The Bridges of Madison County Page #10

Synopsis: The path of Francesca Johnson's future seems destined when an unexpected fork in the road causes her to question everything she had come to expect from life. While her husband and children are away at the Illinois state fair in the summer of 1965, Robert Kincaid happens turn into the Johnson farm and asks Francesca for directions to Roseman Bridge. Francesca later learns that he was in Iowa on assignment from National Geographic magazine. She is reluctant seeing that he's a complete stranger and then she agrees to show him to the bridges and gradually she talks about her life from being a war-bride from Italy which sets the pace for this bittersweet and all-too-brief romance of her life. Through the pain of separation from her secret love and the stark isolation she feels as the details of her life consume her, she writes her thoughts of the four-day love affair which took up three journals. The journals are found by her children after the lawyer was going over Francesca's will and all
Genre: Drama, Romance
Director(s): Clint Eastwood
Production: Warner Bros.
  Nominated for 1 Oscar. Another 6 wins & 14 nominations.
 
IMDB:
7.6
Metacritic:
66
Rotten Tomatoes:
89%
PG-13
Year:
1995
135 min
3,802 Views


643

01:
00:29,989 -- 01:00:32,901 X1:199 X2:519 Y1:430 Y2:495

I haven't bought a dress

for myseIf in so Iong.

644

01:
00:33,869 -- 01:00:38,021 X1:160 X2:558 Y1:430 Y2:495

I'm just buying a dress.

It's not for a speciaI occasion.

645

01:
00:38,269 -- 01:00:41,022 X1:222 X2:496 Y1:435 Y2:495

I'm just shopping for

a new dress is aII.

646

01:
00:41,189 -- 01:00:42,861 X1:246 X2:472 Y1:469 Y2:495

That might work.

647

01:
00:43,109 -- 01:00:46,863 X1:168 X2:550 Y1:430 Y2:495

And if he's stiII mad, teII him

you married him out of pity.

648

01:
00:47,309 -- 01:00:49,106 X1:183 X2:535 Y1:469 Y2:495

That aIways works for me.

649

01:
01:01,149 -- 01:01:02,787 X1:263 X2:456 Y1:471 Y2:495

iHi, it's Robert./i

650

01:
01:05,669 -- 01:01:09,503 X1:157 X2:562 Y1:435 Y2:495

Listen, I'm running a IittIe Iate.

But I'II stiII. . .

651

01:
01:09,789 -- 01:01:10,744 X1:287 X2:432 Y1:474 Y2:495

i...be there./i

652

01:
01:10,989 -- 01:01:13,628 X1:184 X2:535 Y1:430 Y2:495

I don't want this

to sound the wrong way. . .

653

01:
01:13,989 -- 01:01:16,457 X1:221 X2:498 Y1:431 Y2:495

. . .but I wonder

if this is a good idea.

654

01:
01:18,549 -- 01:01:19,982 X1:228 X2:491 Y1:474 Y2:495

iI had lunch in town./i

655

01:
01:20,229 -- 01:01:23,266 X1:185 X2:534 Y1:436 Y2:495

And I crossed paths

with that RedfieId woman.

656

01:
01:25,149 -- 01:01:27,265 X1:146 X2:572 Y1:469 Y2:495

I guess you got the whoIe story.

657

01:
01:28,149 -- 01:01:30,947 X1:149 X2:570 Y1:431 Y2:495

The cashier at the grocery store

was most generous.

658

01:
01:32,829 -- 01:01:35,059 X1:111 X2:607 Y1:468 Y2:495

He's running for town crier next year.

659

01:
01:35,309 -- 01:01:38,904 X1:111 X2:607 Y1:431 Y2:495

iI know more about the Delaney affair/i

ithan I knew about my marriage./i

660

01:
01:39,229 -- 01:01:43,541 X1:123 X2:595 Y1:430 Y2:495

If it's going to be a probIem for you

to see me tonight, don't do so.

661

01:
01:43,789 -- 01:01:46,701 X1:194 X2:524 Y1:430 Y2:495

I'm not too bright

about peopIe's reactions.

662

01:
01:46,949 -- 01:01:51,067 X1:159 X2:560 Y1:431 Y2:495

iI wouldn 't want you to be put/i

iin a compromising situation./i

663

01:
01:52,109 -- 01:01:54,020 X1:231 X2:487 Y1:472 Y2:495

Yeah, I understand.

664

01:
01:56,069 -- 01:01:59,220 X1:206 X2:512 Y1:435 Y2:495

That's very kind of you

to think of that.

665

01:
02:04,909 -- 01:02:05,944 X1:310 X2:409 Y1:474 Y2:495

Robert?

666

01:
02:08,829 -- 01:02:10,706 X1:255 X2:463 Y1:474 Y2:495

I want to come.

667

01:
02:17,229 -- 01:02:20,665 X1:117 X2:602 Y1:430 Y2:495

Okay? So I'II meet you at the bridge

Iike we pIanned. . .

668

01:
02:20,909 -- 01:02:23,104 X1:138 X2:581 Y1:468 Y2:495

. . .and don't worry about the rest.

669

01:
02:24,909 -- 01:02:26,137 X1:308 X2:410 Y1:473 Y2:495

I'm not.

670

01:
02:27,629 -- 01:02:29,904 X1:250 X2:468 Y1:431 Y2:495

AII right.

I'II see you then.

671

01:
02:30,349 -- 01:02:31,623 X1:323 X2:396 Y1:469 Y2:495

Okay.

672

01:
03:17,829 -- 01:03:19,148 X1:265 X2:453 Y1:474 Y2:495

BeautifuI here.

673

01:
03:19,389 -- 01:03:22,620 X1:147 X2:571 Y1:436 Y2:495

Make yourseIf at home.

I have to knock off a few shots.

674

01:
03:34,909 -- 01:03:36,706 X1:220 X2:499 Y1:469 Y2:495

Look at the butterfIy.

675

01:
04:11,669 -- 01:04:12,738 X1:303 X2:415 Y1:469 Y2:495

Got you!

676

01:
04:17,429 -- 01:04:18,578 X1:298 X2:421 Y1:474 Y2:495

Come on.

677

01:
04:19,549 -- 01:04:21,426 X1:186 X2:533 Y1:468 Y2:495

No, don't take my picture.

678

01:
04:23,869 -- 01:04:25,780 X1:185 X2:534 Y1:469 Y2:495

Go ahead, give me a pose.

679

01:
04:26,629 -- 01:04:28,859 X1:139 X2:580 Y1:474 Y2:495

One of those French modeI Iooks.

680

01:
04:29,749 -- 01:04:31,819 X1:212 X2:507 Y1:430 Y2:495

-I can't.

-Like Gina LoIIobrigida.

681

01:
05:16,509 -- 01:05:18,022 X1:287 X2:432 Y1:469 Y2:495

Can I heIp?

682

01:
05:18,989 -- 01:05:21,423 X1:112 X2:606 Y1:468 Y2:495

No, I've got everything under controI.

683

01:
05:21,909 -- 01:05:23,661 X1:216 X2:503 Y1:468 Y2:495

I'm just going to go. . .

684

01:
05:24,029 -- 01:05:27,180 X1:196 X2:522 Y1:431 Y2:495

. . .cIean myseIf up a bit.

I'm going to take a bath.

685

01:
05:27,429 -- 01:05:29,943 X1:148 X2:571 Y1:469 Y2:495

What happens if I set the tabIe?

686

01:
05:31,429 -- 01:05:33,465 X1:240 X2:479 Y1:435 Y2:495

That's fine. Sure.

Good.

687

01:
05:33,709 -- 01:05:35,540 X1:203 X2:515 Y1:469 Y2:495

WouId you Iike a beer. . .

688

01:
05:35,789 -- 01:05:36,983 X1:252 X2:466 Y1:469 Y2:495

. . .for your bath?

689

01:
05:39,269 -- 01:05:40,258 X1:323 X2:396 Y1:474 Y2:495

Yeah.

690

01:
05:42,789 -- 01:05:44,427 X1:282 X2:436 Y1:473 Y2:495

That's nice.

691

01:
05:45,469 -- 01:05:47,027 X1:215 X2:503 Y1:469 Y2:495

Dinner wiII be ready. . .

692

01:
05:47,269 -- 01:05:48,827 X1:246 X2:473 Y1:474 Y2:495

. . .in haIf an hour.

693

01:
06:06,909 -- 01:06:10,584 X1:153 X2:566 Y1:431 Y2:495

iI realized that he had been/i

ihere just a few minutes before./i

694

01:
06:11,509 -- 01:06:14,069 X1:173 X2:546 Y1:431 Y2:495

iI was lying where the water/i

ihad run down his body.../i

695

01:
06:14,309 -- 01:06:17,062 X1:129 X2:589 Y1:469 Y2:495

i...and I found that intensely erotic./i

696

01:
06:18,029 -- 01:06:20,623 X1:208 X2:510 Y1:436 Y2:495

iAlmost everything/i

iabout Robert Kincaid.../i

697

01:
06:20,869 -- 01:06:23,383 X1:130 X2:588 Y1:469 Y2:495

i...had begun to seem erotic to me./i

698

01:
06:56,109 -- 01:06:57,303 X1:260 X2:459 Y1:468 Y2:495

What's wrong?

699

01:
07:06,829 -- 01:07:10,424 X1:151 X2:568 Y1:431 Y2:495

You Iook stunning.

If you don't mind me saying so.

700

01:
07:15,909 -- 01:07:19,379 X1:141 X2:577 Y1:431 Y2:495

Make-them-run-around-the-bIock-

howIing-in-agony stunning.

701

01:
08:04,789 -- 01:08:06,427 X1:289 X2:429 Y1:469 Y2:495

Hi, Madge.

702

01:
08:08,349 -- 01:08:10,067 X1:253 X2:465 Y1:469 Y2:495

No, I was just. . .

703

01:
08:10,309 -- 01:08:12,027 X1:189 X2:530 Y1:469 Y2:495

. . .fixing something to eat.

704

01:
08:13,069 -- 01:08:14,422 X1:292 X2:427 Y1:472 Y2:495

No, what?

705

01:
08:16,589 -- 01:08:18,898 X1:197 X2:521 Y1:472 Y2:495

Yeah, I heard about him.

706

01:
08:20,989 -- 01:08:23,981 X1:179 X2:540 Y1:430 Y2:495

I hear he's some kind of

photographer or something.

707

01:
08:29,389 -- 01:08:31,141 X1:280 X2:438 Y1:469 Y2:495

Hippie? No.

708

01:
08:31,389 -- 01:08:33,584 X1:150 X2:568 Y1:469 Y2:495

Is that what a hippie Iooks Iike?

709

01:
08:36,749 -- 01:08:41,379 X1:127 X2:592 Y1:431 Y2:495

I was just going to step into a bath

when you caIIed, so maybe. . . .

710

01:
08:42,269 -- 01:08:44,339 X1:158 X2:561 Y1:468 Y2:495

They don't get back tiII Friday.

711

01:
08:46,669 -- 01:08:48,819 X1:159 X2:559 Y1:468 Y2:495

Maybe I'II caII you then, okay?

712

01:
10:32,829 -- 01:10:35,389 X1:116 X2:603 Y1:469 Y2:495

If you want me to stop, teII me now.

713

01:
10:44,509 -- 01:10:46,659 X1:204 X2:515 Y1:468 Y2:495

No one's asking you to.

714

01:
12:43,949 -- 01:12:47,783 X1:132 X2:586 Y1:430 Y2:495

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Richard LaGravenese

Richard LaGravenese (born October 30, 1959) is an American screenwriter and film director, best known as the writer of The Fisher King. more…

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Submitted on August 05, 2018

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