Meet Joe Black Page #17

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


DREW:

Did you want to have a cup of coffee

or something, Bill?

PARRISH:

I don't think so. Do you?

Drew gets the message, at the same time Joe is checking out

all the attendees, his eyes come to rest on Drew.

DREW:

(to Parrish)

To get to the point, we have re-

ceived new information from John

Bontecou concerning his desires for

this company to merge with his, and

we wanted to set the details before

you.

A moment as Parrish looks around, the moment extends, it

appears he may not ever answer.

PARRISH:

That's it?

DREW:

Bontecou wants a quick response

and --

PARRISH:

The answer is no, quick enough for

you?

DREW:

Don't you want to hear the details?

PARRISH:

I'm not interested in the details.

And I'm not interested in the big

picture either. What I am inter-

ersted in is how my Board got conven-

ed behind my back, is entertaining a

further proposal from a man whom it

offends me to do business with,

moreover has the audacity to present

this to me like a prize fish, and I

am expected to clap for it like a

performing seal. No, thank you.

DREW:

So I am to understand from your re-

sponse that you do not want to hear

the details of Bontecou's offer?

PARRISH:

Yes, you are to understand that, and

now may I ask you a question?

DREW:

Certainly, Bill.

PARRISH:

Are you running this Board or am I?

Sloane leans in.

SLOANE:

We're not getting anywhere here.

Why don't we take some of the best

out of this thing, let's consider

it coolly, let's take a week --

DREW:

Bontecou wants a speedier response

than that.

SLOANE:

He'll wait --

PARRISH:

Doesn't need to. Today, tomorrow,

a week from now -- 'a week from

now', who can think about a week

from now -- the answer is going to

be the same -- a loud, unmistakable,

all-inclusive, airtight -- 'No'.

A BUZZ amongst the Board, they finally rustle into silence

under Parrish's withering glance.

PARRISH (cont'd)

That's it? I've got a busy day

and this meeting has already set

me behind. Shall we adjourn?

DREW:

Before we do, while we're here,

there is a second question the

Board would like a response to,

a far simpler one.

Parrish waits.

DREW (cont'd)

Who is the man sitting to the right

of you?

Everybody's eyes are on Joe.

PARRISH:

I've already introduced Mr. Black to

you all.

DREW:

But who is he? What are his creden-

tials? What is his relationship to

you?

No response from Parrish.

DREW (cont'd)

The feeling of the Board is this: we

fear Mr. Black is not only influenc-

ing your decisions in regard to this

company, but that you are relying on

him to make them for you.

Quince flinches at these words, his hands clasped in front

of him, his knuckles white as Parrish regards Drew, but still

does not answer.

DREW (cont'd)

The lack of response, Bill, is not

appropriate. We are your Board, we

have a right to know how you are

managing the operations of this

company, and most importantly, that

you have not delegated someone to do

it for you.

Parrish squirms, desperately uncomfortable but still does

not speak.

DREW (cont'd)

Okay, one more time.

Drew regards Joe.

DREW (cont'd)

Who is Joe Black?

Parrish stares stoically into the middle distance as

Quince's head sinks into his hands.

DREW (cont'd)

(to the Board)

A motion has been brought before

the Board to invoke Article 19 of

the corporate charter.

PARRISH:

In English, please.

DREW:

Mandatory retirement upon our

Chairman's sixty-fifth birthday.

Parrish is expressionless.

DREW (cont'd)

At which time, the Chairman will be

named Emeritus, he will be welcome

to attend all meetings, and will

serve as International Spokesman for

the corporation plus, of course, a

settlement, a golden parachute of

such magnitude that his feet will

never touch the ground.

Drew pauses.

DREW (cont'd)

Please indicate your vote by a "Yes"

or "No".

A "Yes" is heard, now another "Yes", now more "Yes"es, all

reluctant, "No" from Sloane, "No" from Quince who realizes

he is the instrument of Parrish's dismissal.

DREW (cont'd)

The motion is passed. We will of

course delay the announcement, out

of respect for our former Chairman,

until after the celebration of his

birthday this weekend.

PARRISH:

Thank you for allowing me to save

face, Drew.

Joe's eyes are riveted on Drew.

DREW:

(to the Board)

The other motion before us is the

acceptance of John Bontecou's offer

to merge this corporation with

Bontecou International --

Parrish stands, Drew stops speaking.

PARRISH:

Joe?

Silence, then Joe rises.

JOE:

(to the Board)

Who I am, and my relationship to

Bill, will be divulged in our own

good time.

Joe follows Parrish out of the room.

INT. HALLWAY, OUTSIDE BOARD ROOM - DAY

Sloane has pursued Parrish and Joe.

SLOANE:

(to Parrish)

...It's not over, 'til it's over.

PARRISH:

Please, Eddie, no 'Fat Lady Sings"

sh*t.

SLOANE:

I still sense some doubt in this

group, we could turn it around.

You'll be up in the country?

PARRISH:

Yes, the big 'celebration' of my

mandatory retirement birthday.

You're an honored guest, Eddie.

SLOANE:

I'm going to stick it out here. We

still have a shot.

The elevator door opens, Parrish and Joe step inside and the

door closes, leaving Sloane behind.

INT. HALLWAY, PARRISH COMMUNICATIONS - DAY

The Board meeting has broken up, clusters of members have

lingered, exchanging post-mortems. And enraged Quince has

cornered Drew, out of earshot of the others.

QUINCE:

What have you done? You've gotten

the old man fired!

DREW:

That we did. Thanks to you. He was

wobbling, mind you, but you spplied

the coup de grace.

Quince falls silent, aquiver with this reality.

QUINCE:

I'm going to put a stop to this!

DREW:

Quince, you can't unscramble

scrambled eggs.

QUINCE:

But I didn't mean to do it!

DREW:

The train's left the station, pal,

and you're aboard. Would you like

to hear the silver lining? Check

that, gold. I've been working with

John Bontecou all along. We had

a game plan -- acquire Parrish

Communications then break it apart

and peddle it piece-by-piece to the

highest bidder. I set it up for

him, he smacks it out of the park.

Quince is struck dumb.

DREW (cont'd)

Don't you know what this'll mean?

You'll be rich. You'll sell your

stock, you can stop kissing ass --

What'll it feel like to be a man?

QUINCE:

I don't want to get rich this way --

I'm going to expose you.

DREW:

Go right ahead. Tell William

Parrish how you betrayed him at

a secret Board meeting. And tell

Allison how you got her father

fired -- and he lost his company.

Quince goes ashen.

DREW (cont'd)

It's just life, Quin-cee.

Drew hails an employee across the hall.

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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