Meet Joe Black Page #24

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


PARRISH:

He is --

JOE:

I'll take it from here --

(to Drew)

I am --

PARRISH:

-- An IRS man.

Drew is stunned, Joe glances at Parrish, hesitates.

PARRISH (cont'd)

Yes, he is. He's an -- IRS man.

Aren't you, Joe?

Joe is at a loss, Parrish's eyes are glued to his, Joe gets

the hint.

JOE:

Yes, I am.

(to Drew)

IRS man.

Drew's head swivels from Joe to Parrish and back again.

PARRISH:

The Treasury Department asked

my cooperation in his undercover

investigation of John Bontecou.

They were convinced that Bontecou,

on past deals, had structured his

mergers and acquisitions in sus-

picious and complicated ways so as

to evade paying the taxes he is

liable for. The IRS wanted to go

after him, and this deal offered

them the opportunity.

(a moment)

I agreed to cooperate.

JOE:

(to Parrish)

And we're very grateful.

PARRISH:

Moreover, Agent Joe Black here --

of course that's not his real name

-- smelled out your involvement,

Drew. He developed evidence you

were working both sides of the

fence. Unfortunately, that's known

as a conflict of interest --

JOE:

Undisclosed conflict of interest --

PARRISH:

An offense --

JOE:

An indictable offense.

Silence.

DREW:

I think I'd like to talk to my

lawyer --

PARRISH:

No lawyers, Drew. We're going to

offer you a deal.

Drew is all attention.

PARRISH (cont'd)

Confess to the Board every details of

your participation and then submit

your resignation.

DREW:

And what do I get?

PARRISH:

You get not to go to jail.

DREW:

You're talking through your hat.

You're offering a deal because

you've got no proof.

PARRISH:

Proof? We've got plenty of proof.

JOE:

(to Drew)

And he's talking through his lips.

Joe steps forward.

JOE (cont'd)

Make no mistake, Drew, if you choose

to test my resolve in this matter,

you'll be looking at an outcome that

will have a finality that is beyond

your comprehension, and you'll not

be counting the days or the months

or the years, but millenniums in the

house with no doors.

Drew slumps.

DREW:

All right, you win. As soon as I

get back to the city, I'll meet with

the Board.

Sloane's voice erupts over the SPEAKERPHONE.

SLOANE (O.S.)

You're meeting with the Board right

now, Drew. Resignation accepted.

Moreover, I propose a motion to re-

confirm William Parrish as Chairman

of the Board of Parrish Communica-

tions as well as a rejection of the

merger with Bontecou International.

How say you, Board?

A chorus of thunderous "Yes"es resounds through the

SPEAKERPHONE.

SLOANE (O.S., cont'd)

The motion is passed.

PARRISH:

Well, thank you, that's great, but

it's more than I bargained for. I

just wanted to set the record

straight.

SLOANE (O.S.)

But we want you back, Bill. Mean-

while, enjoy your party, celebrate,

we'll attend to the nasty details.

And Mr. Black, may we say thank you.

JOE:

My pleasure. This is an IRS Agent's

dream. I'll be promoted to Chief of

Section off of this.

Parrish clicks the speakerphone off. Drew is staring at

Joe, shaking his head.

DREW:

Who would've ever believed it? You,

an IRS Agent --

Silence. Joe shrugs, smiles.

JOE:

'Death and Taxes'.

The door flies open, an anxious Allison appears.

ALLISON:

Daddy! We've been looking all over

for you - this is your party - what

are you doing in here? Never mind.

You're on. Let's go.

She pulls him out of his chair, hustles him out of the room,

Joe right behind them.

EXT. LAWNS, COUNTRY ESTATE - NIGHT

The guests have formed themselves into a huge audience, the

orchestra strikes up "Happy Birthday" as Parrish appears

with Allison. An enormous cake is unveiled with one great,

lit candle, Parrish beams then laughs. He pauses over the

cake, now blows the candle out. APPLAUSE, cries of "Speech!

Speech!", Parrish tries to demur but the request becomes

loud and rhythmic, he holds up his hand, nods, quiets the

crowd. Joe observes from the fringe.

PARRISH:

(to the guests)

I thought I was going to sneak away

tonight...

YELLS of "No!" "Never!"

PARRISH (cont'd)

...What a glorious night, every

face I see is a memory. It may not

be a perfectly perfect memory --

sometimes we had our ups and downs

-- but we're all together, and

you're mine for a night.

(a moment)

-- And I'm going to break precedent,

and tell you my one-candle wish --

that you would have a life as lucky

as mine, where you can wake up one

morning and say "I don't want

anything more."

(another moment)

Sixty-five years - don't they go by

in a blink?

Parrish hesitates, waves and steps away, APPLAUSE that grows

into CHEERS, the music resumes, another dance tune. Quince

grabs him, pumps his hand and claps him on the back. Now

Parrish spots Allison, he wraps her in a tight embrace, they

hold each other close for a moment, but then are separated

by a surge of guests. Parrish sees Susan, she smiles but

there is a tinge of sadness about her. He heads towards her,

they are somehow situated as if they were alone in this crowd.

SUSAN:

What a night.

PARRISH:

I'm having a helluva time.

A moment.

SUSAN:

You were right about Joe, he is

going somewhere --

PARRISH:

(gently)

I'm sorry.

Susan is examining Parrish very closely.

SUSAN:

Are you relieved?

PARRISH:

Yes, but --

Parrish hesitates.

SUSAN:

But what?

PARRISH:

I want you to know how much I love

you. That you've given a meaning

to my life that I had no right to

expect, and that no one can ever

take from me.

SUSAN:

Daddy --

PARRISH:

No -- I love you so much and I want

you to promise me something. I

don't want you to ever worry about

me. If anything should happen, I'm

going to be fine and everything's

going to be all right.

(a moment)

-- And I have no regrets.

Susan is in pain now, she can't summon an answer.

PARRISH (cont'd)

And I want you to feel that way,

too.

SUSAN:

I love you, Daddy --

PARRISH:

That's why it's okay.

They drift into silence.

PARRISH (cont'd)

No regrets?

After a moment.

SUSAN:

'No regrets'.

A long silence, Susan smiles.

PARRISH:

It's a good feeling, isn't it?

Silence again.

SUSAN:

Everybody's saying goodbye...

They regard each other, a long pause, they have reached an

understanding.

PARRISH:

I'm still here.

(a moment)

Would you like to dance with me,

Susan?

SUSAN:

Oh, yes --

He starts to lead her to the floor, immediately stops.

PARRISH:

If you don't mind dancing with an

old fogey like me.

SUSAN:

Oh, Dad, you're not old. You'll

never be old.

He takes her in his arms and they dance away.

ANOTHER ANGLE:

On a distant fringe of the party, a grass terrace that still

commands a view of the dance floor, is Joe. His eyes are on

Parrish and Susan, he watches them admiringly yet ruefully.

A Waiter passes, catches sight of Joe, stops.

WAITER:

Can I get you anything, sir?

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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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