Rick’s intention suddenly dawns on Ilsa.
ILSA
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
— 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 concentration camp. Isn’t that true, Louis?
Renault countersigns the papers.
RENAULT
I’m afraid Major Strasser would insist.
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.
ILSA
No.
RICK
Maybe not today, maybe not tomorrow, but soon, and for the rest of your life.
ILSA
But what about us?
RICK
We’ll always have Paris. We didn’t have, we’d lost it, until you came to Casablanca. We got it back last night.
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. 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 beans in this crazy world. Someday you’ll understand that. Now, now–
Ilsa’s eyes well up with tears. Rick puts his hand to her chin and raises her face to meet his own.
RICK
Here’s looking at you, kid.
From Casablanca written by Julius J. Epstein, Phillip G. Epstein, and Howard Koch
CASABLANCA! One of the greatest movies ever made. With one of the greatest endings in movie history.
But Thursdays are for flowers. This flowertography session took place in my yard.
Next Thursday’s flowertography collection will also take place in my yard.