Meet Joe Black Page #13

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
6,418 Views


QUINCE:

But I've got to tell you, if mergers

are in the wild, I've got some great

prospects I've developed. I want to

talk to you about them next week.

PARRISH:

Next week?

QUINCE:

Yeah. Or the week after.

Quince sees Parrish hesitate.

QUINCE (cont'd)

No good?

PARRISH:

No, anything is possible.

(lightly)

It's up to Joe.

QUINCE:

Joe, you don't know how glad I am

you're aboard. Anybody who can take

some of the weight off the old man,

I'm in his corner.

JOE:

That's very gracious of you, Quince.

QUINCE:

No problem. I'll leave you two

alone. I can tell you guys have

something on the fire --

An excited Quince drains his drink and heads for Drew as

Allison appears.

ALLISON:

(to Parrish)

Did you know twenty-six members of

your rifle company are coming?

PARRISH:

Who?

ALLISON:

From the Korean War.

PARRISH:

Conflict, honey. Korean Conflict.

ALLISON:

Whatever it was, they'll be here.

We sent out invitations to everyone,

plane tickets included -- the RSVP's

are amazing. A few of them we didn't

hear from, and some of them are dead,

of course --

PARRISH:

Of course.

ALLISON:

(a moment)

You know, we're going to give this

party for you whether you like it or

not.

PARRISH:

I like it. I like it. I'm sorry I

don't seem more appreciative.

ALLISON:

(resignedly)

That's okay, Daddy.

ANOTHER ANGLE:

Across the room, Quince has pulled Drew aside:

QUINCE:

...I know you're down, but you know

when you're down, Drew, there's no

place to go but up.

DREW:

Thanks, Quince.

QUINCE:

Never mind Bontecou. I've got some

other merger possibilities up my

sleeve, and I'm putting them to see

old man.

DREW:

Are you?

QUINCE:

We'll do it together. I'll clue you

in. Timing's got to be right. The

old man says it's up to Joe.

DREW:

'It's up to Joe'? Those were his

words?

QUINCE:

Yeah.

DREW:

'It's up to Joe', huh?

QUINCE:

Yeah, that's what he said.

DREW:

Well, that's very interesting.

Drew gazes intently over at Joe who is crossing to Susan,

for the moment by herself near the piano.

QUINCE:

I thought so, too. Joe's a neat

guy.

DREW:

Yeah. Neat.

ANOTHER ANGLE:

Joe approaches Susan.

JOE:

I wanted to apologize, Susan --

SUSAN:

I thought you said 'Be sorry for

nothing'.

JOE:

Well, now I am sorry. For intruding

on you this afternoon.

SUSAN:

It wasn't an intrusion. And if it

was, it turned out to be welcome.

JOE:

I appreciate you --

SUSAN:

Excuse me?

JOE:

I mean I appreciate that.

SUSAN:

And I appreciate you, too.

A moment between them.

JOE:

(delighted)

You do? Well, thank you very much.

ANOTHER ANGLE:

Drew crosses over to Parrish.

PARRISH:

I was a little abrupt with you this

afternoon, Drew. Forgive me. I want

you to know I value your advice.

DREW:

As much as Joe's?

Parrish doesn't answer.

DREW (cont'd)

Who is this man? He's giving

ubiquitous a bad name.

A moment.

PARRISH:

You're competitive soul, Drew.

That's what makes you a great addi-

tion to the money. Joe is just...

around.

DREW:

For how long? And why?

PARRISH:

Please. Don't worry about him. And

above all, don't antagonize him.

Drew glances over at Joe.

DREW:

Boss's orders, huh? I'm great at

following them. And I think I'll

start right now.

Allison calls out from the other side of the room:

ALLISON:

Dinner's ready, everybody!

A BUZZ as Coyle opens the doors to the dining room and the

family files in, Drew lingering behind with Joe.

DREW:

I have a confession to make to you,

Joe.

Joe just smiles in response.

DREW (cont'd)

Do you want to hear it?

JOE:

(pleasantly)

No.

DREW:

Well, I'm going to tell you anyway.

I did cheat on that exam at Groton.

But so did twenty-six other guys,

and nobody ever mentioned it until

today. And I'm expecting you won't

mention it again. I don't know who

you are and where you're getting

your information, but I'm willing to

pretend I did not hear it, and let

bygones be bygones. But can I tell

you something else, it'd be nice to

see the big guy without you next to

him. What are you, his shadow? Do

you hold his dick for him when he

goes to take a leak? You know some-

times somebody would like a few min-

utes alone with W.P. That means

without you. Okay, pal? Let's eat.

INT. DINING ROOM, PARRISH TOWNHOUSE - NIGHT

Everyone eating silently but looks are exchanged, glances

averted, Allison notices Susan and Joe looking at each

other, Drew observes Parrish watching Joe, Quince, on the

other hand, just eats.

Breaking the silence, Parrish chinks his glass, stands.

PARRISH:

-- I - uh - want to thank you all

for coming - uh - my family --

Everyone at the table is all attention.

PARRISH (cont'd)

-- Allison and Quince, Susan -- and

the other members --

He glances at Joe, stops.

PARRISH (cont'd)

-- I'm so happy when we can get

together -- I mean I know you all

have busy lives --

SUSAN:

Look who's talking.

ALLISON:

(a laugh)

Yeah, speak for yourself.

PARRISH:

Anyway -- I remember when you were

little girls --

An awkward pause. Quince chooses to fill the silence.

QUINCE:

I love little girls --

Allison elbows him.

PARRISH:

And now you're all grown up -- and

I'm - uh - um --

Parrish struggles to keep his emotions in check, Drew

clocking his behavior very carefully.

PARRISH (cont'd)

I had some words all prepared but

now I've forgotten them - uh - um -

wait a minute.

Silence, everyone waiting for Parrish to proceed.

PARRISH (cont'd)

Uh, it's gone...um -- it was on the

tip of my tongue.

SUSAN:

It'll come back, Daddy.

PARRISH:

Will it?...

Parrish looking around, searching for words he will not find.

PARRISH (cont'd)

Anyway, I'd like to go on but...

He hesitates, drifts into silence.

ALLISON:

(tentatively)

Daddy, you could sit down if you

wanted to.

A moment.

PARRISH:

There is so much I would like to say

-- but I can't --

(another moment)

So I better sit down. Carry on,

everybody.

He sits, then immediately stands up again.

PARRISH (cont'd)

One other thing -- why don't we all

have dinner again tomorrow night?

ALLISON:

Dinner? Again?

SUSAN:

Haven't you had enough of us, Dad?

PARRISH:

(with great sincerity)

No.

The word lands with effect, Susan and Allison have heard it

well.

SUSAN:

We'll be here.

QUINCE:

You bet.

ALLISON:

With bells on.

The guests try to return to their food, Susan is the most

concerned about Parrish's lapse, she does not say anything

but Drew next to her senses her empathy and, in something of

a display, gives her a pro forma hug. Joe has observed

every instant of Drew's performance, his anxiety is palpable

when Coyle leans over to serve him, offering a tray of a

roast that has been carved.

JOE:

(to Coyle)

I would prefer some peanut butter.

COYLE:

How would you like that, sir? On

some kind of toast?

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, 2025. Web. 21 Jan. 2025. <https://www.scripts.com/script/meet_joe_black_716>.

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