Casablanca Page #11

Synopsis: Rick Blaine (Humphrey Bogart), who owns a nightclub in Casablanca, discovers his old flame Ilsa (Ingrid Bergman) is in town with her husband, Victor Laszlo (Paul Henreid). Laszlo is a famed rebel, and with Germans on his tail, Ilsa knows Rick can help them get out of the country.
Genre: Drama, Romance, War
Director(s): Michael Curtiz
Production: Warner Bros. Pictures
  Won 3 Oscars. Another 5 wins & 9 nominations.
 
IMDB:
8.5
Metacritic:
100
Rotten Tomatoes:
97%
PG
Year:
1942
102 min
Website
883,711 Views


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.

69.

RICK:

And the carrying charges?

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:

EXT. THE BLUE PARROT - DAY

Laszlo reaches the entrance to the cafe as Rick comes out.

He stops and addresses Rick politely.

LASZLO:

Good morning.

RICK:

70

Signor Ferrari is the fat gent at

the table.

As he exits, Laszlo looks after him with a puzzled expression.

CUT TO:

EXT. BLACK MARKET - DAY

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 .

He replaces the second sign with a third which reads "100

francs . "

71

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:

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:

72

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:

INT. THE BLUE PARROT - DAY

Ilsa and Laszlo sit with Ferrari.

FERRARI:

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

73

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.

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)

74

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:

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

75

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?

Rate this script:3.9 / 34 votes

Julius J. Epstein

Julius J. Epstein (August 22, 1909 – December 30, 2000) was an American screenwriter, who had a long career, best remembered for his screenplay – written with his twin brother, Philip, and Howard E. Koch – of the film Casablanca (1942), for which the writers won an Academy Award. It was adapted from an unpublished play, Everybody Comes to Rick's, written by Murray Bennett and Joan Alison. more…

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