Meet Joe Black Page #25

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


Joe regards the Waiter for a moment.

JOE:

Do you have any peanut butter?

The Waiter hesitates.

WAITER:

I don't think so, sir.

JOE:

Thank you, anyway.

The Waiter moves off. Joe's attention returns to Parrish and

Susan, the dance number ends, a BOOM.

ANOTHER ANGLE:

On the dance floor.

PARRISH:

What was that?

SUSAN:

The fireworks are about to start.

Parrish looks up, sees Joe up on the terrace, waiting.

SUSAN (cont'd)

(to Parrish)

Shall we?

PARRISH:

You go ahead, honey, I'm going to

catch my breath.

Suddenly he hugs her, holds her very close. She looks at

him, he smiles, nods, but doesn't release her until she

smiles back. Now she heads out with the crowd for the

fireworks. When Parrish senses she is on her way, he turns

and heads up towards Joe.

Joe rises to meet Parrish as he approaches.

JOE:

Happy Birthday, Bill.

PARRISH:

Thank you.

They watch the guests gathering to view the fireworks.

Joe's gaze lingers.

PARRISH (cont'd)

Did you say goodbye?

JOE:

Not exactly.

PARRISH:

I guess you have your reasons.

JOE:

Yes.

Silence.

PARRISH:

Now that we have a moment, would you

mind if I expressed my gratitude for

what you did for Susan?

Joe waits.

PARRISH (cont'd)

I never heard her speak of any man

as she spoke of you -- It was always

what I wanted for her -- but what

happens to her now?

JOE:

I wouldn't worry about it, Bill.

These things have a way of working

out.

Joe regards Parrish, waits until he has a sense that Parrish

has accepted what Joe has said, then Joe continues:

JOE (cont'd)

And would you mind if I expressed my

gratitude...?

Parrish waits.

JOE (cont'd)

For you. For the time you've given

me. For the person you are.

A moment.

PARRISH:

Don't blow smoke up my ass, you'll

ruin my autopsy.

Joe barely manages a smile, now looks back longingly at the

crowd below, searching.

PARRISH (cont'd)

It's hard to let go, isn't it?

JOE:

Yes.

PARRISH:

That's life. What can I tell you?

A silence, an understanding there is another more to say.

Joe looks inquiringly at Parrish as if to say "Shall we?",

Parrish nods and Joe turns with him. They set off now away

from the party, up a meadow that leads to a hill overlooking

the river.

ANOTHER ANGLE:

Down below, the party guests' faces are lit by the initial

fireworks display. Among them is Susan, but her interest

isn't there. Not something pulls her attention, an over-

powering feeling that compels her to turn and see, at a

distance, Parrish and Joe walking away up the meadow. Some-

thing about the sight saddens and at the same time frightens

her, she turns back to the party, dazed, tracing on the

fireworks.

ANOTHER ANGLE:

Up the hill Parrish's step slows, Joe slowing with him.

PARRISH:

I'm getting a little dizzy, I can

feel my heart pumping --

But Parrish doesn't wait for a response, just continues on

up the meadow, towards the rise of the hill, Joe in step

with him.

PARRISH (cont'd)

Should I be afraid?

Joe stops, Parrish stops with him.

JOE:

Not a man like you.

Parrish smiles faintly, takes a deep breath, he strides

out again, Joe right with him. In tandem they continue

on and disappear over the crest of the hill. A barrage

of fireworks lights up the sky.

ANOTHER ANGLE:

Down below, Susan, in a pained reflex, again turns and looks

up towards the hill. There is nobody there. She hesitates,

now glides away from the party, her step quickens as she

walks up towards the hill.

Susan halts, in the distance a figure is approaching from

over the crest of the hill where Joe and Parrish disappeared.

He is heading straight for her, she tries to make him out,

seems to recognize him, starts to walk towards him as if

pulled by a magnet. Now she stops again. It is a man, he

keeps coming, and now that he is close and recognizes him.

SUSAN:

Joe...?

He smiles quizzically, hasn't quite heard her, stands right

in front of her, loose, smiling, disoriented and yet so

appealing. They are riveted on each other, uneasy and yet

close.

SUSAN (cont'd)

You're here...

He is trying to get his bearings.

JOE:

-- You bet.

Something about him makes Susan slightly tentative.

SUSAN:

Where did you go?

Joe shrugs, scratches his head endearingly, uncertain of

time and place.

JOE:

I don't know -- y'know, I don't know

-- it's all blurred up and hazy. And

would y'know what I mean if I said I

don't think it's worth figuring out?

Some realization is dawning on Susan, it renders her

lightheaded.

JOE (cont'd)

...But now I'm back.

Susan regards Joe intently, searching his face for an

answer.

SUSAN:

(gently)

That's it?

JOE:

Well, I don't know what else to say.

It's a helluva party --

SUSAN:

You think so?

JOE:

Yeah...and you're the prettier

thing here.

Susan blinks, a long silence, she touches the sleeve of his

jacket, now her hand traces the outline of his face, she

regards him intently and the dilemma she has been struggling

with the last moments fades away.

Susan slowly realizes this is the Young Man. She is shaken,

a sudden intake of breath.

YOUNG MAN:

Hey, you all right?

His hand politely touches her elbow, courteously lending her

support.

SUSAN:

The coffee shop --

The Young Man nods, pleased with her recognition.

YOUNG MAN:

I asked you if I said something

wrong and you said it was so right

it scared you.

Susan holds herself very still.

YOUNG MAN (cont'd)

And forgive me for saying this --

but then you said -- and it's been

with me ever since --

SUSAN:

What has --?

He hesitates.

YOUNG MAN:

You said you liked me.

SUSAN:

No --

YOUNG MAN:

Y'didn't?

A moment.

SUSAN:

I said I liked you so much.

She falls silent now, overcome by the last moments'

revelations. The Young Man senses her discomfort which

is on the edge of pain.

YOUNG MAN:

Hey, everything's going great --

don't y'think?

She doesn't answer for a moment.

YOUNG MAN (cont'd)

Don't you feel that way?

SUSAN:

...We know so little about each

other.

YOUNG MAN:

But we've got time.

She searches the Young Man's eyes, his face is open,

completely vulnerable, waiting for her response. A long

silence, the words come out haltingly:

SUSAN:

I wish you could've known my

father...

Another moment.

YOUNG MAN:

Me, too.

Susan signs, the Young Man smiles gently, they are

completely intent on each other.

SUSAN:

...What do we do now?

A long silence.

YOUNG MAN:

It will come to us.

Susan smiles, the fireworks finale goes off, the MUSIC comes

up from below, the night fills with light. The Young Man

searches Susan's face, now takes her hand -- and together

they start back towards the party.

THE END:

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

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