Written by Julius J. Epstein, Philip G. Epstein, Howard Koch · 1942
Three writers, a chaotic production, and one of the most beloved films ever made. The screenplay is studied for its perfect balance of romance, geopolitics, and moral complication. Every line of dialogue earns its place. Every supporting character has a purpose.
What's remarkable about Casablanca is that it was written in pieces, by committee, often a day ahead of shooting. By all accounts of how screenplays should be made, it should be a mess. Instead, it's the gold standard. The lesson: structure can survive chaos if your characters know what they want and what they're willing to lose. Rick wants Ilsa. He's willing to lose her. That's the whole movie.
INT. RICK'S CAFE — NIGHT
Rick stands at the doorway of his office, watching the gambling room. Sam plays piano. Ilsa sits at a table, alone. ILSA Play it once, Sam. For old times' sake. SAM I don't know what you mean, Miss Ilsa. ILSA Play it, Sam. Play 'As Time Goes By.' SAM Oh, I can't remember it, Miss Ilsa. I'm a little rusty on it. ILSA I'll hum it for you. She hums a few bars. Sam begins to play, very quietly. Ilsa, very softly, sings the words. ILSA (CONT'D) You must remember this, a kiss is still a kiss, a sigh is just a sigh. The fundamental things apply, as time goes by. Rick walks over, furious. RICK Sam, I thought I told you never to play — He stops. Sees Ilsa. A long silence. They look at each other. RICK (CONT'D) Of all the gin joints in all the towns in all the world, she walks into mine.