Meet Joe Black Page #23

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
6,419 Views


He stammers into silence.

SUSAN:

But you can't.

Joe is about to respond but doesn't.

SUSAN (cont'd)

Just then -- when you hesitated --

the way you shift from foot-to-foot,

I've always found endearing but just

now -- I got a chill.

But he drifts again, now she takes his hand.

SUSAN (cont'd)

Remember that morning in the coffee

shop? You said 'What's wrong with

taking care of a woman, she takes

care of you --"

JOE:

Did I say that?

SUSAN:

And I said you'd have a hard time

finding a woman like that.

Joe shifts, she smiles at his embarrasement.

SUSAN (cont'd)

Well, you've found one, Joe.

JOE:

The 'coffee shop' --

SUSAN:

-- That was the place... and you were

the guy.

Joe seems resigned now, the air gone out of him.

SUSAN (cont'd)

And you said you didn't want me to

be your doctor because you didn't

want me to examine you --?

(a moment)

Well, I got to examine you after

all --

Joe blinks, at a loss.

SUSAN (cont'd)

I could come with you --

JOE:

I - uh --

SUSAN:

You want me to wait for you, you'll

be back --

Joe doesn't answer, Susan is suddenly anxious.

SUSAN (cont'd)

Why do I want this night to last

forever?

JOE:

Don't you know, that's what I want

more than anything.

He touches her face.

SUSAN:

You said before you couldn't tell me

who or where, only the 'when' -- Is

when now?

A moment.

JOE:

May I kiss you?

She waits. He kisses her, they fall into a deep embrace.

SUSAN:

That felt like a goodbye.

Joe's silence is heavy.

SUSAN (cont'd)

What's going on, Joe? I feel like

we're lifting off --

JOE:

I'm still here.

SUSAN:

But you're not. You're somewhere

else.

(a moment)

You're someone else --

Joe is struggling with a response, finally, inevitably, he

drifts into a long silence. Susan is beside herself, her

emotions tossed in every direction, Joe steadies her.

SUSAN:

Tell me you love me -- tell me

you love me now --

JOE:

I love you now, I'll love you

always --

SUSAN:

Hold me --

He holds on tight to her. They are desperately entwined

until finally she releases him.

JOE:

Susan --

SUSAN:

-- Yes?

JOE:

Thank you for loving me.

She smiles wanly, Joe leaves her.

INT. PARRISH'S STUDY, COUNTRY ESTATE - NIGHT

Parrish is seated by the window, lights from the party

flashing past, the MUSIC and laughter audible but muted,

the fever of the celebration lost on him, within himself.

Joe enters, Parrish looks up.

JOE:

...We should think about getting

started, Bill.

Parrish waits.

JOE (cont'd)

It'll just be us.

The tension in Parrish's body releases, he takes a breath.

PARRISH:

Thank you.

Joe nods an acknowledgement, but his face reflects his pain.

Parrish regards him sympathetically.

The silence is broken by a KNOCK on the door. Parrish, out

of politeness to Joe, does not respond.

QUINCE (O.S.)

Bill --?

After a moment.

PARRISH:

Come in.

Quince appears, flushed with excitement.

QUINCE:

-- I got him. The chopper's two

minutes away.

Parrish weighs the information for a moment.

PARRISH:

(to Joe)

How are we on time?

Joe shrugs, nods gently.

JOE:

Okay.

PARRISH:

(to Quince)

Get him in here.

Quince exits, Parrish presses the button for the speaker-

phone.

PARRISH (cont'd)

...May? -- I know you're busy, but I

want you to put in a call to Eddie

Sloane for me --

MAY (O.S.)

At home, sir --?

PARRISH:

No, he's at the office.

EXT. LAWNS, COUNTRY ESTATE - NIGHT

An area on the fringe of the party, the helicopter blades

stop spinning. Quince hurries to the aircraft door, opens

it and Drew steps out. Quince leads the way through the

lights and MUSIC. Drew, fashioning an imperial entrance for

himself, hails partygoers as he passes, Quince enjoying the

irony.

DREW:

This is damn big of Bill, I also

think it's smart.

QUINCE:

He had no choice. You're a

formidable adversary.

DREW:

He said that?

QUINCE:

Well, you've got him by the short-

hairs.

DREW:

Yeah, the short, gray hairs.

He flashes a pleased-as-punch greeting to some unseen

acquaintance as they press on to Parrish's study.

INT. PARRISH'S STUDY, COUNTRY ESTATE - NIGHT

Parrish is at his desk, Joe in a distant corner of the room.

SLOANE (O.S.)

(speakerphone)

We're all here, Bill --

PARRISH:

I appreciate this, Eddie, members

of the Board, this will just take a

minute of your time. As the custo-

dians of the company, you may re-

ceive information from what follows

that is valuable to you --

(a moment)

-- or not. Either way, thanks.

SLOANE (O.S.)

(speakerphone)

We're all ears.

Drew enters with Quince, Quince nods, excusing himself, and

closes the door behind him.

DREW:

Hi, Bill, happy birthday --

A moment.

DREW (cont'd)

I just wanted to say how appre-

ciative I am of this - uh - grand

gesture and --

PARRISH:

Shut up and sit down.

Drew takes a seat.

PARRISH (cont'd)

You're a worthless sack of sh*t, you

f***ed me over, played footsie with

John Bontecou, sold my company out

to line your own pockets.

DREW:

I don't know where you get that idea

-- the Board agreed --

PARRISH:

The Board didn't know you're a mole

who burrowed inside so you could bury

us all.

DREW:

Is this Mr. Black's fantasy? Another

one of his whoppers? Aren't you

sick of this a**hole lurking around?

No one knows who he is, but one

thing everyone does know, he somehow

got your ear and has been pouring

poison into it ever since.

Joe can no longer control himself.

JOE:

You're the poison, Drew. You've

operated behind-the-scenes to suborn

the trust of a man who has stamped

you with his imprimatur of class and

elegance and stature. I've seen all

kinds and degrees of deception in my

time, but Bill Parrish has been on

the receiving end of machinations so

Machiavellian that it has rarely

been my experience to encounter. And

yet he has combatted them stoically,

and selflessly, without revealing my

identity. Had he violated the vow

of secrecy he took, his task would

have been far easier, he could have

turned defeat into victory, but he

is too honorable a man to have done

that. And now I must release him

from that vow. Because of me, he

has lost his work, his company, his

reputation -- and now he's going to

tell you who I am.

Parrish is struck dumb. He looks at Joe pleadingly, shaking

his head imperceptibly, but Joe nods to him blithely -- and

then commandingly.

DREW:

(to Parrish)

So tell me, tell me, I'm peeing in

my pants.

JOE:

-- And now you're going to pee some

more.

PARRISH:

Joe, don't do this --

JOE:

It's time to put this person where

he belongs.

PARRISH:

It's not necessary, Joe. Drew's

going to step aside --

DREW:

I'm not stepping anywhere --

JOE:

I appreciate your gentlemanliness,

Bill, but what we need to do here is

drive the dagger home --

DREW:

The dagger --?

PARRISH:

I told you to shut up.

JOE:

(to Drew)

Prepare yourself, Drew - I am --

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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. 22 Jan. 2025. <https://www.scripts.com/script/meet_joe_black_716>.

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