The Bridges of Madison County Page #9

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


Not everyone's supposed to have one.

573

00:
49:21,669 -- 00:49:25,628 X1:082 X2:636 Y1:436 Y2:495

How can you Iive for just what you want?

What about others?

574

00:
49:27,149 -- 00:49:30,380 X1:197 X2:522 Y1:431 Y2:495

-I Iove other peopIe.

-But no one in particuIar.

575

00:
49:30,629 -- 00:49:33,587 X1:156 X2:562 Y1:436 Y2:495

-But I Iove them just the same.

-It's not the same.

576

00:
49:33,869 -- 00:49:36,064 X1:184 X2:535 Y1:473 Y2:495

I know it's not the same. . .

577

00:
49:36,469 -- 00:49:40,508 X1:145 X2:574 Y1:430 Y2:495

. . .but what you're saying is

it's not as good, it's not normaI.

578

00:
49:40,749 -- 00:49:42,068 X1:209 X2:509 Y1:473 Y2:495

That's not what I said.

579

00:
49:42,309 -- 00:49:45,665 X1:174 X2:545 Y1:431 Y2:495

I have a probIem with

this American famiIy ethic. . .

580

00:
49:45,909 -- 00:49:48,787 X1:144 X2:575 Y1:431 Y2:495

. . .that seems to have hypnotized

the country.

581

00:
49:49,029 -- 00:49:52,863 X1:103 X2:616 Y1:431 Y2:495

You probabIy think of someone Iike me

as a dispIaced souI. . .

582

00:
49:53,109 -- 00:49:58,024 X1:141 X2:578 Y1:431 Y2:495

. . .destined to wander the pIanet

with no TV or seIf-cIeaning oven.

583

00:
49:58,549 -- 00:50:03,065 X1:095 X2:623 Y1:431 Y2:495

Because someone decides to have a

famiIy doesn't mean they're hypnotized.

584

00:
50:04,709 -- 00:50:09,499 X1:110 X2:608 Y1:431 Y2:495

Never having seen a gazeIIe stampede

doesn't mean I'm asIeep in my Iife.

585

00:
50:14,469 -- 00:50:15,868 X1:168 X2:551 Y1:469 Y2:495

Want to Ieave your husband?

586

00:
50:18,349 -- 00:50:20,738 X1:232 X2:486 Y1:474 Y2:495

No. Of course not.

587

00:
50:21,349 -- 00:50:23,988 X1:224 X2:495 Y1:430 Y2:495

I'm sorry about that.

I apoIogize for that.

588

00:
50:24,229 -- 00:50:25,867 X1:191 X2:528 Y1:469 Y2:495

What made you ask that?

589

00:
50:26,109 -- 00:50:29,260 X1:112 X2:606 Y1:430 Y2:495

I thought that's what we were doing.

Asking questions.

590

00:
50:29,509 -- 00:50:33,184 X1:149 X2:569 Y1:431 Y2:495

We were having a conversation.

But you ask me questions. . .

591

00:
50:33,429 -- 00:50:38,583 X1:123 X2:595 Y1:431 Y2:495

. . .reading these meanings into them

I must be too simpIe to interpret.

592

00:
50:39,749 -- 00:50:41,023 X1:297 X2:421 Y1:468 Y2:495

I'm sorry.

593

00:
50:41,349 -- 00:50:42,464 X1:286 X2:432 Y1:469 Y2:495

I apoIogize.

594

00:
50:48,149 -- 00:50:49,548 X1:193 X2:526 Y1:469 Y2:495

Roseman Bridge at dawn.

595

00:
50:50,589 -- 00:50:52,261 X1:247 X2:472 Y1:469 Y2:495

I better be going.

596

00:
50:53,389 -- 00:50:54,344 X1:297 X2:421 Y1:468 Y2:495

I'm sorry.

597

00:
50:54,789 -- 00:50:56,620 X1:218 X2:501 Y1:431 Y2:495

I apoIogize.

You must forgive me.

598

00:
50:56,869 -- 00:50:59,622 X1:121 X2:598 Y1:436 Y2:495

That was a very indiscreet question.

It was. . .

599

00:
50:59,869 -- 00:51:01,097 X1:305 X2:413 Y1:474 Y2:495

. . .dumb.

600

00:
51:05,589 -- 00:51:07,659 X1:152 X2:567 Y1:468 Y2:495

I feeI something's been spoiIed.

601

00:
51:07,909 -- 00:51:10,662 X1:195 X2:523 Y1:431 Y2:495

It was a perfect evening,

just the way it was.

602

00:
51:18,149 -- 00:51:20,060 X1:244 X2:474 Y1:469 Y2:495

Perfect evening. . .

603

00:
51:20,309 -- 00:51:21,742 X1:267 X2:452 Y1:474 Y2:495

. . .a nice waIk.

604

00:
51:22,229 -- 00:51:23,742 X1:228 X2:491 Y1:469 Y2:495

Thank you for the. . .

605

00:
51:24,469 -- 00:51:26,380 X1:179 X2:539 Y1:469 Y2:495

. . .company and the brandy.

606

00:
51:26,669 -- 00:51:28,864 X1:135 X2:583 Y1:468 Y2:495

You're a good woman, Francesca.

607

00:
51:29,349 -- 00:51:33,501 X1:085 X2:633 Y1:431 Y2:495

Keep the brandy forward in the cupboard.

It might work out after a whiIe.

608

00:
51:36,469 -- 00:51:38,664 X1:134 X2:585 Y1:468 Y2:495

And don't kid yourseIf, Francesca.

609

00:
51:39,069 -- 00:51:40,946 X1:113 X2:605 Y1:468 Y2:495

You're anything but a simpIe woman.

610

00:
51:58,149 -- 00:51:59,502 X1:288 X2:430 Y1:473 Y2:495

Johnson's.

611

00:
51:59,909 -- 00:52:01,661 X1:286 X2:433 Y1:472 Y2:495

Richard, hi.

612

00:
52:05,069 -- 00:52:07,105 X1:192 X2:526 Y1:469 Y2:495

Everyone settIed in okay?

613

00:
52:15,149 -- 00:52:16,707 X1:265 X2:454 Y1:468 Y2:495

I said, ''good. ''

614

00:
56:37,629 -- 00:56:39,585 X1:211 X2:508 Y1:471 Y2:495

iHi, it's Robert Kincaid./i

615

00:
56:42,269 -- 00:56:43,543 X1:342 X2:376 Y1:474 Y2:495

Hi.

616

00:
56:44,549 -- 00:56:45,538 X1:265 X2:453 Y1:469 Y2:495

iGot your note./i

617

00:
56:45,869 -- 00:56:47,746 X1:233 X2:485 Y1:474 Y2:495

W.B. Yeats and aII.

618

00:
56:48,269 -- 00:56:52,262 X1:148 X2:570 Y1:430 Y2:495

I didn't read it right away

because the Iight was changing.

619

00:
56:52,509 -- 00:56:54,306 X1:214 X2:505 Y1:469 Y2:495

I had to get my shots.

620

00:
56:54,549 -- 00:56:56,141 X1:203 X2:516 Y1:469 Y2:495

The Iight was changing.

621

00:
56:56,429 -- 00:57:01,025 X1:156 X2:563 Y1:431 Y2:495

iBut I do accept your invitation./i

iIt'll have to be later though./i

622

00:
57:01,269 -- 00:57:04,102 X1:147 X2:572 Y1:436 Y2:495

iI'm going to the Holliwell Bridge/i

iand shoot over there./i

623

00:
57:04,349 -- 00:57:06,226 X1:192 X2:527 Y1:471 Y2:495

iAfter 9, how about that?/i

624

00:
57:07,469 -- 00:57:09,460 X1:157 X2:561 Y1:468 Y2:495

Your work's what's important.

625

00:
57:09,709 -- 00:57:12,667 X1:200 X2:518 Y1:430 Y2:495

I'II make something nice

we can warm up.

626

00:
57:12,909 -- 00:57:15,946 X1:088 X2:631 Y1:468 Y2:495

Maybe you'd Iike to come aIong with me.

627

00:
57:20,709 -- 00:57:22,939 X1:159 X2:560 Y1:472 Y2:495

Yes, I wouId Iike that, but I. . . .

628

00:
57:23,549 -- 00:57:27,224 X1:137 X2:582 Y1:430 Y2:495

I'II drive my pickup and meet you.

AII right?

629

00:
57:27,469 -- 00:57:29,778 X1:280 X2:439 Y1:436 Y2:495

i-All right./i

-What time?

630

00:
57:30,029 -- 00:57:31,985 X1:265 X2:453 Y1:474 Y2:495

iHow about 6?/i

631

00:
57:33,509 -- 00:57:35,022 X1:323 X2:396 Y1:469 Y2:495

Okay.

632

00:
57:35,589 -- 00:57:36,783 X1:320 X2:399 Y1:474 Y2:495

Great.

633

00:
58:33,349 -- 00:58:36,864 X1:102 X2:616 Y1:430 Y2:495

-God, it's Lucy RedfieId!

-ApparentIy Mrs. DeIaney caught them.

634

00:
58:43,549 -- 00:58:45,540 X1:228 X2:490 Y1:430 Y2:495

There's a seat here,

if you'd Iike.

635

00:
58:52,949 -- 00:58:54,143 X1:287 X2:431 Y1:469 Y2:495

Thank you.

636

00:
59:14,389 -- 00:59:16,061 X1:200 X2:519 Y1:471 Y2:495

Kind of hot out, isn't it?

637

00:
59:16,789 -- 00:59:17,778 X1:323 X2:396 Y1:474 Y2:495

Yeah.

638

00:
59:20,869 -- 00:59:22,621 X1:182 X2:536 Y1:469 Y2:495

Are you ordering anything?

639

00:
59:24,429 -- 00:59:25,703 X1:338 X2:381 Y1:474 Y2:495

No.

640

00:
59:26,509 -- 00:59:28,704 X1:211 X2:507 Y1:431 Y2:495

Thanks.

I've changed my mind.

641

01:
00:20,549 -- 01:00:22,107 X1:223 X2:495 Y1:474 Y2:495

How about this one?

642

01:
00:28,109 -- 01:00:29,747 X1:222 X2:496 Y1:433 Y2:495

I don't know, I don't

know, I don't know.

Rate this script:5.0 / 1 vote

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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