. While this information is important for the plot, it could be integrated more smoothly and with more active choices for the characters. For example, instead of Ilsa simply telling Rick about her marriage and Victor's capture, she could struggle with whether to reveal the truth or keep it hidden, or try to protect Rick from the danger of knowing too much.
- The scene relies heavily on clichés and melodramatic dialogue, especially in the romantic moments between Rick and Ilsa. Lines like "Here's looking at you, kid" and "I wish I didn't love you so much" are iconic, but they also feel dated and overwrought. A more subtle approach to their relationship, with more subtext and nuance, could make their connection feel more genuine and complex.
- The scene could use more visual variety and action to break up the dialogue. The dialogue is strong, but there are long stretches of just Rick and Ilsa sitting and talking. Adding more movement or activity in the space could make the scene feel more dynamic and engaging. For example, while they talk, Rick could be pacing or pouring drinks, or Ilsa could be fidgeting with the champagne bottle. Small details like this could add texture to the scene and make it more visually interesting.
Suggestions One possible suggestion to improve the scene is to add more visual elements and actions to make it more dynamic and engaging for the audience. For example, instead of just having Rick and Ilsa sitting on the couch talking, the scene could be staged with more movement and blocking. They could be pacing back and forth or doing something physical to convey the tension and emotions of the conversation.

Another suggestion could be to add more conflict or obstacles for the characters to overcome. While it is interesting to learn about Ilsa's past and her relationship with Victor, there could be more dramatic tension if there were external forces or people trying to prevent them from being together. This could add more stakes and urgency to the scene and keep the audience invested in the outcome.

Finally, another suggestion could be to make the dialogue more concise and impactful. While the scene is well-written and has some memorable lines, there could be opportunities to streamline the dialogue and make it more focused on the central conflict between Rick and Ilsa. This could help to make the scene more emotionally resonant and memorable for the audience.



Scene 30 -  The Arrest
  • Overall: 8.5
  • Concept: 8
  • Plot: 9
  • Characters: 9
  • Dialogue: 8
62 INT. RICK'S CAFE - BALCONY - MAIN ROOM - NIGHT 62

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:
Genres: ["Drama","Romance","War"]

Summary Laszlo is injured and the police raid their underground meeting. Rick asks Carl to turn off the light in the rear entrance and escort Ilsa home. Laszlo reveals his love for Ilsa to Rick and asks for his help to get the letters of transit in exchange for her safety. Suddenly, the police arrest Laszlo, and he leaves with the French officer.
Strengths "The tension and conflict in this scene are very high, and the emotional impact is significant. The dialogue is intense and meaningful, revealing more about the characters' personalities and motivations."
Weaknesses "Some parts of the scene may feel a bit clich\u00e9, such as Laszlo's arrest. The reveal of Rick having the letters may feel a bit contrived."
Critique Overall, this scene is well-written and serves to build tension and advance the plot. However, there are a few areas that could be improved.

Firstly, the dialogue can be a bit on the nose at times and could benefit from more subtlety. For example, when Laszlo says "It's nothing. Just a little cut. We had to get through a window," it feels like a forced way to explain the injury and the escape. It would be more effective to show the injury and the characters' urgency without having to spell it out.

Secondly, the transition between scenes could be smoother. As it is, the scene cuts abruptly from Carl climbing the stairs to Rick's apartment to Rick coming down the stairs and talking to Laszlo. Adding a small transition, such as a fade or a short shot of Rick's apartment interior, would make the shift less jarring.

Lastly, while the dialogue between Rick and Laszlo effectively raises the stakes and reveals character motivations, it can feel a bit heavy-handed. The conversation is important for advancing the plot, but it could benefit from more subtle hints at the characters' inner feelings and thoughts.

Overall, the scene is well-written and engaging, but could be improved with more subtlety and smoother transitions.
Suggestions First, I would suggest adding more visual and sensory details to the scene to create a stronger sense of atmosphere. For example, describing the lighting and sounds in the cafe and apartment, as well as the body language and facial expressions of the characters, can help immerse the audience in the scene.

Additionally, I would suggest exploring the emotional stakes of the scene more deeply. For example, why is Laszlo injured and what does that say about the danger he and the other characters are facing? How does Rick feel about Ilsa being taken away by Carl and how does that impact his relationship with her? Exploring these emotional layers can help make the scene more engaging for the audience.

Lastly, I would suggest considering the pacing of the scene. Is there enough tension and conflict building up to the entrance of the French officer and Laszlo's arrest? Are there any parts of the dialogue that could be trimmed or rephrased to create more tension? Focusing on the pacing can help make the scene more impactful and memorable.



Scene 31 -  The Deal
  • Overall: 9.0
  • Concept: 8
  • Plot: 9
  • Characters: 9
  • Dialogue: 10
65 INT. RENAULT'S OFFICE - MORNING 65

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:
Genres: ["drama","romance","war"]

Summary Rick and Renault negotiate a deal to secure Laszlo's freedom in exchange for the letters of transit. Rick reveals he already has them and plans to leave with Ilsa on the last plane out of Casablanca. Renault expresses concern over Rick's ability to keep his end of the bargain.
Strengths
  • tense negotiation between two strong-willed characters
  • intricate plot twists
  • well-developed characters
Weaknesses
  • slow pacing
  • lack of action
Critique Overall, the scene is well-written and effectively moves the plot forward. The dialogue is natural and flows well, providing insight into the relationships between the characters and their motivations.

However, there are a few areas that could be improved. One is the lack of visual description. The scene could benefit from more description of the characters' actions and expressions, especially during moments of tension and conflict.

Another aspect that could be improved is the pacing. The scene starts off slow and builds up to a tense moment, but then ends suddenly without much resolution. It would be more satisfying if the scene had a clear conclusion or cliffhanger to build anticipation for the next scene.

Overall, the scene is strong but could be enhanced with more visual description and clearer pacing.
Suggestions There are a few things that could be improved in this scene to make it more engaging for the audience and strengthen the tension between the characters. Here are some suggestions:

1. Add more action: Right now, the scene is mostly dialogue between Renault and Rick. To make it more visually interesting, consider adding in some action. For example, maybe Rick nervously paces around the room or fidgets with a pen while trying to convince Renault. Maybe Renault stands up and paces behind his desk while Rick talks. These small actions can add depth to the scene and make it more engaging for the audience.

2. Use more descriptive language: The scene could benefit from more descriptive language that helps the audience visualize what's happening. For example, instead of just saying that Renault hands some forms to an orderly who exits, describe how the orderly looks and moves. This can create a richer, more textured environment for the scene.

3. Increase the stakes: To make the scene more tense, consider increasing the stakes for each character. Right now, Rick is trying to convince Renault to release Laszlo and give him and Ilsa safe passage out of Casablanca. But what if Rick had even more to lose if he fails? What if Laszlo has information that could incriminate Rick, and he's desperate to get him out of town before anyone finds out? By raising the stakes, the audience will be more invested in what happens next.

4. Create more conflict: Finally, consider adding in more conflict between Renault and Rick. Right now, they're mostly talking past each other, but what if they had fundamental disagreements about what is right and wrong? What if there was a history between them that made the conversation more fraught? By creating more conflict, the scene will feel more dynamic and engaging to watch.



Scene 32 -  The Last Deal
  • Overall: 9.0
  • Concept: 9
  • Plot: 10
  • Characters: 9
  • Dialogue: 9
66 INT. THE BLUE PARROT - DAY 66

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:
Genres: ["Drama","Romance","War"]

Summary Rick reaches a deal with Ferrari to sell his cafe and prepares to leave Casablanca. While reading the letters of transit, Renault arrives to secure Laszlo's freedom. Laszlo and Ilsa arrive at Rick's, but the police show up outside, forcing the cafe to close. Rick reveals he has the letters, and Renault takes them upstairs, while Laszlo asks for Rick's help in exchange for Ilsa's safety.
Strengths "The tension between Rick and Renault, the emotional stakes between Laszlo, Ilsa, and Rick, the ultimate reveal that Rick has the letters of transit"
Weaknesses "The lack of action and the mostly dialogue-driven scenes"
Critique Overall, this scene in "Casablanca" is well-written and effective in advancing the plot. The dialogue is natural and helps to establish the characters of Rick and Ferrari. The tension between the two is established through their negotiation and the mention of cigarettes owed to Rick's cafe. Additionally, the scene sets up the conflict with the Prefect of Police and suggests that Rick may be leaving Casablanca.

One possible critique is that the scene could benefit from more visual descriptions or actions to break up the dialogue and add more depth to the setting and characters. For example, a description of the Blue Parrot's decor or atmosphere could help to further establish the mood. Additionally, more physical gestures or expressions from Rick and Ferrari could add more nuance to their negotiation and their respective personalities.

Overall, however, this scene is a strong example of how effective dialogue can drive a plot and establish character tensions.
Suggestions One suggestion to improve this scene would be to add more tension and conflict. Currently, the scene is just a business deal being made between Rick and Ferrari. Adding in some sort of disagreement or negotiation could make the scene more engaging for the audience. Additionally, the scene could benefit from more visual cues or actions to convey the characters' emotions and motivations. For example, Rick could be fidgeting or looking around nervously if he's not fully honest or comfortable with the deal. Lastly, the transition between the scene of Rick and Ferrari at the Blue Parrot to Rick reading the letters of transit at his cafe could feel smoother if there was a tighter link or significance between the two scenes.



Scene 33 -  Betrayal and Trust
  • Overall: 8.0
  • Concept: 7
  • Plot: 8
  • Characters: 9
  • Dialogue: 9
70 INT. RICK'S CAFE - MAIN ROOM - NIGHT 70

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:
Genres: ["drama","romance","war"]

Summary Ilsa reveals to Rick that she is leaving with Victor Laszlo, but asks him to keep it a secret until they reach the airport. Laszlo thanks Rick for his help while they prepare to leave. Meanwhile, Renault watches from afar.
Strengths "Powerful dialogue and character development that lead to a tense situation. The reveal of Rick's plan to leave with Ilsa adds a surprising twist."
Weaknesses "There is a lack of action in this scene compared to earlier ones in the film."
Critique Overall, this scene is well written and effectively communicates its purpose within the larger story. However, there are a few areas that could be improved.

Firstly, the stage direction could benefit from more descriptive language. While the dialogue is strong and moves the story forward, the action descriptions could be more evocative and memorable. For example, instead of "Laszlo deposits his hat on a nearby table," the writer could describe the way he tosses his hat with a sense of purpose or relief, giving more weight to his actions and character.

Additionally, there is some room for more subtext and tension in the scene. While the characters are all saying what needs to be said, there isn't as much nuance or conflict as there could be. For example, Rick and Ilsa's conversation could have more underlying tension and unsaid feelings, as they are trying to keep their true intentions hidden from Laszlo. If the writer could add more layers of subtext, the scene could have even greater impact and resonance with the audience.

Overall, this is a solid scene that moves the plot forward and effectively sets up what's to come. With some more descriptive language and subtext, it could be even stronger.
Suggestions Here are a few suggestions:

1. Add more emotional depth to the scene. Show how the characters are feeling and what they are thinking. For example, show Ilsa's fear and anxiety as she worries about leaving with Victor, and show Rick's conflicted feelings about his love for Ilsa and his sense of duty to help Victor.

2. Use more descriptive language to set the tone and atmosphere of the scene. For example, describe the lighting, the music playing in the background, and the reactions of other patrons in the cafe.

3. Use more dialogue to reveal character and advance the plot. For example, show Rick and Ilsa talking about their past and how they feel about each other, and show Laszlo expressing his gratitude to Rick.

4. Create more tension and conflict in the scene. For example, show Victor becoming suspicious or angry when he finds out that Ilsa is not leaving with him, or show Renault trying to interfere with their plans.

5. Add more visual elements to the scene. For example, show Rick and Ilsa holding hands or sharing a kiss, or show them looking at each other with longing and regret.



Scene 34 -  Betrayal and Redemption
  • Overall: 9.0
  • Concept: 9
  • Plot: 10
  • Characters: 9
  • Dialogue: 9
72 INT. RICK'S CAFE - MAIN ROOM - NIGHT 72

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:
Genres: ["Drama","Romance","Film noir"]

Summary Rick gives Laszlo the blank letters of transit, but the police arrest him for accessory to murder. Rick reveals he already had the letters and prepares to leave with Ilsa, but Renault interrupts and secures Laszlo's freedom in exchange for the letters. Rick pulls out a gun and holds Renault at bay while he calls the airport. Strasser orders a squad of police to the airport. In the end, Rick lets Laszlo and Ilsa leave together, sacrificing his own happiness for theirs.
Strengths "Intense conflict and tension, unexpected twists and turns, strong character development, raw and emotional dialogue"
Weaknesses "Some may find the ending bittersweet or unsatisfying"
Critique Overall, this scene is well-constructed and suspenseful, with tension building steadily as the characters navigate their shifting alliances and unforeseen obstacles. The dialogue is snappy and memorable, particularly Rick's famous lines like "Here's looking at you, kid."

However, one potential critique is that the characters' emotions may be slightly underdeveloped, as they pivot abruptly from distrust to trust and back again without much explanation or motivation. For example, it's not entirely clear why Rick suddenly decides to turn on his former ally Renault, or why Renault is so quick to cave to Rick's demands despite previously being on opposite sides. Additionally, the scene may benefit from more detailed description of the setting and character actions to heighten the tension and make the stakes feel higher.
Suggestions One suggestion would be to add more physical description and sensory experience for the characters and setting. For example, how do Ilsa and Laszlo react physically to Renault's announcement of the arrest? What does the airport look and smell like in the fog? This can help create a more immersive experience for the audience.

Additionally, it may be beneficial to add more depth and development to the conflict between Rick and Renault. Why exactly is Rick defying Renault and risking his own safety? This could add more tension and intrigue to the scene.

Finally, considering the context of the rest of the script and where this scene falls within the larger story arc, is there an opportunity to further heighten the stakes and increase the sense of danger? This could make the scene more memorable and impactful for the audience.



Scene 35 -  Rick Sacrifices His Happiness
  • Overall: 9.0
  • Concept: 8
  • Plot: 9
  • Characters: 10
  • Dialogue: 9
75 INT/EXT. AIRPORT HANGAR - NIGHT 75

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:
Genres: ["Drama","Romance","War"]

Summary As the plane is about to leave, Rick sacrifices his love for Ilsa and hands over the letters of transit to Renault. He decides to stay behind and face the consequences of his actions. Ilsa and Victor Laszlo leave for Lisbon, and Rick is arrested by the police.
Strengths
  • Strong emotional climax
  • Iconic dialogue and performances
  • Compelling character arcs
  • Tense conflict
Weaknesses
  • Some elements of the plot feel contrived
  • Some characters are underdeveloped
Critique Overall, this is a well-crafted scene with strong dialogue and good pacing. The tension is palpable as the characters face the decision of whether or not to board the plane.

One minor critique would be that the scene could benefit from some more descriptive action lines to add visual interest and detail. However, as this is a mostly dialogue-driven scene, it's not necessarily a major issue.

The dialogue itself is strong, with the conflict between Rick and Ilsa escalating in a believable way. The iconic final line, "Here's looking at you, kid," is a memorable moment that perfectly encapsulates the bittersweet nature of their farewell.

One potential issue with the scene is that the motivations of some of the characters could be clearer. It's not entirely clear why Rick suddenly decides that Ilsa should board the plane, and this could potentially feel unearned or confusing to some viewers. Additionally, the character of Renault could benefit from some more development, as it's not always clear where his loyalties lie or why he's so willing to go along with Rick's plan.

Overall, though, this is a strong scene that does a good job of capturing the complex emotions and high stakes of the story as a whole.
Suggestions Overall, this scene is well-written and emotionally impactful. Here are a few suggestions to improve it:

1. Add more visual description: The scene is heavy on dialogue, but could benefit from more visual description to help the reader visualize what is happening. For example, describing the lighting and atmosphere in the hangar or the expressions on the characters' faces could enhance the scene.

2. Vary sentence length and structure: There are many short, straightforward sentences in this scene, which can make it feel choppy or lacking in nuance. Varying sentence length and structure can help add rhythm and depth to the scene.

3. Clarify character motivations: In some moments, it feels unclear why the characters are making certain decisions or saying certain things. Adding more context to their motivations can help the scene feel more organic and emotionally true.

4. Consider adding action: While the dialogue in this scene is powerful, adding some physical action (such as characters moving from one place to another) can help break up the dialogue and make the scene feel more dynamic.

5. Tie up loose ends: The scene ends abruptly with a cut to a new location. Adding a few more sentences to wrap up the action (such as a description of Major Strasser's response to what he learns at the airport) can help create a sense of closure and resolution.



Scene 36 -  Casablanca - The Sacrifice
  • Overall: 9.0
  • Concept: 8
  • Plot: 9
  • Characters: 10
  • Dialogue: 9
77 INT/EXT. AIRPORT HANGAR - NIGHT 77

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
Genres: ["Drama","Romance","War"]

Summary Rick sacrifices his own happiness to ensure the safety of Ilsa and Victor Laszlo. He hands over the precious letters of transit to Renault, let Laszlo and Ilsa leave together, and decides to face the consequences of his actions. Meanwhile, the police and the Nazis arrive at the scene, and a shoot-out takes place resulting in the death of Major Strasser. Rick and Renault walk away, watching the plane take off into the night.
Strengths
  • Powerful and emotional climax
  • Vibrant characters
  • Memorable lines and quotes
Weaknesses
  • Some plot holes
  • Some contrived plot twists
Critique Overall, this is a well-written and engaging scene. The dialogue is natural and reveals the characters' motivations and emotions. The tension between Rick and Ilsa is palpable, as is the conflict between Rick and Renault. The climax of the scene, with the exchange of gunfire and the death of Major Strasser, is exciting and satisfying.

However, there are a few areas where the scene could be improved. For example, the stage directions could be more specific and vivid, helping to immerse the reader in the setting and action. Additionally, some of the dialogue is a bit on-the-nose and could be more subtle or nuanced, allowing the audience to infer the characters' thoughts and feelings rather than having them spelled out explicitly.

Overall, though, this is a strong scene that effectively advances the plot and character development while also delivering on tension and excitement.
Suggestions One suggestion would be to add more emotional weight to the moment when Rick reveals the truth about Ilsa to Laszlo. Right now, Laszlo's reaction feels a bit muted (he simply says "I understand"). It would be more impactful if we could see the weight of this news on Laszlo's face, and perhaps have him struggle to accept it before ultimately thanking Rick for his honesty. This would add some depth and nuance to their relationship, and make the final scene between them feel more satisfying. Additionally, it might be helpful to clarify why Strasser is so intent on stopping Laszlo - what is at stake for him and for the Nazi cause? This would heighten the tension and give the audience a clearer sense of what is at stake in the final showdown.