Meet Joe Black Page #10

Synopsis: Bill Parrish (Anthony Hopkins), businessman and devoted family man, is about to celebrate his 65th birthday. However, before he reaches that landmark, he is visited by Death (Brad Pitt), who has taken human form as Joe Black, a young man who recently died. Joe and Bill make a deal: Bill will be given a few extra days of his life, and Joe will spend the same time getting to know what it's like to be human. It seems like a perfect arrangement, until Joe falls in love -- with Bill's daughter.
Production: Universal Pictures
  3 wins & 6 nominations.
 
IMDB:
7.2
Metacritic:
43
Rotten Tomatoes:
50%
PG-13
Year:
1998
178 min
6,208 Views


PARRISH:

You know, I got to thinking last

night -- with you here, and seem-

ingly occupied, how's your work

going - uh - elsewhere?

A flicker from Joe. He has heard what Parrish has said, his

eyes busy with the grift and the sparkle of the Avenue, but

he is concentrating on Parrish's words.

JOE:

When you were shaving this morning,

you weren't just shaving, right?

PARRISH:

What do you mean?

JOE:

You were hatching ideas, making

plans, arriving at decisions, right?

PARRISH:

I guess so.

JOE:

So you understand the concept then.

When you're busy here, your work,

what your task is, is being executed

elsewhere.

PARRISH:

Of course.

JOE:

So you've grasped the idea. Con-

gratulations. Now multiply it by

infinity and take it to the depth

of forever, and you still will

have barely a glimpse of what I

am talking about.

Parrish falls silent, chewing over Joe's admonition.

PARRISH:

Joe --?

JOE:

Yes, Bill.

PARRISH:

How about giving a guy a break?

JOE:

Make an exception?

PARRISH:

There's one to every rule.

JOE:

Not this.

They stride on, cutting through the crowd, Joe all at home

in his new surrounding, but Parrish just the opposite, un-

characteristically uncomfortable, phrases forming on his

lips but unspoken, then suddenly he blurts out:

PARRISH:

-- I don't deserve this. I'm still

young, this is not my time --

JOE:

That's what everybody says.

PARRISH:

I'm not everybody.

JOE:

That's what everybody says.

Parrish is trying to control himself, glances at Joe.

PARRISH:

I want to live.

JOE:

I understand.

A moment.

JOE (cont'd)

But you can't.

A sudden silence between them. Parrish's shoulders appear

to have stopped slightly, the courage he displayed at rais-

ing these issues has vanished.

PARRISH:

What's it like?

JOE:

What do you mean?

PARRISH:

What's it like where I'm going?

JOE:

Can you keep a secret?

PARRISH:

Yes.

JOE:

So can I.

They turn into Parrish's office building.

INT. LOBBY, PARRISH COMMUNICATIONS - DAY

As Parrish and Joe enter, Parrish is hailed by JAIME, the

Elevator Starter.

JAIME:

Good morning, Mr. Parrish.

PARRISH:

Good morning, Jaime.

JAIME:

Knight's Reward in the 4th at

Calder --

A bemused Parrish walks on, Joe beside him, Jaime pursuing

them.

JAIME (cont'd)

-- A closer in today with cheap

speed. The colt will come from the

clouds and boom! Fifty-eight dollar

horse. I get you down, Mr. Parrish,

just say the word.

PARRISH:

(smiles)

I'm sorry, not today, Jaime.

Parrish and Joe arrive at the bank of elevators. Jaime,

back at his post, hits a button.

PARRISH (cont'd)

(to Joe)

You know, everyday I've walked into

this building, Jaime gives me a

horse.

(a moment)

I wonder if any of them won.

The elevator materializes, Parrish and Joe step on.

INT. PARRISH COMMUNICATIONS, OFFICE OF THE CHAIRMAN - DAY

Parrish and Joe emerge from the executive elevator, Jennifer

is waiting as usual with her pad, "Good morning"s, etc. As

Parrish strides down the hall, Joe right beside him, he passes

instructions back to Jennifer who, scribbling, hurries along

behind them.

PARRISH:

-- And call my family, I'd like them

to come over for dinner tonight.

JENNIFER:

Didn't the family get together last

night --?

PARRISH:

(remonstrating, gently)

Jennifer.

JENNIFER:

Of course, Mr. Parrish. Right away.

Jennifer wheels and heads right back to the office as

Parrish arrives at the door to the Board Room.

PARRISH:

(to Joe)

Perhaps you would like to wait in my

office --?

JOE:

No.

PARRISH:

What I'm trying to say is this is a

Board meeting and you are not a mem-

ber of the Board.

JOE:

I'm sure you'll see to it that it

won't be a problem.

Parrish hesitates, nods, conceding the point, reaches for

the doorknob.

INT. BOARD ROOM, PARRISH COMMUNICATIONS - DAY

Parrish enters, Joe following right behind him. A euphony

of "Good morning"'s from the various members of the Board,

including Quince. Everyone sits when Parrish does but Joe,

right at home, spots a tray of refreshments: coffee, pas-

tries, he heads for them.

PARRISH:

(to the Board)

-- This is Joe Black, a personal

associate of mine - uh - he'll be

joining us today. I know it's --

uh -- unusual, and my apologies --

and Drew -- uh -- carry on.

Immediately indications of surprise on Board members' faces at

Parrish bringing in an 'observer', Drew's reaction guarded

but intense.

DREW:

(after a moment, to

Joe)

Nice to see you. I didn't expect

you, but certainly you can't get

enough of a good thing.

JOE:

Thank you.

DREW:

(to the Board)

The Board of Parrish Communications -

is hereby called to order. Our sole

order of business is an acceptance

of John Bontecou's generous offer

and --

JOE:

(to Drew)

Do you have any more of these deli-

cious cookies?

A hushed silence at the inappropriateness of Joe's inter-

ruption.

JOE (cont'd)

And a cup of tea. With milk, I

think. I'd like to try it English-

style. Yes, a cup of tea with milk.

DREW:

Anything else, Mr. Black? How about

some water?

JOE:

Why yes, thank you.

DREW:

Hot or cold.

JOE:

Cold.

DREW:

And a glass.

Drew indicates to the Board's Stenographer to arrange Joe's

refreshments.

PARRISH:

(quietly, indicating a

chair)

Would you like to sit down, Joe?

JOE:

Yes.

Joe sits.

DREW:

To review -- we're really crossing

the 't's and dotting the 'i's here.

Bill had a great and conclusive

meeting with John Bontecou yester-

day, all that remains for us is to

put it to a vote.

Smiles and murmurs of a congratulatory receptiveness from

the Board at Drew's news.

PARRISH:

(emptily)

Thank you, Drew.

Parrish takes a moment, draws himself up to say something

official then stops himself, what follows is spontaneous,

reflective, deeply felt.

PARRISH (cont'd)

Umm -- I did enjoy -- or rather I

was interested in meeting John yes-

terday -- impressive... I suppose...

But it did get me to thinking. I

started in this business because

this is what I wanted to do. I knew

I wasn't going to write the Great

American Novel, but I also knew

there was more to life than buying

something for a dollar and selling

it for two. I wanted to give the

news to the world, and I wanted to

give it unvarnished. The more we

all know about each other, the

greater the chance we will survive.

Sure, I want to make a profit, you

can't exist without one but John

Bontecou is all profit. If we give

him license to absorb Parrish

Communications, and he has his eye

on a few others after us, we'll be

appointing him to the position he

craves -- Gatekeeper. In order to

reach the world you will have to go

through John Bontecou. And not only

will you have to pay him to do this,

far more expensive, you'll have to

agree with him. Reporting the news

is a privilege and a responsibility

and it is not exploitable. Parrish

Communications has earned this priv-

ilege, John Bontecou wants to buy

it. As your chairman, I urge you to

agree this company is not for sale.

Rate this script:2.5 / 2 votes

Bo Goldman

There are but a few select screenwriters who are spoken of with the kind of reverence usually reserved for film Directors - Robert Towne, Alvin Sargent and Bo Goldman. Goldman is a screenwriter's screenwriter, and one of the most honored in motion picture history. The recipient of two Academy Awards, a New York Film Critics Award, two Writers Guild Awards, three Golden Globes, additional Academy Award and Writers Guild nominations and, ultimately, the Guild's life achievement Award - The Laurel. Born in New York City, Goldman was educated at Exeter and Princeton where he wrote, produced, composed the lyrics and was president of the famed Triangle show, a proving ground for James Stewart and director Joshua Logan. On graduation, he went directly to Broadway as the lyricist for "First Impressions", based on Jane Austen's "Pride and Prejudice", produced by composer Jule Styne and directed by Abe Burrows, starring Hermione Gingold, Polly Bergen and Farley Granger. Moving into television, Goldman was mentored by the redoubtable Fred Coe (the "D.W. Griffith of dramatic television") and became part of the twilight of The Golden Age, associate producing and script editing Coe's prestigious Playhouse 90 (1956)'s, "The Days of Wine and Roses", "A Plot to Kill Stalin" and Horton Foote's "Old Man". Goldman went on to himself produce and write for Public Television on the award-winning NET Playhouse. During this period, Goldman first tried his hand at screen-writing, resulting in an early version of Shoot the Moon (1982) which stirred the interest of Hollywood and became his calling card. After reading Shoot the Moon (1982), Milos Forman asked Goldman to write the screenplay for One Flew Over the Cuckoo's Nest (1975). Goldman's first produced film won all five top Academy Awards including Best Screenplay for Goldman. "Cuckoo's Nest" was the first film to win the top five awards since Frank Capra's It Happened One Night (1934). Goldman also received the Writers Guild Award and the Golden Globe Award for his work on the film. He next wrote The Rose (1979), which was nominated for four Academy Awards, followed by his original screenplay, Melvin and Howard (1980), which garnered Goldman his second Oscar, second Writers Guild Award and the New York Film Critics Circle Award for Screenplay of the Year. Goldman's first screenplay, Shoot the Moon (1982), that started it all, was then filmed by Alan Parker, starring Diane Keaton and Albert Finney, the film received international acclaim and was embraced by America's most respected film critics including Pauline Kael and Richard Schickel. For Shoot the Moon (1982), Goldman earned his third Writers Guild nomination. Over the next few years, he contributed uncredited work to countless scripts, including Milos Forman's Ragtime (1981), starring James Cagney and Donald O'Connor, The Flamingo Kid (1984), starring Matt Dillon, and Warren Beatty's Dick Tracy (1990). Goldman tried his hand at directing an adaptation of Susan Minot's novel "Monkeys", and a re-imagining of Ingmar Bergman's Wild Strawberries (1957) (aka "Wild Strawberries") as a vehicle for Gregory Peck, but for budgetary and scheduling reasons, both movies lost their start dates. Goldman returned solely to screen-writing with Scent of a Woman (1992), starring Al Pacino. Goldman was honored with his third Academy Award nomination and his third Golden Globe Award. He followed this with Harold Becker's City Hall (1996), starring Al Pacino and John Cusack, and then co-wrote Meet Joe Black (1998), starring Brad Pitt and Anthony Hopkins. More recently, Goldman did a page one uncredited rewrite of The Perfect Storm (2000). It was Goldman's script that green lit the movie at Warner Bros. and convinced George Clooney to star in the film, which went on to earn $327,000,000. In 2005, he helped prepare the shooting script for Milos Forman's Goya's Ghosts (2006), produced by Saul Zaentz and starring Natalie Portman and Javier Bardem. He wrote a script for a remake of Jules Dassin's Rififi (1955) (aka Rififi), for director Harold Becker, starring Al Pacino. Goldman is married to Mab Ashforth, and is the father of six children, seven grandchildren and one great grandchild. He resides in Rockville, Maine. more…

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    "Meet Joe Black" Scripts.com. STANDS4 LLC, 2024. Web. 26 Jul 2024. <https://www.scripts.com/script/meet_joe_black_716>.

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