Casablanca Archive of (5) Studio Scripts and Developmental Materials from Stage to Screen (Warner Bros., 1942). ... (Total: 3 Items)

Description

Casablanca Archive of (5) Studio Scripts and Developmental Materials from Stage to Screen (Warner Bros., 1942). Vintage original (3) studio bound and bradded scripts and (2) documents representing the development of one of the greatest American motion pictures in history. Adapted from the 1940 stage play by high school teacher Murray Burnett and his writing partner Joan Alison, in their second play collaboration. "Everybody Comes to Rick's" was unproduced, but a story editor, Irene Diamond, discovered the play on a trip to New York, took a shine to it, and convinced producer Hal Wallis to take it on. The first two writers to tackle adaptation were twin brothers Julius and Phillip Epstein (The Man Who Came to Dinner, Mrs. Skeffington, Arsenic, and Old Lace). When the brothers left for a month, Howard Koch (The Sea Hawk, Sergeant York, Rhapsody in Blue) stepped in and generated pages until the Epsteins returned. The Epsteins and Koch are credited with the writing, while Casey Robinson (Captain Blood, Now Voyager) is known to have contributed important uncredited work. Documents include:
(1) 3-Act Stage Play script in blue wrappers titled "Everybody Comes to Rick's" and typed written by "Murray Burnett and Joan Alison" and studio ink stamped "Casablanca." This is a typed copy script of the play from which the ultimate movie was adapted. In the play, Richard Blaine "Rick" is a mercenary ex-pat lawyer who reads as much a denizen as the usual suspects we're used to watching parade across the screen in the movie. Also, our beloved "Ilsa Lund" from the resulting screen version is "Lois Meredith," a bad girl with a heart of lead. In the end, while Lois falls for Rick and Rick sends her packing for her own good, there is nothing remotely as romantic as, "We'll always have Paris," or "This looks like the beginning of a beautiful friendship." In fact, the play closes with:
"RICK (Starts walking slowly to the door) So long, Sam. I'd go over to the Blue Parrot, if I were you. (As he passes Rinaldo, who has not moved). RINALDO: Why did you do it, Rick? Rick: (pausing) For the folding money, Luis, for the folding money. You owe me five thousand francs. (RICK walks out with STRASSER as the) u CURTAIN FALLS"
(1) Set of 19-loose pages titled, "Suggestions for Revised Story CASABLANCA, date stamped "APR 42" by Howard Koch. Stamped, "IMPORTANT! Return to Warner Bros. Pictures, Inc. Story Dept." The suggestions take the form of 22-numbered notes including suggestions, critiques, dialog, and more, in part:
"2. There is also a danger that Rick's sacrifice in the end will seem theatrical and phony unless, early in the story, we suggest the side of his nature that makes his final decision in character..."
"4. Much suspense will be gained if Rick and Lois, at their first meeting in the café, do not reveal in front of Laszlo and Renault, that they've known each other before..."
"17. Lois and Rick have their breakfast. A gay scene of recaptured bliss..."
"21. Up to now the French Prefect has been watching the drama with an impersonal but absorbing interest. When Lois leaves, he is suddenly overcome with a surprising denouement. "You are a man, Rick, who can be counted on to do the unexpected." He rocks with laughter, but the laughter stops as he finds himself looking into the barrel of Rick's revolver..."
This document suggests this last line: "22. ...RENAULT: Ricky, I was right. You are a sentimentalist. FADE OUT."
(1) Set of 6-loose pages titled, "Last final complete version," by Howard Koch. Stamped, "IMPORTANT! Return to Warner Bros. Pictures, Inc. Story Dept." The content takes the form of 24-numbered notes including suggestions, scenic set ups, and more, in part:
"1. Opening Montage - Epstein Script."
"12. After the café closes, scene between Sam and Rick in which we realize that Sam is trying to protect his boss from Lois..."
"21. ...This morning Lois talks about their future, we sense something on Rick's mind that throws some doubt upon the future working out for them as she visualizes it..."
(1) 68-page studio file copy partial script of Casablanca in orange wrappers stamped "File," "Part 1," and dated "May 11, 1942." In this version the character of "Lois" has made the transition to "Ilsa," as Ingrid Bergman had signed on to the project the month before on April 24th. In this iteration, the story is taking the shape that would become the version the world would come to love. The ending of this portion of the partial script reads, in part:
"122. MED. SHOT RICK AT THE TABLE His head sagging on his body. He has tripped over the whiskey glass, contents spilling over the table. Sam comes into the SHOT, takes him gently by the arm. SAM: C'mon boss. We're goin' upstairs. Rick seems hardly to hear, but he puts up no resistance. A little unsteadily, he gets to his feet. Sam leads him by the arm. SAM: You'll feel better tomorrow, Boss. Jes' let time pass by, like de song says..."
(1) 158-multi-color revision page Casablanca script in gold wrappers stamped, "Rev. Final," and dated, "June 1, 1942." The interior title page includes, "Director: Michael Curtiz" and "Producer: Hal Wallis." Also stamped, "Important! Return to Story Dept." The revision pages with approx. 20-Pink pages dated; 6/5/42, 6/9/42, 6/13/42, 7/8/42, 6/9/43, 6/13/43, and 4-blue pages dated:7/14/42, 7/16/42 beginning on page 136. And marked, "Casablanca Changes in new ending." And this shooting script delivers us the ending we can't imagine being any other way:
(Cont.) RICK: (smiles) My Letter of Transit? (his eyes following the plane, which is now receding into the distance) I could use a trip...But it doesn't make any difference about our bet, you still owe me the ten thousand francs. RENAULT: And that ten-thousand francs should pay our expenses. RICK: Our expenses! RENAULT: Uh-huh. RICK: I think this is the beginning of a beautiful friendship. THE END
All document covers exhibit production wear, age, edge chipping, tears and soiling. Content pages remain in vintage Very good condition. An archive that demonstrates the very intense vetting and influence of a studio system populated by some of the finest dramatic and literary filmmaking minds of the era, assembled under one roof. From the intense, slice-of-life severity of the theater to the romanticized and heroic storytelling of Hollywood. In vintage Good to Very Good condition. Comes with a COA from Heritage Auctions.

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