The Bridges of Madison County Page #15

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


. . .to marry and have chiIdren. . .

997

01:
39:41,189 -- 01:39:46,343 X1:166 X2:552 Y1:431 Y2:495

. . .in one way, her Iife begins,

but in another way, it stops.

998

01:
39:47,389 -- 01:39:50,745 X1:180 X2:538 Y1:474 Y2:495

You buiId a Iife of detaiIs. . .

999

01:
39:51,269 -- 01:39:54,739 X1:231 X2:488 Y1:431 Y2:495

. . .and you just stop

and stay steady. . .

1000

01:
39:55,069 -- 01:39:58,266 X1:137 X2:581 Y1:431 Y2:495

. . .so that your chiIdren can move.

And when they Ieave. . .

1001

01:
39:58,509 -- 01:40:01,660 X1:159 X2:559 Y1:436 Y2:495

. . .they take your Iife of detaiIs

with them.

1002

01:
40:02,149 -- 01:40:06,461 X1:072 X2:646 Y1:430 Y2:495

You're expected to move on,

but you don't remember what moved you. . .

1003

01:
40:06,709 -- 01:40:10,258 X1:160 X2:559 Y1:430 Y2:495

. . .because no one's asked you

in so Iong, not even yourseIf.

1004

01:
40:14,509 -- 01:40:16,227 X1:212 X2:506 Y1:469 Y2:495

But you never think. . . .

1005

01:
40:17,029 -- 01:40:20,305 X1:168 X2:550 Y1:431 Y2:495

You never think Iove Iike this

wiII happen to you.

1006

01:
40:22,389 -- 01:40:24,186 X1:173 X2:545 Y1:469 Y2:495

But now that you have it. . .?

1007

01:
40:25,829 -- 01:40:28,821 X1:160 X2:559 Y1:469 Y2:495

Now I want to keep it forever.

1008

01:
40:29,069 -- 01:40:33,506 X1:119 X2:600 Y1:431 Y2:495

I want to Iove you the way I do now

for the rest of my Iife. . .

1009

01:
40:35,269 -- 01:40:36,827 X1:233 X2:486 Y1:474 Y2:495

. . .but if we Ieave. . .

1010

01:
40:37,069 -- 01:40:38,468 X1:277 X2:442 Y1:474 Y2:495

. . .we Iose it.

1011

01:
40:39,509 -- 01:40:42,546 X1:196 X2:523 Y1:430 Y2:495

And I can't make

an entire Iife disappear. . .

1012

01:
40:42,789 -- 01:40:44,507 X1:219 X2:500 Y1:476 Y2:495

. . .to start a new one.

1013

01:
40:44,749 -- 01:40:47,468 X1:217 X2:502 Y1:431 Y2:495

AII I can do is

try to hoId on to us. . .

1014

01:
40:47,709 -- 01:40:49,506 X1:181 X2:537 Y1:474 Y2:495

. . .somewhere inside of me.

1015

01:
40:49,749 -- 01:40:51,785 X1:219 X2:499 Y1:469 Y2:495

You have to heIp me.

1016

01:
41:04,149 -- 01:41:05,662 X1:268 X2:450 Y1:473 Y2:495

Don't Iose us.

1017

01:
41:06,949 -- 01:41:08,621 X1:216 X2:502 Y1:468 Y2:495

Don't throw us away.

1018

01:
41:15,229 -- 01:41:17,948 X1:195 X2:524 Y1:431 Y2:495

Maybe you feeI this way.

Maybe you don't.

1019

01:
41:18,789 -- 01:41:21,303 X1:225 X2:493 Y1:430 Y2:495

Maybe it's because

you're in this house.

1020

01:
41:21,749 -- 01:41:25,662 X1:090 X2:629 Y1:431 Y2:495

Maybe tomorrow, when they come back,

you'II feeI differentIy.

1021

01:
41:25,909 -- 01:41:28,469 X1:144 X2:574 Y1:435 Y2:495

-Don't you think that's possibIe?

-I don't know.

1022

01:
41:31,589 -- 01:41:35,025 X1:185 X2:533 Y1:430 Y2:495

Look, I'm going to be here

a few more days.

1023

01:
41:35,269 -- 01:41:38,386 X1:161 X2:558 Y1:436 Y2:495

We can taIk Iater.

We don't have to decide now.

1024

01:
41:40,229 -- 01:41:42,743 X1:268 X2:450 Y1:435 Y2:495

Robert, don't!

Don't do this.

1025

01:
41:42,989 -- 01:41:45,264 X1:136 X2:583 Y1:468 Y2:495

I don't want to say goodbye now.

1026

01:
41:45,669 -- 01:41:47,864 X1:112 X2:607 Y1:473 Y2:495

We don't have to make that decision.

1027

01:
41:48,869 -- 01:41:50,746 X1:151 X2:567 Y1:468 Y2:495

Maybe you'II change your mind.

1028

01:
41:51,589 -- 01:41:54,149 X1:170 X2:549 Y1:430 Y2:495

Maybe we'II see each other

and you'II change your mind.

1029

01:
41:57,509 -- 01:41:59,943 X1:221 X2:498 Y1:431 Y2:495

If that happens

you have to decide. . .

1030

01:
42:00,189 -- 01:42:01,986 X1:241 X2:478 Y1:473 Y2:495

. . .because I can't.

1031

01:
42:39,829 -- 01:42:41,660 X1:216 X2:503 Y1:468 Y2:495

I'II onIy say this once.

1032

01:
42:44,029 -- 01:42:45,985 X1:200 X2:519 Y1:473 Y2:495

I've never said it before.

1033

01:
42:46,949 -- 01:42:50,544 X1:166 X2:553 Y1:431 Y2:495

But this kind of certainty

comes just once in a Iifetime.

1034

01:
44:48,669 -- 01:44:49,897 X1:325 X2:394 Y1:474 Y2:495

Look!

1035

01:
45:03,869 -- 01:45:06,463 X1:233 X2:485 Y1:436 Y2:495

-You got it.

-I couIdn't seII him.

1036

01:
45:06,709 -- 01:45:09,223 X1:210 X2:508 Y1:431 Y2:495

I know.

I knew you wouId win.

1037

01:
45:09,469 -- 01:45:12,427 X1:193 X2:526 Y1:436 Y2:495

-Good girI. Proud of you.

-Thanks.

1038

01:
45:12,669 -- 01:45:14,068 X1:284 X2:435 Y1:431 Y2:495

-Hi, Mom.

-Hi, darIing.

1039

01:
45:14,309 -- 01:45:16,379 X1:272 X2:446 Y1:436 Y2:495

-Did you eat?

-Yeah. I ate.

1040

01:
45:17,629 -- 01:45:19,426 X1:254 X2:465 Y1:431 Y2:495

Hey, there.

How you doing?

1041

01:
45:19,669 -- 01:45:22,388 X1:105 X2:613 Y1:468 Y2:495

It didn't take you too Iong to get here.

1042

01:
45:25,869 -- 01:45:28,019 X1:247 X2:471 Y1:431 Y2:495

-We had fun.

-Are you hungry?

1043

01:
45:28,269 -- 01:45:30,100 X1:201 X2:518 Y1:469 Y2:495

I got something for you.

1044

01:
45:32,549 -- 01:45:34,062 X1:235 X2:484 Y1:469 Y2:495

The fair was great.

1045

01:
45:39,629 -- 01:45:41,540 X1:232 X2:486 Y1:474 Y2:495

iYou all came home./i

1046

01:
45:41,789 -- 01:45:43,017 X1:251 X2:467 Y1:469 Y2:495

iAnd, with you.../i

1047

01:
45:43,269 -- 01:45:45,624 X1:230 X2:488 Y1:469 Y2:495

i...my life of details./i

1048

01:
45:50,629 -- 01:45:53,826 X1:149 X2:569 Y1:431 Y2:495

iA day or 2 passed,/i

iand with each thought of him.../i

1049

01:
45:54,069 -- 01:45:56,867 X1:167 X2:552 Y1:436 Y2:495

i...a task would present itself/i

ilike a lifesaver.../i

1050

01:
45:57,109 -- 01:46:00,499 X1:187 X2:531 Y1:431 Y2:495

i...pulling me further away/i

ifrom those 4 days./i

1051

01:
46:01,709 -- 01:46:03,347 X1:264 X2:454 Y1:469 Y2:495

iI was grateful./i

1052

01:
46:03,629 -- 01:46:05,506 X1:292 X2:427 Y1:474 Y2:495

iI felt safe./i

1053

01:
46:12,549 -- 01:46:16,428 X1:181 X2:538 Y1:431 Y2:495

iPut me out of my misery./i

iI can 't stand the suspense./i

1054

01:
46:16,669 -- 01:46:18,500 X1:189 X2:530 Y1:469 Y2:495

iI'm not talking about you./i

1055

01:
46:18,749 -- 01:46:21,786 X1:127 X2:591 Y1:431 Y2:495

iI know I'm a goner./i

iI can 't stand the suspense. Shoot./i

1056

01:
46:22,029 -- 01:46:23,940 X1:167 X2:552 Y1:474 Y2:495

iI don 't even need a blindfold./i

1057

01:
46:24,189 -- 01:46:27,704 X1:178 X2:540 Y1:431 Y2:495

iCondemned man 's dinner./i

iChicken, peas, watermelon./i

1058

01:
46:45,109 -- 01:46:49,785 X1:091 X2:628 Y1:431 Y2:495

-Do you want anything speciaI?

-How about that brown sugar meat Ioaf?

1059

01:
48:46,149 -- 01:48:48,947 X1:182 X2:536 Y1:436 Y2:495

iFor a moment,/i

iI didn 't know where I was./i

1060

01:
48:49,669 -- 01:48:53,662 X1:142 X2:577 Y1:431 Y2:495

iAnd for a split second, I thought/i

ithat he didn 't really want me./i

1061

01:
48:54,789 -- 01:48:57,064 X1:154 X2:564 Y1:469 Y2:495

iThat it was easy to walk away./i

1062

01:
49:36,149 -- 01:49:39,539 X1:156 X2:562 Y1:431 Y2:495

iRobert leaned over as if to get/i

isomething from the glove box./i

1063

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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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