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Casablanket
This parody of the famous movie, starring
former pastors
Roger
and Sandy Daly, was staged on
Saturday night, March 16, 2002, at King Street Church's annual
talent show and benefit auction. (Click
to see the 2005 version of this perennial event.) Like other acts presented that night, the six scenes of
Casablanket were interspersed among sieges of bidding for
houshold goods, movie tickets, timeshare trips, and other
donated goodies. The whole production of Casablanket --
conception, script-writing, casting, sets, lighting, sound,
costumes, rehearsals -- was put together in six days. (On the
seventh, we rested.)
The morning before our one and only
performance, scriptwriter and cast member
Terry Dunkle woke up with a
powerful headache, fever, and cough -- he'd come down with the flu.
Nevertheless, the show had to go on. Dunkle primed himself
with aspirin, Robitussin, and antihistamines.
Meanwhile, because rehearsal time was limited, the actors
never learned their lines. In a panic just an hour before
curtain time, they finally decided to make a virtue of
necessity: to openly read from their scripts, dramatically
tearing off and tossing the pages as they finished them. This
made the play even funnier, with sheets of paper flying
everywhere and eventually carpeting the floor.
A videotape of the production is
available from Dunkle. What follows is the master copy of the
script, complete with production notes.
Cast
(In Order of Appearance)
|
Narrator and prop man: |
Marv Knisley (as himself) |
|
Ilsa Lund, the beautiful
woman from Rick's past: |
Sandy Daly (AKA Ingrid
Bergman) |
|
Sam, the piano player: |
Terry Dunkle (AKA Dooley
Wilson) |
|
Rick Blaine, the café owner: |
Roger Daly (AKA Humphrey
Bogart) |
Pre-Show Checklist
-
An electric piano,
borrowed from Terry Dunkle's living room, is situated at stage
right, plugged in, turned on, set to volume 7, and
transposed to the key we decided on.
-
“As Time Goes By”
music is on piano stand.
-
A floodlight,
borrowed from Terry's garage, is plugged into the wall,
sitting between piano and wall. Before each scene, it will
be moved into position at stage front, to function as a
footlight.
-
A piano light is
plugged into the wall.
-
A power strip is
plugged into the wall.
-
A 1930s
electric fan is
sitting on the piano, plugged into the power strip.
-
A modern-day fan,
very powerful, is sitting under the piano, plugged into the
power strip.
-
An electric
miner's headlight, to be worn by Terry in Scene VI, is on
top of the piano.
-
Roger’s dinner
jacket, made by badly spray-painting a used sportcoat with
white enamel, is in the closet at stage right.
-
Terry’s dinner
jacket, similarly made and two sizes too small, is on the
shelf under the bar at stage right.
-
Sandy’s Hat No. 1,
decorated with large flowers, is in the exitway at stage
left.
-
Sandy’s whisky
glass is in the exitway.
-
Sandy’s whisky
bottle is in the exitway.
-
A checkered
tablecloth is in the exitway.
-
Marv’s tiny
flashlight is in his pocket.
-
A
bullhorn is on the counter in the kitchen, behind the
audience.
-
A
kazoo is in Sandy’s pocket.
-
Terry’s reading
glasses are on.
-
Terry’s
old-fashioned electric alarm clock, bought for $2 at the
Salvation Army store, is on the shelf under the bar.
-
A
tray of drinks (including Roger’s huge drinking glass,
bottles of whisky and wine, a can of Drano, and other
ridiculous impotables) is on the shelf under the bar.
-
Terry’s bow tie is
tied and on the shelf under the bar.
-
Roger’s bow tie is
tied and in the closet.
-
A
bar stool is behind the bar.
-
A car's
steering wheel is behind the bar.
-
Sandy’s incredibly
long and lightweight silk scarf is in the exitway.
-
Two water-filled
martini glasses are on the shelf under the bar.
-
Sandy’s beret is
in the exitway.
-
Roger’s beret is
in the closet.
-
Terry’s tiny
flashlight is in his pocket.
-
Terry’s overcoat
is in the closet.
-
Terry’s umbrella
is in the closet.
-
Roger’s raincoat
is in the closet.
-
A
watering can full of water is sitting in the exitway.
-
A
farewell letter is in Terry’s left overcoat pocket.
-
A train whistle is
in Sandy’s pocket.
-
Sandy’s Hat No. 2,
made of a giant lampshade decorated with huge red
butterflies, is in the exitway.
-
Sandy’s gun is in
her pocket, loaded with fresh caps.
-
Roger’s cigarettes
and matches are on the firemen's trophy shelf next to the
piano, at stage right.
-
A
small lamp is on the piano, plugged directly into the wall,
with a correct-wattage bulb in it.
-
Two
envelopes containing tickets are in the breast-pocket of
Roger’s dinner jacket.
-
Sandy’s plastic
fedora is in the exitway.
-
Roger’s plastic
fedora is in the exitway.
-
A
suitcase is in the exitway.
-
Two
window fans are in the (open) windows at stage left and
plugged into a Variac transformer borrowed from
Parker
Moreland, which allows stagehand Marv Knisley to vary the
fans' speed by turning a dial. Both fans are turned on to
their High settings.
-
The Variac is
sitting beside the footlight and plugged in, with its dial
set to zero.
-
A crudely
lettered,
cardboard sign saying “This scene was supposed to be foggy,
but Dunkle was too cheap to rent the machine” is folded and
sitting on the floor next to the Variac.
-
Sandy’s overcoat
is in the exitway.
-
Sandy’s script is
in hand.
-
Terry’s script is
in hand.
-
Roger’s script is
in hand.
-
Marv’s script is
in hand.
-
A jar of
brandied pears that Ruth Tibbets donated for tonight's
benefit auction has been prominently mentioned by the
auctioneer.
-
A set of movie
tickets that Loew's donated has also been prominently
mentioned.
Scene I:
Rick and
Ilsa Meet
In the Dark:
-
Sandy
puts checkered tablecloth, whisky bottle, drinking glass,
and her script on the table; dons Hat No. 1; and sits down
at the table.
-
Terry
takes his bow tie from the shelf under the bar and puts it
on; takes his dinner jacket from the same shelf and puts it
on; makes sure the piano is turned on and transposed; puts
his script on the treble end of the piano; and moves
off-stage at left.
-
Roger
goes into the closet; puts on his bow tie and dinner jacket;
and stands with his script in hand, listening carefully for
his entrance (“A guy is just a guy...”).
- Marv
shifts the footlight to the front of the stage and points it
at the table; stands at the footlight with his tiny
flashlight and script in hand.
Marv (narrating in the dark)
(Very dramatically, like Edward R. Murrow)
With the coming of the second World War, many eyes in
imprisoned Europe turned hopefully, or desperately, toward the
freedom of the Americas. Lisbon became the great embarkation
point. But not everyone could get to Lisbon directly; and so a
tortuous, roundabout refugee trail sprang up. Paris to
Marseilles, across the Mediterranean, and finally to
Casablanket, in French Morocco. And here it is, one
evening, that a beautiful woman arrives with her husband
-- never dreaming that
in Casablanket
she will
once again
meet the man she really loves….
Marv turns up the footlight, revealing Ilsa
(Sandy) sitting at the table, wearing Hat No. 1. She is
nursing a drink.
Sam (Terry) comes in from stage left, wearing a
white dinner jacket two sizes too small for him.
Ilsa
Hello, Sam.
Sam
(Surprised)
Hello, Miss Ilsa. I
never expected to see you again. Or that hat.
He sits down, turns the piano light on, and is
ready to play.
Ilsa
It’s been a long time.
Sam
Yes, ma’am. A lot of water under the bridge.
Ilsa
Some of the old songs, Sam.
Sam
Yes, ma’am.
Sam begins to play “Chopsticks,” very badly. He
is nervous, waiting for anything.
Ilsa
Where is Rick?
Sam
(Evading)
I don’t know. I ain’t seen him all night.
Ilsa
You used to be a much better liar, Sam. And a
lot better piano player, too.
Sam
Your hearing must be going, Miss Ilsa. Now
listen, you leave Rick alone. You’re bad luck to him.
Ilsa
(Softly)
Play it once, Sam. For old time’s sake.
Sam
I don’t know what you mean, Miss Ilsa.
Ilsa
Play it, Sam. Play, “As Time Goes By.”
Sam
I can’t remember it, Miss Ilsa. I’m a little
rusty on it. I’m not even sure I can get the words right.
Ilsa
I’ll hum it for you. (She produces a kazoo
and hums the first three lines.) Sing it, Sam.
Sam
(Singing)
“You must remember that
“An elephant is fat,
“A guy is just a guy….
While Sam is singing, the closet door suddenly
opens. Rick (Roger), proprietor of the café, comes swinging
out, wearing a white dinner jacket that is actually a suitcoat
spray-painted white. He has heard the music, and he is livid.
He walks briskly up to the piano.
Sam
(Still singing)
“…The epidural things apply…
Rick
Sam, I thought I told you never to play
--
Sam
(Still singing)
“As time goes by….”
As Rick sees Ilsa, he stops abruptly. Sam stops
playing. For a long, awkward moment, Rick and Ilsa stare at
each other.
Rick
Hello, Ilsa. (Embarrassed) Nice hat.
Ilsa
Hello, Rick. (Equally embarrassed) Nice
jacket.
Terry turns off the piano light as Marv fades
the footlight to black.
Scene II: Rick Gets Drunk
In the Dark:
Sandy
picks up her script from the table and moves into the exitway,
where she stays for the whole scene. She turns her script to
Scene 3.
Terry
gets the alarm clock off the shelf under the bar and fastens
it to his left wrist; picks up his script from the treble end
of the piano; and sits down on the piano bench, facing the
bar, with the script on his knee.
Roger
puts his script on the bar; lifts the tray of drinks off the
shelf and onto the bar; takes his huge drinking glass off the
tray and positions it on the bar; loosens his bow tie; sits
down on the bar stool; and adopts a drunken pose.
Marv
points the footlight toward the bar and stands at the
footlight with flashlight and script in hand.
Marv (narrating in the dark)
Hours later, in the bar at Rick’s Café; a long
time after closing.
Marv fades the footlight in, revealing Rick
sitting behind the bar, drinking from a gigantic glass. A lot
of bottles
sit on the bar,
including Lysol, WD-40, and Mop ‘n’ Glo. Sam is sitting on the
piano bench, facing Rick. He has an old-fashioned alarm clock
fastened to his left wrist.
Sam
Boss.
No answer, as Rick drinks.
Boss!
Rick
(Drunkenly) Yeah?
Sam
Boss, ain’t you going to church?
Rick
(Filling his glass by dumping contents of
several bottles into it)
Not right now. (Looks around for something more to put into
the glass) What happened to those…brandied pears we
used to have? We’ve had ’em for twenty years; why can’t I find
’em?
Sam realizes Rick is in a grim mood.
Sam
(Lightly, trying to kid Rick out of it.)
Ain’t you planning on going to church in the near future?
Rick
No.
Sam
You ever going to church?
Rick
No.
Sam
(Still trying)
Well, I ain’t goin’, either.
Rick
Good. (Gestures with a bottle.) Then
have a drink.
Sam
No. Not me, boss.
Rick
(Putting the bottle down, clumsily.)
Then don’t have a drink.
Sam
(Adopting a serious tone)
Boss, let’s get out of here.
Rick
(Emphatically)
No, sir. I’m waiting for a lady.
Sam
(Earnestly)
Please, boss, let’s go. Ain’t nothing but trouble for you here
in Casablanket.
Rick
She’s coming back. I know she’s coming back.
Sam
We’ll take the car and drive all night. We’ll
get drunk. We’ll go…quilting, and stay away until she’s
gone.
Rick
Shut up and go home, will you?
Sam
(Stubbornly)
No, sir. I’m staying right here.
Sam turns around to the piano, placing his
script at the treble end, and starts softly picking out “Heart
and Soul,” making a lot of mistakes.
Rick
(Really drunk now.)
They grab Ugarte,
and she walks in. Well, that’s the way it goes. One
in…one out. (Pauses as he thinks of something.) Sam?
Sam
(Still playing “Heart and Soul”)
Yeah, boss?
Rick
Sam, if it’s December 1941 in Casablanket,
what time is it in Danbury?
Sam
(Looking at the alarm clock on his left wrist.)
Uh, my watch stopped.
(Sam begins playing the Knuckle Jig.)
Rick
(Drunken nostalgia)
I bet they’re asleep in Danbury. I’ll bet they’re asleep all
over Connecticut.
(Pounds the table suddenly)
Of all the auction joints in all the towns in all the
world, she walks into mine! (Irritably, to Sam) What’s
that you’re playing?
Sam
Just a little something of my own.
Rick
Well, stop it. You know what I want to hear.
Sam
No, I don’t.
Rick
You played it badly for her, and you can play
badly it for me.
Sam
Well, I don’t think I can remember it.
Rick
If she can stand it, I can. Play it!
Sam
Yes, boss. (Sam starts
to play “As Time Goes By,” and sings.)
“And when two lovers woo,
“Before she says, ‘I do,’
From Rick’s expression, we know he is thinking
of the past. Marv fades the footlight to black as Sam
continues singing.
Sam (still playing)
“You’ve got to drink a quart of gin,
“As time goes by….”
Scene III: Paris
In the Dark:
Sandy
puts on her scarf and beret. Then, with her script in hand,
she carries two chairs to the area beside the table; positions
the chairs facing partly into the electric fans and partly
into the audience; sits down in the stage-left chair; and
positions her script on her knee.
Terry
picks up his script from the treble end of the piano; takes
the alarm clock off his wrist and puts it back on the shelf
under the bar; switches the power strip on (to activate the
fans); goes out into the kitchen and gets the bullhorn;
switches it on; takes his tiny flashlight out of his pocket,
and positions himself just behind the audience with
flashlight, script, and bullhorn in hand.
Roger
goes to the closet, where he puts on his raincoat and beret;
then he takes his script from the top of the bar and the
filled martini glasses from under the bar and sets both the
glasses and his script on the table; takes the steering wheel
from behind the bar; sits down in the stage-right chair; puts
his script on his knee; and holds the steering wheel in
driving position.
Marv
points the footlight toward the chairs and stands at the
footlight with flashlight and script in hand.
Marv (narrating in the dark)
Flashback to Paris, one year earlier.
As Marv fades the footlight in, Rick and Ilsa
are sitting side-by-side in the chairs, smiling gaily. Rick is
holding a steering wheel, turning it occasionally as though
driving a car. The electric fans are blowing Ilsa’s hair and
scarf. Two martini glasses, full of water, are sitting on the
table.
Rick
(Euphoric)
Who are you really? And what were you before? What did you do,
and what did you think? And what’s the capital of South
Dakota? Huh?
Ilsa
(Gently chiding)
We said, “No questions.”
Rick
Here’s looking at you, kid.
They attempt to clink glasses, but miss,
splashing their drinks all over. Then they drink.
Terry
(Offstage in the kitchen, shouting with the
bullhorn)
Achtung! Sie müssen im wienerschnitzel
hassenpfeffer Stuttgart sauerbraten volkswagen fahrvergnugen
sieg heil!
Rick and Ilsa look at each other.
Rick
My German’s a little rusty.
Ilsa
(Sadly.)
It’s the Gestapo.
They say they’ll be in Paris tomorrow. (Smiling faintly)
With the whole world crumbling, we pick this time to fall
in love.
Rick
Strange, I know so very little about you.
(Jokingly) Just the fact that you had your breasts
implanted.
Marv stomps on the floor twice.
Ilsa
Was that cannon fire, or is it my liver
pounding? But seriously, Rick
-- you
are in danger, and you must leave Paris.
Rick
The train for Marseilles leaves at five
o’clock. I’ll meet you at the station, huh?
Ilsa
Yes.
Rick
(Jovially) Say,
why don’t we get married in Marseilles?
Ilsa
Oh, Darling! (She
starts to cry softly.)
Rick
Hey, hey, what’s wrong, kid?
Ilsa
Kiss me. Kiss me as if it were the last time!
He kisses her as though it were the last time,
and both fall out of their chairs. Marv switches the footlight
suddenly to black.
Scene IV: Train Station
In the Dark:
Sandy
picks up her script from the floor and goes out behind the
footlight; receives the bullhorn from Terry; and makes sure
the bullhorn is turned on.
Terry
goes to the footlight and gives the bullhorn to Sandy; then
goes to the closet; exchanges his dinner jacket for his
overcoat; takes out his umbrella and opens it; and stands at
the closet door with the umbrella in his right hand and script
in his left hand, facing stage-left.
Roger
switches off the power strip to kill the fans; picks up his
script from the floor; puts the two empty martini glasses and
the steering wheel back under the bar; then goes to the train
station at stage-right, where he stands looking stage-left.
Marv
points the footlight toward the train station at stage-right;
goes to the exitway; gets a chair; sets it up to Roger’s
right; gets the sprinkling can; climbs onto the chair; and
begins pouring the water over Roger as he (Marv) narrates from
memory:
Marv (narrating in the dark)
Five o’clock that same day, at the Paris train
station.
Sandy fades the footlight in to reveal Rick
waiting at the station. Rain is pouring over his head and
shoulders, but Rick seems not to notice. He checks his watch,
then looks stage right. He recognizes someone coming. An
instant later, Sam walks rapidly in from stage left, under his
umbrella.
Rick
Where is she? Have you seen her? (And how come
you have the umbrella?)
Sam hands the umbrella to Rick and transfers
his script to his right hand. Rick holds the umbrella fairly
high over his head. Marv moves the sprinkling can under
the umbrella and continues dousing him. Rick doesn’t seem to
notice.
Sam
No, Mr. Richard. I can’t find her. She checked
out of the hotel. But this letter came just after you left.
Sam pulls an envelope from his left pocket.
Rick grabs it, opens it, and stares down at the letter. Marv,
still holding the watering can, sprinkles the letter as Rick
silently reads.
Ilsa
(In the dark behind the footlight, using the
bullhorn, in a breathy, resigned voice)
“Richard: I cannot go with you or ever see you again. You must
not ask why. Just believe that I love you. Go, my darling, and
God bless you.
--
Ilsa.”
Still behind the footlight, Sandy pulls the
train whistle from her pocket and blows it. Marv says:“All Aboard!"
in English, and then adds, "In French!”
Sam
(Grabbing Rick by the left coat sleeve with his
left hand)
That’s the last call, Mr. Richard, do you hear me? (Pulling
Rick stage-right) Come on, Mr. Richard. Let’s get out of
here. (As the footlight begins fading) Come on, Mr.
Richard, come on!
Sandy fades the footlight to black.
Scene V: Rick’s Bedroom
(This scene works best if the movie tickets
that are being auctioned have already been prominently
mentioned. Chris Marano said she’ll see that this happens.)
In the Dark:
Sandy
takes her script and the bullhorn with her to the exitway;
puts down the bullhorn (no longer needed); dons Hat No. 2;
makes sure she has her gun in her pocket; then moves to the
area just to the right of the table, where she stands facing
stage-left, holding her script.
Terry
puts his umbrella, overcoat, and script (no longer needed)
into the closet; then goes off-stage to the left, where he
stays until his piano work during the last scene.
Roger
goes to the closet; puts away his raincoat; makes sure he has
the two ticket envelopes in his pocket; and stands at
stage-left, ready to walk on.
Marv
puts the sprinkling can away and stands in the exitway with
flashlight and script in hand. (The footlight is not used in
this scene.)
Marv (narrating in the dark)
Back in the present, in Rick’s bedroom in
Casablanket.
In the dark, Rick enters the room and, turning
to face stage-right, switches on a small lamp on the piano.
The lamplight reveals a figure in the room behind him, at
stage-left. It is Ilsa, facing Rick, her face white but
determined. She is wearing an even bigger and more ridiculous
hat than before. It is made from a lampshade
decorated with huge red butterflies. Hanging around the brim
are silk prize ribbons of the sort given as rewards for
toddlers -- they say, "I Know My ABCs!", "I Went Potty All by
Myself!", and such. Rick, insouciantly turning around, suddenly
sees her. He pauses for a moment in astonishment.
Rick
How did you get in? And where’d you get that
hat?
Ilsa
(Gesturing behind her)
The stairs from the street. (Gesturing slightly toward the
hat) Lord & Taylor. Richard, I had to see you.
Rick
(Derisively)
You use “Richard” again? We’re back in Paris.
Ilsa
Please.
Rick
Your unexpected visit isn’t connected by any
chance with the movie tickets? It seems as long as I have
those tickets I’ll never be lonely.
Ilsa
(Looks at him directly)
You can ask any price you want, but you must give me
those tickets.
Rick
I went all through that with your (dripping
with sarcasm) husband. It’s no deal.
Ilsa
Richard, Richard, we loved each other once. If
those days meant anything at all to you….
Rick
(Harshly)
I wouldn’t bring up Paris if I were you. It’s poor
salesmanship. (He turns and lights a cigarette, exhales
smoke, then turns back to Ilsa.) Now, if you
--
Ilsa
(Wielding a gun)
All right. I tried to reason with you. I tried everything. Now
I want those tickets.
For a moment, a look of admiration comes into
Rick’s eyes.
Rick
That’s not a real gun. You can’t fool me.
Ilsa
Try me.
Rick steps forward. Ilsa fires the gun in the
air. Rick gives a start.
Ilsa again
Get the tickets for me.
Rick
I don’t have to. I’ve got ’em right here.
(Patting his breast pocket)
Ilsa
Put them on the table.
Rick
(Shaking his head)
No. You didn’t bid enough for them!
Ilsa
For the last time, I’ll raise the bid…ten
dollars!
Rick
That’s different. (Taking one of the
envelopes out of his breast pocket and putting it on the
table) I don’t mind a parasite. I object to a cut-rate
one.
Rick turns off the lamp.
Scene VI: Airport
In the Dark:
Sandy
puts her gun back in her pocket; goes to the exitway; takes
off Hat No. 2; puts on her plastic fedora; puts on her
overcoat; picks up her suitcase; and positions herself in
front of the “airplane” at stage-left, facing stage-right,
with her suitcase sitting upstage from her right foot.
Terry
takes his place at the piano; picks up his miner's headlamp from the
top of the piano; and puts it on.
Roger
goes to the closet; still holding his script; puts on his
raincoat again; makes sure he still has one ticket envelope in
his breast pocket; and moves to stage-left, facing Sandy.
Marv
stands in front of the footlight and the Variac, with
script and flashlight in hand; turns the footlight toward
stage-left; and readies the “This scene was supposed to be
foggy” sign for display.
Marv (narrating in the dark)
On the tarmac at the Casablanket
airport.
Marv fades the footlight in, revealing Rick and
Ilsa standing on the tarmac in overcoats and fedoras. Marv
holds sign in front of the footlight reading, “This scene was
supposed to be foggy, but Dunkle was too cheap to rent the
machine.”
Rick
(Quietly as he hands Ilsa an envelope from his
breast pocket)
And the names on these tickets are
Mr. and Mrs. Victor Laszlo.
Ilsa looks at Rick with astonishment.
Ilsa
But why my name, Richard?
Rick
Because you’re getting on that plane.
Ilsa
(Dazed)
I don’t understand. What about you?
Rick
I’m staying here until the plane gets safely
away.
Ilsa
(As Rick’s intention fully dawns on her)
No, Richard, no. What has happened to you? Last night we
said….
Rick
Last night we said a great many things. You
said I was to do the thinking for both of us. Well, I’ve done
a lot of it since then, and it all adds up to one thing.
You’re getting on that plane with Victor, where you belong.
Ilsa
(Protesting)
But Richard, no, I, I….
Rick
Now, you’ve got to listen to me. Do you have
any idea what you’d have to look forward to if you stayed
here? Nine chances out of ten, we’d both wind up in a
United Church of Christ parish.
Ilsa
You’re saying this only to make me go.
Rick
I’m saying it because it’s true. Inside of us,
we both know you belong with Victor. You’re part of his work
-- the
thing that keeps him going. If that plane leaves the ground
and you’re not with him, you’ll regret it.
(Marv says, “Contact!” and a moment later
switches the Variac onto Low speed.)
Ilsa
No.
Rick
Maybe not today, maybe not tomorrow
-- but
soon, and for the rest of your life. (Offhandedly) Or
at least six or eight weeks
--
maybe longer, I dunno.
Ilsa
But what about us?
Rick
We’ll always have Paris. We didn’t have it,
we’d lost it, until you came to Casablanket. We got it
back last night
-- (a
leering aside to the audience)
--
although I’m not going to give all the details
just now.
(Marv switches the Variac to Medium.)
Ilsa
And I said I would never leave you!
Rick
And you never will. But I’ve got a job
to do, too. Where I’m going, you can’t follow. What I’ve got
to do, you can’t be any part of. You see, I’m going to the
men’s room. Oh, Ilsa, I’m no good at being noble. But it
doesn’t take much to see that the problems of three little
people don’t amount to a hill of cucumbers in this
crazy world. Someday you’ll understand that. Not now.
(Short pause, then tenderly) Here’s looking at you, kid.
Ilsa
Goodbye, Rick. God bless you.
(Marv switches the Variac to High.)
Rick
You’d better hurry, or you’ll miss that plane.
Ilsa hurries into the exitway. In the
background, Sam plays “As Time Goes By” as Marv fades the
footlight to black.
The End |
