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"Casablanca"

by

Julius Epstein, Philip G.Epstein, and Howard Koch

Adapted from the play

"Everybody Comes to Rick's"

by

Murray Burnett and Joan Allison

1234 Your StreetCity, State ZipPhone

FADE IN:

A REVOLVING GLOBE

As the globe revolves it becomes animated -- long lines ofpeople stream from all sections of Europe to converge upon

one point on the tip of Africa. Over this animated scenecomes the voice of a Narrator.

NARRATORWith the coming of the SecondWorld War, many eyes inimprisoned Europe turnedhopefully, or desperately,toward the freedom of theAmericas. Lisbon became thegreat embarkation point. Butnot everybody could get toLisbon directly, and so, atortuous, roundabout refugeetrail sprang up...

An animated map illustrates the trail as the narratormentions the points.

NARRATORParis to Marseilles, across theMediterranean to Oran, then bytrain, or auto, or foot, acrossthe rim of Africa to Casablancain French Morocco.

A relief map of Casablanca shows the ocean on one side andthe desert on the other.

NARRATORHere, the fortunate ones,through money, or influence, orluck, might obtain exit visasand scurry to Lisbon, and fromLisbon to the New World. Butthe others wait in Casablanca --and wait -- and wait -- and wait.

The narrator's voice fades away...

EXT. OLD MOORISH SECTION OF THE CITY - DAY

At first only the turrets and rooftops are visible againsta torrid sky. Then we see the facades of the Moorishbuildings, and a narrow, twisting street crowded with thepolyglot life of a native quarter.

The intense desert sun holds the scene in a torpidtranquillity. Activity is unhurried and sounds are muted.

2.

But now an officer's whistle shatters the calm. Veiledwomen run screaming for shelter. Street vendors, beggarsand urchins melt into doorways. A police car pulls up,sirens shrieking; Native French officers proceed to roundup frightened refugees.

At a corner two policemen have stopped a white civilian.

FIRST POLICEMANMay we see your papers, please?

CIVILIANI don't think I have them -- onme.

FIRST POLICEMANIn that case, we'll have to askyou to come along.

CIVILIAN(patting his pockets)

It's just possible that I --Yes, here they are.

He brings out his papers. The second policeman examinesthem.

SECOND POLICEMANThese papers expired threeweeks ago. You'll have to --

Suddenly the civilian breaks away, starts to run wildlydown the street. We hear the policeman shout "Halt!" --But the civilian keeps going. A shot rings out; the manfalls.

Huddled in a doorway are JAN and ANNINA BRANDEL, the dazedand frightened spectators to this casual tragedy. They arean Austrian couple, young and attractive, thrust bycircumstances into an unfamiliar, hectic world.

Annina's hand clutches her husband's arm as their eyesfollow the police, who are examining the victim.

CUT TO:

EXT. PALAIS DE JUSTICE - DAY

Carved in marble along the roofline are the words, "Liberte,Egalite, Fraternite." Below that the high-vaulted entranceis inscribed, "Palais de Justice." A queue of people ofall ages and nationalities overflows from inside thebuilding and down the steps.

A police car pulls up to the curb. A policeman opens thegrated door at the back and a nondescript assortment ofrefugees begin to pour out.

3.

EXT. SIDEWALK CAFE (ACROSS FROM PALAIS DE JUSTICE) - DAY

A middle-aged ENGLISH COUPLE sit at their table observingthe commotion. A DARK EUROPEAN man standing nearby watchesthem more closely than the scene on the street.

ENGLISHWOMANWhat on earth's going on there?

DARK EUROPEAN(approaching thecouple)

Pardon, Madame... have you notheard?

ENGLISHMANWe hear very little -- and weunderstand less.

DARK EUROPEAN

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FADE IN:

A REVOLVING GLOBE

As the globe revolves it becomes animated -- long lines ofpeople stream from all sections of Europe to converge upon

one point on the tip of Africa. Over this animated scenecomes the voice of a Narrator.

NARRATORWith the coming of the SecondWorld War, many eyes inimprisoned Europe turnedhopefully, or desperately,toward the freedom of theAmericas. Lisbon became thegreat embarkation point. Butnot everybody could get toLisbon directly, and so, atortuous, roundabout refugeetrail sprang up...

An animated map illustrates the trail as the narratormentions the points.

NARRATORParis to Marseilles, across theMediterranean to Oran, then bytrain, or auto, or foot, acrossthe rim of Africa to Casablancain French Morocco.

A relief map of Casablanca shows the ocean on one side andthe desert on the other.

NARRATORHere, the fortunate ones,through money, or influence, orluck, might obtain exit visasand scurry to Lisbon, and fromLisbon to the New World. Butthe others wait in Casablanca --and wait -- and wait -- and wait.

The narrator's voice fades away...

EXT. OLD MOORISH SECTION OF THE CITY - DAY

At first only the turrets and rooftops are visible againsta torrid sky. Then we see the facades of the Moorishbuildings, and a narrow, twisting street crowded with thepolyglot life of a native quarter.

The intense desert sun holds the scene in a torpidtranquillity. Activity is unhurried and sounds are muted.

2.

But now an officer's whistle shatters the calm. Veiledwomen run screaming for shelter. Street vendors, beggarsand urchins melt into doorways. A police car pulls up,sirens shrieking; Native French officers proceed to roundup frightened refugees.

At a corner two policemen have stopped a white civilian.

FIRST POLICEMANMay we see your papers, please?

CIVILIANI don't think I have them -- onme.

FIRST POLICEMANIn that case, we'll have to askyou to come along.

CIVILIAN(patting his pockets)

It's just possible that I --Yes, here they are.

He brings out his papers. The second policeman examinesthem.

SECOND POLICEMANThese papers expired threeweeks ago. You'll have to --

Suddenly the civilian breaks away, starts to run wildlydown the street. We hear the policeman shout "Halt!" --But the civilian keeps going. A shot rings out; the manfalls.

Huddled in a doorway are JAN and ANNINA BRANDEL, the dazedand frightened spectators to this casual tragedy. They arean Austrian couple, young and attractive, thrust bycircumstances into an unfamiliar, hectic world.

Annina's hand clutches her husband's arm as their eyesfollow the police, who are examining the victim.

CUT TO:

EXT. PALAIS DE JUSTICE - DAY

Carved in marble along the roofline are the words, "Liberte,Egalite, Fraternite." Below that the high-vaulted entranceis inscribed, "Palais de Justice." A queue of people ofall ages and nationalities overflows from inside thebuilding and down the steps.

A police car pulls up to the curb. A policeman opens thegrated door at the back and a nondescript assortment ofrefugees begin to pour out.

3.

EXT. SIDEWALK CAFE (ACROSS FROM PALAIS DE JUSTICE) - DAY

A middle-aged ENGLISH COUPLE sit at their table observingthe commotion. A DARK EUROPEAN man standing nearby watchesthem more closely than the scene on the street.

ENGLISHWOMANWhat on earth's going on there?

DARK EUROPEAN(approaching thecouple)

Pardon, Madame... have you notheard?

ENGLISHMANWe hear very little -- and weunderstand less.

DARK EUROPEANTwo German couriers were foundmurdered in the desert.

(an ironic smile)The... unoccupied desert. Thisis the customary roundup ofrefugees, liberals, and... ofcourse, a beautiful young girlfor M'sieur Renault, the Prefectof Police.

Refugees continue to emerge from the police car. Last out

is a young blonde girl.

DARK EUROPEANUnfortunately, along with theseunhappy refugees the scum ofEurope has gravitated toCasablanca. Some of them havebeen waiting years for a visa.

He puts his arm compassionately around the Englishman.

DARK EUROPEAN

M'sieur, I beg of you, watchyourself. Be on guard. Thisplace is full of vultures.Vultures everywhere, everywhere.

The Englishman is rather taken aback by this sudden displayof concern.

ENGLISHMANEr-er-thank you. Thank you verymuch.

4.

DARK EUROPEANNot at all.

(raising his hat)Bon jour, Madame. Bon jour,M'sieur.

He walks off. The Englishman, still a trifle disconcertedby the European's action, looks after him, mopping hisbrow with his handkerchief.

ENGLISHMANFriendly chap, wasn't he?

As he pats his breast pocket there is something lacking.He opens his coat, feels inside.

ENGLISHMANSilly of me...

ENGLISHWOMANWhat, dear?

ENGLISHMAN

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2.

But now an officer's whistle shatters the calm. Veiledwomen run screaming for shelter. Street vendors, beggarsand urchins melt into doorways. A police car pulls up,sirens shrieking; Native French officers proceed to roundup frightened refugees.

At a corner two policemen have stopped a white civilian.

FIRST POLICEMANMay we see your papers, please?

CIVILIANI don't think I have them -- onme.

FIRST POLICEMANIn that case, we'll have to askyou to come along.

CIVILIAN(patting his pockets)

It's just possible that I --Yes, here they are.

He brings out his papers. The second policeman examinesthem.

SECOND POLICEMANThese papers expired threeweeks ago. You'll have to --

Suddenly the civilian breaks away, starts to run wildlydown the street. We hear the policeman shout "Halt!" --But the civilian keeps going. A shot rings out; the manfalls.

Huddled in a doorway are JAN and ANNINA BRANDEL, the dazedand frightened spectators to this casual tragedy. They arean Austrian couple, young and attractive, thrust bycircumstances into an unfamiliar, hectic world.

Annina's hand clutches her husband's arm as their eyesfollow the police, who are examining the victim.

CUT TO:

EXT. PALAIS DE JUSTICE - DAY

Carved in marble along the roofline are the words, "Liberte,Egalite, Fraternite." Below that the high-vaulted entranceis inscribed, "Palais de Justice." A queue of people ofall ages and nationalities overflows from inside thebuilding and down the steps.

A police car pulls up to the curb. A policeman opens thegrated door at the back and a nondescript assortment ofrefugees begin to pour out.

3.

EXT. SIDEWALK CAFE (ACROSS FROM PALAIS DE JUSTICE) - DAY

A middle-aged ENGLISH COUPLE sit at their table observingthe commotion. A DARK EUROPEAN man standing nearby watchesthem more closely than the scene on the street.

ENGLISHWOMANWhat on earth's going on there?

DARK EUROPEAN(approaching thecouple)

Pardon, Madame... have you notheard?

ENGLISHMANWe hear very little -- and weunderstand less.

DARK EUROPEANTwo German couriers were foundmurdered in the desert.

(an ironic smile)The... unoccupied desert. Thisis the customary roundup ofrefugees, liberals, and... ofcourse, a beautiful young girlfor M'sieur Renault, the Prefectof Police.

Refugees continue to emerge from the police car. Last out

is a young blonde girl.

DARK EUROPEANUnfortunately, along with theseunhappy refugees the scum ofEurope has gravitated toCasablanca. Some of them havebeen waiting years for a visa.

He puts his arm compassionately around the Englishman.

DARK EUROPEAN

M'sieur, I beg of you, watchyourself. Be on guard. Thisplace is full of vultures.Vultures everywhere, everywhere.

The Englishman is rather taken aback by this sudden displayof concern.

ENGLISHMANEr-er-thank you. Thank you verymuch.

4.

DARK EUROPEANNot at all.

(raising his hat)Bon jour, Madame. Bon jour,M'sieur.

He walks off. The Englishman, still a trifle disconcertedby the European's action, looks after him, mopping hisbrow with his handkerchief.

ENGLISHMANFriendly chap, wasn't he?

As he pats his breast pocket there is something lacking.He opens his coat, feels inside.

ENGLISHMANSilly of me...

ENGLISHWOMANWhat, dear?

ENGLISHMANLeaving my wallet in the hotelroom...

He closes his coat, then suddenly looks off in thedirection of the departing European, the clouds ofsuspicion gathering.

But now, overhead, the drone of a low-flying airplane is

heard. Heads look up.

THE AIRPLANE OVERHEAD

Its motor cut for a landing -- a swastika visible on itstail.

EXT. PALAIS DE JUSTICE - DAY

The refugees' upturned gaze follows the flight of theplane. In their faces is revealed one hope they all havein common -- and the plane is the symbol of that hope.

Jan and Annina are just taking their places at the end ofthe line. Their eyes also follow the droning plane.

ANNINAPerhaps tomorrow we'll be onthat plane.

DISSOLVE TO:

THE AIRPLANE OVERHEAD

swooping down, past a neon sign on a building on the edgeof the airport. The sign reads: "RICK'S."

5.

EXT. AIRPORT - DAY

Waiting on the ground is CAPTAIN LOUIS RENAULT, a Frenchofficer, appointed by Vichy as Prefect of Police inCasablanca. He is a handsome, middle-aged Frenchman,debonair and gay, but withal a shrewd and alert official.

Around him are clustered the German Consul, HERR HEINZE, ayoung Italian officer, CAPTAIN TONELLI, and Renault's aide,LIEUTENANT CASSELLE. Behind them is a detail of Frenchnative soldiers.

The first passenger out is a large German. He is bland-faced, with a perpetual smile that seems more the resultof a frozen face muscle than a cheerful disposition. Onany occasion when MAJOR STRASSER is crossed, the smilemelts and the expression hardens into iron.

Herr Heinze steps up to him with upraised arm.

HEINZEHeil Hitler.

STRASSERHeil Hitler.

They shake hands.

HEINZE(

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3.

EXT. SIDEWALK CAFE (ACROSS FROM PALAIS DE JUSTICE) - DAY

A middle-aged ENGLISH COUPLE sit at their table observingthe commotion. A DARK EUROPEAN man standing nearby watchesthem more closely than the scene on the street.

ENGLISHWOMANWhat on earth's going on there?

DARK EUROPEAN(approaching thecouple)

Pardon, Madame... have you notheard?

ENGLISHMANWe hear very little -- and weunderstand less.

DARK EUROPEANTwo German couriers were foundmurdered in the desert.

(an ironic smile)The... unoccupied desert. Thisis the customary roundup ofrefugees, liberals, and... ofcourse, a beautiful young girlfor M'sieur Renault, the Prefectof Police.

Refugees continue to emerge from the police car. Last out

is a young blonde girl.

DARK EUROPEANUnfortunately, along with theseunhappy refugees the scum ofEurope has gravitated toCasablanca. Some of them havebeen waiting years for a visa.

He puts his arm compassionately around the Englishman.

DARK EUROPEAN

M'sieur, I beg of you, watchyourself. Be on guard. Thisplace is full of vultures.Vultures everywhere, everywhere.

The Englishman is rather taken aback by this sudden displayof concern.

ENGLISHMANEr-er-thank you. Thank you verymuch.

4.

DARK EUROPEANNot at all.

(raising his hat)Bon jour, Madame. Bon jour,M'sieur.

He walks off. The Englishman, still a trifle disconcertedby the European's action, looks after him, mopping hisbrow with his handkerchief.

ENGLISHMANFriendly chap, wasn't he?

As he pats his breast pocket there is something lacking.He opens his coat, feels inside.

ENGLISHMANSilly of me...

ENGLISHWOMANWhat, dear?

ENGLISHMANLeaving my wallet in the hotelroom...

He closes his coat, then suddenly looks off in thedirection of the departing European, the clouds ofsuspicion gathering.

But now, overhead, the drone of a low-flying airplane is

heard. Heads look up.

THE AIRPLANE OVERHEAD

Its motor cut for a landing -- a swastika visible on itstail.

EXT. PALAIS DE JUSTICE - DAY

The refugees' upturned gaze follows the flight of theplane. In their faces is revealed one hope they all havein common -- and the plane is the symbol of that hope.

Jan and Annina are just taking their places at the end ofthe line. Their eyes also follow the droning plane.

ANNINAPerhaps tomorrow we'll be onthat plane.

DISSOLVE TO:

THE AIRPLANE OVERHEAD

swooping down, past a neon sign on a building on the edgeof the airport. The sign reads: "RICK'S."

5.

EXT. AIRPORT - DAY

Waiting on the ground is CAPTAIN LOUIS RENAULT, a Frenchofficer, appointed by Vichy as Prefect of Police inCasablanca. He is a handsome, middle-aged Frenchman,debonair and gay, but withal a shrewd and alert official.

Around him are clustered the German Consul, HERR HEINZE, ayoung Italian officer, CAPTAIN TONELLI, and Renault's aide,LIEUTENANT CASSELLE. Behind them is a detail of Frenchnative soldiers.

The first passenger out is a large German. He is bland-faced, with a perpetual smile that seems more the resultof a frozen face muscle than a cheerful disposition. Onany occasion when MAJOR STRASSER is crossed, the smilemelts and the expression hardens into iron.

Herr Heinze steps up to him with upraised arm.

HEINZEHeil Hitler.

STRASSERHeil Hitler.

They shake hands.

HEINZE(in German)

It is good to see you again,

Major Strasser.

STRASSER(in German)

Thank you. Thank you.

The Italian steps up with elaborate good will.

TONELLICaptain Tonelli, at your servicesir.

STRASSERThat is kind of you.

TONELLIOur staff is anxious tocooperate --

But he gets no farther than that. Strasser turns to greetRenault and Casselle. Herr Heinze makes the introduction.

HEINZEMay I present Captain Renault,Police Prefect of Casablanca...Major Strasser.

6.

The two shake hands.

RENAULTUnoccupied France welcomes youto Casablanca.

STRASSER(in perfect English,beaming)

Thank you, Captain. It is verygood to be here.

RENAULTMajor, may I present my aide,Lieutenant Casselle.

They salute and bow. Renault leads Strasser toward theedge of the airfield, where their cars await them. Heinzeand Casselle follow, with the Italian captain left tobring up the rear.

RENAULTYou may find the climate ofCasablanca a trifle warm, Major.

STRASSEROh, we Germans must get used toall climates -- from Russia tothe Sahara.

(the smile fades)

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4.

DARK EUROPEANNot at all.

(raising his hat)Bon jour, Madame. Bon jour,M'sieur.

He walks off. The Englishman, still a trifle disconcertedby the European's action, looks after him, mopping hisbrow with his handkerchief.

ENGLISHMANFriendly chap, wasn't he?

As he pats his breast pocket there is something lacking.He opens his coat, feels inside.

ENGLISHMANSilly of me...

ENGLISHWOMANWhat, dear?

ENGLISHMANLeaving my wallet in the hotelroom...

He closes his coat, then suddenly looks off in thedirection of the departing European, the clouds ofsuspicion gathering.

But now, overhead, the drone of a low-flying airplane is

heard. Heads look up.

THE AIRPLANE OVERHEAD

Its motor cut for a landing -- a swastika visible on itstail.

EXT. PALAIS DE JUSTICE - DAY

The refugees' upturned gaze follows the flight of theplane. In their faces is revealed one hope they all havein common -- and the plane is the symbol of that hope.

Jan and Annina are just taking their places at the end ofthe line. Their eyes also follow the droning plane.

ANNINAPerhaps tomorrow we'll be onthat plane.

DISSOLVE TO:

THE AIRPLANE OVERHEAD

swooping down, past a neon sign on a building on the edgeof the airport. The sign reads: "RICK'S."

5.

EXT. AIRPORT - DAY

Waiting on the ground is CAPTAIN LOUIS RENAULT, a Frenchofficer, appointed by Vichy as Prefect of Police inCasablanca. He is a handsome, middle-aged Frenchman,debonair and gay, but withal a shrewd and alert official.

Around him are clustered the German Consul, HERR HEINZE, ayoung Italian officer, CAPTAIN TONELLI, and Renault's aide,LIEUTENANT CASSELLE. Behind them is a detail of Frenchnative soldiers.

The first passenger out is a large German. He is bland-faced, with a perpetual smile that seems more the resultof a frozen face muscle than a cheerful disposition. Onany occasion when MAJOR STRASSER is crossed, the smilemelts and the expression hardens into iron.

Herr Heinze steps up to him with upraised arm.

HEINZEHeil Hitler.

STRASSERHeil Hitler.

They shake hands.

HEINZE(in German)

It is good to see you again,

Major Strasser.

STRASSER(in German)

Thank you. Thank you.

The Italian steps up with elaborate good will.

TONELLICaptain Tonelli, at your servicesir.

STRASSERThat is kind of you.

TONELLIOur staff is anxious tocooperate --

But he gets no farther than that. Strasser turns to greetRenault and Casselle. Herr Heinze makes the introduction.

HEINZEMay I present Captain Renault,Police Prefect of Casablanca...Major Strasser.

6.

The two shake hands.

RENAULTUnoccupied France welcomes youto Casablanca.

STRASSER(in perfect English,beaming)

Thank you, Captain. It is verygood to be here.

RENAULTMajor, may I present my aide,Lieutenant Casselle.

They salute and bow. Renault leads Strasser toward theedge of the airfield, where their cars await them. Heinzeand Casselle follow, with the Italian captain left tobring up the rear.

RENAULTYou may find the climate ofCasablanca a trifle warm, Major.

STRASSEROh, we Germans must get used toall climates -- from Russia tothe Sahara.

(the smile fades)But perhaps you were not

referring to the weather.

RENAULT(sidesteps theimplication with asmile)

What else, my dear Major?

STRASSER(casual again)

By the way, the murder of thecouriers -- what has been done?

RENAULTRealizing the importance of thecase, my men are rounding uptwice the usual number ofsuspects.

Again Strasser looks at him sharply.

HEINZECaptain Renault means that theround-up is a blind. We alreadyknow who the murderer is.

7.

STRASSERGood. Is he in custody?

RENAULTThere is no hurry. Tonighthe'll be at Rick's.

(indicating the cafeat the airport'sedge)

Everybody comes to Rick's.

Heinze shrugs -- he can do nothing with Renault.

STRASSERI have already heard about thiscafe -- and also about M'sieurRick himself.

DISSOLVE TO:

EXT. RICK'S CAFE - NIGHT

A couple enters through the revolving door. From the cafewe hear sounds of music and laughter.

INT. RICK'S CAFE - MAIN ROOM - NIGHT

An expensive and chic night club which definitely possessesan air of sophistication and intrigue.

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5.

EXT. AIRPORT - DAY

Waiting on the ground is CAPTAIN LOUIS RENAULT, a Frenchofficer, appointed by Vichy as Prefect of Police inCasablanca. He is a handsome, middle-aged Frenchman,debonair and gay, but withal a shrewd and alert official.

Around him are clustered the German Consul, HERR HEINZE, ayoung Italian officer, CAPTAIN TONELLI, and Renault's aide,LIEUTENANT CASSELLE. Behind them is a detail of Frenchnative soldiers.

The first passenger out is a large German. He is bland-faced, with a perpetual smile that seems more the resultof a frozen face muscle than a cheerful disposition. Onany occasion when MAJOR STRASSER is crossed, the smilemelts and the expression hardens into iron.

Herr Heinze steps up to him with upraised arm.

HEINZEHeil Hitler.

STRASSERHeil Hitler.

They shake hands.

HEINZE(in German)

It is good to see you again,

Major Strasser.

STRASSER(in German)

Thank you. Thank you.

The Italian steps up with elaborate good will.

TONELLICaptain Tonelli, at your servicesir.

STRASSERThat is kind of you.

TONELLIOur staff is anxious tocooperate --

But he gets no farther than that. Strasser turns to greetRenault and Casselle. Herr Heinze makes the introduction.

HEINZEMay I present Captain Renault,Police Prefect of Casablanca...Major Strasser.

6.

The two shake hands.

RENAULTUnoccupied France welcomes youto Casablanca.

STRASSER(in perfect English,beaming)

Thank you, Captain. It is verygood to be here.

RENAULTMajor, may I present my aide,Lieutenant Casselle.

They salute and bow. Renault leads Strasser toward theedge of the airfield, where their cars await them. Heinzeand Casselle follow, with the Italian captain left tobring up the rear.

RENAULTYou may find the climate ofCasablanca a trifle warm, Major.

STRASSEROh, we Germans must get used toall climates -- from Russia tothe Sahara.

(the smile fades)But perhaps you were not

referring to the weather.

RENAULT(sidesteps theimplication with asmile)

What else, my dear Major?

STRASSER(casual again)

By the way, the murder of thecouriers -- what has been done?

RENAULTRealizing the importance of thecase, my men are rounding uptwice the usual number ofsuspects.

Again Strasser looks at him sharply.

HEINZECaptain Renault means that theround-up is a blind. We alreadyknow who the murderer is.

7.

STRASSERGood. Is he in custody?

RENAULTThere is no hurry. Tonighthe'll be at Rick's.

(indicating the cafeat the airport'sedge)

Everybody comes to Rick's.

Heinze shrugs -- he can do nothing with Renault.

STRASSERI have already heard about thiscafe -- and also about M'sieurRick himself.

DISSOLVE TO:

EXT. RICK'S CAFE - NIGHT

A couple enters through the revolving door. From the cafewe hear sounds of music and laughter.

INT. RICK'S CAFE - MAIN ROOM - NIGHT

An expensive and chic night club which definitely possessesan air of sophistication and intrigue.

A woman, just past the first blush of youth, is singing to

the accompaniment of a four-piece orchestra.

The piano is a small, salmon-colored instrument on wheels.There is a negro, SAM, on the stool, playing. About himthere is a hum of voices, chatter and laughter.

The occupants of the room are varied. There are Europeansin their dinner jackets; their women beautifully begownedand bejeweled. There are Moroccans in silk robes. Turkswearing fezzes. Levantines. Naval officers. Members of theForeign Legion, distinguished by their kepis.

CARL, a waiter, is a small, mild mannered man withspectacles. Tray in hand, he walks up to a private door,over which a burly man stands guard.

CARLOpen up, Abdul.

ABDUL(respectfully, as heopens the door)

Yes, Herr Professor.

Carl goes in.

8.

INT. GAMBLING ROOM - NIGHT

A man and two women are seated at one of the many activetables. The two women are glancing with fascination atsomeone off screen.

FIRST WOMAN(to Carl, as hepasses)

Waiter?

CARLYes, Madame?

PERSONAJE DE PRUEBAhola, que tal estas

FIRST WOMANWill you ask Rick if he'll havea drink with us?

CARLMadame, he never drinks withcustomers unless he invites

them to his table.

SECOND WOMANWhat makes saloon-keepers sosnobbish?

MAN AT TABLE

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6.

The two shake hands.

RENAULTUnoccupied France welcomes youto Casablanca.

STRASSER(in perfect English,beaming)

Thank you, Captain. It is verygood to be here.

RENAULTMajor, may I present my aide,Lieutenant Casselle.

They salute and bow. Renault leads Strasser toward theedge of the airfield, where their cars await them. Heinzeand Casselle follow, with the Italian captain left tobring up the rear.

RENAULTYou may find the climate ofCasablanca a trifle warm, Major.

STRASSEROh, we Germans must get used toall climates -- from Russia tothe Sahara.

(the smile fades)But perhaps you were not

referring to the weather.

RENAULT(sidesteps theimplication with asmile)

What else, my dear Major?

STRASSER(casual again)

By the way, the murder of thecouriers -- what has been done?

RENAULTRealizing the importance of thecase, my men are rounding uptwice the usual number ofsuspects.

Again Strasser looks at him sharply.

HEINZECaptain Renault means that theround-up is a blind. We alreadyknow who the murderer is.

7.

STRASSERGood. Is he in custody?

RENAULTThere is no hurry. Tonighthe'll be at Rick's.

(indicating the cafeat the airport'sedge)

Everybody comes to Rick's.

Heinze shrugs -- he can do nothing with Renault.

STRASSERI have already heard about thiscafe -- and also about M'sieurRick himself.

DISSOLVE TO:

EXT. RICK'S CAFE - NIGHT

A couple enters through the revolving door. From the cafewe hear sounds of music and laughter.

INT. RICK'S CAFE - MAIN ROOM - NIGHT

An expensive and chic night club which definitely possessesan air of sophistication and intrigue.

A woman, just past the first blush of youth, is singing to

the accompaniment of a four-piece orchestra.

The piano is a small, salmon-colored instrument on wheels.There is a negro, SAM, on the stool, playing. About himthere is a hum of voices, chatter and laughter.

The occupants of the room are varied. There are Europeansin their dinner jackets; their women beautifully begownedand bejeweled. There are Moroccans in silk robes. Turkswearing fezzes. Levantines. Naval officers. Members of theForeign Legion, distinguished by their kepis.

CARL, a waiter, is a small, mild mannered man withspectacles. Tray in hand, he walks up to a private door,over which a burly man stands guard.

CARLOpen up, Abdul.

ABDUL(respectfully, as heopens the door)

Yes, Herr Professor.

Carl goes in.

8.

INT. GAMBLING ROOM - NIGHT

A man and two women are seated at one of the many activetables. The two women are glancing with fascination atsomeone off screen.

FIRST WOMAN(to Carl, as hepasses)

Waiter?

CARLYes, Madame?

PERSONAJE DE PRUEBAhola, que tal estas

FIRST WOMANWill you ask Rick if he'll havea drink with us?

CARLMadame, he never drinks withcustomers unless he invites

them to his table.

SECOND WOMANWhat makes saloon-keepers sosnobbish?

MAN AT TABLE(to Carl)

Perhaps if you told him I ranthe second largest bankinghouse in Amsterdam...?

CARLThat wouldn't impress Rick. Theleading banker in Amsterdam isnow the pastry chef in ourkitchen.

Carl moves off.

The overseer approaches Rick's table, sets down a check.Rick's hand moves into the frame, writes a note in pencilon the back of it: "Okay - Rick." The overseer takes thecheck.

9.

CAMERA PULLS BACK

to reveal Rick for the first time, sitting alone, staringat his drink. He is an American of indeterminate age.There is no expression in his eyes. A complete dead pan.

His attention is drawn to the door, where a person isseeking admittance. He nods his head "no" to Abdul.

A commotion erupts. A voice with a German accent is heardshouting.

GERMAN VOICEOf all the nerve! Who do youthink --

Rick gets up and crosses to the door.

INT. RICK'S CAFE - MAIN ROOM - NIGHT

GERMAN(to Abdul)

I know there's gambling inthere! I...

The door opens and Rick steps out.

RICK(coldly)

Yes?

Across the room, UGARTE enters the cafe. He is a small,thin man with a nervous air. If he were an American hewould look like a tout. He looks with interest in the

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7.

STRASSERGood. Is he in custody?

RENAULTThere is no hurry. Tonighthe'll be at Rick's.

(indicating the cafeat the airport'sedge)

Everybody comes to Rick's.

Heinze shrugs -- he can do nothing with Renault.

STRASSERI have already heard about thiscafe -- and also about M'sieurRick himself.

DISSOLVE TO:

EXT. RICK'S CAFE - NIGHT

A couple enters through the revolving door. From the cafewe hear sounds of music and laughter.

INT. RICK'S CAFE - MAIN ROOM - NIGHT

An expensive and chic night club which definitely possessesan air of sophistication and intrigue.

A woman, just past the first blush of youth, is singing to

the accompaniment of a four-piece orchestra.

The piano is a small, salmon-colored instrument on wheels.There is a negro, SAM, on the stool, playing. About himthere is a hum of voices, chatter and laughter.

The occupants of the room are varied. There are Europeansin their dinner jackets; their women beautifully begownedand bejeweled. There are Moroccans in silk robes. Turkswearing fezzes. Levantines. Naval officers. Members of theForeign Legion, distinguished by their kepis.

CARL, a waiter, is a small, mild mannered man withspectacles. Tray in hand, he walks up to a private door,over which a burly man stands guard.

CARLOpen up, Abdul.

ABDUL(respectfully, as heopens the door)

Yes, Herr Professor.

Carl goes in.

8.

INT. GAMBLING ROOM - NIGHT

A man and two women are seated at one of the many activetables. The two women are glancing with fascination atsomeone off screen.

FIRST WOMAN(to Carl, as hepasses)

Waiter?

CARLYes, Madame?

PERSONAJE DE PRUEBAhola, que tal estas

FIRST WOMANWill you ask Rick if he'll havea drink with us?

CARLMadame, he never drinks withcustomers unless he invites

them to his table.

SECOND WOMANWhat makes saloon-keepers sosnobbish?

MAN AT TABLE(to Carl)

Perhaps if you told him I ranthe second largest bankinghouse in Amsterdam...?

CARLThat wouldn't impress Rick. Theleading banker in Amsterdam isnow the pastry chef in ourkitchen.

Carl moves off.

The overseer approaches Rick's table, sets down a check.Rick's hand moves into the frame, writes a note in pencilon the back of it: "Okay - Rick." The overseer takes thecheck.

9.

CAMERA PULLS BACK

to reveal Rick for the first time, sitting alone, staringat his drink. He is an American of indeterminate age.There is no expression in his eyes. A complete dead pan.

His attention is drawn to the door, where a person isseeking admittance. He nods his head "no" to Abdul.

A commotion erupts. A voice with a German accent is heardshouting.

GERMAN VOICEOf all the nerve! Who do youthink --

Rick gets up and crosses to the door.

INT. RICK'S CAFE - MAIN ROOM - NIGHT

GERMAN(to Abdul)

I know there's gambling inthere! I...

The door opens and Rick steps out.

RICK(coldly)

Yes?

Across the room, UGARTE enters the cafe. He is a small,thin man with a nervous air. If he were an American hewould look like a tout. He looks with interest in thedirection of Rick and the German.

GERMAN(waving his card)

I've been in every gamblingroom between Honolulu andBerlin and if you think I'mgoing to be kept out of asaloon like this, you're very

much mistaken.

Rick calmly takes the card out of the German's hand andtears it up.

RICKYour money's good at the bar.

Carl, tray in hand, squeezes between the two of them onhis way out.

CARLS'cuse me.

10.

GERMAN(to Rick)

Why -- what -- Do you know whoI am?

RICK

I do. You're lucky the bar'sopen to you.

He turns away from the sputtering German, catches Sam'seye at the piano. Sam, who has been watching, winks atRick. Rick acknowledges the wink with a friendly gesture.It's not a smile, but it's the closest Rick can manage.

INT. GAMBLING ROOM - NIGHT

Ugarte follows Rick to the end of the bar.

UGARTEM'sieur Rick.

RICKHello, Ugarte.

UGARTE(fawning)

Watching you just now with theDeutsches Bank, one would thinkyou'd been doing this all yourlife.

RICK(stiffening)

What makes you think I haven't?

UGARTE(vaguely)

Oh, nothing. But when you firstcame to Casablanca, I thought --

RICK(coldly)

Yes?

UGARTE(laughs

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8.

INT. GAMBLING ROOM - NIGHT

A man and two women are seated at one of the many activetables. The two women are glancing with fascination atsomeone off screen.

FIRST WOMAN(to Carl, as hepasses)

Waiter?

CARLYes, Madame?

PERSONAJE DE PRUEBAhola, que tal estas

FIRST WOMANWill you ask Rick if he'll havea drink with us?

CARLMadame, he never drinks withcustomers unless he invites

them to his table.

SECOND WOMANWhat makes saloon-keepers sosnobbish?

MAN AT TABLE(to Carl)

Perhaps if you told him I ranthe second largest bankinghouse in Amsterdam...?

CARLThat wouldn't impress Rick. Theleading banker in Amsterdam isnow the pastry chef in ourkitchen.

Carl moves off.

The overseer approaches Rick's table, sets down a check.Rick's hand moves into the frame, writes a note in pencilon the back of it: "Okay - Rick." The overseer takes thecheck.

9.

CAMERA PULLS BACK

to reveal Rick for the first time, sitting alone, staringat his drink. He is an American of indeterminate age.There is no expression in his eyes. A complete dead pan.

His attention is drawn to the door, where a person isseeking admittance. He nods his head "no" to Abdul.

A commotion erupts. A voice with a German accent is heardshouting.

GERMAN VOICEOf all the nerve! Who do youthink --

Rick gets up and crosses to the door.

INT. RICK'S CAFE - MAIN ROOM - NIGHT

GERMAN(to Abdul)

I know there's gambling inthere! I...

The door opens and Rick steps out.

RICK(coldly)

Yes?

Across the room, UGARTE enters the cafe. He is a small,thin man with a nervous air. If he were an American hewould look like a tout. He looks with interest in thedirection of Rick and the German.

GERMAN(waving his card)

I've been in every gamblingroom between Honolulu andBerlin and if you think I'mgoing to be kept out of asaloon like this, you're very

much mistaken.

Rick calmly takes the card out of the German's hand andtears it up.

RICKYour money's good at the bar.

Carl, tray in hand, squeezes between the two of them onhis way out.

CARLS'cuse me.

10.

GERMAN(to Rick)

Why -- what -- Do you know whoI am?

RICK

I do. You're lucky the bar'sopen to you.

He turns away from the sputtering German, catches Sam'seye at the piano. Sam, who has been watching, winks atRick. Rick acknowledges the wink with a friendly gesture.It's not a smile, but it's the closest Rick can manage.

INT. GAMBLING ROOM - NIGHT

Ugarte follows Rick to the end of the bar.

UGARTEM'sieur Rick.

RICKHello, Ugarte.

UGARTE(fawning)

Watching you just now with theDeutsches Bank, one would thinkyou'd been doing this all yourlife.

RICK(stiffening)

What makes you think I haven't?

UGARTE(vaguely)

Oh, nothing. But when you firstcame to Casablanca, I thought --

RICK(coldly)

Yes?

UGARTE(laughs)

What right do I have to think?(hastily changingthe subject)

Too bad about those two Germancouriers, wasn't it?

RICKThey got a lucky break.Yesterday they were just twoGerman clerks; today they'rethe Honored Dead.

11.

UGARTEYou will forgive me for sayingthis, M'sieur Rick, but you area very cynical person.

RICK

(shortly)I forgive you.

The bartender sets two drinks before the men.

UGARTEOh, Rick -- you are going todrink with me?

RICKNo.

UGARTE(sadly)

You despise me, don't you?

RICKIf I gave you any thought, Iprobably would.

UGARTEYou object to the work I do.But think of the poor refugeeswho must rot in this place if Idid not help them. That's not

so bad. Through ways of my ownI provide them with exit visas.

RICK(staring at his

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9.

CAMERA PULLS BACK

to reveal Rick for the first time, sitting alone, staringat his drink. He is an American of indeterminate age.There is no expression in his eyes. A complete dead pan.

His attention is drawn to the door, where a person isseeking admittance. He nods his head "no" to Abdul.

A commotion erupts. A voice with a German accent is heardshouting.

GERMAN VOICEOf all the nerve! Who do youthink --

Rick gets up and crosses to the door.

INT. RICK'S CAFE - MAIN ROOM - NIGHT

GERMAN(to Abdul)

I know there's gambling inthere! I...

The door opens and Rick steps out.

RICK(coldly)

Yes?

Across the room, UGARTE enters the cafe. He is a small,thin man with a nervous air. If he were an American hewould look like a tout. He looks with interest in thedirection of Rick and the German.

GERMAN(waving his card)

I've been in every gamblingroom between Honolulu andBerlin and if you think I'mgoing to be kept out of asaloon like this, you're very

much mistaken.

Rick calmly takes the card out of the German's hand andtears it up.

RICKYour money's good at the bar.

Carl, tray in hand, squeezes between the two of them onhis way out.

CARLS'cuse me.

10.

GERMAN(to Rick)

Why -- what -- Do you know whoI am?

RICK

I do. You're lucky the bar'sopen to you.

He turns away from the sputtering German, catches Sam'seye at the piano. Sam, who has been watching, winks atRick. Rick acknowledges the wink with a friendly gesture.It's not a smile, but it's the closest Rick can manage.

INT. GAMBLING ROOM - NIGHT

Ugarte follows Rick to the end of the bar.

UGARTEM'sieur Rick.

RICKHello, Ugarte.

UGARTE(fawning)

Watching you just now with theDeutsches Bank, one would thinkyou'd been doing this all yourlife.

RICK(stiffening)

What makes you think I haven't?

UGARTE(vaguely)

Oh, nothing. But when you firstcame to Casablanca, I thought --

RICK(coldly)

Yes?

UGARTE(laughs)

What right do I have to think?(hastily changingthe subject)

Too bad about those two Germancouriers, wasn't it?

RICKThey got a lucky break.Yesterday they were just twoGerman clerks; today they'rethe Honored Dead.

11.

UGARTEYou will forgive me for sayingthis, M'sieur Rick, but you area very cynical person.

RICK

(shortly)I forgive you.

The bartender sets two drinks before the men.

UGARTEOh, Rick -- you are going todrink with me?

RICKNo.

UGARTE(sadly)

You despise me, don't you?

RICKIf I gave you any thought, Iprobably would.

UGARTEYou object to the work I do.But think of the poor refugeeswho must rot in this place if Idid not help them. That's not

so bad. Through ways of my ownI provide them with exit visas.

RICK(staring at hisdrink)

For a price, Ugarte, for a price.

UGARTEYes -- but those poor devilswho cannot meet Renault's price,I get it for them for half. Is

that so parasitic?

Rick turns to look at him.

RICKI don't mind a parasite. Iobject to a cut-rate one.

UGARTEWell, after tonight I am throughwith the whole business. Rick,I am leaving Casablanca.

12.

RICKWho did you bribe for your visa?Renault or yourself?

UGARTE(ironically)

Myself. I found myself muchmore reasonable.

He takes an envelope from his pocket, taps it on his hand.

UGARTEDo you know what these are?Something that not even youhave ever seen --

(lowers his voice)Letters of Transit signed byMarshall Weygand. They cannotbe rescinded or questioned.

Rick looks at him, then holds out his hand for the envelope.

UGARTEIn a moment. Tonight I willsell these for more money thaneven I ever dreamed of. Then --farewell to Casablanca. Rick --I have many friends inCasablanca, but because youdespise me you're the only oneI trust. Will you keep these

Letters for me?

RICKFor how long?

UGARTE

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10.

GERMAN(to Rick)

Why -- what -- Do you know whoI am?

RICK

I do. You're lucky the bar'sopen to you.

He turns away from the sputtering German, catches Sam'seye at the piano. Sam, who has been watching, winks atRick. Rick acknowledges the wink with a friendly gesture.It's not a smile, but it's the closest Rick can manage.

INT. GAMBLING ROOM - NIGHT

Ugarte follows Rick to the end of the bar.

UGARTEM'sieur Rick.

RICKHello, Ugarte.

UGARTE(fawning)

Watching you just now with theDeutsches Bank, one would thinkyou'd been doing this all yourlife.

RICK(stiffening)

What makes you think I haven't?

UGARTE(vaguely)

Oh, nothing. But when you firstcame to Casablanca, I thought --

RICK(coldly)

Yes?

UGARTE(laughs)

What right do I have to think?(hastily changingthe subject)

Too bad about those two Germancouriers, wasn't it?

RICKThey got a lucky break.Yesterday they were just twoGerman clerks; today they'rethe Honored Dead.

11.

UGARTEYou will forgive me for sayingthis, M'sieur Rick, but you area very cynical person.

RICK

(shortly)I forgive you.

The bartender sets two drinks before the men.

UGARTEOh, Rick -- you are going todrink with me?

RICKNo.

UGARTE(sadly)

You despise me, don't you?

RICKIf I gave you any thought, Iprobably would.

UGARTEYou object to the work I do.But think of the poor refugeeswho must rot in this place if Idid not help them. That's not

so bad. Through ways of my ownI provide them with exit visas.

RICK(staring at hisdrink)

For a price, Ugarte, for a price.

UGARTEYes -- but those poor devilswho cannot meet Renault's price,I get it for them for half. Is

that so parasitic?

Rick turns to look at him.

RICKI don't mind a parasite. Iobject to a cut-rate one.

UGARTEWell, after tonight I am throughwith the whole business. Rick,I am leaving Casablanca.

12.

RICKWho did you bribe for your visa?Renault or yourself?

UGARTE(ironically)

Myself. I found myself muchmore reasonable.

He takes an envelope from his pocket, taps it on his hand.

UGARTEDo you know what these are?Something that not even youhave ever seen --

(lowers his voice)Letters of Transit signed byMarshall Weygand. They cannotbe rescinded or questioned.

Rick looks at him, then holds out his hand for the envelope.

UGARTEIn a moment. Tonight I willsell these for more money thaneven I ever dreamed of. Then --farewell to Casablanca. Rick --I have many friends inCasablanca, but because youdespise me you're the only oneI trust. Will you keep these

Letters for me?

RICKFor how long?

UGARTEPerhaps an hour, perhaps longer.

RICK(taking them)

I don't want them here overnight.

UGARTENo fear of that. Waiter -- anymessages for me?

WAITERNo, M'sieur.

UGARTEI'm expecting some people. Ifanyone asks for me, I'll beright here.

The waiter nods, leaves.

13.

UGARTENow, Rick, I hope you are moreimpressed with me. Excuse me, Igo to share my good luck withyour roulette wheel.

He starts off.

RICKWait a minute.

Ugarte stops. Rick comes up to him. The two men face eachother. Rick's voice is barely audible:

RICKI heard a rumor that thoseGerman couriers were carryingLetters of Transit.

Ugarte doesn't reply for a moment.

UGARTEYes -- I heard that rumor, too.Poor devils.

Rick looks at Ugarte steadily.

RICK(slowly)

You're right, Ugarte. I am alittle more impressed with you.

Ugarte smiles and almost swaggers toward the gamblingtable. Rick starts for the door.

CUT TO:

INT. RICK'S CAFE - MAIN ROOM - NIGHT

Sam is playing and singing the "Knock Wood" number,accompanied by the orchestra. The cafe is in semi-darkness.The spotlight is on Sam, and every time the orchestra

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11.

UGARTEYou will forgive me for sayingthis, M'sieur Rick, but you area very cynical person.

RICK

(shortly)I forgive you.

The bartender sets two drinks before the men.

UGARTEOh, Rick -- you are going todrink with me?

RICKNo.

UGARTE(sadly)

You despise me, don't you?

RICKIf I gave you any thought, Iprobably would.

UGARTEYou object to the work I do.But think of the poor refugeeswho must rot in this place if Idid not help them. That's not

so bad. Through ways of my ownI provide them with exit visas.

RICK(staring at hisdrink)

For a price, Ugarte, for a price.

UGARTEYes -- but those poor devilswho cannot meet Renault's price,I get it for them for half. Is

that so parasitic?

Rick turns to look at him.

RICKI don't mind a parasite. Iobject to a cut-rate one.

UGARTEWell, after tonight I am throughwith the whole business. Rick,I am leaving Casablanca.

12.

RICKWho did you bribe for your visa?Renault or yourself?

UGARTE(ironically)

Myself. I found myself muchmore reasonable.

He takes an envelope from his pocket, taps it on his hand.

UGARTEDo you know what these are?Something that not even youhave ever seen --

(lowers his voice)Letters of Transit signed byMarshall Weygand. They cannotbe rescinded or questioned.

Rick looks at him, then holds out his hand for the envelope.

UGARTEIn a moment. Tonight I willsell these for more money thaneven I ever dreamed of. Then --farewell to Casablanca. Rick --I have many friends inCasablanca, but because youdespise me you're the only oneI trust. Will you keep these

Letters for me?

RICKFor how long?

UGARTEPerhaps an hour, perhaps longer.

RICK(taking them)

I don't want them here overnight.

UGARTENo fear of that. Waiter -- anymessages for me?

WAITERNo, M'sieur.

UGARTEI'm expecting some people. Ifanyone asks for me, I'll beright here.

The waiter nods, leaves.

13.

UGARTENow, Rick, I hope you are moreimpressed with me. Excuse me, Igo to share my good luck withyour roulette wheel.

He starts off.

RICKWait a minute.

Ugarte stops. Rick comes up to him. The two men face eachother. Rick's voice is barely audible:

RICKI heard a rumor that thoseGerman couriers were carryingLetters of Transit.

Ugarte doesn't reply for a moment.

UGARTEYes -- I heard that rumor, too.Poor devils.

Rick looks at Ugarte steadily.

RICK(slowly)

You're right, Ugarte. I am alittle more impressed with you.

Ugarte smiles and almost swaggers toward the gamblingtable. Rick starts for the door.

CUT TO:

INT. RICK'S CAFE - MAIN ROOM - NIGHT

Sam is playing and singing the "Knock Wood" number,accompanied by the orchestra. The cafe is in semi-darkness.The spotlight is on Sam, and every time the orchestracomes in on the "Knock Wood" business, the spotlight

swings over to the orchestra.

Rick makes his way to Sam on the floor. During one of theperiods when the spotlight is on the orchestra, he slipsthe Letters of Transit into the piano, then exits towardsthe bar.

FERRARI spots Rick at the bar, goes to him.

FERRARIHello, Rick.

RICK'Lo, Ferrari. How's business atthe Blue Parrot?

14.

FERRARIFine -- but I would like to buyyour cafe.

RICKIt's not for sale.

FERRARIYou haven't heard my offer.

RICKIt's not for sale at any price.

Ferrari sighs.

FERRARIWhat do you want for Sam?

RICKI don't buy or sell human beings.

FERRARIThat's too bad. That'sCasablanca's leading commodity.In refugees alone we could makea fortune if you would workwith me through the Black Market.

RICKSuppose you let me run mybusiness and you run yours.

FERRARISuppose we ask Sam? Maybe he'dlike to make a change?

RICKAll right, suppose we do. Let'sspeak to him.

AT THE PIANO

Sam has just finished his number. Rick and Ferrari come up

to him.

RICKSam -- Ferrari wants you to

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12.

RICKWho did you bribe for your visa?Renault or yourself?

UGARTE(ironically)

Myself. I found myself muchmore reasonable.

He takes an envelope from his pocket, taps it on his hand.

UGARTEDo you know what these are?Something that not even youhave ever seen --

(lowers his voice)Letters of Transit signed byMarshall Weygand. They cannotbe rescinded or questioned.

Rick looks at him, then holds out his hand for the envelope.

UGARTEIn a moment. Tonight I willsell these for more money thaneven I ever dreamed of. Then --farewell to Casablanca. Rick --I have many friends inCasablanca, but because youdespise me you're the only oneI trust. Will you keep these

Letters for me?

RICKFor how long?

UGARTEPerhaps an hour, perhaps longer.

RICK(taking them)

I don't want them here overnight.

UGARTENo fear of that. Waiter -- anymessages for me?

WAITERNo, M'sieur.

UGARTEI'm expecting some people. Ifanyone asks for me, I'll beright here.

The waiter nods, leaves.

13.

UGARTENow, Rick, I hope you are moreimpressed with me. Excuse me, Igo to share my good luck withyour roulette wheel.

He starts off.

RICKWait a minute.

Ugarte stops. Rick comes up to him. The two men face eachother. Rick's voice is barely audible:

RICKI heard a rumor that thoseGerman couriers were carryingLetters of Transit.

Ugarte doesn't reply for a moment.

UGARTEYes -- I heard that rumor, too.Poor devils.

Rick looks at Ugarte steadily.

RICK(slowly)

You're right, Ugarte. I am alittle more impressed with you.

Ugarte smiles and almost swaggers toward the gamblingtable. Rick starts for the door.

CUT TO:

INT. RICK'S CAFE - MAIN ROOM - NIGHT

Sam is playing and singing the "Knock Wood" number,accompanied by the orchestra. The cafe is in semi-darkness.The spotlight is on Sam, and every time the orchestracomes in on the "Knock Wood" business, the spotlight

swings over to the orchestra.

Rick makes his way to Sam on the floor. During one of theperiods when the spotlight is on the orchestra, he slipsthe Letters of Transit into the piano, then exits towardsthe bar.

FERRARI spots Rick at the bar, goes to him.

FERRARIHello, Rick.

RICK'Lo, Ferrari. How's business atthe Blue Parrot?

14.

FERRARIFine -- but I would like to buyyour cafe.

RICKIt's not for sale.

FERRARIYou haven't heard my offer.

RICKIt's not for sale at any price.

Ferrari sighs.

FERRARIWhat do you want for Sam?

RICKI don't buy or sell human beings.

FERRARIThat's too bad. That'sCasablanca's leading commodity.In refugees alone we could makea fortune if you would workwith me through the Black Market.

RICKSuppose you let me run mybusiness and you run yours.

FERRARISuppose we ask Sam? Maybe he'dlike to make a change?

RICKAll right, suppose we do. Let'sspeak to him.

AT THE PIANO

Sam has just finished his number. Rick and Ferrari come up

to him.

RICKSam -- Ferrari wants you towork for him at the Blue Parrot.

SAMAh likes it fine here.

RICKHe'll double what I pay you.

SAMAh ain't got time to spend whatah makes here.

15.

RICKSorry, Ferrari.

Rick looks at Ferrari, smiles. Ferrari exits.

EXT. THE AIRPLANE OVERHEAD

INT. RICK'S CAFE - AT THE BAR - LATER

YVONNE is seated on a stool drinking brandy. FYDOR watchesher with lovesick eyes as he fills her tumbler.

FYDORThe boss's private stock.Because -- Yvonne -- I loff you.

YVONNE(morosely)

Oh, shut up.

FYDOR(fondly)

For you, Yvonne, I shot opp.

Rick saunters over and leans against the bar next toYvonne. But he pays no attention to her. She looks at himbitterly, without saying a word.

They stand in the gloom while Sam is spotlighted in themidst of a number. Yvonne, who has never taken her eyesoff Rick, finally blurts out:

YVONNEWhere were you last night?

RICKThat's so long ago. I don'tremember.

A pause.

YVONNEWill I see you tonight?

RICK(calmly)

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13.

UGARTENow, Rick, I hope you are moreimpressed with me. Excuse me, Igo to share my good luck withyour roulette wheel.

He starts off.

RICKWait a minute.

Ugarte stops. Rick comes up to him. The two men face eachother. Rick's voice is barely audible:

RICKI heard a rumor that thoseGerman couriers were carryingLetters of Transit.

Ugarte doesn't reply for a moment.

UGARTEYes -- I heard that rumor, too.Poor devils.

Rick looks at Ugarte steadily.

RICK(slowly)

You're right, Ugarte. I am alittle more impressed with you.

Ugarte smiles and almost swaggers toward the gamblingtable. Rick starts for the door.

CUT TO:

INT. RICK'S CAFE - MAIN ROOM - NIGHT

Sam is playing and singing the "Knock Wood" number,accompanied by the orchestra. The cafe is in semi-darkness.The spotlight is on Sam, and every time the orchestracomes in on the "Knock Wood" business, the spotlight

swings over to the orchestra.

Rick makes his way to Sam on the floor. During one of theperiods when the spotlight is on the orchestra, he slipsthe Letters of Transit into the piano, then exits towardsthe bar.

FERRARI spots Rick at the bar, goes to him.

FERRARIHello, Rick.

RICK'Lo, Ferrari. How's business atthe Blue Parrot?

14.

FERRARIFine -- but I would like to buyyour cafe.

RICKIt's not for sale.

FERRARIYou haven't heard my offer.

RICKIt's not for sale at any price.

Ferrari sighs.

FERRARIWhat do you want for Sam?

RICKI don't buy or sell human beings.

FERRARIThat's too bad. That'sCasablanca's leading commodity.In refugees alone we could makea fortune if you would workwith me through the Black Market.

RICKSuppose you let me run mybusiness and you run yours.

FERRARISuppose we ask Sam? Maybe he'dlike to make a change?

RICKAll right, suppose we do. Let'sspeak to him.

AT THE PIANO

Sam has just finished his number. Rick and Ferrari come up

to him.

RICKSam -- Ferrari wants you towork for him at the Blue Parrot.

SAMAh likes it fine here.

RICKHe'll double what I pay you.

SAMAh ain't got time to spend whatah makes here.

15.

RICKSorry, Ferrari.

Rick looks at Ferrari, smiles. Ferrari exits.

EXT. THE AIRPLANE OVERHEAD

INT. RICK'S CAFE - AT THE BAR - LATER

YVONNE is seated on a stool drinking brandy. FYDOR watchesher with lovesick eyes as he fills her tumbler.

FYDORThe boss's private stock.Because -- Yvonne -- I loff you.

YVONNE(morosely)

Oh, shut up.

FYDOR(fondly)

For you, Yvonne, I shot opp.

Rick saunters over and leans against the bar next toYvonne. But he pays no attention to her. She looks at himbitterly, without saying a word.

They stand in the gloom while Sam is spotlighted in themidst of a number. Yvonne, who has never taken her eyesoff Rick, finally blurts out:

YVONNEWhere were you last night?

RICKThat's so long ago. I don'tremember.

A pause.

YVONNEWill I see you tonight?

RICK(calmly)

I never plan that far ahead.

Yvonne turns, looks at Fydor, extends her glass to him.

RICKShe's had enough.

YVONNEPay no attention to him, Fydor.Fill it up.

Fydor hesitates, looks at Rick.

16.

FYDORI loff you, Yvonne, but he paysme.

Yvonne wheels on Rick with drunken fury.

YVONNEI'm sick and tired of havingyou --

RICKFydor, call a cab.

FYDORDa, boss.

Fydor walks off. Rick takes Yvonne by the arm.

RICKCome on, we're going to getyour coat. You're going home.

YVONNETake your hands off me --

He pulls her along toward the hall door.

EXT. STREET IN FRONT OF RICK'S - NIGHT

Fydor stands at the curb signaling a cab. Finally onepulls up.

Rick leads Yvonne out of the cafe, putting a coat over hershoulders. She objects violently.

YVONNEWho do you think you are,pushing me around. I'm a lady.I sang in America. I've beenmarried twice.

They approach the waiting cab.

RICK(to Fydor)You'd better go with her, Fydor,to be sure she gets home.

FYDORDa, boss.

They help her into the cab. Fydor follows her in.

RICKAnd Fydor...

Fydor looks out through the window.

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14.

FERRARIFine -- but I would like to buyyour cafe.

RICKIt's not for sale.

FERRARIYou haven't heard my offer.

RICKIt's not for sale at any price.

Ferrari sighs.

FERRARIWhat do you want for Sam?

RICKI don't buy or sell human beings.

FERRARIThat's too bad. That'sCasablanca's leading commodity.In refugees alone we could makea fortune if you would workwith me through the Black Market.

RICKSuppose you let me run mybusiness and you run yours.

FERRARISuppose we ask Sam? Maybe he'dlike to make a change?

RICKAll right, suppose we do. Let'sspeak to him.

AT THE PIANO

Sam has just finished his number. Rick and Ferrari come up

to him.

RICKSam -- Ferrari wants you towork for him at the Blue Parrot.

SAMAh likes it fine here.

RICKHe'll double what I pay you.

SAMAh ain't got time to spend whatah makes here.

15.

RICKSorry, Ferrari.

Rick looks at Ferrari, smiles. Ferrari exits.

EXT. THE AIRPLANE OVERHEAD

INT. RICK'S CAFE - AT THE BAR - LATER

YVONNE is seated on a stool drinking brandy. FYDOR watchesher with lovesick eyes as he fills her tumbler.

FYDORThe boss's private stock.Because -- Yvonne -- I loff you.

YVONNE(morosely)

Oh, shut up.

FYDOR(fondly)

For you, Yvonne, I shot opp.

Rick saunters over and leans against the bar next toYvonne. But he pays no attention to her. She looks at himbitterly, without saying a word.

They stand in the gloom while Sam is spotlighted in themidst of a number. Yvonne, who has never taken her eyesoff Rick, finally blurts out:

YVONNEWhere were you last night?

RICKThat's so long ago. I don'tremember.

A pause.

YVONNEWill I see you tonight?

RICK(calmly)

I never plan that far ahead.

Yvonne turns, looks at Fydor, extends her glass to him.

RICKShe's had enough.

YVONNEPay no attention to him, Fydor.Fill it up.

Fydor hesitates, looks at Rick.

16.

FYDORI loff you, Yvonne, but he paysme.

Yvonne wheels on Rick with drunken fury.

YVONNEI'm sick and tired of havingyou --

RICKFydor, call a cab.

FYDORDa, boss.

Fydor walks off. Rick takes Yvonne by the arm.

RICKCome on, we're going to getyour coat. You're going home.

YVONNETake your hands off me --

He pulls her along toward the hall door.

EXT. STREET IN FRONT OF RICK'S - NIGHT

Fydor stands at the curb signaling a cab. Finally onepulls up.

Rick leads Yvonne out of the cafe, putting a coat over hershoulders. She objects violently.

YVONNEWho do you think you are,pushing me around. I'm a lady.I sang in America. I've beenmarried twice.

They approach the waiting cab.

RICK(to Fydor)You'd better go with her, Fydor,to be sure she gets home.

FYDORDa, boss.

They help her into the cab. Fydor follows her in.

RICKAnd Fydor...

Fydor looks out through the window.

17.

RICKCome right back.

FYDOR(his face falling)

Yes, boss.

The cab starts off. Rick walks back toward the cafeentrance.

RENAULT'S VOICE (O.S.)How extravagant you are --throwing away women like that.Some day they may be scarce.

Rick turns toward the voice. Renault is sipping somebrandy at a table on the cafe terrace. His eyes are amused.

RICKHello, Louis.

RENAULTI think now I shall pay a callon Yvonne -- maybe get her onthe rebound, eh?

Rick takes a seat at the table.

RICKWhen it comes to women, you'rea true democrat.

Renault laughs, pours Rick a drink. There is the sound ofa plane warming up on the adjacent air field. Both menturn their attention to the transport plane standingpoised on the runway.

RENAULTThe plane to Lisbon --

(looks at Rickshrewdly)

You would like to be on it?

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

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15.

RICKSorry, Ferrari.

Rick looks at Ferrari, smiles. Ferrari exits.

EXT. THE AIRPLANE OVERHEAD

INT. RICK'S CAFE - AT THE BAR - LATER

YVONNE is seated on a stool drinking brandy. FYDOR watchesher with lovesick eyes as he fills her tumbler.

FYDORThe boss's private stock.Because -- Yvonne -- I loff you.

YVONNE(morosely)

Oh, shut up.

FYDOR(fondly)

For you, Yvonne, I shot opp.

Rick saunters over and leans against the bar next toYvonne. But he pays no attention to her. She looks at himbitterly, without saying a word.

They stand in the gloom while Sam is spotlighted in themidst of a number. Yvonne, who has never taken her eyesoff Rick, finally blurts out:

YVONNEWhere were you last night?

RICKThat's so long ago. I don'tremember.

A pause.

YVONNEWill I see you tonight?

RICK(calmly)

I never plan that far ahead.

Yvonne turns, looks at Fydor, extends her glass to him.

RICKShe's had enough.

YVONNEPay no attention to him, Fydor.Fill it up.

Fydor hesitates, looks at Rick.

16.

FYDORI loff you, Yvonne, but he paysme.

Yvonne wheels on Rick with drunken fury.

YVONNEI'm sick and tired of havingyou --

RICKFydor, call a cab.

FYDORDa, boss.

Fydor walks off. Rick takes Yvonne by the arm.

RICKCome on, we're going to getyour coat. You're going home.

YVONNETake your hands off me --

He pulls her along toward the hall door.

EXT. STREET IN FRONT OF RICK'S - NIGHT

Fydor stands at the curb signaling a cab. Finally onepulls up.

Rick leads Yvonne out of the cafe, putting a coat over hershoulders. She objects violently.

YVONNEWho do you think you are,pushing me around. I'm a lady.I sang in America. I've beenmarried twice.

They approach the waiting cab.

RICK(to Fydor)You'd better go with her, Fydor,to be sure she gets home.

FYDORDa, boss.

They help her into the cab. Fydor follows her in.

RICKAnd Fydor...

Fydor looks out through the window.

17.

RICKCome right back.

FYDOR(his face falling)

Yes, boss.

The cab starts off. Rick walks back toward the cafeentrance.

RENAULT'S VOICE (O.S.)How extravagant you are --throwing away women like that.Some day they may be scarce.

Rick turns toward the voice. Renault is sipping somebrandy at a table on the cafe terrace. His eyes are amused.

RICKHello, Louis.

RENAULTI think now I shall pay a callon Yvonne -- maybe get her onthe rebound, eh?

Rick takes a seat at the table.

RICKWhen it comes to women, you'rea true democrat.

Renault laughs, pours Rick a drink. There is the sound ofa plane warming up on the adjacent air field. Both menturn their attention to the transport plane standingpoised on the runway.

RENAULTThe plane to Lisbon --

(looks at Rickshrewdly)

You would like to be on it?

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

RENAULTThe Clipper to America.

Rick doesn't answer. He looks at the plane warming up, buthis look isn't a happy one.

18.

RENAULTI have often speculated on whyyou don't return to America.Did you abscond with the churchfunds? Did you run off with thePresident's wife? I should like

to think you killed a man. Itis the romantic in me.

RICK(still looking atthe plane)

It was a combination of allthree.

RENAULTAnd what in heaven's namebrought you to Casablanca?

The plane's motors grow louder.

RICKMy health. I came to Casablancafor the waters.

RENAULTWaters? What waters? We're inthe desert.

RICKI was misinformed.

The plane is now speeding down the runway. Its lightsshine on the faces of Rick and Renault. Rick cannot lookaway from it. It leaves the ground and passes almostdirectly over them. Rick watches the plane until itslights disappear into the distance.

A CROUPIER steps out of the cafe.

CROUPIERExcuse me, M'sieur Rick, but agentleman inside has won ten

thousand francs. The cashierwould like some money.

RICKI'll get it from the safe.

CROUPIER

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16.

FYDORI loff you, Yvonne, but he paysme.

Yvonne wheels on Rick with drunken fury.

YVONNEI'm sick and tired of havingyou --

RICKFydor, call a cab.

FYDORDa, boss.

Fydor walks off. Rick takes Yvonne by the arm.

RICKCome on, we're going to getyour coat. You're going home.

YVONNETake your hands off me --

He pulls her along toward the hall door.

EXT. STREET IN FRONT OF RICK'S - NIGHT

Fydor stands at the curb signaling a cab. Finally onepulls up.

Rick leads Yvonne out of the cafe, putting a coat over hershoulders. She objects violently.

YVONNEWho do you think you are,pushing me around. I'm a lady.I sang in America. I've beenmarried twice.

They approach the waiting cab.

RICK(to Fydor)You'd better go with her, Fydor,to be sure she gets home.

FYDORDa, boss.

They help her into the cab. Fydor follows her in.

RICKAnd Fydor...

Fydor looks out through the window.

17.

RICKCome right back.

FYDOR(his face falling)

Yes, boss.

The cab starts off. Rick walks back toward the cafeentrance.

RENAULT'S VOICE (O.S.)How extravagant you are --throwing away women like that.Some day they may be scarce.

Rick turns toward the voice. Renault is sipping somebrandy at a table on the cafe terrace. His eyes are amused.

RICKHello, Louis.

RENAULTI think now I shall pay a callon Yvonne -- maybe get her onthe rebound, eh?

Rick takes a seat at the table.

RICKWhen it comes to women, you'rea true democrat.

Renault laughs, pours Rick a drink. There is the sound ofa plane warming up on the adjacent air field. Both menturn their attention to the transport plane standingpoised on the runway.

RENAULTThe plane to Lisbon --

(looks at Rickshrewdly)

You would like to be on it?

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

RENAULTThe Clipper to America.

Rick doesn't answer. He looks at the plane warming up, buthis look isn't a happy one.

18.

RENAULTI have often speculated on whyyou don't return to America.Did you abscond with the churchfunds? Did you run off with thePresident's wife? I should like

to think you killed a man. Itis the romantic in me.

RICK(still looking atthe plane)

It was a combination of allthree.

RENAULTAnd what in heaven's namebrought you to Casablanca?

The plane's motors grow louder.

RICKMy health. I came to Casablancafor the waters.

RENAULTWaters? What waters? We're inthe desert.

RICKI was misinformed.

The plane is now speeding down the runway. Its lightsshine on the faces of Rick and Renault. Rick cannot lookaway from it. It leaves the ground and passes almostdirectly over them. Rick watches the plane until itslights disappear into the distance.

A CROUPIER steps out of the cafe.

CROUPIERExcuse me, M'sieur Rick, but agentleman inside has won ten

thousand francs. The cashierwould like some money.

RICKI'll get it from the safe.

CROUPIERI am humiliated, M'sieur Rick.I do not understand how --

RICKIt's all right, Emil. Mistakeswill happen.

Rick and Renault rise and start toward the door.

19.

RENAULTRick, there is going to be someexcitement here tonight. We aregoing to make an arrest in yourcafe.

RICKAgain?

INT. RICK'S CAFE - MAIN ROOM - NIGHT

They come inside and start across the room.

RENAULTThis is no ordinary arrest. Amurderer, no less.

Rick's eyes react. Involuntarily they glance toward thegambling room. Renault catches the look.

RENAULTIf you are thinking of warninghim -- don't put yourself out.He can't possibly escape.

RICKI stick my neck out for nobody.

RENAULTA wise foreign policy.

Renault snatches a drink off the bar and follows Rickupstairs.

RENAULTYou know, Rick, we could havemade this arrest earlier in theevening at the Blue Parrot --

INT. RICK'S OFFICE / MAIN ROOM - NIGHT

They enter.

RENAULT-- But out of my high regardfor you we are staging it here.It will amuse your customers.

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17.

RICKCome right back.

FYDOR(his face falling)

Yes, boss.

The cab starts off. Rick walks back toward the cafeentrance.

RENAULT'S VOICE (O.S.)How extravagant you are --throwing away women like that.Some day they may be scarce.

Rick turns toward the voice. Renault is sipping somebrandy at a table on the cafe terrace. His eyes are amused.

RICKHello, Louis.

RENAULTI think now I shall pay a callon Yvonne -- maybe get her onthe rebound, eh?

Rick takes a seat at the table.

RICKWhen it comes to women, you'rea true democrat.

Renault laughs, pours Rick a drink. There is the sound ofa plane warming up on the adjacent air field. Both menturn their attention to the transport plane standingpoised on the runway.

RENAULTThe plane to Lisbon --

(looks at Rickshrewdly)

You would like to be on it?

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

RENAULTThe Clipper to America.

Rick doesn't answer. He looks at the plane warming up, buthis look isn't a happy one.

18.

RENAULTI have often speculated on whyyou don't return to America.Did you abscond with the churchfunds? Did you run off with thePresident's wife? I should like

to think you killed a man. Itis the romantic in me.

RICK(still looking atthe plane)

It was a combination of allthree.

RENAULTAnd what in heaven's namebrought you to Casablanca?

The plane's motors grow louder.

RICKMy health. I came to Casablancafor the waters.

RENAULTWaters? What waters? We're inthe desert.

RICKI was misinformed.

The plane is now speeding down the runway. Its lightsshine on the faces of Rick and Renault. Rick cannot lookaway from it. It leaves the ground and passes almostdirectly over them. Rick watches the plane until itslights disappear into the distance.

A CROUPIER steps out of the cafe.

CROUPIERExcuse me, M'sieur Rick, but agentleman inside has won ten

thousand francs. The cashierwould like some money.

RICKI'll get it from the safe.

CROUPIERI am humiliated, M'sieur Rick.I do not understand how --

RICKIt's all right, Emil. Mistakeswill happen.

Rick and Renault rise and start toward the door.

19.

RENAULTRick, there is going to be someexcitement here tonight. We aregoing to make an arrest in yourcafe.

RICKAgain?

INT. RICK'S CAFE - MAIN ROOM - NIGHT

They come inside and start across the room.

RENAULTThis is no ordinary arrest. Amurderer, no less.

Rick's eyes react. Involuntarily they glance toward thegambling room. Renault catches the look.

RENAULTIf you are thinking of warninghim -- don't put yourself out.He can't possibly escape.

RICKI stick my neck out for nobody.

RENAULTA wise foreign policy.

Renault snatches a drink off the bar and follows Rickupstairs.

RENAULTYou know, Rick, we could havemade this arrest earlier in theevening at the Blue Parrot --

INT. RICK'S OFFICE / MAIN ROOM - NIGHT

They enter.

RENAULT-- But out of my high regardfor you we are staging it here.It will amuse your customers.

RICKOur entertainment is enough.

Rick goes into a small, dark room off the office andstarts to open the safe. Renault, drink in hand, leansagainst the door jamb.

20.

RENAULTRick, we are to have animportant guest tonight --Major Strasser of the ThirdReich -- no less. We want himto be here when we make the

arrest. A little demonstrationof the efficiency of myadministration.

RICKI see. And what's Strasserdoing here? He hasn't come allthe way to Casablanca to witnessa demonstration of yourefficiency.

RENAULTPerhaps not.

RICKLouis, you have something onyour mind. Why don't you spillit?

RENAULTYou are very observant. As amatter of fact, I wanted togive you a word of advice.

RICK

Yes?

RENAULTThere are many exit visas soldin this cafe, but we know thatyou have never sold them. Thatis the reason we permit you toremain open.

RICKI thought it was because we letyou win at roulette.

RENAULTYes, that is another reason...My dear Rick there is a man whohas arrived in Casablanca onhis way to America. He willoffer a fortune to anyone whowill furnish him with an exitvisa.

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18.

RENAULTI have often speculated on whyyou don't return to America.Did you abscond with the churchfunds? Did you run off with thePresident's wife? I should like

to think you killed a man. Itis the romantic in me.

RICK(still looking atthe plane)

It was a combination of allthree.

RENAULTAnd what in heaven's namebrought you to Casablanca?

The plane's motors grow louder.

RICKMy health. I came to Casablancafor the waters.

RENAULTWaters? What waters? We're inthe desert.

RICKI was misinformed.

The plane is now speeding down the runway. Its lightsshine on the faces of Rick and Renault. Rick cannot lookaway from it. It leaves the ground and passes almostdirectly over them. Rick watches the plane until itslights disappear into the distance.

A CROUPIER steps out of the cafe.

CROUPIERExcuse me, M'sieur Rick, but agentleman inside has won ten

thousand francs. The cashierwould like some money.

RICKI'll get it from the safe.

CROUPIERI am humiliated, M'sieur Rick.I do not understand how --

RICKIt's all right, Emil. Mistakeswill happen.

Rick and Renault rise and start toward the door.

19.

RENAULTRick, there is going to be someexcitement here tonight. We aregoing to make an arrest in yourcafe.

RICKAgain?

INT. RICK'S CAFE - MAIN ROOM - NIGHT

They come inside and start across the room.

RENAULTThis is no ordinary arrest. Amurderer, no less.

Rick's eyes react. Involuntarily they glance toward thegambling room. Renault catches the look.

RENAULTIf you are thinking of warninghim -- don't put yourself out.He can't possibly escape.

RICKI stick my neck out for nobody.

RENAULTA wise foreign policy.

Renault snatches a drink off the bar and follows Rickupstairs.

RENAULTYou know, Rick, we could havemade this arrest earlier in theevening at the Blue Parrot --

INT. RICK'S OFFICE / MAIN ROOM - NIGHT

They enter.

RENAULT-- But out of my high regardfor you we are staging it here.It will amuse your customers.

RICKOur entertainment is enough.

Rick goes into a small, dark room off the office andstarts to open the safe. Renault, drink in hand, leansagainst the door jamb.

20.

RENAULTRick, we are to have animportant guest tonight --Major Strasser of the ThirdReich -- no less. We want himto be here when we make the

arrest. A little demonstrationof the efficiency of myadministration.

RICKI see. And what's Strasserdoing here? He hasn't come allthe way to Casablanca to witnessa demonstration of yourefficiency.

RENAULTPerhaps not.

RICKLouis, you have something onyour mind. Why don't you spillit?

RENAULTYou are very observant. As amatter of fact, I wanted togive you a word of advice.

RICK

Yes?

RENAULTThere are many exit visas soldin this cafe, but we know thatyou have never sold them. Thatis the reason we permit you toremain open.

RICKI thought it was because we letyou win at roulette.

RENAULTYes, that is another reason...My dear Rick there is a man whohas arrived in Casablanca onhis way to America. He willoffer a fortune to anyone whowill furnish him with an exitvisa.

RICKYes? What man?

RENAULTVictor Laszlo.

21.

RICKLaszlo here in Casablanca!

RENAULTRicky, this is the first time Ihave ever seen you so impressed.

RICKLaszlo has succeeded inimpressing half the world.

RENAULTAnd it is my duty to see thathe doesn't impress the otherhalf.

(now intenselyserious)

Rick, Laszlo must never reachAmerica. He stays in Casablanca.

RICKIt'll be interesting to see howhe manages.

RENAULTManages what?

RICKHis escape.

RENAULT

But I just told you --

RICKStop it, Louis. He escaped froma concentration camp, didn't he?The Nazis have been chasing himall over Europe.

RENAULT(grim)

This is the end of the chase.

RICKTen thousand francs says itisn't.

RENAULTIs that a serious wager?

RICKI just lost ten thousand francs.I'd like to get it back.

RENAULTMake it five thousand. I amonly a poor corrupt official.

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19.

RENAULTRick, there is going to be someexcitement here tonight. We aregoing to make an arrest in yourcafe.

RICKAgain?

INT. RICK'S CAFE - MAIN ROOM - NIGHT

They come inside and start across the room.

RENAULTThis is no ordinary arrest. Amurderer, no less.

Rick's eyes react. Involuntarily they glance toward thegambling room. Renault catches the look.

RENAULTIf you are thinking of warninghim -- don't put yourself out.He can't possibly escape.

RICKI stick my neck out for nobody.

RENAULTA wise foreign policy.

Renault snatches a drink off the bar and follows Rickupstairs.

RENAULTYou know, Rick, we could havemade this arrest earlier in theevening at the Blue Parrot --

INT. RICK'S OFFICE / MAIN ROOM - NIGHT

They enter.

RENAULT-- But out of my high regardfor you we are staging it here.It will amuse your customers.

RICKOur entertainment is enough.

Rick goes into a small, dark room off the office andstarts to open the safe. Renault, drink in hand, leansagainst the door jamb.

20.

RENAULTRick, we are to have animportant guest tonight --Major Strasser of the ThirdReich -- no less. We want himto be here when we make the

arrest. A little demonstrationof the efficiency of myadministration.

RICKI see. And what's Strasserdoing here? He hasn't come allthe way to Casablanca to witnessa demonstration of yourefficiency.

RENAULTPerhaps not.

RICKLouis, you have something onyour mind. Why don't you spillit?

RENAULTYou are very observant. As amatter of fact, I wanted togive you a word of advice.

RICK

Yes?

RENAULTThere are many exit visas soldin this cafe, but we know thatyou have never sold them. Thatis the reason we permit you toremain open.

RICKI thought it was because we letyou win at roulette.

RENAULTYes, that is another reason...My dear Rick there is a man whohas arrived in Casablanca onhis way to America. He willoffer a fortune to anyone whowill furnish him with an exitvisa.

RICKYes? What man?

RENAULTVictor Laszlo.

21.

RICKLaszlo here in Casablanca!

RENAULTRicky, this is the first time Ihave ever seen you so impressed.

RICKLaszlo has succeeded inimpressing half the world.

RENAULTAnd it is my duty to see thathe doesn't impress the otherhalf.

(now intenselyserious)

Rick, Laszlo must never reachAmerica. He stays in Casablanca.

RICKIt'll be interesting to see howhe manages.

RENAULTManages what?

RICKHis escape.

RENAULT

But I just told you --

RICKStop it, Louis. He escaped froma concentration camp, didn't he?The Nazis have been chasing himall over Europe.

RENAULT(grim)

This is the end of the chase.

RICKTen thousand francs says itisn't.

RENAULTIs that a serious wager?

RICKI just lost ten thousand francs.I'd like to get it back.

RENAULTMake it five thousand. I amonly a poor corrupt official.

22.

Rick nods.

RENAULTDone. No matter how clever heis, he still needs an exitvisa -- or I should say, two.

They start out of the room, back down the steps.

STAIRWAY

RICKWhy two?

RENAULTHe is traveling with a lady.

RICKHe'll take one.

RENAULTI think not. I have seen thelady. And if he did not leaveher in Marseilles, nor in Oran,he certainly won't leave her inCasablanca.

RICKMaybe he's not as romantic as

you are.

RENAULTIt does not matter -- one ortwo -- romanticist or not --there is no exit visa for him.

RICKLouis, where did you get theidea I might be interested inhelping Laszlo escape?

RENAULTBecause, my dear Ricky, Isuspect under that cynicalshell, you are at heart asentimentalist.

Rick breaks into a laugh.

RENAULTLaugh if you will, but I happento be familiar with your record.You fought with the Ethiopiansagainst Italy, and you riskedyour neck with the Loyalists inSpain --

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20.

RENAULTRick, we are to have animportant guest tonight --Major Strasser of the ThirdReich -- no less. We want himto be here when we make the

arrest. A little demonstrationof the efficiency of myadministration.

RICKI see. And what's Strasserdoing here? He hasn't come allthe way to Casablanca to witnessa demonstration of yourefficiency.

RENAULTPerhaps not.

RICKLouis, you have something onyour mind. Why don't you spillit?

RENAULTYou are very observant. As amatter of fact, I wanted togive you a word of advice.

RICK

Yes?

RENAULTThere are many exit visas soldin this cafe, but we know thatyou have never sold them. Thatis the reason we permit you toremain open.

RICKI thought it was because we letyou win at roulette.

RENAULTYes, that is another reason...My dear Rick there is a man whohas arrived in Casablanca onhis way to America. He willoffer a fortune to anyone whowill furnish him with an exitvisa.

RICKYes? What man?

RENAULTVictor Laszlo.

21.

RICKLaszlo here in Casablanca!

RENAULTRicky, this is the first time Ihave ever seen you so impressed.

RICKLaszlo has succeeded inimpressing half the world.

RENAULTAnd it is my duty to see thathe doesn't impress the otherhalf.

(now intenselyserious)

Rick, Laszlo must never reachAmerica. He stays in Casablanca.

RICKIt'll be interesting to see howhe manages.

RENAULTManages what?

RICKHis escape.

RENAULT

But I just told you --

RICKStop it, Louis. He escaped froma concentration camp, didn't he?The Nazis have been chasing himall over Europe.

RENAULT(grim)

This is the end of the chase.

RICKTen thousand francs says itisn't.

RENAULTIs that a serious wager?

RICKI just lost ten thousand francs.I'd like to get it back.

RENAULTMake it five thousand. I amonly a poor corrupt official.

22.

Rick nods.

RENAULTDone. No matter how clever heis, he still needs an exitvisa -- or I should say, two.

They start out of the room, back down the steps.

STAIRWAY

RICKWhy two?

RENAULTHe is traveling with a lady.

RICKHe'll take one.

RENAULTI think not. I have seen thelady. And if he did not leaveher in Marseilles, nor in Oran,he certainly won't leave her inCasablanca.

RICKMaybe he's not as romantic as

you are.

RENAULTIt does not matter -- one ortwo -- romanticist or not --there is no exit visa for him.

RICKLouis, where did you get theidea I might be interested inhelping Laszlo escape?

RENAULTBecause, my dear Ricky, Isuspect under that cynicalshell, you are at heart asentimentalist.

Rick breaks into a laugh.

RENAULTLaugh if you will, but I happento be familiar with your record.You fought with the Ethiopiansagainst Italy, and you riskedyour neck with the Loyalists inSpain --

23.

RICKWell--there wasn't much doingin Paris at the time.

(anxious to changethe subject)

Apparently you are determined

to keep