-
- Автор сценария:
- Рон Осборн
- Джефф Рено
- Кевин Вейд
- Бо Голдман
- Alberto Casella
- Уолтер Феррис
- Максвел Андерсон
- Глэдис Леман
-
- Режиссер:
- Мартин Брест
В жизни богатого и влиятельного газетного магната Уильяма Пэрриша (Хопкинс) появляется сама Смерть, принявшая обличие обворожительного молодого человека по имени Джо Блэк (Питт). Смерть, уставшая от своих привычных обязанностей, предлагает Пэрришу необычное соглашение: магнат станет проводником Джо в мир живых, где тот планирует провести свой отпуск. Но по окончании каникул Смерть заберет Пэрриша с собой… С помощью Уильяма загадочный и эксцентричный Джо начинает свое путешествие по бренной земле. Но происходит непредвиденное. Оказывается, что тело погибшего человека, которое Смерть выбраладля себя, принадлежало юноше, в которого была влюблена прекрасная дочь Пэрриша (Клер Форлани).
СКАЧАТЬ
M E E T J O E B L A C K
Screenplay by Bo Goldman
--------------------------------------------------------------
EXT. ANNANDALE-ON-HUDSON, N.Y. - 4:00 AM
A patch of water. PULL BACK TO REVEAL more water. BACK
FARTHER TO REVEAL an expanse of river, up the bank to
massive lawn running up to a great, classic Hudson River
manor house; the country estate of William Parrish.
INT. PARRISH COUNTRY ESTATE - 4:00 AM
MOVE THROUGH French doors that lead from a wide terrace into
an expansive living room, DOWN wide corridors lined with
Bierstadt and Cole paintings, the Hudson River School, mists
and trees and small boats and distant humans.
INT. PARRISH BEDROOM - 4:00 AM
MOVE THROUGH the doorway to reveal a master bedroom furnish-
ed with exquisite simplicity, revelatory of its sleeping
occupant, WILLIAM PARRISH, 64, a warm but commanding face, a
man of maturity yet who exudes a glow of enthusiasm.
Although asleep, there is an uncommon restlessness to him.
Parrish grips his upper arm as if in pain. Now the severity
of the pain wakes him, he squeezes his arm. The wind comes
up, through the wind a VOICE is heard distantly, or is it the
wind itself:
VOICE (V.O.)
... Yes.
Parrish blinks, has he heard something, has he not, he is
not sure, he releases his arm, his grimace of pain fades,
the discomfort seems momentarily to have subsided.
He rises now, crosses to the bathroom. As he pees, a breeze
outside the window, the wind again, but then the Voice comes
up:
VOICE (V.O.)
Yes...
It is unmistakably a Voice, it is not the wind, Parrish has
heard something, he looks around, but no one is there. He
can't finish peeing, turns back to his bedroom. All beweild-
ered, Parrish looks around once more, climbs back into bed,
trying to trace the source of what he has heard or hasn't
heard; he is not sure.
He pulls the covers up now, not a SOUND, tries to close his
eyes.
VOICE (V.O.)
Yes.
Parrish sits up again, frightened, but still there is no one
there, he seems fraught with indecision, should he get up,
should he not, what is happening? He looks out: absolute
stillness and silence, CRICKETS chirp down by the river, a
light FLICKERS from a shadboat, Parrish closes his eyes but
then they flutter open, he glances up at the ceiling and
finally, exhausted, falls back asleep.
EXT. REAR TERRACE, PARRISH COUNTRY ESTATE - NEXT MORNING
The great lawn infested with workmen, planting stakes, un-
rolling a huge canvas tent, gardeners fashioning topiary and
adding landscaping of their own, crews setting up platforms,
speakers, lights. Ubiquitous is ALLISON, 35, Parrish's
older daughter, foremen competing for her attention and she
relishing every moment.
A Painter approaches.
PAINTER
The big tent, Miss Allison --
ALLISON
Paint is rust and moss green.
Medieval colors -- Daddy's like
an old knight.
A Florist stops her.
FLORIST
The head table --?
ALLISON
What about it?
FLORIST
The flowers, ma'am--?
ALLISON
Freesia, freesia, everywhere. Daddy
loves freesia -- and you, over there,
lights. Not too bright. I'm looking
for a saffron glow -- sort of tea-
dance twenties.
EXT. GREAT HALL, COUNTRY ESTATE - MORNING
Parrish, groomed for the day, trots down the stairs, observ-
ing the activity outside through the windows. He checks his
watch, strides down the hall, encounters MAY, 50, a family
retainer who is opening the doors to the terrace as Parrish
passes.
PARRISH
What do you think of all this, May?
MAY
It's going to be beautiful. And
Miss Allison says the President may
come.
PARRISH
Oh, the President's got better
things to do than come to my
birthday party.
MAY
(smiling)
What?
Parrish grins, continues on, is intercepted by Allison who,
on catching sight of him, bounces in from the terrace.
ALLISON
Daddy!
PARRISH
Hi, Allison --
ALLISON
Have you got a minute?
PARRISH
Not much more. Big day in the big
city. What's on your mind?
ALLISON
Fireworks. Update -- we're con-
structing the number '65' on the
barge, archers from the State
College at New Paltz will shoot
flaming arrows at it, when it
catches fire it will give us the
effect of a Viking funeral with none
of the morbidity... The Hudson River
Authority says, for you, they'll
make a special dispensation - of
course there'll be an overtime bill
for the Poughkeepsie Fire Dept...
PARRISH
Allison, I trust you. This is your
thing.
ALLISON
But it's your birthday.
Parrish smiles complaisantly, they continue on into a break-
fast room where SUSAN, 30, Parrish's younger daughter, is
grazing at a table laden with cereals and fruits and coffee.
SUSAN
Good morning, Dad.
PARRISH
Hi, honey.
ALLISON
(to Susan)
I'm Allison, you're 'honey'.
SUSAN
(smiling)
Drew called from the AStar, they're
still two minutes away.
PARRISH
Drew's aboard?
SUSAN
He wanted to ride back down with
you. Now sit and relax, get some-
thing in that flat tummy of yours --
But Parrish only pours coffee.
SUSAN (cont'd)
(to Allison)
You coming?
ALLISON
You've got patients waiting, I've
got three hysterical chefs, one
loves truffles, the other hates
truffles, the third one doesn't know
what truffles are. I'd better drive
down.
Parrish gazes at the going-on outside which are increasing
in intensity.
PARRISH
(unconsciously)
I hate parties --
ALLISON
Calm down, Daddy, you'll see, you're
going to love it.
PARRISH
Isn't it enough to be on this earth
sixty-five years without having to
be reminded of it.
ALLISON
No.
Allison goes, Susan observes Parrish fidgeting.
SUSAN
Will you relax? I know it is a big
deal day --
PARRISH
How did you know?
SUSAN
Drew told me.
PARRISH
Does Drew tell you everything?
SUSAN
I hope so.
PARRISH
You like him, don't you?
SUSAN
Yeah. I guess so.
A moment.
PARRISH
I don't like to interfere.
SUSAN
...Then don't.
The helicopter CHOPS in overhead.
SUSAN (cont'd)
-- Here comes our boy now --
Shall we?
EXT. COUNTRY ESTATE - MORNING
A BUTLER and May carry the overnight bags for the family as
led by Parrish, they hurry towards the helicopter. En route
they pass QUINCE, 38, Allison's husband, who is perched at a
portable bar with AMBROSE, the head caterer, tasting wines.
QUINCE
...This shit's not bad.
AMBROSE
-- The late harvest Riesling, Mr.
Quince, a possibility for dessert.
QUINCE
(pointing to another
bottle)
And that?
AMBROSE
Pinot Grigio. We're considering it
for the appetizer.
Ambrose takes a sip, swishes the wine in his mouth, spits it
in a bucket.
QUINCE
What do you do that for?
AMBROSE
Well sir, it's 9:30 in the morning.
QUINCE
9:30's almost 10:30. Where I come
from, the sun's over the yardarm,
m'boy, and the cocktail lamp is lit.
Quince drains his wine, presents it for a refill, when he is
hailed by Allison.
ALLISON
Quince! Everybody's waiting!
Quince downs this glass too, runs for the helicopter as
DREW, 34, a young man going places, emerges from it,
approaches Parrish and Susan.
DREW
(to Susan)
Hello, Beautiful.
SUSAN
Hi.
Drew kisses her, over her shoulder he glances at Parrish.
PARRISH
Good morning, Drew. Thanks for
coming out.
DREW
Well, it's a big day. Wanted to
line up a few ducks before kickoff.
Any thoughts? Last minute refine-
ments or variations?
PARRISH
'Thoughts'? Not a one -- but I did
hear a voice last night.
DREW
A voice?
PARRISH
In my sleep.
DREW
What'd it say?
PARRISH
'Yes'.
DREW
'Yes' to the deal?
PARRISH
Maybe, who knows? You know how
voices are. Let's go.
Quince comes running up now.
QUINCE
Hi, Bill --
PARRISH
Good morning, Quince.
QUINCE
How're you doing--?
PARRISH
I'm doing great. You ready?
QUINCE
I am, this is it. B Day.
PARRISH
How's that, Quince?
QUINCE
Bontecou Day. Going to close
with Big John -- Look at you, Bill,
all cool as a cat and over at
Bontecou's, I'll bet he's shitting
in his pants.
ALLISON
(to Quince)
Honey, please.
QUINCE
Okay. All aboard - New York, New
York!
ALLISON
Remember everybody, tonight, dinner
in the city at Daddy's. You too,
Drew. We've still got some loose
ends --
PARRISH
Not my birthday again?
SUSAN
You're only six-five once.
PARRISH
Thank God. Now could we go? Let's
get this day started.
Drew ushers everybody on, first Parrish, then Susan and
Quince, Drew the last to climb on, shuts the door behind him
As Allison hurries away from the whirling rotors.
INT. ASTAR HELICOPTER - DAY
The configuration of seats has Drew beside Parrish, in front
of them Quince and Susan opposite each other in single seats.
Just as Drew removes color-coded folders from his attache
case and spreads them out for Parrish on his tray table, the
pilot waves to Drew, indicating 'phone call'. Drew gets up
and heads for the cockpit, Parrish scans the folders, glances
over at Susan who is making some notes on a file of her own.
He motions to her to please come sit beside him, she checks
that Drew is still busy in the cockpit, tucks her papers into
her carryall, and crosses over to Parrish who folds away the
work that Drew set before him into his tray table, locks it.
SUSAN
I thought you were in a meeting--?
PARRISH
I am. With you.
He peers up ahead at Drew, on the telephone and gesticulat-
ing intensely, right at home in the cockpit despite the CHOP
of the blades and the pilot pressed up against him.
PARRISH (cont'd)
Do you love Drew?
SUSAN
...There's a start for a meeting.
PARRISH
I know it's none of my business --
Susan doesn't answer for a moment, then impulsively kisses her
father on the cheek.
SUSAN
No, it's none of your business.
Another moment.
PARRISH
Do you love Drew?
SUSAN
You mean like you loved Mom?
PARRISH
Forget about me and Mom -- are you
going to marry him?
SUSAN
Probably.
A moment.
PARRISH
(smiles)
Don't get carried away.
SUSAN
Uh oh --
PARRISH
Susan, you're a hell of a woman.
You've got a great career, you're
beautiful --
SUSAN
And I'm your daughter and no man
will ever be good enough for me.
PARRISH
Well, I wasn't going to say that --
SUSAN
What were you going to say?
PARRISH
Listen, I'm crazy about the guy --
He's smart, he's aggressive, he
could carry Parrish Communications
into the 21st century and me along
with it.
SUSAN
So what's wrong with that?
PARRISH
That's for me. I'm talking about
you. It's not so much what you say
about Drew, it's what you don't say.
SUSAN
You're not listening --
PARRISH
Oh yes, I am. Not an ounce of
excitement, not a whisper of a
thrill, this relationship has all
the passion of a pair of titmice.
SUSAN
Don't get dirty, Dad --
PARRISH
Well, it worries me. I want you
to get swept away. I want you to
levitate. I want you to sing with
rapture and dance like a dervish.
SUSAN
That's all?
PARRISH
Be deliriously happy. Or at least
leave yourself open to be.
SUSAN
'Be deliriously happy'. I'm going
to do my upmost --
He smiles.
PARRISH
I know it's a cornball thing but
love is passion, obsession, someone
you can't live without. If you
don't start with that, what are you
going to end up with? I say fall
head over heels. Find someone you
can love like crazy and who'll love
you the same way back. And how do
you find him? Forget your head and
listen to your heart. I'm not
hearing any heart.
(a moment)
Run the risk, if you get hurt, you'll
come back. Because, the truth is
there is no sense living your life
without this. To make the journey
and not fall deeply in love -- well,
you haven't lived a life at all.
You have to try. Because if you
haven't tried, you haven't lived.
SUSAN
Bravo.
PARRISH
Aw, you're tough.
SUSAN
I'm sorry. But give it to me again.
The short version.
PARRISH
Stay open. Who knows? Lightning
could strike.
Silence.
PARRISH (cont'd)
Forgive the lecture --
SUSAN
I won't. And when I tell Drew about
it, he won't either.
PARRISH
You won't tell him, and even if you
did, he'd clock it and punch it into
his laptop in order to pull out some
key phrases when he gives the
Commencement Speech at Wharton.
SUSAN
You're terrible.
PARRISH
I know. But I'm the only father
you've got.
She kisses him on the cheek.
SUSAN
Thank God.
PARRISH
He doesn't care. But thanks anyway.
EXT. 34TH STREET HELIPAD, NEW YORK CITY - DAY
The AStar lands, an attendant, waiting with a luggage cart,
rushes to open the door and unload the bags. The passengers,
Parrish paired with Quince, Drew with Susan, file off the
rooftop through a door which opens into an elevator.
INT. ELEVATOR, NEW YORK CITY - DAY
Parrish, Susan, Drew and Quince face forward as they ride
downwards.
QUINCE
Hey, this is it, the hour approach-
es, I'm getting all excited. So
what do you think, is it --
(indicates Drew and
Parrish)
-- just the 'Executive Committee' or
could you guys use me?
DREW
Quince, m'man, thanks for the offer,
but it's all set for just me and Bill.
More people might --
QUINCE
I know. Gum up the works.
Parrish is about to make some reassuring comment to Quince
when the Voice suddenly intrudes:
VOICE (V.O.)
'...I know, it's none of my
business.'
PARRISH
What?
DREW
I was saying to Quince we won't
need --
PARRISH
Did you just hear something?
DREW
Why yes, Bill, I was saying to
Quince --
PARRISH
No no, not you.
SUSAN
Daddy, what's the matter?
PARRISH
Nothing. I'm sorry.
A respectful silence, the elevator continues downwards,
suddenly the Voice intrudes again:
VOICE (V.O.)
'...I want you to levitate. I want
you to sing with rapture and dance
like a dervish.'
Parrish grunts bizarrely, Susan notices and reacts:
SUSAN
What is it, Daddy --?
PARRISH
Nothing.
Parrish's eyes dart about, confirming no one has heard a
thing but him.
PARRISH (cont'd)
Just talking to myself again. You
know me --
The elevator door opens.
PARRISH
Well, here we are --
Parrish leads the group out.
EXT. 34TH STREET, NEW YORK CITY - DAY
They exit the building.
SUSAN
(to Parrish)
Are you okay?
PARRISH
A-Okay. Got my gloves on, my ears
pricked. I'm ready for action.
SUSAN
Well, go get 'em, Pops.
PARRISH
Yer damn right.
Parrish, followed by Drew, steps into a waiting limousine,
Quince looks longingly after them. Susan, blowing a kiss
goodbye to her father, steps out into the street to hustle a
cab.
INT. LOBBY, BONTECOU WORLD HEADQUARTERS - DAY
DREW
...Tomorrow we sign off -- photo
opportunity, you and Big John, it'll
lead network news. Okay so far?
PARRISH
Sounds good.
DREW
It's going to be great --
PARRISH
Do you think I need a haircut?
DREW
Bill, after this deal, you'll be
able to afford one.
Parrish smiles, they step into the elevator.
INT. BONTECOU EXECUTIVE OFFICES - DAY
Parrish and Drew emerge from the elevator, Parrish observing
the overkill decor.
DREW
Their PR guy asked me, what did I
think Parrish Communications stood
for, that's principle and ethics-
wise? I came up with something, but
then it occurred to me, why don't I
ask Bill? What do you think?
A moment, Parrish shrugs.
PARRISH
Our first annual report, must be
thirty-five years ago now, I owned
two stations, I wrote down a state-
ment of purpose, that one day you
would wake up to a Parrish radio
station, read a Parrish paper at
breakfast, catch our news on tele-
vision during the day, and go to bed
with one of our books or magazines
and you would always be told the
truth and in the bargain, have a
good time.
DREW
That's great! Wait 'til I show it
to Bontecou.
Drew opens a door, a conference room, a circle of top exec-
utives, now stepping out from the group is a huge, white-
haired man, JOHN BONTECOU, 55.
BONTECOU
Bill, thanks for coming over...
(to Drew)
And how're you doing today, Drew?
(to Parrish)
You've got a firecracker here, the
kid's really set the table.
PARRISH
Good, good. Glad to hear it.
BONTECOU
We've met before, y'know, that White
House function, the President had
you on his right and you know where
I was?
PARRISH
I'm sorry, I don't recall --
BONTECOU
Left field somewhere. Well, Bill, I
want to come in from the outfield,
bat cleanup like you have, learn the
plush ropes --
PARRISH
I thought you were buying my company.
BONTECOU
Oh, Mr. Parrish, I could never buy
Parrish Communications. I could pay
for it, of course, but it would
always have your imprint.
Silence. Parrish looks around at the circle of 'suits',
Bontecou holding away.
PARRISH
Well, that's very nice to hear.
Drew nods excitedly.
EXT. NEW YORK HOSPITAL CORNELL MEDICAL CENTER - DAY
The busy medical community at 68th Street and New York Avenue.
INT. CORINTH COFFEE SHOP, NEW YORK AVENUE - DAY
A thriving eatery diagonally across from the hospital's
entrance, customers cheek-by-jowl as a pair of waiters
juggle breakfasts served to a noisy throng of doctors,
residents and interns.
Susan has squeezed into a seat in the corner. A counterman,
with a smile and a greeting, places a cup of coffee in front
of her. A sense this is a daily ritual, arming herself for
the day; immediately she becomes aware of a man behind her
speaking into the pay phone.
An attractive YOUNG MAN, early 30's, a pair of suitcase at
his feet, a raincoat slung over his shoulder.
YOUNG MAN
...Honey, you've got to go on...
there's a time to sow and a time to
reap, you sow now and forget about
him... yeah, I liked him, I don't
like him anymore... because you're
my honey and anybody messes with you
messes with me -- I'm on a plane in
a minute... as soon as I get my
phone in, you're my first call,
that's a promise... where you going
now?... good, hit the books, get that
degree, one day we'll hang out a
shingle together... you bet, honey...
later.
The Young Man hangs up, turns around and sits down to an
overflowing plate of eggs and meat, potatoes and toast, the
counterman refills his cup and the Young Man ties into the
breakfast, eating it with such relish that Susan can't take
her eyes off him. He senses her eyes, glances over, his
cheeks filled with a mouthful of food, swallows embarrassedly.
YOUNG MAN
Good morning, I was talking kind of
loud there, sorry.
SUSAN
Not at all. It was fascinating.
YOUNG MAN
Oh yeah? What was 'fascinating'
about it?
SUSAN
You and 'Honey'?
YOUNG MAN
My kid sister. She just broke up
with her boyfriend and she's
thinking about dropping out of
law school.
SUSAN
I'm sorry --
YOUNG MAN
Nothing to be sorry about. That's
the way with men and women, isn't
it?
SUSAN
What's the way?
YOUNG MAN
Nothing lasts.
SUSAN
I agree --
YOUNG MAN
Why?
SUSAN
I was just being agreeable, now I've
got to explain why?
YOUNG MAN
I'm not trying to sharpshoot you,
but that 'nothing lasts' stuff,
that's what was the trouble with
Honey's guy. He was fooling around
and Honey caught him at it. One
girlfriend wasn't enough for him.
SUSAN
So you're a one-girl guy?
YOUNG MAN
Damn right. Looking for her right
now. Who knows? You might be her.
Susan laughs.
YOUNG MAN (cont'd)
Well, don't laugh. I just arrived
in town, got a new job -- I'm trying
to get into this apartment. You a
doctor?
SUSAN
How'd you know?
YOUNG MAN
Everybody's a doctor around here.
This apartment house is all green
pajamas and slippers. The guy I'm
waiting for to vacate is a doctor.
What kind of doctor?
SUSAN
Me? Internal medicine.
The Young Man smiles.
YOUNG MAN
So if I needed a doctor, you could
be it?
SUSAN
I could be her.
YOUNG MAN
'Her'.
A moment.
SUSAN
Yes, I could.
(a moment)
I have an office in the hospital.
YOUNG MAN
-- This is my lucky day. I arrive
in this big bad city and I not only
find a doctor, a beautiful woman as
well.
Susan looks into her coffee.
YOUNG MAN (cont'd)
I'm sorry, you mind my saying that?
SUSAN
Not at all.
YOUNG MAN
How 'bout another cup of coffee?
SUSAN
I've got patients coming in --
YOUNG MAN
And I want to get into my apartment
and go to work. Please, what do you
say, another cup of coffee?
Two pots are warming behind the counter, he reaches over and
refills her cup and his. Pushes a container and pitcher to-
wards her.
YOUNG MAN (cont'd)
I see you use lots of sugar and
cream. Me, too...
They smile at each other, fix up their coffee.
EXT. PARRISH COMMUNICATIONS, NEW YORK CITY - DAY
A magnificent granite building, a monument to good taste in
the midtown sea of glass and aluminum.
INT. OUTER LOBBY, PARRISH COMMUNICATIONS - DAY
Parrish and Drew enter, no particular fanfare but an aware-
ness the 'Chief' has arrived, everyone giving Parrish the
appropriate wide berth, Drew right beside him.
DREW
I'm all excited --
PARRISH
Me, too.
DREW
I thought it was great, I thought
you and Big John would be like a
couple of bulls in a china shop --
(faltering)
Instead it was --
PARRISH
Like a marriage made in heaven?
DREW
You have a way with words.
They stride to the main bank of elevators.
INT. EXECUTIVE OFFICES, PARRISH COMMUNICATIONS - DAY
Parrish, Drew beside him, proceeds through a high tech, but
tasteful, maze, spiffy executive secretaries at burnished
desks. Neither looking right or left, somehow Parrish man-
ages to acknowledge their bright smiles and deferential nods
despite his swift entrance.
He passes through an open set of doors and he is into his
own suite, commanded by JENNIFER, his assistant.
JENIFER
Good morning, Mr. Parrish.
PARRISH
Hi, Jennifer.
Drew is still at Parrish's heels, but now Parrish stops at
the open door, turns back to him, reminding Drew that this
is as far as he goes without being invited.
DREW
So... Board convenes tomorrow, you'll
recommend, we close and it's a deal,
right?
PARRISH
As close as a deal could be.
DREW
(bursting)
Olympic.
Parrish disappears into his office. Drew, on his way out,
glides past Jennifer's desk.
DREW (cont'd)
This is our lucky day.
Jennifer acknowledges Drew with a smile, rises and moves to
Parrish's doorway, waiting for the day's instructions, but
Parrish only nods to the door and Jennifer quickly closes
it, returns to her desk.
INT. PARRISH'S OFFICE - DAY
Alone in his office, Parrish's ebullient mood immediately
changes. Leaning against the back of the couch, he stares
out through floor-to-ceiling windows, surveying the
Manhattan skyline: cogitates.
He takes a seat on the couch, opens a folder, suddenly he
flinches with a spasm of pain in his shoulder. It is sharp
but brief, he notices it but what it does not continue, he
ignores it.
Parrish resumes looking at the folder when suddenly the
pain comes again. He reaches for his shoulder, tries to
massage the pain, it does not subside. Parrish stands,
trying to shake it off, but it refuses to go away, some-
thing is unmistakably wrong. Now a SOUND which he has
come to recognize, makes itself heard:
VOICE (V.O.)
Yes.
Frozen with surprise, Parrish's eyes search the room for the
source of the SOUND, it comes from no particular direction,
yet surrounds him. Suddenly Parrish's symptoms sharply
intensify, he is sinking to the floor but somehow grabs a
corner of the desk, holds on with one hand, with the other
clutches at his shoulder and arm, the pain has violently
seized the upper part of his body. He breaks out in a sweat,
his pallor now waxen as the Voice repeats itself:
VOICE (V.O., cont'd)
...Yes.
Parrish grips the edge of the desk, the pain assaulting him
on the one hand, the Voice coming at him from the outer,
each aberration feeds on the other, he is beside himself,
consumed with pain and bewildered by what seems to be a
hallucination but which he is certain is not. Parrish is
possessed. He angles his face in every direction, arbi-
trarily chooses one and now embarrassedly, unconsciously,
enrage, responds to the Voice.
PARRISH
'Yes' what?
VOICE
'Yes' is the answer to your
question.
PARRISH
I didn't ask any question.
VOICE
I believe you did.
Parrish is absolutely confounded, seized up with pain and
consternation at this unseen Voice which has such presence
and reality.
PARRISH
Who are you?
Silence.
PARRISH (cont'd)
Goddammit, what is going on?!
VOICE
I think you know --
PARRISH
I don't!
VOICE
Try. Because 'if you haven't tried,
you haven't lived'.
A moment.
PARRISH
What are you talking about?
VOICE
What you were talking about.
Parrish gasps.
PARRISH
What is this? Who is this fucking
guy?
He holds on tight to the corner of the desk, sweat dripping,
his skin ashen. Now he addresses the Voice again, searching
for it in another direction:
PARRISH (cont'd)
Tell me who you are!
VOICE
Are you giving me orders?
PARRISH
I'm sorry, I --
VOICE
No, you're not. You're trying to
'handle' the situation but this is
the one situation you knew you never
could handle.
A spasm, the worst one yet, finally it subsides and there is
an eerie silence in the room, a VOID, almost more disturbing
than the voice that has filled it.
PARRISH
Where are you? Are you there?
VOICE
It's enough now.
PARRISH
Please. Talk to me --
VOICE
There's going to be plenty of time
for that.
PARRISH
What do you mean?!
VOICE
I think you know --
PARRISH
Know what?
(a moment)
Know what, goddammit!
The VOICE is gone. Parrish searches the corner, but the
room has lost the quality it had when it was inhabited by
the VOICE, it is now just Parrish's office. Faint SQUEALS of
traffic from the street, then a KNOCK at the door.
Parrish touches his shoulder, the pain is gone, but he is
still wet with sweat, the KNOCK again. Parrish straightens
himself up, adjusts his tie, runs his fingers through his
hair, blinks as he addresses the door.
PARRISH
(carefully)
Come in.
Jennifer enters.
JENIFER
I've been buzzing you, Mr. Parrish.
Are you all right?
PARRISH
Sure.
JENIFER
Lunch is 'in' today, have you given
it any thought --_
PARRISH
(interrupting)
No. Nothing.
JENIFER
Nothing?
Parrish is within himself, doesn't answer.
JENIFER (cont'd)
Why don't I think of something?
Parrish still doesn't answer, however Jennifer is satisfied,
correctly hearing his silence as an affirmative. She has her
hand on the door, 'Open' or 'Closed'? He nods and she closes it.
Utter silence again. Parrish's eyes search the room, nothing
there.
INT. CORINTH COFFEE SHOP, YORK AVENUE, DAY
The place has cleared out now, the counterman busy bussing
tables laden with dishes and cups, Susan and the Young Man
are still at the counter, but about to leave.
YOUNG MAN
...It's kind of a pro bono job.
SUSAN
'Pro bono'. That means doing good
-- Going to be doing good all your
life?
YOUNG MAN
I know what you're saying. Doesn't
pay very well. Depends on the woman
I marry. Maybe she'd like a bigger
house, a better car, lotsa kids,
college doesn't come cheap --
SUSAN
You'd give up what you want for the
woman you marry?
YOUNG MAN
I would.
Susan rises now, the Young Man with her, leaving money for
their checks they head for the door.
YOUNG MAN (cont'd)
If I married you, I'd want to give
you what you wanted, I know it's
old fashioned and all that, but
what's wrong with taking care of a
woman? She takes care of you.
SUSAN
You'll have a hard time finding a
woman like that these days --
YOUNG MAN
You never know. Lightning could
strike.
Susan at the door now, pauses abruptly, her eyes on the
Young Man.
EXT. CORINTH COFFEE SHOP, YORK AVENUE - DAY
The Young Man holds the door for Susan as they step out
onto the street.
Susan is staring at him now, he smiles, all open and
vulnerable.
SUSAN
I've got to go --
YOUNG MAN
Did I say something wrong?
SUSAN
No, it was so right it scares me.
YOUNG MAN
I've been thinking... I don't want
you to be my doctor. Because I
don't want you to examine me.
SUSAN
Why?
YOUNG MAN
Because I like you so much.
(a moment)
You have coffee here every morning,
don't you? If I came by, could you
give me the name of a doctor?
Another moment.
SUSAN
Sure, I'll give you the name of a
doctor.
(a moment)
...And I don't want to examine you.
YOUNG MAN
Why not?
SUSAN
Because I like you so much. Now
I've got to go.
She hurries away down the sidewalk, the Young Man watching
her. Now he turns and starts off in the opposite direction.
ANOTHER ANGLE - SUSAN
She looks back at the Young Man, then turns and walks on.
ANOTHER ANGLE - THE YOUNG MAN
He looks back at Susan as the distance between them widens,
now he turns and walks on.
ON SUSAN
She looks around once more but the Young Man is still headed
in the opposite direction, his back to her. She turns the
corner and continues on.
ON THE YOUNG MAN
Approaching the corner, he looks back for Susan yet again,
but she is gone, still turned he steps off into the street
and a hospital supplies truck, speeding down the curb lane,
HITS HIM BROADSIDE, a horrific impact, the THUD echoes as
his body arcs through the air.
Another sickening THUD as it lands, the Young Man lies
crumpled, still.
CUT TO:
INT. SALON, PARRISH TOWNHOUSE, NEW YORK CITY - NIGHT
A beautiful space adjacent to the dining room, it has a
glass roof which offers a superb view of the Manhattan sky-
line. The hour is before dinner: gathered on one side of
the room are Allison and Parrish, on the other side Drew and
Quince. COYLE, a butler, and LUISA, the housekeeper, pass
hors d'oeuvres and drinks.
ALLISON
...Music, I know how you love music,
Daddy, and I want to have music that
pleases you -- and of course doesn't
put a thousand other people to sleep
-- I've agonized over this and
finally settled on Sidney Brown,
twenty-four men, very eclectic, plus
I'm feathering in a Latin sextet on
their breaks - Tito Puente, Trini
Lopez-zy, I forget their names --
Parrish has tuned Allison out, he tried to stay with it, but
his mind has wandered, the event of the day too much with
him.
ALLISON (cont'd)
You haven't heard a word, have you?
I keep talking and all you do is nod
like Mr. Himmelfass in The
Nutcracker.
Parrish still doesn't answer.
ALLISON (cont'd)
You don't care, do you?
PARRISH
What, honey?
ALLISON
I lay awake nights in a cold sweat,
I want this party to be like some-
thing Mom would have made for you,
I want it to be perfect --
PARRISH
(attentive now)
I know you do, darling.
ALLISON
And you could care less --
PARRISH
Oh, you couldn't be more wrong,
sweetheart. I can' tell you how
much I appreciate it and how I'm
looking forward to it.
ALLISON
Good. Songs. What songs should
Sidney -- Pancho and his six men we
can forget about -- what songs do
you think he should play?
A stab of pain, Parrish discreetly grabs his upper arm but
manages to keep his attention on Allison.
PARRISH
Tell it to me again.
Suddenly, the Voice cuts in:
VOICE (V.O.)
...Yes.
Parrish's head snaps, startled by the SOUND.
VOICE (V.O., cont'd)
(to Parrish)
Did you miss me?
Parrish reacts once more, aware again he is the only one who
has heard the Voice, as an oblivious Allison continues:
ALLISON
(to Parrish)
Never mind. Leave it to me.
Parrish ignores her, his attention has been taken by the
Voice. His eyelids flutter, nonplused, edgy and fearful.
LUISA
Mr. Parrish, dinner is served.
ALLISON
(to Quince and Drew,
across the room)
Chow-time, you guys.
Parrish is confounded. Blindly and disconcerted, he follows
Allison and Drew and Quince.
INT. DINING ROOM - NIGHT
As a disturbed Parrish approaches the table, he hears the
Voice once more:
VOICE (V.O.)
What are you looking so provoked
about? 'Did you miss me?' It's
a normal question. I missed you.
But what do I get back? 'Not an
ounce of excitement, not a whisper
of a thrill --'
Parrish sits.
VOICE (V.O., cont'd)
'-- This relationship has all the
passion of a pair of titmice'.
Parrish is on the edge of his seat, struggling to hide his
panic.
VOICE (V.O., cont'd)
I'm waiting outside.
The conversation swirls on around Parrish, he is deaf to it:
ALLISON
(to Drew)
Did you speak to the Governor?
DREW
He's coming.
ALLISON
His wife?
DREW
Unfortunately. I sat between them
at the Bronx Zoo benefit -- it was
better than Seconal.
VOICE (V.O.)
I'm waiting outside. Won't someone
come to the door?
Parrish is in shock, still striving to gain control of
himself. As Coyle serves him, Parrish turns to Luisa:
PARRISH
Is somebody waiting outside, Luisa?
LUISA
I didn't hear a ring, sir.
PARRISH
Please have a look --
Luisa goes as Coyle continues serving.
ALLISON
(to Quince)
What about the Mayor?
QUINCE
He said he would be there with bells
on.
DREW
Good, maybe they'll drown him out.
Parrish is still not hearing a word, preoccupied with the
return of Luisa.
ALLISON
Please don't be negative, Drew, we
have an acceptance list that would
do The White House proud -- The
Secretary-General of the UN, the
Chairman of the FCC, nine Senators,
I don't know how many Congressmen,
and at least twelve of the Fortune
'500'.
QUINCE
No jocks? A twenty-game winner or a
Masters champion? Someone I could
talk to.
(a moment)
Or would talk to me.
Luisa returns to Parrish as the others' conversation drones
on:
LUISA
You're right, Mr. Parrish. There
was a gentleman at the door. He's
waiting for you in the foyer.
Parrish is stunned.
PARRISH
(after a moment)
Show him into the library, tell him
I'll be right there.
Parrish, spinning with anxiety, tries to summon up his courage
to go as Allison continues:
ALLISON
I've arranged for favors -- silver
charm bracelets for the women,
platinum keychains for the men --
all engraved 'W.P.' -- but now I'm
thinking of scrubbing them, they
seem so ordinary.
Finally Parrish rises from the table, starts out.
ALLISON (cont'd)
Are they ordinary? Do they seem
that way to you, Daddy?
PARRISH
Uh -- I don't know. No - uh - I
don't...
Allison is about to press the point, but then drifts into
disappointed silence as Parrish leaves the room.
DREW
(to Allison)
You're overthinking it --
QUINCE
I don't think they're ordinary. I
love keychains.
INT. HALLWAY OUTSIDE LIBRARY, PARRISH TOWNHOUSE - NIGHT
Parrish moves deliberately down the hall, slows as he nears
the doorway to the library. The door is open. He hesitates
before he crosses the threshold, taking in as much as his
eye can see, now tentatively, he enters.
INT. LIBRARY, PARRISH TOWNHOUSE - NIGHT
A beautiful, classic room, areas of dim, warm light, club
chairs, books reaching to the ceiling, a rolling library
ladder, a weathered dictionary on a stand, a model boat
carved of bone set into the stacks which are separated from
the reading area by a seven-foot high partition of obscured
glass.
Parrish, poised in the doorway, looks around, nothing in
sight.
PARRISH
Hello?
Silence.
PARRISH (cont'd)
Anyone here?
No response.
PARRISH (cont'd)
I said is anyone here?!
VOICE (V.O.)
Quiet down.
Parrish is startled, he shrinks backward for a moment, his
eyes searching the room for the Voice, the timbre and pitch
of which is exactly what he has heard before. There is the
sense that someone is there but Parrish cannot see him, and
he does not dare look.
PARRISH
(quietly)
Where are you?
VOICE (V.O.)
I'm here.
Now a flicker of a shadow from behind a corner of the obscured
glass, the section of the room most distant from Parrish,
there is a shape. Something is there.
PARRISH
What is this, a joke, right? Some
kind of elaborate practical joke?
At my 40th reunion, we delivered a
casket to the Class president's
hotel room and --
VOICE
Quiet.
Parrish falls silent, something in the SOUND and TONE of the
Voice muting him. He takes a step backwards.
VOICE (cont'd)
Where are you going?
PARRISH
I - I - uh --
The shape moves, makes itself more visible. Although still
diffused by the glass, the shape has definition, a person, a
man, his features are not yet distinguishable, but he is
there all right.
VOICE
The great Bill Parrish at a loss for
words? The man from whose lips fall
'rapture' and 'passion' and 'obses-
sion'...all those admonitions about
being 'deliberately happy', what
there is no sense 'living your life
without...', all the sparks and
energy you give off, the rosy advice
you dispense in round, pear-shaped
tones --
PARRISH
What the hell is this? Who are you?
VOICE
Just think of millenniums multiplied
by aeons compounded by infinity,
I've been around that long, but it's
only recently that your affairs here
have piqued my interest. Call it
boredom, the natural curiosity of
me, the most lasting and significant
element in existence has come to see
you.
Parrish struggles to make sense of what he is hearing.
PARRISH
About what?
VOICE
I want to have a look around before
I take you.
PARRISH
'Take me'...? Where?
VOICE
It requires competence, wisdom,
experience -- all those things they
say about you in testimonials --
and you're the one.
PARRISH
'The one' to do what?
VOICE
Show me around. Be my guide. And
in return, you get...
PARRISH
(breathless)
Get what?
VOICE
Time.
PARRISH
What the hell are you talking about?
VOICE
Watch it!
PARRISH
I'm sorry --
VOICE
In return you'll receive minuets, days,
weeks, I'm not going to go into details
... what matters is that I stay
interested.
Parrish squints, trying to make sense of what is happening.
VOICE (cont'd)
...'Yes'.
PARRISH
Yes what?
VOICE
'Yes' is the answer to your ques-
tion.
PARRISH
What question?
VOICE
Bill. Come on. The question. The
question you've been asking yourself
with increased regularity, at odd
moments, panting through the extra
game of handball, when you ran for
the plane in Delhi, when you sat up
in bed last night and hit the floor
in the office this morning. The
question that is in the back of your
throat, choking the blood to your
brain, ringing in the ears over and
over as you put it to yourself --
PARRISH
The 'question' --
VOICE
(urging)
Yes, Bill. The question.
After a moment.
PARRISH
...Am I going to die?
The figure who is the Voice takes a step forward now, no
longer obscured by the glass he comes into the light, re-
vealing himself to be the Young Man seen previously in the
coffee shop, but there is a change; he seems odd, off-
center, not handsome but terrifyingly beautiful.
YOUNG MAN
Yes.
A moment, Parrish beside himself. He cannot bring himself
to speak, finally:
PARRISH
Am I dreaming this?
(Another moment)
Are you a dream?
YOUNG MAN
I am not a dream.
PARRISH
You're coming to 'take me'. What is
that? Who the hell are you?
The Young Man steps closer to Parrish, his face is inches
from a shaking, sweating Parrish's face, the Young Man
daring Parrish to identify him:
PARRISH
You are --?
YOUNG MAN
(urging again)
'...Yes --'
Parrish turns away. But the Young Man, spectacularly, is in
front of him again.
YOUNG MAN (cont'd)
(gently)
Who am I?
PARRISH
...Death.
Parrish is shocked, stunned, terrified at the word, by what
he has comprehended. He surveys the Young Man who, at this
moment, actually seems bewildered by his effect.
PARRISH (cont'd)
You're Death?
YOUNG MAN
Yes.
PARRISH
Death!
YOUNG MAN
That's me.
PARRISH
You're not Death. You're just a kid
in a jacket and a pair of pants.
YOUNG MAN
The jacket and the pair of pants
came with the body I took. Let me
ask your opinion. Do I blend in?
A hopelessly confused Parrish does not respond for a moment.
PARRISH
You want me to be your guide --?
YOUNG MAN
You fill the bill, Bill.
PARRISH
I do?
(a moment)
How long will you be staying?
YOUNG MAN
You should hope quite a while.
PARRISH
And then --?
The Young Man nods, gently.
PARRISH (cont'd)
It's... it's... over.
A long silence. Parrish and the Young Man take each other in,
the sense that now they understand each other. A SOUND at the
door.
LUISA (O.S.)
Mr. Parrish?
Parrish does not hear her for the moment, Luisa steps inside
the Library.
LUISA (cont'd)
Will the gentleman be staying for
dinner, sir?
Parrish ignores her at first, finally he looks at Luisa then
at the Young Man, then once more at both of them as if to
verify the Young Man's presence has been acknowledged by
Luisa. The Young Man interjects:
YOUNG MAN
(to Luisa)
Yes.
(a polite afterthought)
Thank you.
Luisa nods perfunctorily and exits. Parrish is frozen,
dumbfounded.
YOUNG MAN (cont'd)
(to Parrish)
Where is dinner?
Parrish does not answer at first.
PARRISH
This is crazy -- you're not going to
eat dinner with us.
YOUNG MAN
Bill, I am eating dinner with you.
And your family. And that's what
we're doing. It's not open for
discussion. Nothing is. Don't
you understand?
Parrish is frightened by the response.
YOUNG MAN (cont'd)
Good. Now lead the way.
Parrish hesitates, then obediently leads the Young Man out
of the library, down a long hallway and across the foyer.
PARRISH
Excuse me? Could I say something?
YOUNG MAN
Of course.
PARRISH
(quietly)
It just occurred to me --
YOUNG MAN
Speak up, please.
PARRISH
(louder)
When I introduce you, if I say who
you are, I don't think anyone will
stay for dinner.
YOUNG MAN
Then don't.
INT. DINING ROOM - NIGHT
As Parrish and the Young Man enter, Allison is heard in the
background.
ALLISON
...Well, here's another possibility.
It's a little last minute, but how does
this strike you? Kaleidoscopes. Little
gold kaleidoscopes. Some German firm
went kerplunkt, Tiffany's picked these
things up, they're perfect party favors,
however they're not personal, they're
winter scene or something, snow-flakes
and dachshunds...
Parrish and the Young Man appear at the table, an awkward
pause ensues, the unannounced guest's presence at a family
dinner being noted, and the guest himself carefully survey-
ed. Finally, Allison breaks the ice:
ALLISON (cont'd)
(to the Young Man)
Hi there --
YOUNG MAN
Hello.
Parrish is horribly uncomfortable as the Young Man looks at
each person as if he were discovering a face of the first
time.
PARRISH
Uh -- sorry -- to have stepped away
for so long -- uh -- this is a
friend of mine I asked to drop by --
we got to talking and stuff -- uh --
he's going to join us for dinner --
um --
Parrish drifts into another awkward pause.
ALLISON
(to the Young Man)
Hello, how nice to meet you. And
wouldn't it be nicer if my father
would introduce you?
YOUNG MAN
(to Allison)
'...How nice to meet you.'
PARRISH
Oh, I'm sorry. This is my daughter,
Allison, and her husband, Quince,
Drew, my number one, works with me...
Parrish drifts off as the Young Man awkwardly shakes hands
with each person.
ALLISON
(prompting)
Daddy. Does your friend have a name?
PARRISH
A name?
DREW
(pleasantly, going
along with the joke)
Yeah, something he goes by --
PARRISH
Oh, excuse me. This is -- uh --
this is --
ALLISON
Daddy! Come on, a name.
DREW
Yeah, Bill, the suspense is killing
me.
PARRISH
Sorry...um - you - you know it's gone
right out of my head --
DREW
What?!
PARRISH (cont'd)
I'm sorry. This is - uh - uh...
The group waits patiently.
PARRISH (cont'd)
Joe!
ALLISON
Joe...
Parrish once more drifts into silence. (The YOUNG MAN is now
identified as "JOE".)
DREW
Just plain 'Joe'?
ALLISON
Love that name.
QUINCE
Me, too. Hey, buddy!
Joe, turned on by Quince's broad smile, reacts to it as Drew
squints observingly at Joe.
DREW
'Joe...'
PARRISH
Yes.
DREW
Is there any more to it?
PARRISH
(alarmed)
What do you mean?
DREW
Like 'Smith' or 'Jones --'
Parrish's face reveals a desperate searching for a last name,
a furtive glance at Joe. Parrish's brow darkens and a name
tumbles from his lips:
PARRISH
-- Black.
ALLISON
Whew, at last. Nice to meet you,
Mr. Black.
QUINCE
'Joe Black'. Won fifteen and lost
two for the Brooklyn Dodgers in
1952.
JOE
Yes?
QUINCE
(to Joe)
You bet. I'm kind of my Rotisserie
League.
JOE
Are you?
PARRISH
He is! Let's sit down --
Luisa has set a plate in front of Joe, and Parrish's, which
was taken to the kitchen to be warmed, has been returned.
Joe looks over at the other guests, then picks up his uten-
sils gingerly, strives to copy the others, stops, staring at
his foot.
ALLISON
(to Joe)
Paillarde of veal.
QUINCE
Yeah, they hit the calf over the
head with a mallet and then Luisa
hits it again in the kitchen.
ALLISON
Honey --!
QUINCE
You know what I'm saying, Joe?
JOE
No --
PARRISH
(laughing emptily)
Joe knows what you're saying, just
being polite --
Drew is studying Joe.
DREW
(to Joe)
Have we met?
PARRISH
Uh -- he's from out of town --
QUINCE
How long you here, Joe?
JOE
As long as it takes.
Drew is provoked by the response, but remains polite:
DREW
You and Bill old friends?
Parrish jumps in:
PARRISH
No --
DREW
(to Joe)
I get the feeling you've done some
business before.
JOE
We have an arrangement now.
DREW
What side of the industry did you
say you were on?
JOE
I didn't say.
DREW
(to Parrish)
Joe sounds like a ringer, Bill. I
have the feeling you guys got the
broad strokes already. Need any
help with the details?
Parrish falls silent again, looking for an answer.
DREW (cont'd)
I'm sorry -- business at dinner...
(to Joe)
Forgive me for being so rude.
JOE
Sure.
The doors to the dining room open, Susan appears.
SUSAN
Hi, everybody. Sorry to be late -
had to have dinner with my depart-
ment chief --
ALLISON
You ate?
SUSAN
...I'm here, aren't I? Wouldn't
miss a loose end meeting. What's on
the table for discussion? Party
favors, flowers -- hi Dad, hi Drew --
She kisses Drew in some light, humorous way they have ob-
viously done before, their heads bobbing like plastic water
toys and their lips meeting mid-air.
At the kiss's conclusion Susan suddenly notices Joe is
present and has been watching. She is shocked, embarrassed,
pleased, conflicted, an instant and wide spectrum of emotions.
SUSAN (cont'd)
What are you doing here?
Silence.
PARRISH
(stunned)
You know each other?
SUSAN
(lightly)
We've met.
PARRISH
What?!
SUSAN
-- This morning. The Corinth Coffee
Shop. He was looking for a doctor.
QUINCE
Well, I guess he's found one.
DREW
Joe, you do get around.
Joe is happily confounded by all the interaction.
SUSAN
That's your name?
ALLISON
And isn't it a lovely one? So
sturdy, so straight --
Joe has heard Susan's question but, as he studies her,
doesn't answer.
DREW
Incidentally, Joe, where're you
staying?
JOE
Here...
DREW
'Here'?
SUSAN
In this house?
QUINCE
Great!
Parrish pushes his plate away.
PARRISH
Uh - will that hold you, Joe?
SUSAN
Incidentally, 'Joe' what?
JOE
Black.
QUINCE
Hey, this is fun.
SUSAN
So, what are you doing here?
Parrish tenses, but Joe doesn't answer.
SUSAN (cont'd)
Cat got your tongue? You weren't so
silent this morning.
Drew reacts to this allusion of intimacy.
ALLISON
Now, I'm getting interested. I want
to know more ---
PARRISH
(to Joe)
We've got some things to discuss.
Parrish stands, motions for Joe to rise.
DREW
(to Joe)
-- Did I hear 'business'?
SUSAN
What 'business'?
QUINCE
Don't bother asking, we already
tried.
JOE
It's so very nice to see you again.
SUSAN
Funny, I don't get that feeling.
Maybe it's because you found out
I'm Bill Parrish's daughter.
PARRISH
Cut it out, Susan.
(to Joe)
You and I've got to talk. Big day
tomorrow, everybody. Joe, let's go.
Joe rises, follows Parrish to the door, stops:
JOE
(to Susan)
Susan.
(to Allison)
Allison.
(to Quince)
Quince.
(to Drew)
Drew.
(to Parrish)
Bill...
(to the group)
Thank you.
He makes an awkward little bow, then heads for the nearest
door.
PARRISH
Joe, that's the kitchen.
JOE
Thank you.
Joe pivots, and he follows Parrish out the proper door.
DREW
That was 'Joe'.
ALLISON
He's cute.
DREW
Very.
Susan's eyes are still on the door where Joe exited, her
face reflecting her irritation and bewilderment, as well as
a tinge of excitement.
INT. HALLWAY, PARRISH TOWNHOUSE - NIGHT
Parrish leads the way, Joe beside him as they progress through
the huge house.
PARRISH
...I'm sorry, I'm a little discon-
certed, that stuff between you and
Susan -- uh -- threw me.
JOE
'Threw' you? Where?
PARRISH
Shook me up. I mean that you knew
her and everything --
JOE
I didn't know her. The body I took
knew her. The man she met in the
coffee shop this morning. I - uh -
took him.
PARRISH
So there's nothing between you and
Susan?
JOE
No.
PARRISH
I wish you had said something to me
about staying here --
JOE
It hadn't occurred to me until then.
I was just having such a wonderful
time -- Besides, isn't this what I'm
here for?
Parrish suddenly looks very anxious, Joe stops.
JOE (cont'd)
You seem uncomfortable, Bill.
PARRISH
No, I'm okay with this - uh - I
think. So --
He opens a door.
INT. MASTER GUEST SUITE, PARRISH TOWNHOUSE - NIGHT
PARRISH
(to Joe)
Bathroom...tub...towels, sauna --
Parrish turns back to the bedroom.
PARRISH (cont'd)
...Chair, lamp, bed --
Parrish is in a stunned state, chatters on unconsciously:
PARRISH (cont'd)
Box springs, they're assembled in
Jakarta. Had to stay in a station
manager's house there unexpectedly
- best night's sleep I ever had.
Ordered twenty, they filled a con-
tainer and shipped them right over,
I've put one in every bedroom here
and in the country.
Joe tests the springs.
JOE
What a good idea.
PARRISH
Thank you. Would you like the man's
name?
JOE
No.
Parrish glances around, a room in which the occupant could
not want for anything.
PARRISH
If there is anything else, don't
hesitate --
JOE
I won't.
PARRISH
How long have I got?
JOE
You're putting me on the spot, Bill.
A moment.
JOE (cont'd)
Let's put it this way. When I go,
you go.
PARRISH
When you go, I go.
JOE
That's the best I can do.
(a moment)
...but minute-by-minute, I find
myself lingering.
PARRISH
...I just saw my doctor, he told me
everything was fine.
JOE
Your doctor?
(icily)
Did your doctor say anything about
a tiny, undetectable hole in your
aorta? Did he mention an irreparab-
ly weak vein in the further reaches
of your famous brain? Were they any
prognostications about the possibil-
ilites of a fatal collision on a golf
cart of suffocating in an avalanche
on a skin vacation in Gstaad?
PARRISH
No --
JOE
I hope you realize, Bill...in your
office this morning, that was your
time.
PARRISH
Closer than that.
Parrish keeps still, trying to cool the heat of Joe's
temper.
JOE (cont'd)
...But meanwhile, you are still
here. Count your blessings. Call
it gravy, frosting on the cake,
whatever it is you say.
PARRISH
Well, thank you for letting me know.
JOE
Not at all.
PARRISH
And - uh - I guess, 'goodnight'.
JOE
Good night to you, Bill.
Parrish gently closes the door.
Joe looks around, checks out his surroundings: curious,
attentive.
INT. HALLWAY, PARRISH TOWNHOUSE - NIGHT
Parrish, unsteady, starts back down the hall, Luisa appears.
LUISA
...Miss Allison asked if you would
like to have your dinner kept warm?
PARRISH
No. Thanks, Luisa.
LUISA
Very good, sir.
Luisa turns:
PARRISH
Luisa --
She stops.
PARRISH (cont'd)
Mr. Black's luggage was misplaced by
the airlines. Would you mind get-
ting a few things together for him?
A couple of suits, some shirts,
ties, underwear, shoes. Have Coyle
take his measurements off what he is
wearing tonight.
LUISA
Certainly, sir.
Luisa nods, and heads back downstairs. Parrish enters
his den, takes a seat in his chair, stares into the middle
distance, ruminates.
INT. GUEST ROOM, PARRISH TOWNHOUSE - NIGHT
Joe has been examining his room, full of curiosity and
wonderment at the oddest things, the handle on a casement
window, the hem and weight of the fabric of a drape, hinges
on the bedroom door. In the process he opens this door,
steps out into the hallway.
INT. HALLWAY, PARRISH TOWNHOUSE - NIGHT
Joe wanders down the hallway past the occasional Dufy or
Miro, a Venetian tapestry cheek-by-jowl with a miniature
Ming vae, and even a Bonsai garden with a trickling vein
of water.
INT. KITCHEN HALLWAY, PARRISH TOWNHOUSE - NIGHT
In the "back" of the house now, utilitarian paint and decor,
the SOUND of laughter and a glare of light. Joe enters.
INT. KITCHEN, PARRISH TOWNHOUSE - NIGHT
The staff is at ease, some smoking, remains of food around.
Coyle, the butler, has his back to Joe and does not see him
for a moment. In front of Coyle, an open jar of peanut but-
ter which he is spreading in generous hunks of Wonder Bread.
Joe is fascinated by the process. Coyle suddenly hears the
silence, looks up and see Joe, standing up embarrassedly.
COYLE
Yes, sir?
JOE
Hello. I'm Joe Black. Nice to meet
you.
COYLE
Yes sir, Mr. Black, a pleasure.
The staff all mumble expansive "Good evening, sir"s to Joe.
He motions to them to sit, they do but Coyle does not. Coyle
shifts from foot-to-foot, the staff is not used to having
Parrish family or guests in this part of the house.
JOE
(to Coyle)
What are you eating.
COYLE
You mean this, sir?
Coyle regards his peanut butter sheepishly.
COYLE (cont'd)
Laura Scudder's Peanut Butter.
JOE
(carefully)
'Laura Scudder's Peanut Butter'.
(a moment)
You like it?
COYLE
I would say, sir, it is right up
there with Jif and Skippy. But
miles ahead of Peter Pan.
(another moment)
Like a taste?
Joe nods, Coyle fashions a spoonful, offers it to Joe. Joe
swallows it. But he has not yet found a comfortable way of
masticating, his mouth and tongue go every which way, the
staff observes him, fascinated.
COYLE (cont'd)
You're a peanut butter man now, eh,
sir?
JOE
Yes, I am. I thoroughly enjoyed
this - uh - peanut butter.
(to the staff)
And I thoroughly enjoyed meeting
you.
Joe raises the spoonful of peanut butter in a kind of toast
to the staff.
JOE (cont'd)
I'll be moseying on.
He heads out, with the spoonful of peanut butter, to cheer-
ful "Goodnight, Mr. Black"'s, his tongue again licking the
edges of the spoon.
INT. SWIMMING POOL, PARRISH TOWNHOUSE - DAY
A spectacular indoor Olympic pool, window commanding views
of the skyline.
Susan is swimming laps, looking very professional in a black
Speedo suit, Joe wanders in, still licking his peanut butter.
He observes her, but she is unaware of him, however now, as
she makes a barrel turn, his shadow falls over a reflection
from a window, she aborts her lap, looks up to see who it is.
SUSAN
What are you doing here?
JOE
I'm lost.
SUSAN
-- Can't seem to escape you today.
JOE
I'm sorry.
Susan climbs out of the pool, gets halfway up the ladder,
points to a stack of towels.
SUSAN
Hand me one of those, will you?
Joe turns to the towels, but one hand is occupied with the
spoonful of peanut butter, he shifts it to the other hand,
can't manage the huge Turkish towel one-handed, now implants
the spoon in his mouth, lifts the towel with both hands and
presents it to Susan.
SUSAN (cont'd)
You must have something really big
going on with my father --
JOE
'Big'?
SUSAN
You appear at his side out-of-the-
blue, stay at his house, eat dinner
with his family, it's practically a
first. You're in the red-hot center
of big business and I thought you
were a regular Joe.
JOE
I am Joe.
SUSAN
Not the one I met this morning, hit-
ting on me in as nice a way as I've
been hit on in a long time, but the
moment you find out I'm my Dad's
daughter, you act like a stranger.
JOE
That is not my intention.
Joe continues to nibble at his peanut butter.
SUSAN
What are your intentions? To make
little dreams in coffee shops, turn
a woman's head, and I don't mind
admitting it was turned, I liked it,
but ten hours later I feel like a
fool. I don't get it. You, my
father, here in this house, the cof-
fee shop, it's making me upset, and
I don't like being upset. Who are
you anyway? And what are you eating?
JOE
(mumbles)
Peanut butter.
He finishes the spoonful.
JOE (cont'd)
But it's gone now.
He shifts the spoon from hand to hand, starts to stick it in
his pocket, realizes this is inappropriate. Susan holds her
hand out to him, he places the spoon in it and she sets the
spoon on the table with the towels. She watches, fascinat-
ed, as Joe licks his gums, enjoying every last bit of his
spoonful.
SUSAN
You act like you never had peanut
butter before --
JOE
I haven't.
SUSAN
-- What kind of childhood did you
have?
JOE
Do you love Drew?
SUSAN
Come again?
JOE
When you put your mouth to his,
Susan, it seems a frequent thing.
SUSAN
Drew is none of your damn business.
Nor is where I put my mouth.
JOE
I'm sorry. Do you live here?
SUSAN
No, Joe, I'm swimming here. Then
I'm going home.
JOE
I guess what I'm trying to say is --
I'd like us to be friends.
SUSAN
I've got plenty of friends.
JOE
I don't have any.
SUSAN
I can see why.
She finishes drying herself, drops the towel on a chair, and
prepares to leave.
JOE
...I didn't mean to offend you at
dinner. I'm not quite at home some-
times with people. I get busy doing
- uh - what I do, and I don't seem to
have developed --
He drifts off.
SUSAN
Yes --?
JOE
I have a certain function to per-
form, and that seems to take all
of my time. Bu sometimes - uh -
I speculate - uh - I haven't left
room for - uh - anything else.
SUSAN
I'm sorry to say I know what you're
saying.
A moment.
JOE
Susan?
SUSAN
Yes?
JOE
Did you know you have a wet spot on
your shoulder?
She glances at her shoulder, he grabs a towel, touches the
drops of water, pats them dry, hands her the towel. She
flashes a nervous smile.
SUSAN
Goodnight, Joe.
JOE
Goodnight to you, Susan.
Susan steps towards a door, Joe takes a step in the wrong
direction, they almost walk into each other. Now she takes
a step in another direction, as does Joe, again they almost
collide.
SUSAN
Shall we dance?
Joe is completely puzzled, finally Susan heads for one door,
Joe for another.
SUSAN (cont'd)
Joe --
JOE
Yes?
SUSAN
I think you want to go to the west
wing. Through there.
Susan indicates yet another door.
JOE
(after a moment)
Thank you.
Joe redirects himself, goes to the door. As they both are
about to exit, Joe and Susan sneak furtive looks at each
other across the pool, smile at catching each other's
glances. Joe exits. For a moment Susan's eyes remain on
the door through which he has gone. Now she grips the towel
over her shoulders, the one Joe gave her, pats the same spot
he did.
CUT TO:
INT. HALLWAY, PARRISH TOWNHOUSE - NEXT MORNING
Parrish, dressed for the day, passes servants busy with
their morning tasks, polishing doorknobs, putting away
linen, dusting picture frames. He nods and greets them as
he strides down the hall, brisk "Good morning"'s to Coyle
and Luisa.
INT. GUEST SUITE, PARRISH TOWNHOUSE - MORNING
Parrish knocks, waits a courteous moment, opens the door,
finds Joe in an elegant shirt and trousers trying to tie his
tie.
PARRISH
Good morning.
JOE
Good morning, Bill.
PARRISH
How are you? How're you feeling?
JOE
'Feeling'? I feel fine. How do you
feel?
PARRISH
Um -- well, I didn't sleep too well.
This is crazy. This is the left-
field thing of all time. What do I
do? What do I tell my family?
JOE
Oh, I wouldn't tell them anything,
Bill. You'll ruin the good start we
had last night. I felt as if I were
being treated like a person. 'Joe'
this and 'Joe' that - a nice smile
- Quince passed me the rolls -- no
'rapture' or 'passion' or any of
those mighty things you seem so
intent on imparting, but I am cer-
tain, should you - uh - say - uh -
who I am - our adventure would end
abruptly.
Parrish regards Joe, the tie is a sorry mess now, a batwing
of silk stretching across his collarbone.
JOE (cont'd)
But I did so enjoy your family.
Parrish is startled, he regards Joe carefully.
PARRISH
What about my family? This 'adven-
ture' involved only me, right?
Silence as Joe considers the point, Parrish quickly crosses
to him, undoes the tie, and now begins tying it for him.
PARRISH (cont'd)
Tell you what, you promised that it's
going to be only me and --
JOE
And what?
PARRISH
And I won't tell anyone who you are.
JOE
Sounds fair enough.
PARRISH
It is a deal?
JOE
A 'deal'?
PARRISH
You give your word, I give mine --
that we'll do what we say. It's a
truth exchanged between two people.
A moment.
JOE
Bill --
PARRISH
Yes?
JOE
You've got a deal.
Parrish seems relieved. He has now, with some difficulty,
completed the tying of Joe's tie, adjusts it beautifully on
Joe's collar, then spins him around in front of a mirror.
Joe, catching sight of his own appearance, rises to the
balls of his feet, quite taken.
JOE (cont'd)
This is great!
(a moment)
Now what do we do?
PARRISH
Shake hands.
Joe immediately extends his hand toward Parrish, but
Parrish freezes on seeing the hand, stares at it, now takes
it. Joe pumps Parrish's hand vigorously, then breaks into a
broad smile.
EXT. 5TH AVENUE, NEW YORK CITY - DAY
Parrish and Joe striding downtown, Joe's jacket fits per-
fectly, he blends right in and he clearly enjoys being part
of the smart Fifth Avenue crowd on the way to work. Parrish
senses Joe's pleasure, his slight preening, his eyes check-
ing out the good-looking women headed for the offices at the
top of corporate high-rises.
PARRISH
You know, I got to thinking last
night -- with you here, and seem-
ingly occupied, how's your work
going - uh - elsewhere?
A flicker from Joe. He has heard what Parrish has said, his
eyes busy with the grift and the sparkle of the Avenue, but
he is concentrating on Parrish's words.
JOE
When you were shaving this morning,
you weren't just shaving, right?
PARRISH
What do you mean?
JOE
You were hatching ideas, making
plans, arriving at decisions, right?
PARRISH
I guess so.
JOE
So you understand the concept then.
When you're busy here, your work,
what your task is, is being executed
elsewhere.
PARRISH
Of course.
JOE
So you've grasped the idea. Con-
gratulations. Now multiply it by
infinity and take it to the depth
of forever, and you still will
have barely a glimpse of what I
am talking about.
Parrish falls silent, chewing over Joe's admonition.
PARRISH
Joe --?
JOE
Yes, Bill.
PARRISH
How about giving a guy a break?
JOE
Make an exception?
PARRISH
There's one to every rule.
JOE
Not this.
They stride on, cutting through the crowd, Joe all at home
in his new surrounding, but Parrish just the opposite, un-
characteristically uncomfortable, phrases forming on his
lips but unspoken, then suddenly he blurts out:
PARRISH
-- I don't deserve this. I'm still
young, this is not my time --
JOE
That's what everybody says.
PARRISH
I'm not everybody.
JOE
That's what everybody says.
Parrish is trying to control himself, glances at Joe.
PARRISH
I want to live.
JOE
I understand.
A moment.
JOE (cont'd)
But you can't.
A sudden silence between them. Parrish's shoulders appear
to have stopped slightly, the courage he displayed at rais-
ing these issues has vanished.
PARRISH
What's it like?
JOE
What do you mean?
PARRISH
What's it like where I'm going?
JOE
Can you keep a secret?
PARRISH
Yes.
JOE
So can I.
They turn into Parrish's office building.
INT. LOBBY, PARRISH COMMUNICATIONS - DAY
As Parrish and Joe enter, Parrish is hailed by JAIME, the
Elevator Starter.
JAIME
Good morning, Mr. Parrish.
PARRISH
Good morning, Jaime.
JAIME
Knight's Reward in the 4th at
Calder --
A bemused Parrish walks on, Joe beside him, Jaime pursuing
them.
JAIME (cont'd)
-- A closer in today with cheap
speed. The colt will come from the
clouds and boom! Fifty-eight dollar
horse. I get you down, Mr. Parrish,
just say the word.
PARRISH
(smiles)
I'm sorry, not today, Jaime.
Parrish and Joe arrive at the bank of elevators. Jaime,
back at his post, hits a button.
PARRISH (cont'd)
(to Joe)
You know, everyday I've walked into
this building, Jaime gives me a
horse.
(a moment)
I wonder if any of them won.
The elevator materializes, Parrish and Joe step on.
INT. PARRISH COMMUNICATIONS, OFFICE OF THE CHAIRMAN - DAY
Parrish and Joe emerge from the executive elevator, Jennifer
is waiting as usual with her pad, "Good morning"s, etc. As
Parrish strides down the hall, Joe right beside him, he passes
instructions back to Jennifer who, scribbling, hurries along
behind them.
PARRISH
-- And call my family, I'd like them
to come over for dinner tonight.
JENIFER
Didn't the family get together last
night --?
PARRISH
(remonstrating, gently)
Jennifer.
JENIFER
Of course, Mr. Parrish. Right away.
Jennifer wheels and heads right back to the office as
Parrish arrives at the door to the Board Room.
PARRISH
(to Joe)
Perhaps you would like to wait in my
office --?
JOE
No.
PARRISH
What I'm trying to say is this is a
Board meeting and you are not a mem-
ber of the Board.
JOE
I'm sure you'll see to it that it
won't be a problem.
Parrish hesitates, nods, conceding the point, reaches for
the doorknob.
INT. BOARD ROOM, PARRISH COMMUNICATIONS - DAY
Parrish enters, Joe following right behind him. A euphony
of "Good morning"'s from the various members of the Board,
including Quince. Everyone sits when Parrish does but Joe,
right at home, spots a tray of refreshments: coffee, pas-
tries, he heads for them.
PARRISH
(to the Board)
-- This is Joe Black, a personal
associate of mine - uh - he'll be
joining us today. I know it's --
uh -- unusual, and my apologies --
and Drew -- uh -- carry on.
Immediately indications of surprise on Board members' faces at
Parrish bringing in an 'observer', Drew's reaction guarded
but intense.
DREW
(after a moment, to
Joe)
Nice to see you. I didn't expect
you, but certainly you can't get
enough of a good thing.
JOE
Thank you.
DREW
(to the Board)
The Board of Parrish Communications -
is hereby called to order. Our sole
order of business is an acceptance
of John Bontecou's generous offer
and --
JOE
(to Drew)
Do you have any more of these deli-
cious cookies?
A hushed silence at the inappropriateness of Joe's inter-
ruption.
JOE (cont'd)
And a cup of tea. With milk, I
think. I'd like to try it English-
style. Yes, a cup of tea with milk.
DREW
Anything else, Mr. Black? How about
some water?
JOE
Why yes, thank you.
DREW
Hot or cold.
JOE
Cold.
DREW
And a glass.
Drew indicates to the Board's Stenographer to arrange Joe's
refreshments.
PARRISH
(quietly, indicating a
chair)
Would you like to sit down, Joe?
JOE
Yes.
Joe sits.
DREW
To review -- we're really crossing
the 't's and dotting the 'i's here.
Bill had a great and conclusive
meeting with John Bontecou yester-
day, all that remains for us is to
put it to a vote.
Smiles and murmurs of a congratulatory receptiveness from
the Board at Drew's news.
PARRISH
(emptily)
Thank you, Drew.
Parrish takes a moment, draws himself up to say something
official then stops himself, what follows is spontaneous,
reflective, deeply felt.
PARRISH (cont'd)
Umm -- I did enjoy -- or rather I
was interested in meeting John yes-
terday -- impressive... I suppose...
But it did get me to thinking. I
started in this business because
this is what I wanted to do. I knew
I wasn't going to write the Great
American Novel, but I also knew
there was more to life than buying
something for a dollar and selling
it for two. I wanted to give the
news to the world, and I wanted to
give it unvarnished. The more we
all know about each other, the
greater the chance we will survive.
Sure, I want to make a profit, you
can't exist without one but John
Bontecou is all profit. If we give
him license to absorb Parrish
Communications, and he has his eye
on a few others after us, we'll be
appointing him to the position he
craves -- Gatekeeper. In order to
reach the world you will have to go
through John Bontecou. And not only
will you have to pay him to do this,
far more expensive, you'll have to
agree with him. Reporting the news
is a privilege and a responsibility
and it is not exploitable. Parrish
Communications has earned this priv-
ilege, John Bontecou wants to buy
it. As your chairman, I urge you to
agree this company is not for sale.
A silence, everybody shifts, the Board is in shock, Drew is
trying to maintain his balance.
DREW
(carefully)
...Sounds like you're not leaving
much room for discussion.
PARRISH
(to the Board)
Sorry. I know it looks like I'm
reversing my field.
DREW
That's your privilege, Bill. But
given our needs, given the absolute
necessity for growth, given the fu-
ture, the truth is... joining John
Bontecou is every bit as certain as -
Death and Taxes.
Joe interjects:
JOE
'Death and Taxes'?
After a moment.
DREW
Yes.
JOE
"Death and Taxes"?
Another moment.
DREW
Yes.
JOE
What an odd pairing.
DREW
It's just a saying, Mr. Black,
JOE
Of whom?
DREW
It doesn't matter.
JOE
Then why did you bring it up?
Drew regards Joe.
DREW
You're not familiar with the phrase,
"In this world, nothing is certain
but Death and Taxes"?
PARRISH
I am now.
DREW
Glad I could be of some help.
The Board is provoked and mystified by Joe and even more by
his presence, they cast meaningful glances at Parrish, Drew
coolly grasps the irritation of the members. Parrish breaks
the silence.
PARRISH
Shall we adjourn?
DREW
But the matter's still on the table,
Bill --
EDWARD SLOANE, a contemporary of Parrish's, has been warily
silent, but extremely observant. Protective of Parrish, and
sensing his burgeoning difficulty, he interrupts:
SLOANE
Why don't we let it rest for the
moment? Give it some air?
PARRISH
Well said, Eddie. Mr. Black, shall
we?
Joe rises.
JOE
(to Drew)
Those cookies were excellent.
He exits with Parrish, the door closes behind them. A BABBLE
of disturbed reactions from the Board.
DREW
Who is that guy?
Drew grabs a telephone:
DREW (cont'd)
Felicia?
FELICIA (O.S.)
Yes, sir?
DREW
Get me a Field Background check on
Joe Black. Litigations. Bankrupt-
cies. Credit ratings. The works.
Got it?
Drew hangs up.
INT. PARRISH'S OFFICE - DAY
Parrish enters, Joe right on his heels. They booth stop,
Parrish regards him.
PARRISH
-- What's the deal here? Are you
going to be breathing down my neck
right 'til the very end?
JOE
I don't understand.
Parrish tries to gather himself.
PARRISH
...I'd like to be alone for a while.
JOE
Are you sad, Bill?
PARRISH
Yes, I am. There's a research lib-
rary on the fourth floor. Why don't
you go down and read some magazines?
JOE
You're not thinking of going some-
where, are you, Bill?
PARRISH
Joe, could I ask you to take a walk?
Buy a tie or something. I know I'll
be seeing you.
JOE
Of course.
But Joe doesn't move.
PARRISH
(prompting)
Now I'd like to be alone.
JOE
Oh. Okay.
Parrish reaches into his pocket and hands Joe some cash.
PARRISH
Here -- this will hold you for a
while.
Joe stares at the money as Parrish shows him the door.
PARRISH (cont'd)
You know about money, don't you?
JOE
It can't buy happiness?
Parrish opens the door.
PARRISH
Jennifer, give Mr. Black a map of
the city.
JOE
No thank you, Bill. I can manage.
Joe goes.
INT. EMERGENCY ROOM AREA, NEW YORK HOSPITAL - DAY
Susan is busy giving instructions to a Nurse, a patient on
an examining table beside them. As she finishes, she
suddenly notices Joe down the corridor in the reception
area. She is startled for the moment, quickly makes a last
notation, hands a chart to the Nurse and heads down the
corridor.
SUSAN
Joe --
JOE
How nice you look. Is that your
uniform?
Susan regards him.
SUSAN
Why did you come here?
Joe doesn't have an answer.
SUSAN (cont'd)
Are you ill?
JOE
Oh goodness, no.
SUSAN
Then why are you here, Joe?
JOE
I came to see you.
SUSAN
I don't have any time to see you
now. I'm doing grand rounds and
then I'm examining back-to-back
patients until dinner and then --
JOE
Very well, I'll watch.
SUSAN
Watch me do what?
JOE
Whatever you do.
SUSAN
That's impossible. I'm a doctor,
I'm --
JOE
And I'll be a visitor.
SUSAN
Patients have visitors, not doctors.
JOE
I don't mind --
Visible now behind them are a Caribbean woman in her mid-
thirties, TEENA, an arm around her mother, EASTER, who is
holding her stomach and rocking back and forth in her seat,
in great pain.
TEENA
(urgently)
Miss? Miss Doctor?
SUSAN
(gently)
Just a minute, please.
TEENA
Please. My momma's sicker'n he
is.
Easter looks up and sees Joe. She abruptly becomes still,
eyes wide, as if sudden recognition.
EASTER
Obeah.
TEENA
No, Momma.
But Easter just stares at Joe, fearful.
EASTER
Obeah mon. I gonna die.
TEENA
Momma, stop it. Is just a man.
Joe looks at Easter, curiously.
SUSAN
(to Teena)
What's obeah?
TEENA
Bad spirit. She just all fever, she
don' mean nothin'. Please help us?
SUSAN
Have you filled out the insurance
forms?
Teena shakes her hand anxiously. Joe leans forward to
Easter and speaks softly in perfect, lilting West Indian
dialect.
JOE
No obeah, sister. No duppy, no
jumbie. Evera ting gon' be irey.
Susan and Teena both look at him, astonished. Easter's
fearful gaze remains locked on him.
JOE (cont'd)
Go wi' de doctor lady. Momma be
fine.
EASTER
Don' leave!?
TEENA
(pleading)
Momma.
Susan leads Teena away. Easter is riveted on Joe.
EASTER
(with certainty)
Obeah.
JOE
Obeah evil. I not evil.
EASTER
What you then?
JOE
I from dat nex' place.
EASTER
You wait here'n to take us? Like
you bus driver to dere?
JOE
(smiles)
No, no. I on holiday.
EASTER
(looks around, dubious)
Some spot you pick.
She winces with pain, gasping.
EASTER (cont'd)
Pain is bad.
JOE
I nuttin' to do wi' dat.
EASTER
Make it go 'way.
JOE
Doctor lady make it irey.
EASTER
Not dis pain. Dis pain tru an' tru.
Make it go 'way.
JOE
Can't, sistah.
EASTER
(adamant, pleading)
Can, mistah. Take me to dat nex'
place.
Joe regards Easter, a long moment.
JOE
Not time yet.
EASTER
Make it time.
Joe shakes his head, a firm no. But when he looks and speaks
to Easter again, it is with concern and even regret.
JOE
Can't feel wi' de way tings gotta
be, Easter.
Susan and Teena return with an Orderly and a wheelchair for
Easter.
EASTER
(to Joe)
Please...
TEENA
Come now, Momma.
Easter is helped into the wheelchair. She looks pleadingly
at Joe. The Orderly starts to wheel her away. Joe stays him,
putting his hand on Easter's arm.
JOE
Close your eyes, Easter.
She does, her pained grimace melts into a peaceful smile.
JOE (cont'd)
Soon.
He takes his hand away, and the Orderly wheels Easter off.
SUSAN
(to Teena)
Go with her. I'll be right there.
Teena goes. Joe remains his normal voice.
JOE
She's in a great deal of pain.
SUSAN
Yes.
Susan regards Joe, puzzled.
SUSAN (cont'd)
Have you spent a lot of time in the
islands?
JOE
Some.
Joe shifts.
JOE (cont'd)
I - uh - I - realize now - uh - my
being here - um - your patient --
this is not really appropriate --
and I - uh --
SUSAN
Don't apologize. There's nothing
to be sorry for -- every hospital
should have someone like you.
Silence.
SUSAN (cont'd)
Well...I'm glad you came.
JOE
Thank you. I'm so very glad to be
here.
Another awkward silence.
JOE (cont'd)
I guess you're busy --
SUSAN
Yes.
She doesn't move, they search for words.
JOE
Well, I could come again some other
time.
Susan regards him.
SUSAN
Joe, I'm with Drew.
JOE
(sincerely)
Not now.
Susan smiles gently.
JOE (cont'd)
Don't you want me to come again...?
A moment.
SUSAN
I have to go, I'm sorry to say --
JOE
Be sorry for nothing.
Another moment.
SUSAN
Yes. Well...thank you, Joe.
Susan turns to go, hesitates.
JOE
Good-bye, Susan.
Susan waves softly to him, heads down the hall, glances back
once to see Joe has not moved, is watching her depart.
INT. PARRISH'S OFFICE - AFTERNOON
Jennifer shows Joe in, Parrish is deep in thought, beside
him a meal laid out beautifully on his desk with linen and
silver, but untouched.
Joe is more abstracted than usual, he is starting at
Parrish's food.
JOE
Are you going to eat your lunch
PARRISH
It's all yours.
Joe starts eating, Parrish watches him, somewhat fascinated,
Joe's chewing has improved.
PARRISH (cont'd)
Good?
JOE
Excellent. What is it?
PARRISH
Cold lamb sandwich with cilantro. A
little Coleman's mustard.
Joe takes another big bite.
JOE
Truly - uh - splendid.
PARRISH
Glad you like it. My wife turned me
onto cold lamb sandwiches. Joan --
that was my wife --
JOE
(familiarly)
Uh-huh.
PARRISH
Cold lamb sandwiches -- not as chewy
as roast beef, not as boring as
chicken. She knew stuff like that.
Silence, Parrish getting lost in his memories.
PARRISH (cont'd)
-- Everything reminds me of her --
there isn't a day that goes by that
I don't think about her -- One day
she was here. The next day she was
gone. What are you going to do? --
I guess you've heard all this a
trillion times before.
JOE
And more.
PARRISH
Why didn't you stop me?
JOE
Well...I don't know.
Silence.
JOE (cont'd)
How was it the first time you met
her?
PARRISH
I thought you'd heard a trillion
times --
JOE
This part I'm interested in.
A moment.
PARRISH
She had on this little blue suit --
with a little white collar that had
little red piping on it --
Joe is riveted on Parrish ow, Parrish aware of him, has
paused.
PARRISH (cont'd)
You could have put her under glass
and I would have just stood and
looked at her. But when she spoke
-- I loved the sound of her voice
and her laugh --
(a moment)
-- I couldn't get enough of her --
and gradually -- or maybe it wasn't
gradually -- I realized I couldn't
live without her.
A KNOCK, the door opens and Drew enters, looks at Parrish,
then at Joe, stands poised in the doorway.
DREW
May I interrupting?
JOE
Yes.
PARRISH
No.
DREW
(to joe)
'Just kidding'?
PARRISH
Sit down, Drew.
DREW
Before I do --
(glances at Joe)
I was hoping we might be alone,
Bill.
PARRISH
Joe and I have no secrets from each
other.
DREW
(to Joe)
How nice for you both.
Drew takes a moment, then plunges in.
DREW (cont'd)
Bill, pardon my candor, but I was
confounded by your decision this
morning.
PARRISH
Why?
DREW
I was hired, you told me, to help
bring Parrish Communications into
the 21st Century. This merger is
the vehicle --
Joe interrupts:
JOE
Perhaps a merger is a way to bring
Bill's company into the 21st cen-
tury. And perhaps it isn't. And
perhaps cheating on your French
Philosophers exam at The Groton
School was an expedient way to get
your diploma, and perhaps it wasn't.
Be that as it may, Drew, a question
can often be argued both ways.
Drew is stunned.
PARRISH
Joe, cut it out. And you too, Drew.
DREW
(to Parrish)
I thought this was practically a
done deal --
PARRISH
Well now it's undone, okay? Forget
Bontecou! Scrub him! I'm tired of
his fancy name and his fancy offer.
I'm not going for it.
A moment.
DREW
Okay.
Drew heads for the door, turns around.
DREW (cont'd)
(to Parrish)
Can I invite myself to dinner
tonight?
(a moment)
Susan and I had ticket for the
Knicks game. But she said you
guys were getting together --
PARRISH
Dinner? Absolutely.
JOE
Absolutely.
DREW
(to Joe)
Damn decent of you.
Drew exits.
JOE
Why, at this juncture, are you
letting yourself be so concerned
by business matters?
PARRISH
I don't want anybody buying up my
life's work and turning it into
something it wasn't meant to be. A
man wants to leave something behind.
And he wants it left behind the way
he made it. And he wants it to be
run the way he run it -- with a sense
of honor, of dedication, of truth.
Okay?
JOE
Okay.
PARRISH
And I don't need your goddamn permis-
sion either! You! Drew! I don't
need anyone to tell me how to run my
life.
JOE
Easy, Bill. You'll give yourself a
heart attack and ruin my vacation.
INT. SALON, PARRISH TOWNHOUSE, NEW YORK CITY - NIGHT
The skyline glitters through the terrace windows. The hour
is before dinner, Coyle and Luisa weave seamlessly among the
family, offering hors d'oeuvres and drinks on a tray.
Allison and Susan together by a piano; Parrish, Quince and a
distracted Joe are gathered near the terrace. Joe's eyes
are on Susan across the room. Her eyes flicker towards him,
aware of his gaze.
ALLISON
(to Susan)
...We're never all together two
nights in a row. Maybe Christmas,
Thanksgiving, that's it. What's
going on?
SUSAN
Nothing's going on. Maybe he
doesn't want to be alone. He's go-
ing to be sixty-five in a minute --
ALLISON
...I don't know, Daddy seems funny
to me. Ever since Joe showed. It's
like he dropped from the clouds...
Drew enters. He nuzzles Susan's neck, out of the corner of
her eye she sees Joe still observing them.
ALLISON (cont'd)
...When Daddy walked in with him, he
couldn't even remember his name. Now
he's his house guest. And you know
how he hates house guests. What is
going on?
Drew, whose eyes have also been on Joe across the room, turns
back.
DREW
(to Susan and Allison)
Good question.
Allison sees Susan's eyes flicker over towards Joe.
ALLISON
-- But he does seem very nice.
SUSAN
You think so?
ANOTHER ANGLE
Over at the terrace, Quince buttonholes Parrish, Joe stand-
ing by.
QUINCE
(to Parrish)
...I read you all the way on the
Bontecou thing, and I know where
you're coming from. And I'm with
you a hundred and one percent.
PARRISH
Thank you, Quince.
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?
JOE
Toast? No...just the butter.
COYLE
Right away.
Coyle heads for the kitchen.
SUSAN
Why do you love peanut butter so
much?
JOE
(intimately)
I don't know.
SUSAN
I adore things like that....food I
can't do without. Don't you?
Joe is locked on Susan, it is as if there is nobody else in the
room.
JOE
Yes...
SUSAN
It comforts you, doesn't it?
JOE
(captivated)
Yes...I've found that it does.
DREW
Mind if I throw up?
PARRISH
(admonishing gently)
Please, Drew.
JOE
(to Susan)
I'm very concerned about the woman
you attended to today.
SUSAN
I am, too.
JOE
Has her pain abated?
SUSAN
We're doing what we can for her.
But it doesn't look good.
JOE
I'm sorry to hear that.
DREW
Who are we talking about?
JOE
(to Susan)
But I know she's grateful for the
care you're giving her.
DREW
Is this a state secret or are we
being excluded just for the fun of
it?
JOE
(to Drew)
Susan's patient is whom we are
talking about.
SUSAN
Joe visited the hospital today.
Parrish's head swivels to Joe.
ALLISON
Did he? That's more than we get to
do.
DREW
Well, maybe next time Joe goes,
he'll take us along.
JOE
Perhaps you could remind me.
DREW
I'll make a note of it. Anything
else?
QUINCE
I'd like to come, too. See Susan
strut her stuff.
DREW
You're on, Quin-cee. Destination
Hospital. Joe, you'll be the Tour
Guide. Okay? How's that sound to
you?
Silence. Parrish regards Joe, then Susan, his face reflects
a sudden concern with their relationship.
JOE
Susan is a wonderful doctor.
INT. SALON, PARRISH TOWNHOUSE - NIGHT
After dinner, the family and guests file back in from the
dining room, Drew alongside Parrish.
DREW
I have to go, Bill -- it's been a
helluva day. Need a few minutes to
sort everything out.
PARRISH
Okay, we'll see you tomorrow.
DREW
Sure.
Drew peels off, heads for the foyer and front door, Susan
follows him.
Parrish corners Joe.
PARRISH
Why did you go to the hospital?
JOE
I don't know.
PARRISH
You were just curious?
JOE
I guess...
PARRISH
About Susan?
JOE
I wouldn't put it that way.
PARRISH
What way would you put it?
JOE
You tell me, Bill.
PARRISH
How about you telling me? When I
ask a simple question, I expect a
straight answer. That's what I'm
used to. Anybody who doesn't give
it to me, I fire.
JOE
Are you going to fire me, Bill?
Silence, Parrish is at a loss.
INT. FOYER - NIGHT
Drew is putting on his coat, Susan with him, a tension between
them, a heavy silence finally broken.
SUSAN
...See you tomorrow night.
DREW
Include me out. I've had enough of
the conversations.
SUSAN
You don't mean that. You wouldn't
disappoint Daddy --
DREW
Daddy'll do fine. Besides, he's got
Joe.
(a moment)
And so do you.
SUSAN
Drew, you're out of line.
DREW
That may be. But I don't like the
fucker. I don't like the way he
looks at you and talks to you. And
vice versa.
SUSAN
Sorry, but I like the way he looks
and talks to me. And vice versa.
Okay?
DREW
No, not okay. I thought we had a
good thing going here.
(a moment)
It shows you never know.
Silence, neither knows how to continue.
SUSAN
Well... goodnight.
DREW
Yeah. Goodnight.
Drew goes, Susan turns to find out at the far end of the foyer,
he's been observing them. She walks up to him.
SUSAN
How long have you been standing
there?
JOE
I don't like the way Drew spoken to
you. But I feel better about it now
because of the way you spoke back.
A moment.
SUSAN
Tell me about yourself, Joe. Who
you are. What you're doing with my
father.
Susan's directness has caught him by surprise, Joe blinks.
SUSAN (cont'd)
So you're not going to tell me?
Joe remains silent, rendered extremely anxious by Susan's
inquiries.
SUSAN (cont'd)
You're married, aren't you?
JOE
Why?
SUSAN
Because guys who never say anything
about themselves are always married.
Joe doesn't respond.
SUSAN (cont'd)
So you are married.
JOE
No, I'm not.
SUSAN
Girlfriend?
JOE
No.
SUSAN
Gay?
JOE
No.
Susan comes closer to Joe.
SUSAN
Then tell me, Joe, how come a man
as attractive, intelligent, well-
spoken ,diffident in the most sed-
uctive way, and yet powerful, is all
alone in this world?
Joe tries to respond but he can't, his stammer interrupted
by Susan.
SUSAN (cont'd)
I'm sorry, I don't want to pry and
you don't want to tell me. So let's
leave it a mystery. That's the way
you want it, isn't it?
Susan takes another step closer to Joe.
JOE
Thank you, I appreciate that.
They are inches apart now, the smell of each other surrounds
them, a heaviness to the moment, now Joe turns to head up the
stairs.
SUSAN
Where are you going?
JOE
(softly)
To bed.
SUSAN
(suddenly fragile)
'To bed'?
JOE
Yes. I'm tired.
He excuses himself with an ineffable gesture, now climbs the
stairs, Susan watches him disappear.
She turns back into the salon just as Allison and Quince are
exiting, "good-byes" all around. Susan is left alone now
with Parrish who is fixing a drink at a sidebar.
PARRISH
That was wonderful.
SUSAN
Yeah, it's good to get together.
PARRISH
Do you mind if I raise a little
caution flag?
SUSAN
Raise away.
PARRISH
What is the nature of your interest
in Joe?
SUSAN
Well, remember how you told me about
"lightning striking"? The nature of
it's in there somewhere.
Parrish drops another cube of ice in his drink, takes his
time before answering.
PARRISH
I won't say you may be getting onto
shaken ground --
SUSAN
Then what will you say?
PARRISH
I don't think this is the lightning
you are looking for. Drew's a good
man. I know I didn't seem to be
completely in his corner before, but
I've come to appreciate --
SUSAN
Now we love Drew and Joe in verbo-
ten? What's going on?
PARRISH
Nothing.
SUSAN
When you say 'nothing' that way,
it's not nothing.
PARRISH
Then what is it?
SUSAN
It's something.
She kisses him.
SUSAN (cont'd)
G'night, Daddy. See you tomorrow.
This is getting interesting.
She goes.
CUT TO:
INT. THE CARLYLE HOTEL - NEXT DAY
A large suite, room service carts creaking with pots of
coffee and half-eaten pastries. The Board of Parrish
Communications is gathered, absent are Parrish and Quince.
Felicia, Drew's secretary, takes notes.
DREW
...I know you're all as uncomfor-
table as I am to be meeting without
Bill, but I got a call last night
from John Bontecou. Not only is he
still interested, he is sweetening
his offer.
(a moment)
Although it pains me to say it, in
my opinion Bill Parrish dealt with
us peremptorily in dismissing any
deal with Bontecou. Therefore, I'm
sorry to say that if we are to exam-
ine this new offer responsibly as
the Board of Directors of Parrish
Communications, we must do so with-
out its Chairman.
(another moment)
Oh yes, there is one additional
element: Bontecou is so anxious to
get us, he said he'd take Parrish
Communications with our Chairman or
without.
The Board falls silent. Sloane, a peer of Parrish's,
fidgets. Drew milks the moment.
DREW (cont'D)
It's no surprise if I suggest to you
that the Bill Parrish we know is not
the Bill Parrish you saw yesterday.
You heard that speech -- some strange
emotional rationale to buttress a
knee-jerk rejection of a legitimate
offer. Does it not strike you that
something is possibly affecting this
man's judgement? More specifically
-- his judgement to make a critical
business decision?
Silence, the Board clocking Drew's argument.
DREW (cont'D)
It's not pleasant to say the follow-
ing, but I would be remiss, in this
crisis, if I did not. When we pre-
sent Bill with the improved Bontecou
offer, and if he refuses to let us
consider it -- once more makes an
adamant or emotional rejection -- we
will have no choice but to seek an
alternative.
SLOANE
And what would that be?
DREW
Bill's birthday is the day after
tomorrow. There is a provisory by-
law in our charter. Per the discre-
tion of the Board, Corporate off-
icers can be retired at age sixty-
five.
SLOANE
You're taking this too far, Drew.
DREW
Am I not obligated to?
Drew leans over to Felicia, speaks quietly and she leaves
the room.
DREW (cont'd)
How did this all come about? Crisis
-- Bill Parrish, crisis -- his com-
pany, crisis for us. I came about
with the arrival on the scene of --
Mr. Joe Black. Mr. Joe who? Joe
Black. He attends our Board meet-
int, he sleeps at Bill's house, re-
sides in his office. Never leaves
his side. And, in my opinion, is
always in his ear. Telling him what
to do and Bill is listening. Who is
Joe Black? What is his relationship
to Bill Parrish? And most important,
what is behind his influence on our
Chairman?
SLOANE
You're building this thing up too
much, Drew. He's had advisors be-
fore. Nobody tells Bill what to do.
The door opens and Felicia enters followed by Quince, sur-
prised at seeing a convened Board, but still he is all smiles.
DREW
Thank you for coming.
SLOANE
Hello, Quince.
QUINCE
Hi, Ed, hi folks, I didn't know
everybody was going to be here, what
a nice surprise. What's the big
confab?
SLOANE
(acidly)
This is a secret meeting.
DREW
(to Quince)
I hope you'll respect its nature --
What we're trying to do here is
gather our thoughts -- in light of
Bill's rejection of Bontecou's offer
-- and make an appropriate presenta-
tion to him as to how we think the
company might proceed. Won't you
share with our Board the information
you gave me last night?
Quince hesitates, then realizes what Drew has on his mind.
He nods confidently to Drew, then turns importantly to the
Board.
QUINCE
Well, I'm happy to tell you I've got
good news. As I was telling Drew,
I've been making a little hay while
the Bontecou sun was shining -- two,
possibly three new and boiling hot
prospects for merger.
DREW
How did Bill react to the leads
you've developed?
QUINCE
He was interested.
DREW
(prompting)
-- But he was concerned about the
timing?
QUINCE
The timing -- yes. He says it's up
to Joe.
DREW
'It's up to Joe'?
QUINCE
That's what he said.
Quince, having dispensed his information, looks proudly
around at the Board members. They are stunned, Sloane in
shock. Drew is absolutely still, letting Quince's words
sink in.
INT. DINING ROOM, PARRISH TOWNHOUSE - NIGHT
Parrish, Joe, Susan, Allison and Quince are seated at the
table, dessert plates in front of them, coffee cups beside.
Allison and Susan's eyes are on Parrish, looking for some
clue as to why has he gathered the family together yet
again. Parrish is somewhat within himself, but he peeks
over his demi-tasse cup at Joe, Parrish aware of Joe's
heightened interest in Susan, and Susan's reciprocation.
Coyle enters carrying two imposing stemmed silver trays with
cakes on them, Luisa follows with one other. They set them
down in front of Parrish.
PARRISH
What is this?
ALLISON
Annie made them.
PARRISH
Who's Annie?
ALLISON
From La Rosette, only the greatest
pastry chef in America.
(pointing)
This is orange, from real Seville
oranges. Lemon, on a mille-feuille
crust, a little on the fanciful.
And a while, nothing like a good old
white cake, vanilla, with Angel food
but some maroons shavings thrown in.
PARRISH
I don't like cake.
ALLISON
It's for the party, Dad --
PARRISH
Oh, the goddam party --
ALLISON
'Goddam party'!
Allison bursts into tears.
ALLISON (cont'd)
(to Quince)
Did you hear that?
Quince quickly slashes a piece, takes a huge bite.
QUINCE
This is great, honey. The orange.
Has it got a little vodka in it?
Like that Finnish stuff, orange
vodka --
(to Parrish)
Put your lips around this one, Bill.
It's out of this world.
PARRISH
No thank you, Quince.
(to Allison)
I'm sorry, honey. I'm no good at
this. Why don't you choose whatever
cake you like?
ALLISON
I knew you were going to say that.
Tito Puente. The old platoon. Now
the cake. You just don't care. Why
did I do this? I should have my head
examined. I'm trying to throw the
party for the century for my father -
and you know what -- he doesn't give
a shit.
She bursts into tears all over again.
QUINCE
But he does give a shit. Don't you,
Bill?
PARRISH
Yeah, I give a shit.
QUINCE
See. There. What'd I tell you?
Joe watches as Quince dabs at Allison's tears with a napkin.
QUINCE (cont'd)
Feel better?
ALLISON
Yeah, but --
QUINCE
But what?
ALLISON
What will I tell Annie?
Parrish forks a bit of a cake.
PARRISH
This one.
QUINCE
The vodka. What'd I tell you?
Quince puts a reassuring arm around Allison, she seems to
relax now, Joe has been a keen observer of what has trans-
pired between husband and wife, between man and woman, a
sense that he has taken in the virtue of such a relation-
ship.
INT. SALON, PARRISH TOWNHOUSE - NIGHT
After dinner, Parrish, Allison and Susan are gathered to-
gether. At the bar on the other side of the room, Joe
watches as Quince pours himself a stiff hooker of brandy.
JOE
(to Quince)
Cirrhosis of the liver is the fifth
leading killer of adult Western
males.
QUINCE
I didn't know that.
JOE
On the other hand, Winston Churchill
drank a bottle of cognac a day and
lived until he was ninety-one.
After a moment.
QUINCE
You're an original, Joe. A little
hard to figure, maybe...
JOE
And you're a nice man, Quince.
QUINCE
Thanks.
JOE
You're welcome.
ANOTHER ANGLE
Drew appears unannounced in the doorway, exchanges a tense
glance with Susan, then heads straight for Parrish who seems
surprised to see him.
DREW
(to Parrish)
Sorry to intrude, Bill, but we've
got a bit of a crisis downtown --
it's not something we could talk
about on the phone.
Parrish takes Drew aside.
DREW (cont'd)
The Board's real unhappy, Pappy --
they felt you dealt with them pre-
emptorily, you never gave them a
chance to speak --
PARRISH
What is there to say? They know
what John Bontecou is -- and if they
didn't, they know now.
DREW
Yes, you made your feeling abun-
dantly clear. Now they want to do
the same with theirs.
PARRISH
What are their feelings?
DREW
If I read this Board right now, they
want you to accept Bontecou's offer.
PARRISH
Over my dead body.
Parrish's burgeoning anger has now gotten the attention of
Joe, Susan, Quince and Allison.
DREW
What do you think the Board is going
to say when I tell them that?
PARRISH
I don't care.
DREW
With all due respect, you damn well
better care because if you try to
stonewall them again, there'll be
blood on the floor.
Silence, Parrish carefully calibrating Drew's remark.
PARRISH
Whose?
DREW
Yours.
PARRISH
I'm feeling real uncomfortable right
now because the guy who reports to
me is threatening me.
DREW
I'm just giving you the truth. There
was a time when William Parrish liked
the truth.
Joe, although across the room, is all attention.
PARRISH
I think it's time you went home,
Drew.
DREW
Certainly. Goodnight.
Drew goes, everybody is in shock, Susan pursues him out into
the hallway.
SUSAN
Drew!
He stops.
SUSAN (cont'd)
Never talk to my father like that
again.
DREW
Don't worry about it. There's a
beginning and a middle and an end
to everything. And I think I've
come to the end of my chapter with
the Parrishes.
Joe has followed them into the hallway.
DREW (cont'd)
And the end began with this guy.
Drew looks down towards Joe.
DREW (cont'd)
Mr. Black --? We ran a check on you
and you know what we came up with?
JOE
No, I don't --
DREW
Not good, not bad, you know what we
got? Nothing. No credit, no cars,
no mortgages -- no wives. Nothing.
Joe waits.
DREW (cont'd)
All of a sudden a guy appears on the
scene with the Chairman of one of
the greatest communications corpora-
tions of the world, the boss makes
him privy to all the company's
secrets, he attends the Board meet-
ings, and us working stiffs with
MBA's up the ass and years and years
and years of experience, we're left
outside with our noses pressed
against the window.
Joe doesn't respond.
DREW (cont'd)
This is a big-time operation, deal-
ing in big-time issues, demanding
big-time executives who make big-
time decisions. So, Joe, why don't
you tell me exactly what it is
that's big time about you?
After a moment.
JOE
You first.
SUSAN
(to Drew)
Why don't you get off his case?
DREW
Oh, you're the great Joe's attorney
now? Are we going to go to court?
Or are we going to go to bed? And I
don't mean you and me. I mean you
and him.
SUSAN
That's it. It's over. Get out.
DREW
So I guess a blowjob's out of the
question?
Joe clears his throat.
DREW (cont'd)
Did you say something?
Joe considers him evenly.
JOE
Almost.
SUSAN
(to Drew)
I said get out.
Now Drew wheels, heads right for the front door and exits with
a SLAM.
JOE
What an angry fellow.
A moment passes before Susan realizes she and Joe are alone,
and Joe does as well.
SUSAN
I'm sorry about --
JOE
Please. We don't need to talk about
Drew.
She regards Joe.
SUSAN
No. We don't.
They drift, osmotically, into the library in awkward silence.
SUSAN (cont'd)
Brave you had a chance to look at
Dad's rare books? Jefferson's
Parliamentary Manual, a first
edition Bleak House --
Joe comes closer, takes a deep breath.
JOE
I love your smell.
SUSAN
-- I guess you haven't.
Now Susan, close to Joe, leans closer, her nose in Joe's
neck. Joe holds himself very still.
SUSAN (cont'd)
I like your smell, too.
JOE
Thank you.
SUSAN
It was everything.
Silence, the TICKING of the clock.
SUSAN (cont'd)
When I was little, my mother used to
say, "Darling, you could set your
heart by this clock".
JOE
-- Could you?
SUSAN
Never tried, 'til now.
(suddenly)
Joe, may I kiss you?
JOE
Why, yes. Thank you.
A moment.
SUSAN
You're welcome.
Susan reaches out for Joe, they kiss, he is awkward but his
very awkwardness endearing. Susan pulls him closer, they
linger now, mouths on each other's, then separate.
SUSAN (cont'd)
Thank you.
JOE
You're welcome.
The clock TICKS on. A sense of foreboding falls over Joe's
face, his fear that he is passing through some barrier, a
point of no return.
SUSAN
Joe?
The apprehensive expression on Joe's face fades away.
JOE
Yes?
SUSAN
I don't know who you are.
JOE
Well...I'm -- uh, Joe. And you're
Susan. And I - uh - have this weak
feeling in my knees --
SUSAN
And is your heart beating strangely?
JOE
Faster. And I want the scent from
underneath your ears and the taste
of your lips and the touch of your
tongue to stay with me -- forever.
An intake of breath. She is about to speak.
JOE (cont'd)
And you don't even have to say a
word.
Their faces inches from each other's.
SUSAN
I have to go home.
But neither Susan nor Joe moves.
SUSAN (cont'd)
Don't I?
Her question makes Joe, almost involuntarily, smile. Susan
takes the opportunity to step back from him. The SOUND of
someone at the door, it is Parrish, Susan turns, comprehends
immediately how the situation will appear to him.
SUSAN
Goodnight, Daddy.
She drifts right past him, exits. Joe and Parrish are left
alone now, eyes on each other's.
JOE
Hello, Bill.
PARRISH
(carefully)
Hello. Would you like to join me,
Quince and Allison for a nightcap?
JOE
Um -- not right now.
An awkward moment.
PARRISH
Okay. Goodnight.
JOE
Goodnight.
Parrish turns and exits, Joe's head inclines, he breathes in
the scent of his collar.
CUT TO:
INT. EXECUTIVE SUITE, PARRISH COMMUNICATIONS - NEXT DAY
Parrish, followed by Joe, emerges from his private elevator,
is greeted as usual:
JENIFER
Good morning, Mr. Parrish.
PARRISH
Good morning, Jennifer.
JENIFER
The Board is waiting.
PARRISH
What?
JENIFER
Didn't you call a Board meeting?
Jennifer sees Parrish is trying to right his balance, she
knows better than to press the point.
JENIFER (cont'd)
Yes, the members are waiting. They
are in the Board room now.
Jennifer nods respectfully as Parrish doesn't cast a flicker
of any further surprise, heads straight for the Board room,
Joe right beside him.
INT. BOARD ROOM, PARRISH COMMUNICATIONS - DAY
Parrish and Joe enter, the entire Board is assembled, includ-
ing Drew, Quince and Sloane.
PARRISH
Good morning.
An odd mixture of responses, the Board sheepish and at the
same time looking their most dutiful at this odd meeting,
its sudden convening clearly a problem for Parrish, a prob-
lem which he does not attempt to hide, only control.
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"
shit.
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 stupid
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.
DREW (cont'd)
(to Quince)
Wake up and smell the thorns.
Drew joins the employee as Quince slumps against the wall.
INT. FOYER, PARRISH TOWNHOUSE - DAY
Parrish enters, Joe right behind him, Coyle takes their coats,
disappears. Parrish hesitates for a moment, shrugs as if he
has a thought he doesn't want to share, then heads upstairs
with Joe. He is trudging a bit, Joe senses his mood.
JOE
I'm sorry, Bill --
PARRISH
That's okay.
JOE
What's okay?
PARRISH
Just a manner of speaking.
Joe seems puzzled.
PARRISH
(cont'd)
What 'okay' is, it's 'okay' it's
over. We've got bigger fish to fry,
don't we, Joe?
JOE
'Fish'?
PARRISH
Never mind. I'm tired. I'm going
to take a nap.
A moment.
PARRISH (cont'd)
Are you hungry? Coyle will have
Luisa fix you something to eat.
JOE
I'm not hungry.
PARRISH
Then I can't help you.
Parrish turns into his bedroom, closing the door gently
behind him. Joe continues down the hall, enters the guest
wing.
INT. GUEST SUITE, PARRISH TOWNHOUSE - DAY
Midday sunlight streams into the sitting room, Joe passes
through to his bedroom, sits tentatively on the bed, feels
the edge of the silk spread, touches the pillow, then rises
again, crosses back to the sitting room.
Susan appears in the doorway, Joe suddenly senses her, turns
around.
SUSAN
You're here?
JOE
I am.
He stands, they regard each other for the moment.
JOE (cont'd)
May I take your coat?
She doesn't answer, starts to take off the coat herself, Joe
comes around her to help, Susan senses him breathing in the
scent at the back of her neck.
SUSAN
I just thought I'd drop by, scrounge
a little lunch, I was in the neigh-
borhood --
JOE
How beautiful.
He starts to hang Susan's coat up.
SUSAN
Just throw it on the chair.
Joe holds her coat carefully on the chair. An awkward
moment, the two of them shifting from foot-to-foot.
SUSAN (cont'd)
When I called, they said that you
and Daddy had just left the office.
JOE
He's taking a nap.
SUSAN
He must be tired -- this Bontecou
thing --
JOE
Yes, he's tired. I believe so.
A moment.
JOE (cont'd)
You must be hungry?
Susan sits on the couch.
SUSAN
No, not anymore. Are you?
Joe hears the question but doesn't answer, sits down on the
couch beside her.
SUSAN (cont'd)
(after a moment)
Are you cold?
JOE
...No.
SUSAN
Maybe it's the draft through the
door.
She gets up, closes the door, sits back down again next to
Joe. A warm, awkward silence, they move closer to each
other, now they fall into a foreplay which Susan recognizes
as such, Joe, on the other hand, participates hungrily but
has no knowledge where it is leading. His movements are
instinctive, the smell of her hair, the shape of her fin-
gers, odd things about her seem to interest him. This
excites her because she senses his untutoredness and the
very sense of that stirs her, their reactions to each other
are intuitive and spontaneous; even though Joe has no know-
ledge of how to make love to a woman, ironically his actions
are such that they never beg the question -- has he done it
before.
Strange territory for Joe, not to be 'in control' and exert-
ing his power, but his inventions and responses in lovemak-
ing are so real that an emotional exchange between he and
Susan builds. Joe has found himself in an unexplored land
of feeling and passion, he loves what is happening and yet
at the same time, is terrified by it. He feels himself being
lured by some power he has not only never been aware of, but
is deeply dangerous to partake of; he knows what he is doing
is putting who he is at great risk, yet he goes right on.
The powerful contradiction is transmitted to Susan, and in
the end there is the knowledge they have together made a
journey, they both have been swept away in a stream of events
they have created; and they don't care about the consequences.
Spent, they lie in silence. Finally Susan speaks:
SUSAN
It's so wonderful to make love to
you. It's like making love to some-
one who has never made love before.
Joe senses an opportunity not only to admit to what she has
said, but to tell her more, even the truth about himself.
He weighs, then resists, the impulse.
JOE
Thank you.
Her head nestles underneath his arm, she has a sense of his
comforting her without knowing that he is doing so.
SUSAN
Did you like making love to me?
JOE
I loved it.
SUSAN
More than you love peanut butter?
JOE
Yes!
She laughs at the earnestness with which he answers.
Joe seems to drift away now, they lie together as one but for
the first time, she feels separate from him, sensing him gone
to some distant, distant land.
SUSAN
Where are you going?
JOE
Nowhere? I'm...here.
SUSAN
For how long?
JOE
Oh, I hope a long, long time.
A moment.
SUSAN
Me, too.
Another moment.
JOE
What do we do now?
She smiles.
SUSAN
It will come to us.
INT. FOYER, PARRISH TOWNHOUSE (LATER) - DAY
Joe and Susan are at the front door, he has helped her
on with her coat, she turns around, they kiss. The kiss
lingers, Susan breaks away, reaches for the door, looks back
longingly at Joe and then she is gone, Joe closing the door
softly after her.
He turns back into the foyer, looks up, Parrish is on the
balcony, it is clear he has observed Joe and Susan.
JOE
Hello, Bill.
Parrish, in a state of shock, doesn't answer for a moment.
JOE (cont'd)
Did you have a nice nap?
PARRISH
I couldn't sleep.
JOE
I'm sorry to hear that.
He starts up the stairs.
PARRISH
No, I'll come down
Joe waits guardedly at the bottom of the stairs as Parrish
descends.
PARRISH (cont'd)
What's going on?
Joe senses Parrish's tone, doesn't answer.
PARRISH (cont'd)
I saw you kiss Susan.
JOE
Yes, I saw you see me.
PARRISH
Well, you're at the wrong place at
the wrong time with the wrong woman.
JOE
I'll be the judge of that.
PARRISH
I'm her father!
JOE
With all due respect, Bill, I'm not
asking your permission.
PARRISH
Well, you goddam well should. You
walk into my life, give me the worst
news a guy can get, have me dancing
on the heads of pins with my busi-
ness and with my family, and now
you're spooning with my daughter.
JOE
'Spooning'?
PARRISH
Yes, and stop repeating everything I
sai, and turning it into a question.
Spooning, fooling around, God knows
what. You arrive on the scene -- why
you picked me, I still don't under-
stand --
JOE
I picked you for your verve, your
excellence, and for your ability to
- how shall I say - instruct. You've
lived a first-rate life. And I find
it eminently usable.
Parrish measures Joe.
PARRISH
What do you want?
Joe doesn't answer, riveted now on Parrish.
PARRISH (cont'd)
Everybody wants something, Joe.
You've been taking me from pillar
to post here. I thought I knew who
you were, and it wasn't a whole lot
of fun, however it was almost bear-
able. Now I'm getting something
else from you, something very, very
strange -- what is it that you want,
Joe?
JOE
I'm only following the Parrish
bywords. Looking for that 'ounce
of excitement', that 'whisper of a
thrill' -- What there is no sense
living your life without. You know
what I mean, Bill.
Parrish's jaw sets.
PARRISH
You're violating the laws of the
universe.
JOE
This universe?
PARRISH
Any universe that exists or ever
existed. You may be the pro, Joe.
But I know who you are. And you're
all fucked up.
JOE
I don't like your tone, and I don't
like your references.
PARRISH
And I don't give a shit.
JOE
May I remind you this is not just a
dispute with a putative suitor, this
is me. So watch it...Bill.
PARRISH
Cut the 'Bill' crap out -- you
sonofabitch.
JOE
I told you, 'watch it'.
Silence. Now Joe turns on his heel, heads right out the
front door. Parrish is left solitary, confounded, staring
at the closed door.
INT. EMERGENCY ROOM AREA, NEW YORK HOSPITAL - DAY
Joe walks down a hallway, a bouquet of flowers in hand,
looks around the usual feverish activity, he seems lost for
the moment, but a Receptionist catches his eye.
RECEPTIONIST
Can I help you?
JOE
Dr. Parrish.
RECEPTIONIST
She comes on at 6.
JOE
Oh.
He looks at the flowers, regards them for a moment, then
heads for an elevator.
INT. EASTER'S ROOM, NEW YORK HOSPITAL - DAY
Easter is sitting up in bed, hooked up to an TV and moni-
tors. She glances over at the doorway, Joe is standing
there, observing her. An awkward silence, he looks at
his flowers again, now sets them respectfully on Easter's
bedstand.
EASTER
Mistah Bad News. 'Bout time you
show up.
Joe speaks to her in the dialect.
JOE
Don' be facety, woman.
EASTER
None facety, mistah. You come for
me? Dat's good news.
JOE
No, I come to see Doctor.
EASTER
Doctor? What could be wrong wit'
you?
JOE
Nuthin'.
Silence, then Easter smiles.
EASTER
Oh, you come to see Doctor Lady?
JOE
Yes.
EASTER
My Doctor Lady?
JOE
Mine, too.
She thinks about this for the moment, Joe grows uncomfort-
able.
EASTER
You in love?
Joe seems slightly tormented by the question, Easter senses
him trying to frame a respect.
JOE
Yah.
EASTER
You loved back?
JOE
I am.
EASTER
She knows you real self?
JOE
She knows how she feel.
EASTER
(scoffing)
Rass!
JOE
(irritably)
Don' need you okayin'.
EASTER
Schoolboy tings is you head.
Badness for you, badness for her,
badness for me, lyin' here tumor,
big as breadfruit, poison my inners
an' waiting.
JOE
Brung you flowers and all I gettin's
facety back.
EASTER
(stubbornly)
Only flowers I wan' see's one's
over my peaceful self restin' in
the dutty.
JOE
Can do no right by people. Come to
take, you wan' to stay, leave you
stay, you wan' to go. Rahtid!
Silence, Easter waits, watching Joe.
EASTER
You not in you right place, mistah.
Easter's response stops Joe cold, he looks away and then
back at her, she had clearly reached him.
EASTER (cont'd)
I ain' either. No more. You come
wi' me now. Take me.
JOE
But I not lonely here. Somebody
want me here.
Easter considers Joe, she smiles sympathetically.
EASTER
It nice it happen to you. It like
you came to Cat Island and you had
a holiday, sun didn't burn you red,
just brown, sleep no mosquito eat
you, rum no poung you head nex' day.
But trut' is, dat bound to happen,
you stay long enough. So tak dat
nice picture home wi' you, but don'
be fooled. We lonely here mostly,
too. If we lucky, we got some nice
pictures.
Easter drifts into silence, her eyes and Joe's meet, a sense
they understand each other. Easter shifts, trying hard to
ease her discomfort.
JOE
(gently)
Got enough nice pictured, Easter.
She looks at him and nods gratefully and closes her eyes.
Joe watches her, now his eyes close. Easter exhales
raspingly, falls still. The monitors flatline. A beeping
alarm sound somewhere down the hall.
Joe opens his eyes, takes a deep breath, he seems troubled.
JOE (cont'd)
G'bye, sistah.
She slips out of the room.
INT. LIBRARY, PARRISH TOWNHOUSE - LATE AFTERNOON
Parrish is playing solitaire. The SOUND of the front door
closing, HEELS crossing the foyer, he looks up, at the foyer
door is Susan.
PARRISH
Hello, honey.
He starts to get up, she motions to him to stay, looks
around now.
SUSAN
Where's Joe?
PARRISH
Joe?
A silence.
PARRISH (cont'd)
Joe's not around.
SUSAN
Where is he?
PARRISH
I don't know.
Susan seems distracted.
PARRISH (cont'd)
Why are you looking for Joe?
SUSAN
Because I was sitting in a staff
meeting, incredibly bored, my mind
kept wandering and the only place it
landed was -- Joe.
PARRISH
I don't understand.
SUSAN
Love. Passion. Obsession, all
those things you told me to wait
for. Well, they've arrived.
Parrish blinks, stares down at his cards.
PARRISH
This is crazy --
SUSAN
Why? A man appears at your side,
almost never leaves it, you clearly
trust him, depend on him, I sense
you value him deeply, why aren't
those things good enough for me?
PARRISH
You don't know anything about Joe --
SUSAN
What are you afraid of, Dad? That
I'll fall head over heels for Joe --
well, I have -- as you did with Mom.
(a moment)
That's always been standard,
whether you like or not.
Parrish tries to get hold of himself, changes gear now.
PARRISH
Susan, I don't think Joe is going to
be with us long.
SUSAN
Where's he going?
PARRISH
I don't know, I can't say --
SUSAN
C'mon! The guy's working with you.
You always know chapter and verse
about everyone who works --
PARRISH
In this case, I can't. I - uh -- I
just can't help you. I only would
tell you -- that with Joe, you are
on very, very dangerous ground.
Susan doesn't answer for a moment.
SUSAN
I love him.
PARRISH
I don't care if you love him! I'm
telling you he's no good for you!
A moment.
SUSAN
Of course not, Daddy. I'm sorry.
There is something in Susan's tone that lets him know not a
word has sunk in. Parrish slumps.
SUSAN (cont'd)
I love you, too.
She kisses Parrish, rearranges one of his ranks of cards,
shuffles through the deck, turns over the top card, lays
down a card Parrish needs.
SUSAN (cont'd)
Lightning does strike.
Parrish watches as Susan turns, disappears out the door.
EXT. THIRD AVENUE, NEW YORK CITY - TWILIGHT
Joe walking disconcertedly up the street, bumping shoulders
with the rush hour crowd, trapped in the life of the city,
he peers intently at faces, cars, into store windows. He
stops now at the window of a Korean grocery, something has
caught his eye, he steps inside.
Through the window, Joe can be seen making a purchase, he
hands the Korean Clerk some money, walks out.
Joe, back on the street now, unscrews the top of a jar of
peanut butter, dips a wad out with his fingers. The Korean
Clerk runs out after him.
CLERK
Change! Change!
Joe stops, uncomprehending. The Clerk hands Joe bills and
coins.
JOE
Why are you giving me money?
CLERK
Change.
JOE
I am who I am. I cannot change.
Joe tries to hand the money back, but the baffled Clerk
refuses it.
CLERK
You change!
JOE
That's impossible. You're wasting
your money. I couldn't change even
if I wanted to.
The Clerk, exasperated, murmurs something in his language
and returns to the store. Joe continues on down the street.
INT. LIBRARY, PARRISH TOWNHOUSE - NIGHT
Parrish is sitting in a wing chair staring at the fire. Joe
appears in the doorway, Parrish doesn't notice him. Joe
waits, finally Parrish looks up. They regard each other.
Silence.
JOE
Uh --
PARRISH
Yes?
JOE
-- I have the feeling that, all in
all, what I made this voyage for --
has served its purpose.
PARRISH
What are you saying, that it's time
to go?
Joe doesn't respond, Parrish and Joe measure each other for
the moment.
PARRISH (cont'd)
I'm ready.
JOE
You are?
PARRISH
Yeah.
JOE
Good. Tomorrow, after the party.
Parrish nods, Joe nods back.
CUT TO:
EXT. HELICOPTER POV, HUDSON VALLEY - AFTERNOON
A bird's eye view of the Hudson, over the George Washington
Bridge, past the widest expanse of the river at the Tappan
Zee, coming in now over the great lawns and old estates of
the Upper Hudson Valley, down towards Annadale-on-Hudson
and the Parrish country estate, which commands a beehive of
activity, tents and workmen and vehicles.
EXT. PARRISH COUNTRY ESTATE - AFTERNOON
The Parrish AStar sets down in its roped-off landing area.
The Butler runs towards it to open the door, Parrish and
Joe disembark. Following the Butler, they make their way
through the maelstrom: tents being raised, platforms for
music groups, portable pools with clusters of florists
leaning over the edge to arrange lily pads within. Parrish
and Joe move solemnly, observing the activity, not speaking
to one another. Although they are shoulder-to-shoulder,
there is a distance between them. They walk on past chan-
deliers in the garden and fake trees with lights woven
through their branches. Adding to the confusion, the AStar
lifts off, the chandeliers rocking and floral pools rippling
from the blast of the rotors. May, the housekeeper, appears.
MAY
(to Parrish)
Telephone call, sir. Mr. Sloane
from New York.
Parrish nods, starts up for a wing off the main house, Joe
right at his side. Parrish stops.
PARRISH
Excuse me.
Joe, not knowing whether to be affronted or not, hesitates,
and Parrish strides away. Joe does not follow.
INT. PARRISH'S STUDY, COUNTRY ESTATE - AFTERNOON
A low-slung but well-appointed room with a writing table, a
working fireplace, expensive and appropriate Hudson Valley
prints.
Parrish enters, clicks on the SPEAKERPHONE, observes the
party activity through a wide, bow window.
PARRISH
Eddie?
SLOANE (O.S.)
(speakerphone)
Yeah - Bill - How are you? You okay?
PARRISH
Fine, fine. Big doing up here. Why
are you still down here?
SLOANE (O.S.)
(speakerphone)
The Board's working through the
weekend, trying up the loose ends
this damn thing. But I want to give
it one more try, I'm still holding
out some hope.
PARRISH
Eddie, hold out all the hope you
want but, I promise you, it's hope-
less, it's over. Come on up, let's
get drunk, if I had your shoulder
to lean on I might actually enjoy
this --
SLOANE (O.S.)
(speakerphone)
No, I'm going to stay down here,
keep my finger in the dike and maybe
by Monday, the waters could recede.
PARRISH
If you're trying to show me lay-
down-in-front-of-the-bus loyalty,
forget it.
SLOANE (O.S.)
(speakerphone)
Sorry, Bill, have a drink, eat your
cake, blow out the candles and make
a wish. Talk to you Monday. Okay?
PARRISH
Okay, Eddie -- anyway, thanks for
the memory.
Parrish clicks off the SPEAKERPHONE, turns around and looks
out the window again, the party preparations in full swing,
colored lights are tested, they flicker on and off.
EXT. LAWNS, COUNTRY ESTATE - AFTERNOON
Allison is everywhere, Parrish emerges from his wing, she
catches his eye immediately, the calm director of a DeMille-
like epic, politely giving workers instructions, making
lightning decisions.
Parrish turns his attention now to an ice-filled fountain
encircling two giant topiary letters written in faux-
Cyrillic, a 'B' and a 'P', as rubber-booted delivery men
carefully arrange giant ice chests of caviar under each
letter. A smile creases Parrish's face as, in an unexpected
lull, Allison backs into him at the fountain.
ALLISON
Hi, Daddy, what do you think?
PARRISH
It's starting to grow on me. But
what do the 'B' and 'P' mean?
ALLISON
The fountain is the Caspian Sea and
the Sea is serving up caviar. The
'B's for Beluga, the 'P' for
Petrossian. Of course, they also
stand for 'Bill' and for 'Parrish'.
PARRISH
Do they, m'dear?
ALLISON
-- Plus we've got a baritone with a
balalaika coming from The Russian
Tea Room. I've dressed him in a
Cossack shirt and he'll sing Nelson
Eddy songs.
Parrish shakes his head.
PARRISH
You are amazing. Why, oh why,
Allison, are you doing all this?
But before she can answer, a workman is tugging at Allison's
sleeve, she turns away from Parrish to give him instructions
out of Parrish's earshot, and then turns back, they step away
now, daughter and father, alone.
ALLISON
I do it because I love you. Because
everybody I loved you. Mommy -- wher-
ever she is -- Susan, Quince, the
people who work for you, everybody
who's ever known you.
PARRISH
Yeah? And what about my enemies?
ALLISON
They respect you. Isn't that a kind
of love?
Unexpectedly, Allison brushes a lock away from Parrish's
forehead, with a flick she has rearranged his hair, he
blinks, a little embarrassed, but having liked it.
ALLISON (cont'd)
Above all, you've been a wonderful
father.
PARRISH
I haven't been the father to you
that --
ALLISON
That you've been to Susan?
PARRISH
I wasn't going to say --
ALLISON
But that's what you were thinking.
And that's okay. Because I know you
love me. Not like it is with Susan,
the way your eyes light up when she
comes in the room and the way she
always gets a laugh out of you, as
opposed to me when I walk in a room
and that look comes over your face,
"What does she want now?"
A weather-beaten military parade ground pennant passes, 24th
Infantry Regiment "C" (Charlie) Company.
ALLISON (cont'd)
I already feel I've had everything I
could have wanted for my birthday --
PARRISH
Hey, there's lots to come.
(gesturing to me
activity)
A little excess -- like you love.
The preparations are building to a climax, all the elaborate
plans coming to fruition.
PARRISH
You know, darling, this is going to
be a wonderful party.
ALLISON
(gently)
Yes, it is.
Allison wades into the maelstrom now, Parrish watches her
go, swarms of purveyors and caterers following her.
EXT. WINE BAR, LAWNS, COUNTRY ESTATE - AFTERNOON
Ambrose, the head caterer, is making a last minute check
of the bar's stock, Quince ambles up, in the background the
activity has built to a pitch, waiters adjusting their uni-
forms, purveyors' trucks pulling out in a cloud of dust.
QUINCE
Give me a Seagrams and '7'.
Ambrose looks at him blankly.
QUICNCE (cont'd)
No got? Okay a double V.O., water
back.
AMBROSE
I'm afraid this is a wine bar, Mr.
Quince.
QUINCE
Okay, give me a bottle of wine.
AMBROSE
Red or white?
QUINCE
Both.
Joe appears, looking bewildered, jostled by caterers setting
up last-minute tables, a drummer from the band rolls his
traps past on a little cart. Joe doesn't seem to know where
he is, when his eyes alight on Quince, he heads for this
oasis. Ambrose sets down two bottles of wine and departs.
QUINCE (cont'd)
(to Joe)
Red or white?
JOE
No, thank you.
Quince sips the red, now the white, now he pours some of
each into one glass.
QUINCE
C'mon, have a drink. You look like
you need one bad as me.
JOE
Do I? I'm a little confused.
QUINCE
Confused, huh? About what?
JOE
Love.
QUINCE
'Love'? Oh, man, I've got troubles
of my own.
JOE
You love Allison, don't you?
QUINCE
Oh yes, I do.
JOE
How did you meet?
QUINCE
I was a world-class loser and she
was a happy, little rich girl --
and for some reason she took me in.
JOE
But she loves you?
Quince smiles, nods embarrassedly.
JOE (cont'd)
How do you know?
QUINCE
Because there's nothing we don't
know about each other and it's okay.
I mean the deeper, darkest secrets
-- they don't matter.
JOE
'The deepest, darkest secrets --'?
QUINCE
Yeah, it's like you know every inch
of each other's souls -- and then
you're free.
JOE
What do you mean 'free'?
QUINCE
Free to love each other. Com-
pletely. Totally. No fear.
Quince seems uncharacteristically within himself.
QUINCE (cont'd)
All that hoopla up there reminds me
how I will never measure up to a man
like Bill Parrish - or his daughter.
He drains his wine.
QUINCE (cont'd)
Do you like me, Joe?
JOE
Oh yes, you are one of my favorites.
QUINCE
What would you say if you knew
it was me who brought down Bill
Parrish?
(a moment)
I told Drew and the Board that Bill
depended on you. Drew led me on,
but I had no business telling him
in the first place. He was setting
up Bill from day one. Drew and
Bontecou are going to chop up the
company and sell it off for parts.
Bontecou was outside, Drew was Mr.
Inside. And I was the fool who made
it all happen. Oh God, what do I do?
Joe regards Quince.
JOE
Go to Bill Parrish and tell him
everything. He'll forgive you.
Quince drains one more glass of wine.
QUINCE
You think so? How do you know?
JOE
Because that's the kind of man Bill
Parrish is.
A moment.
QUINCE
Well, maybe... I guess you know him
better than anybody.
Another moment.
JOE
-- Getting to.
The orchestra behind them plays a few riffs, sound checks,
getting close.
QUINCE
Do you think I should wait to tell
him 'till after the party?
JOE
No.
Quince nods anxiously, then smiles gratefully. They look on
as the pre-party activities swirl on around them.
EXT. FRONT ENTRANCE, COUNTRY ESTATE - SUNSET (LATER)
The moment just before sunset, the last pre-party minutes,
a procession of guests' cars winding up to the guest house,
being directed into adjacent fields. Susan cuts past a re-
ceiving line that files up the stairs, she skirts the house
and heads straight for the action, the party on the lawns in
the rear, climbs a terrace where she commands a view of the
event on which the curtain is just about to rise.
EXT. LAWN, COUNTRY ESTATE - SUNSET
Guests milling, emerging from the crowd Susan sees, isolated
by a fountain, Joe. He looks up towards her, he knows she
has seen him, they proceed to a rendezvous that has not been
prearranged but which they intuit. Susan slants through the
guests, stopping here and there, excited greetings and cha-
tter float on the wind, "He, Susie!", "What a party", "You
look great", she keeps moving, a shimmering wraith.
Joe is on the right coordinate to meet her, his graceful,
unfailing step carrying him speedily to a destination he is
not certain of, but where he knows he will find Susan.
EXT. GARDEN, COUNTRY ESTATE - SUNSET
The very last rays of the sun setting over the wide expanse
of river, the light catching Susan and Joe as they enter the
garden, the party forming behind them, the river flowing in
front of them.
SUSAN
I like you in a black tie.
JOE
I love you in an evening gown.
SUSAN
It beats a surgical, doesn't it?
He smiles.
SUSAN (cont'd)
Daddy told me you might be leaving?
JOE
Yes. Your father and I, our time
together has come to an end.
SUSAN
Where are you going?
Joe attempts to answer, but nothing comes out.
SUSAN (cont'd)
You won't tell me?
JOE
Well -- I --
SUSAN
And you can't tell me who you are.
Again the same indescribable gesture from Joe.
SUSAN (cont'd)
I'm in love with a man, I don't know
who he is, where he's going or when.
JOE
I can tell you the when part. Tonight.
SUSAN
It gets worse.
JOE
No worse than it gets for me. I'm
in love with a woman whom I don't
want to leave.
SUSAN
Then don't.
A moment.
JOE
We know so little about each
other --
SUSAN
We know all that we need to know --
JOE
But there's so much to tell you --
SUSAN
Don't. That will come later.
JOE
Will it?
SUSAN
Lightning struck. We caught it in
a bottle. Don't let it out. I want
to be with you, Joe --
Another moment.
JOE
What will we do?
SUSAN
'Love will find out the way'.
JOE
'Love will find out the way'?
SUSAN
It's a saying.
JOE
I believe that, don't you?
SUSAN
Yes, that's why I said it.
They are on the brink of some decision, Joe is about to make
some declaration when Allison is heard --
ALLISON (O.S.)
There you are!
Allison appears.
ALLISON (cont'd)
What's going on here? Tete-a-tetes
on my big night?
(to Susan)
C'mon honey, you're needed.
(to Joe)
Can it wait?
But before he can answer --
ALLISON (cont'd)
Glad to hear it!
(to Susan)
Let's go.
She takes Susan's arm and marches her off, Joe, in thrall,
watches them go as the MUSIC erupts behind them, as 'up'
dance tune, a lilting, catchy melody envelops them all. The
curtain has risen on William Parrish's 65th birthday party.
INT. PARRISH'S STUDY, COUNTRY ESTATE - NIGHT
Quince is "on the carpet", sweating through a confession,
Parrish moroses but philosophical at his desk.
QUINCE
...what can I say after I say that
I'm sorry? I zipped when I should've
zagged, I opened my big mouth one
too many times, everything got all
twisted --
PARRISH
It's okay, Quince. I understand.
You've always meant well and I
appreciate that. Sometimes things
just turn out -- wrong.
A KNOCK on the door, it opens, Joe appears.
JOE
Excuse me --
He starts to step out.
QUINCE
Come in, Joe -- I want to thank you
-- okay, Bill?
PARRISH
Sure.
As Joe enters, Quince flashes a warm smile at him.
QUINCE
(to Parrish)
Joe knew the whole story. I told
him. It was his idea that I come
clean. I mean I wanted to come
clean but he gave me a pair of
balls, you know what I mean?
PARRISH
Yes, I believe I do.
Quince now drifts off.
QUICHE
Yeah, well -- I can tell you guys
got business --
PARRISH
No, I'm out of business, right,
Quince? However I do have some
unfinished business -- with Drew.
Get him out here. Get him on the
chopper and get him out here to-
night. I want to tell this guy
how I feel about him face-to-face.
QUINCE
Oh, that could be a tall order, B.P.
I doubt that Drew's anxious to see
you face-to-face.
Joe steps in.
JOE
(to Quince)
Tell Drew that Bill acknowledges
that this was a contest and he's
lost. The race is to the swift,
but could Drew summon a modicum
of understanding and allow Bill to
save face. Tell him Bill wants it
understood in the business community
he has merely moved upstairs in his
own company, and the executive
continuity is unbroken. Tonight's
the night to do it. He'll introduce
Drew to his press friends as well as
some of his close acquaintances from
Washington and Drew can tell them
that everything's sailing along just
fine.
Parrish is impressed by Joe's acumen, a look of grudging
admiration. He nods to Joe, summarizes:
PARRISH
(to Quince)
All in all, what Bill wants to do is
build the golden bridge to Drew with
no hard feelings.
QUINCE
You think Drew will go for it?
PARRISH
Quince, I've got confidence in you.
QUINCE
Sir, I'll deliver the package.
He heads out, Parrish and Joe fall silent.
PARRISH
Thanks.
JOE
Not at all.
A moment.
JOE (cont'd)
How are you doing?
PARRISH
What the hell do you care?
JOE
I was just asking, Bill.
PARRISH
You 'want to know', I'll tell you.
You're looking at a man who tonight
is not about to walk through the
Valley of the Shadow of Death, he's
galloping into it. And the same time,
the business he built with his own
hands and his own head is being
commandeered by a couple of cheap
pirates. And, oh yes, I almost
forgot, my daughter's fallen in
love with Death.
Another moment.
JOE
-- And I'm in love with your
daughter.
PARRISH
Say again?
JOE
I'm in love with your daughter, and
I'm taking her with me tonight.
Parrish is stunned.
PARRISH
You're what?
JOE
I think you heard me, Bill.
PARRISH
You're not taking Susan anywhere.
And what the hell does that mean
anyway?
Joe doesn't answer for a moment.
PARRISH (cont'd)
I thought we had a deal.
JOE
I'm sorry, Bill --
PARRISH
Susan is my daughter, she has a
wonderful life ahead of her and
you're going to deprive her of
it and you're telling me you're
sorry? Well, I'm sorry, apology
not accepted.
JOE
I love her, Bill. She is all that
I ever wanted, and I've never wanted
for anything because I've never
wanted anything before, if you can
understand.
PARRISH
How perfect for you -- to take
whatever you want because it
pleases you. It's not love --
JOE
Then what is it?
PARRISH
Some aimless infatuation in which,
for the moment, you feel like in-
dulging. It's missing everything
that matters.
JOE
Which is what?
PARRISH
Trust, responsibility, taking the
weight, for your choices and feel-
ings and spending the rest of your
life living up to them. And above
all, not hurting the object of your
love.
JOE
So that's what love is?
PARRISH
Multiply it by infinity and take it
to the death of forever and you will
still have barely a glimpse of what
I am talking about.
JOE
Those were my words, Bill.
PARRISH
Well, they're mine now.
Joe is silent for a moment, cogitating.
JOE
Susan wants to come. She says she's
in love with me.
PARRISH
With you?! Who is 'you'? Did you
tell her who you are?
JOE
No.
PARRISH
Does she know where she's going?
Joe doesn't answer.
PARRISH (cont'd)
Susan went, in whatever way she did,
for that poor sonofabitch whose body
you took, and everything else since
has been aftermath. You say you love
her but you don't know what love is.
She 'loves' you but she doesn't know
who you are. You make a deal, you're
breaking it -- the bottom line is,
Joe, you're conducting a Great
Romance under false pretenses.
JOE
I don't like what you're saying.
PARRISH
I don't expect you to.
JOE
Are you threatening me?
PARRISH
I certainly hope so -- I loved Susan
from the moment she was born, and I
love her now, and every minute in
between, and what I dream of is a
man who will discover her and she
will discover a man who will love
her, who is worthy of her, who is of
this world, of this time and has the
grace and compassion and fortitude
to walk beside her as she makes her
way through this beautiful thing
called life.
Parrish is beginning to reach Joe.
JOE
Are you telling me I can't be
part of it?
A pause, Parrish's posture changes.
PARRISH
Why did you come in here and tell
me, Joe? You are the Biggest Shot
of all, you don't have to ask my
permission, but that's what you're
doing. You know why? Because you've
somewhere, somehow, developed into a
good guy, and you know this is all
wrong... I don't know what you're
going to do -- how can this be love?
She doesn't know who you are. Why
don't you tell her? Try it out on
her? See what happens. Reveal
everything there is to know about
yourself and let the chips fall
where they may.
Joe has received what Parrish has said.
PARRISH (cont'd)
Okay? -- I've given it my best shot.
I wish I could tell you to sleep on
it but...
Parrish lets his words drift into silence, he shrugs, Joe
regards him.
EXT. LAWNS, COUNTRY ESTATE - NIGHT
Joe makes his way down the path from Parrish's study, a
weight on his shoulders, his step measured, within himself
until he is hit by the lights and laughter and MUSIC of the
party. He drifts into the center and runs right into Susan,
couples swirl about them, the eye of a storm of gaiety.
SUSAN
Hello, Joe. What'd you know?
She smiles.
SUSAN (cont'd)
There's something so indescribably
sexy about you in a crowd. I could
make love to you right here.
He hesitates, reaches out to take her hand, studies it.
SUSAN (cont'd)
If you're going to tell my future,
you're on the wrong side.
A moment.
JOE
There is something I do want to tell
you --
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 shit, you
fucked 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 asshole 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 --
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?
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
From Wikipedia, the free encyclopedia
This article is about the 1998 romantic film. For the Nas song, see Magic (Nas album).
| Meet Joe Black | |
|---|---|
Theatrical release poster |
|
| Directed by | Martin Brest |
| Written by |
|
| Based on | La morte in vacanza by Alberto Casella [it] |
| Produced by | Martin Brest |
| Starring |
|
| Cinematography | Emmanuel Lubezki |
| Edited by |
|
| Music by | Thomas Newman |
|
Production |
City Light Films |
| Distributed by | Universal Pictures |
|
Release date |
|
|
Running time |
181 minutes |
| Country | United States |
| Language | English |
| Budget | $90 million[1] |
| Box office | $142.9 million[1] |
Meet Joe Black is a 1998 American romantic fantasy film directed and produced by Martin Brest, and starring Brad Pitt, Anthony Hopkins, and Claire Forlani. Celebrating his 65th birthday, businessman and devoted family man Bill Parrish is visited by Death, who wants to know what it’s like to be human in return for giving Bill extra days of his life. The screenplay was written by Bo Goldman, Kevin Wade, Ron Osborn, and Jeff Reno, and is loosely based on the 1934 film Death Takes a Holiday, an adaptation of the 1924 Italian play La morte in vacanza by Alberto Casella.
Plot[edit]
Media mogul Bill Parrish is contemplating a merger with another media giant. Meanwhile, his eldest daughter, Alison, is planning an elaborate 65th birthday party for him. His younger daughter Susan, a resident in internal medicine, has a relationship with Drew, one of Bill’s board members.
Considering marriage, as Bill sees Susan is not deeply in love, he suggests she wait to be swept off of her feet, suggesting «lightning could strike». When the company helicopter lands, he hears a mysterious voice, which he tries to ignore. Arriving in his office, Bill has sharp pains in his chest and hears the voice again, saying, «Yes.»
While studying in a coffee shop, Susan meets a vibrant young man who also says «lightning may strike» a relationship between them. Stunned, she departs without getting his name. Unbeknownst to her, directly afterward, he is struck fatally by multiple cars.
That evening, Bill hears the voice again and it summons him so Bill meets him alone in a room. Slowly materializing, it identifies itself as Death and is now in the body of the young man. Death explains that his impassioned speech to his daughter piqued his interest. Given Bill’s «competence, experience, and wisdom», Death says that for as long as Bill will be his guide on Earth, Bill will not have to die. They both return to the dinner table and under pressure to make an introduction, clumsily make up a name for Death, introducing him to the family as «Joe Black.» Joe Black, having no sophisticated human qualities, doesn’t seem to know how to drink or eat, or how to use food and utensils. He later wanders through the palatial house to adapt. Susan tries to understand his intentions, noting that his character is not the same as that of the man she met in the coffee shop.
Bill fails to keep events from going rapidly out of his control. Drew secretly conspires with Parrish Communications, capitalizing on Bill’s strange behavior and reliance on Joe to convince the board of directors to vote Bill out as chairman. Using information from Bill’s son-in-law, Quince, Drew pushes for merger approval which Bill now opposes.
Intrigued by Joe’s naivete, Susan sees he’s very different from the young man she met in the coffee shop. She falls deeply in love, while Joe is now under the influence of human desires and a magnetic attraction to her, and they make love. After they dress, Joe asks Susan, «What do we do now?» She replies, «It’ll come to us.» Bill inadvertently walks in and sees them kissing.
Bill angrily confronts Joe about his relationship with his daughter. He then suggests to Susan that Joe won’t be around much longer. At Susan’s hospital, Joe interacts with a terminally ill old woman who wishes to die. Understanding who he is, when he tells her he loves Susan, they discuss the meaning of life and she helps him understand he is dangerously meshing two worlds. When Joe asks her if she is ready to go, she accedes.
As Bill’s birthday arrives, Joe declares his intention to take Susan with him. Bill pleads with Joe to recognize the meaning of true love, especially honesty and sacrifice, and to not steal Susan’s life.
At the party, knowing his death is imminent, Bill makes peace with his daughters. Susan tells Joe she has loved him since the day in the coffee shop and he hints that his time is coming to an end. Realizing Susan loves the unknown man, not him, crushes him. He doesn’t tell her who he really is, but she seems to intuit something mystical about his identity. Struggling to comprehend the magnitude of their attraction, Susan refuses to recognize Joe as Death. He says «You know who I am». She sputters, «You’re… you’re Joe.» He promises, «You will always have what you found in the coffee shop… I’ll love you always.» Joe realizes he must set aside his own desire and allow Susan to live her life.
Quince apologizes to Bill for undermining the company, and Bill forgives him. Joe helps Bill regain control of his company, exposing Drew’s underhanded business dealings to the board by claiming to be an agent of the Internal Revenue Service and threatening to put Drew in jail.
In their father/daughter dance, Susan and Bill say goodbye. Fireworks begin, and on a hilltop above the party, Joe waits with tears in his eyes. Bill heads up to him, and they share their thoughts. Bill asks Joe if he should be afraid. He replies, «Not a man like you.» As the fireworks explode in the distance, Susan watches Joe and her father cross a bridge at the top of the hill and descend out of sight on the other side.
Susan stands stunned as «Joe» reappears alone and bewildered. He is again the young man from the coffee shop, uninjured and not comprehending where he is. Susan intuits that her father is gone, and the magnetism that she had shared with this young man has returned. «What do we do now?» she asks. «It’ll come to us,» he replies, as they descend hand-in-hand toward the party.
Cast[edit]
- Brad Pitt as Death / «Joe Black»
- also the young man in the coffee shop borrowed by Death
- Anthony Hopkins as Bill Parrish
- Claire Forlani as Susan Parrish
- Jake Weber as Drew
- Marcia Gay Harden as Allison Parrish
- Jeffrey Tambor as Quince Parrish
- David S. Howard as Eddie Sloane
- Lois Kelly Miller as Jamaican Woman
- Marylouise Burke as Lillian
- June Squibb as Helen
Production[edit]
Filming[edit]
Most of William Parrish’s country mansion scenes were shot at the Aldrich Mansion in Rhode Island.
The penthouse interiors and Parrish Communications offices were sets built at the 14th Regiment Armory in the South Slope neighborhood in Brooklyn, New York.[2]
The place where Susan and the Young Man from the Coffee Shop first meet is Broadway Restaurant, at 2664 Broadway and West 101st Street, Manhattan.[3]
Versions[edit]
A two-hour version was made to show on television and airline flights, by cutting most of the plotline involving Bill Parrish’s business. Since Brest derided this edit of his film and disowned it, the director’s credit was changed to the Hollywood pseudonym Alan Smithee.[4]
Reception[edit]
Box office[edit]
Meet Joe Black opened on November 13, 1998, and grossed $15,017,995 domestically upon its opening weekend (11/13-15) at #3, behind The Waterboy‘s second weekend and the opening of I Still Know What You Did Last Summer.[5]
While the film had a disappointing domestic box office return of $44,619,100, it fared much better internationally. Taking in an additional $98,321,000, the movie grossed a worldwide total of $142,940,100.[1]
As Meet Joe Black was one of the few films showing the first trailer for Star Wars: Episode I – The Phantom Menace, it was reported that droves of Star Wars fans bought tickets for the film, only to leave after the trailer showed.[6]
Critical response[edit]
Meet Joe Black received mixed reviews from critics, with most complimenting the performances but criticizing the film’s three-hour length, the slow pacing and the screenplay.[7][8] Roger Ebert gave it three stars, but disliked the peripheral story lines and overly drawn-out ending. He concluded that despite its flaws, «there’s so much that’s fine in this movie».[9] Travers wrote Rolling Stone that most of the characters were one-dimensional.[8] Anthony Hopkins received uniform praise for his performance, with Travers opining that Hopkins’ Bill Parrish was the only fully realized character in the film; LaSalle commented that «Hopkins’ acting is so emotionally full that the tiniest moments … ring with complexities of thought and feeling.»[10] Brad Pitt, on the other hand, received a mixed response, with Mick LaSalle calling the performance so bad «it hurts»[10] and James Berardinelli calling it «execrable».[7]
Meet Joe Black earned a Razzie Award nomination for Worst Remake.[citation needed]
On review aggregator Rotten Tomatoes, the film holds an approval rating of a 45% based on 49 reviews, with an average score of 5.60/10. The website’s critical consensus reads, «Meet Joe Black is pretty to look at and benefits from an agreeable cast, but that isn’t enough to offset this dawdling drama’s punishing three-hour runtime.»[11] On Metacritic, the film received a score of 43 based on 24 reviews, indicating «mixed or average reviews».[12] Audiences surveyed by CinemaScore gave the film a grade «A−» on scale of A to F.[13]
References[edit]
- ^ a b c «Meet Joe Black (1998)». Box Office Mojo. Retrieved 2011-03-03.
- ^ «Film Crews Are Generating The Magic and the Backlash». www.nytimes.com. 1997-07-06.
- ^ «Meet Joe Black Filming Locations». movie-locations.com. Retrieved 2017-05-07.
- ^ AMY WALLACE (15 January 2000). «Name of Director Smithee Isn’t What It Used to Be». Los Angeles Times. Archived from the original on 2019-04-07.
Smithee’s work, as was the airline version of Martin Brest’s «Meet Joe Black.»
- ^ «Weekend Box Office Results for November 13–15, 1998». Box Office Mojo. 2011-02-03. Retrieved 2011-03-03.
- ^ «What Happened When The Phantom Menace’s Trailer Was Shown In Theaters». CINEMABLEND. November 25, 2014.
- ^ a b Berardinelli, James (1998). «Meet Joe Black (United States, 1998)». reelviews.net (movie review). Retrieved 2017-05-07.
- ^ a b Travers, Peter (1998-03-11). «Meet Joe Black». Rolling Stone (movie review). Retrieved 2017-05-07.
- ^ Ebert, Roger (1998-11-13). «Meet Joe Black». Rogerebert.com (movie review). Retrieved 2020-02-27.
- ^ a b LaSalle, Mick (1998-11-13). «Colorless ‘Joe Black’ / Brad Pitt’s Death is lethally dull, but Hopkins breathes life into overly long romance». San Francisco Chronicle (movie review). Retrieved 2017-05-08.
- ^ «Meet Joe Black (1998)». Rotten Tomatoes. Retrieved 28 January 2023.
- ^ «Meet Joe Black». Metacritic.
- ^ «Movie title search: BLACK». CinemaScore. Find Cinemascore. Archived from the original on 2019-08-24.
External links[edit]
- Meet Joe Black at IMDb
- Meet Joe Black at AllMovie
- Meet Joe Black at Box Office Mojo
From Wikipedia, the free encyclopedia
This article is about the 1998 romantic film. For the Nas song, see Magic (Nas album).
| Meet Joe Black | |
|---|---|
|
Theatrical release poster |
|
| Directed by | Martin Brest |
| Written by |
|
| Based on | La morte in vacanza by Alberto Casella [it] |
| Produced by | Martin Brest |
| Starring |
|
| Cinematography | Emmanuel Lubezki |
| Edited by |
|
| Music by | Thomas Newman |
|
Production |
City Light Films |
| Distributed by | Universal Pictures |
|
Release date |
|
|
Running time |
181 minutes |
| Country | United States |
| Language | English |
| Budget | $90 million[1] |
| Box office | $142.9 million[1] |
Meet Joe Black is a 1998 American romantic fantasy film directed and produced by Martin Brest, and starring Brad Pitt, Anthony Hopkins, and Claire Forlani. Celebrating his 65th birthday, businessman and devoted family man Bill Parrish is visited by Death, who wants to know what it’s like to be human in return for giving Bill extra days of his life. The screenplay was written by Bo Goldman, Kevin Wade, Ron Osborn, and Jeff Reno, and is loosely based on the 1934 film Death Takes a Holiday, an adaptation of the 1924 Italian play La morte in vacanza by Alberto Casella.
Plot[edit]
Media mogul Bill Parrish is contemplating a merger with another media giant. Meanwhile, his eldest daughter, Alison, is planning an elaborate 65th birthday party for him. His younger daughter Susan, a resident in internal medicine, has a relationship with Drew, one of Bill’s board members.
Considering marriage, as Bill sees Susan is not deeply in love, he suggests she wait to be swept off of her feet, suggesting «lightning could strike». When the company helicopter lands, he hears a mysterious voice, which he tries to ignore. Arriving in his office, Bill has sharp pains in his chest and hears the voice again, saying, «Yes.»
While studying in a coffee shop, Susan meets a vibrant young man who also says «lightning may strike» a relationship between them. Stunned, she departs without getting his name. Unbeknownst to her, directly afterward, he is struck fatally by multiple cars.
That evening, Bill hears the voice again and it summons him so Bill meets him alone in a room. Slowly materializing, it identifies itself as Death and is now in the body of the young man. Death explains that his impassioned speech to his daughter piqued his interest. Given Bill’s «competence, experience, and wisdom», Death says that for as long as Bill will be his guide on Earth, Bill will not have to die. They both return to the dinner table and under pressure to make an introduction, clumsily make up a name for Death, introducing him to the family as «Joe Black.» Joe Black, having no sophisticated human qualities, doesn’t seem to know how to drink or eat, or how to use food and utensils. He later wanders through the palatial house to adapt. Susan tries to understand his intentions, noting that his character is not the same as that of the man she met in the coffee shop.
Bill fails to keep events from going rapidly out of his control. Drew secretly conspires with Parrish Communications, capitalizing on Bill’s strange behavior and reliance on Joe to convince the board of directors to vote Bill out as chairman. Using information from Bill’s son-in-law, Quince, Drew pushes for merger approval which Bill now opposes.
Intrigued by Joe’s naivete, Susan sees he’s very different from the young man she met in the coffee shop. She falls deeply in love, while Joe is now under the influence of human desires and a magnetic attraction to her, and they make love. After they dress, Joe asks Susan, «What do we do now?» She replies, «It’ll come to us.» Bill inadvertently walks in and sees them kissing.
Bill angrily confronts Joe about his relationship with his daughter. He then suggests to Susan that Joe won’t be around much longer. At Susan’s hospital, Joe interacts with a terminally ill old woman who wishes to die. Understanding who he is, when he tells her he loves Susan, they discuss the meaning of life and she helps him understand he is dangerously meshing two worlds. When Joe asks her if she is ready to go, she accedes.
As Bill’s birthday arrives, Joe declares his intention to take Susan with him. Bill pleads with Joe to recognize the meaning of true love, especially honesty and sacrifice, and to not steal Susan’s life.
At the party, knowing his death is imminent, Bill makes peace with his daughters. Susan tells Joe she has loved him since the day in the coffee shop and he hints that his time is coming to an end. Realizing Susan loves the unknown man, not him, crushes him. He doesn’t tell her who he really is, but she seems to intuit something mystical about his identity. Struggling to comprehend the magnitude of their attraction, Susan refuses to recognize Joe as Death. He says «You know who I am». She sputters, «You’re… you’re Joe.» He promises, «You will always have what you found in the coffee shop… I’ll love you always.» Joe realizes he must set aside his own desire and allow Susan to live her life.
Quince apologizes to Bill for undermining the company, and Bill forgives him. Joe helps Bill regain control of his company, exposing Drew’s underhanded business dealings to the board by claiming to be an agent of the Internal Revenue Service and threatening to put Drew in jail.
In their father/daughter dance, Susan and Bill say goodbye. Fireworks begin, and on a hilltop above the party, Joe waits with tears in his eyes. Bill heads up to him, and they share their thoughts. Bill asks Joe if he should be afraid. He replies, «Not a man like you.» As the fireworks explode in the distance, Susan watches Joe and her father cross a bridge at the top of the hill and descend out of sight on the other side.
Susan stands stunned as «Joe» reappears alone and bewildered. He is again the young man from the coffee shop, uninjured and not comprehending where he is. Susan intuits that her father is gone, and the magnetism that she had shared with this young man has returned. «What do we do now?» she asks. «It’ll come to us,» he replies, as they descend hand-in-hand toward the party.
Cast[edit]
- Brad Pitt as Death / «Joe Black»
- also the young man in the coffee shop borrowed by Death
- Anthony Hopkins as Bill Parrish
- Claire Forlani as Susan Parrish
- Jake Weber as Drew
- Marcia Gay Harden as Allison Parrish
- Jeffrey Tambor as Quince Parrish
- David S. Howard as Eddie Sloane
- Lois Kelly Miller as Jamaican Woman
- Marylouise Burke as Lillian
- June Squibb as Helen
Production[edit]
Filming[edit]
Most of William Parrish’s country mansion scenes were shot at the Aldrich Mansion in Rhode Island.
The penthouse interiors and Parrish Communications offices were sets built at the 14th Regiment Armory in the South Slope neighborhood in Brooklyn, New York.[2]
The place where Susan and the Young Man from the Coffee Shop first meet is Broadway Restaurant, at 2664 Broadway and West 101st Street, Manhattan.[3]
Versions[edit]
A two-hour version was made to show on television and airline flights, by cutting most of the plotline involving Bill Parrish’s business. Since Brest derided this edit of his film and disowned it, the director’s credit was changed to the Hollywood pseudonym Alan Smithee.[4]
Reception[edit]
Box office[edit]
Meet Joe Black opened on November 13, 1998, and grossed $15,017,995 domestically upon its opening weekend (11/13-15) at #3, behind The Waterboy‘s second weekend and the opening of I Still Know What You Did Last Summer.[5]
While the film had a disappointing domestic box office return of $44,619,100, it fared much better internationally. Taking in an additional $98,321,000, the movie grossed a worldwide total of $142,940,100.[1]
As Meet Joe Black was one of the few films showing the first trailer for Star Wars: Episode I – The Phantom Menace, it was reported that droves of Star Wars fans bought tickets for the film, only to leave after the trailer showed.[6]
Critical response[edit]
Meet Joe Black received mixed reviews from critics, with most complimenting the performances but criticizing the film’s three-hour length, the slow pacing and the screenplay.[7][8] Roger Ebert gave it three stars, but disliked the peripheral story lines and overly drawn-out ending. He concluded that despite its flaws, «there’s so much that’s fine in this movie».[9] Travers wrote Rolling Stone that most of the characters were one-dimensional.[8] Anthony Hopkins received uniform praise for his performance, with Travers opining that Hopkins’ Bill Parrish was the only fully realized character in the film; LaSalle commented that «Hopkins’ acting is so emotionally full that the tiniest moments … ring with complexities of thought and feeling.»[10] Brad Pitt, on the other hand, received a mixed response, with Mick LaSalle calling the performance so bad «it hurts»[10] and James Berardinelli calling it «execrable».[7]
Meet Joe Black earned a Razzie Award nomination for Worst Remake.[citation needed]
On review aggregator Rotten Tomatoes, the film holds an approval rating of a 45% based on 49 reviews, with an average score of 5.60/10. The website’s critical consensus reads, «Meet Joe Black is pretty to look at and benefits from an agreeable cast, but that isn’t enough to offset this dawdling drama’s punishing three-hour runtime.»[11] On Metacritic, the film received a score of 43 based on 24 reviews, indicating «mixed or average reviews».[12] Audiences surveyed by CinemaScore gave the film a grade «A−» on scale of A to F.[13]
References[edit]
- ^ a b c «Meet Joe Black (1998)». Box Office Mojo. Retrieved 2011-03-03.
- ^ «Film Crews Are Generating The Magic and the Backlash». www.nytimes.com. 1997-07-06.
- ^ «Meet Joe Black Filming Locations». movie-locations.com. Retrieved 2017-05-07.
- ^ AMY WALLACE (15 January 2000). «Name of Director Smithee Isn’t What It Used to Be». Los Angeles Times. Archived from the original on 2019-04-07.
Smithee’s work, as was the airline version of Martin Brest’s «Meet Joe Black.»
- ^ «Weekend Box Office Results for November 13–15, 1998». Box Office Mojo. 2011-02-03. Retrieved 2011-03-03.
- ^ «What Happened When The Phantom Menace’s Trailer Was Shown In Theaters». CINEMABLEND. November 25, 2014.
- ^ a b Berardinelli, James (1998). «Meet Joe Black (United States, 1998)». reelviews.net (movie review). Retrieved 2017-05-07.
- ^ a b Travers, Peter (1998-03-11). «Meet Joe Black». Rolling Stone (movie review). Retrieved 2017-05-07.
- ^ Ebert, Roger (1998-11-13). «Meet Joe Black». Rogerebert.com (movie review). Retrieved 2020-02-27.
- ^ a b LaSalle, Mick (1998-11-13). «Colorless ‘Joe Black’ / Brad Pitt’s Death is lethally dull, but Hopkins breathes life into overly long romance». San Francisco Chronicle (movie review). Retrieved 2017-05-08.
- ^ «Meet Joe Black (1998)». Rotten Tomatoes. Retrieved 28 January 2023.
- ^ «Meet Joe Black». Metacritic.
- ^ «Movie title search: BLACK». CinemaScore. Find Cinemascore. Archived from the original on 2019-08-24.
External links[edit]
- Meet Joe Black at IMDb
- Meet Joe Black at AllMovie
- Meet Joe Black at Box Office Mojo
На чтение 8 мин. Просмотров 15.1k. Опубликовано 30.11.2021
Страна: США
Жанр: мелодрама, драма
Год производства: 1998
Режиссер: Мартин Брест
Актеры: Брэд Питт, Энтони Хопкинс, Клэр Форлани
Смысл фильма “Знакомьтесь, Джо Блэк” заключается в том, что человеческая жизнь прекрасна во всех ее проявлениях. Эта трогательная и светлая картина заставляет задуматься о многих важных вещах – о любви, о смерти, о жизни и об отношениях с родными и близкими.
Содержание
- О чем фильм
- Что произошло в финале
- Смысл фильма
- Другой взгляд
О чем фильм
Краткое описание содержания картины “Знакомьтесь, Джо Блэк”. Сюжет строится вокруг истории молодого человека, который трагически погиб под колесами автомобиля. В тело парня вселяется Смерть. У нее нет никакой миссии на земле – она (точнее, он) просто находится в отпуске и хочет провести его обязательно в человеческом облике.
Смерть, как ни забавно это звучит, мечтает вкусить радость жизни: отдохнуть от рутины и от души оттянуться. Будучи совершенно неопытным туристом, Смерть ищет себе гида в мире людей и находит его в лице пожилого медиамагната Уильяма Перриша.
По стечению обстоятельств, Перришу, у которого больное сердце, остается жить совсем недолго, но Смерть заключает с ним выгодную сделку. Смысл этой сделки заключается в том, что пока Смерть находится в отпуске, старик не отправится в мир иной. При этом Перриш должен будет везде водить Смерть за собой и объяснять и показывать ему прелести человеческой жизни. Перришу не по душе эта идея, но он соглашается, и с этого момента содержание картины, по сути драматическое, приобретает лирико-комедийные нотки.
В основе договора человека и Смерти находится обязательство, согласно которому Перриш обязан выполнять все прихоти своего “компаньона”. Перриш приводит Смерть к себе домой и представляет его семье как парня по имени Джо Блэк. При этом он не дает никаких объяснений.
Тем временем Смерть достаточно быстро “очеловечивается”. В частности, он знакомится с дочерью Перриша, Сьюзен, и между ними мгновенно пробегает искра. Интересен тот факт, что изначально Смерть выбрал тело парня, с которым девушка однажды познакомилась в кафе. Совпадение?..
В людском обличии Смерть познает то, что в истинном своем воплощении познать, естественно, не может. Он познает любовь.
Ближе к финалу Блэк приглашает возлюбленную на танец. И здесь возникает невольная ассоциация с макабром – пляской смерти. Кроме того, сам факт танца со смертью в может значить то, что жизнь человека может оборваться в любой момент.
Так оно и оказывается: очарованный, Смерть хочет забрать возлюбленную с собой. А Сьюзен внезапно понимает, кто держит ее в своих объятиях…
Что произошло в финале
В финале картины Сьюзен догадалась о том, что все это время общалась со Смертью (или еще с кем-то, но точно не с тем парнем, с которым она познакомилась в кафе). Именно об этом они говорили, танцуя в последний раз.
Объяснение концовки выглядит так: Джо Блэк отказался от своего плана – забрать с собой, кроме самого Перриша, еще и его дочь. Более того, он вернул жизнь погибшему юноше.
В конце появляется тот самый парень, и Сьюзен говорит следующее: “Я бы хотела, чтобы ты познакомился с моим отцом”. Интересно, сказала бы она это, думая, что перед ней находится все тот же “человек”, с которым она (как и ее отец) все это время общалась?..
Интересно, что в конце фильма, когда Смерть прощается с жизнью, в небе появляется праздничный фейерверк. Вероятно, смысл концовки фильма “Знакомьтесь, Джо Блэк” заключается в том, что Смерть оказался побежден, но поражение было ему совсем не в тягость.
Смысл фильма
Фильм “Знакомьтесь, Джо Блэк” – добрая, сентиментальная картина для всей семьи. В разборах и рецензиях говорится, что этот фильм создан для философски настроенного и вдумчивого зрителя.
О чем этот фильм? В фильме “Знакомьтесь, Джо Блэк” говорится о нескольких днях из жизни Уильяма Перриша перед его уходом в мир иной. Казалось бы, фильм рассказывает далеко не о самых радужных событиях, и теоретически он должен быть довольно трагичным и драматичным. Но это абсолютно не так.
Смысл фильма “Знакомьтесь, Джо Блэк” заключается в противостоянии Смерти и Человека. Здесь уместно вспомнить отсылку к Библии, где говорится о том, что смерть – это состояние противоестественное для человека, предназначенного для вечности. В картине говорится о том, что даже сама Неизбежность должна отступить от собственного плана, встретившись с сильным человеческим духом.
Романтическая линия – только фон для философской драмы. Вся соль этой картины заключается в диалогах Перриша, увядающего старика, прожившего достойную жизнь, со Смертью, представленной в образе молодого человека – кстати, режиссер признавался, что эти диалоги он писал, вдохновившись “Седьмой печатью” И. Бергмана.
Картина снята очень просто. Благодаря этому зритель получает возможность вспомнить, как это прекрасно – ЖИТЬ. Зритель как будто проживает вместе с Джо Блэком моменты первой встречи с арахисовой пастой, первого прикосновения к другому человеку, первого поцелуя и первого сексуального опыта. Фильм как будто говорит нам: все мгновения жизни – даже те, которые мы считаем неважными – прекрасны.
Зритель смотрит на мир девственными глазами Джо – так, как будто мы увидели его в первый раз. “Фишка” заключается в том, что настоящий восторг от жизни исходит от Смерти. В течение всего действа Джо Блэк демонстрирует чистое незамутненное любопытство, открытость и непосредственность.
В картине “Знакомьтесь, Джо Блэк” нет странных загадок и пугающих разгадок. Этот фильм очень прост и не предполагает наличия нескольких трактовок.
Основным смыслом фильма является то, что, действительно, любовь оказывается сильнее смерти. Красной нитью проходит мысль о том, что если ты прожил свою жизнь достойно, то и смерть встречаешь с высоко поднятой головой…
Еще, конечно, это кино о том, что любовь слепа и непредсказуема: она может поразить нас в самый неожиданный момент – более того, чувства могут возникнуть к самому, вроде, бы неподходящему на первый взгляд человеку…
Кроме того, фильм “Знакомьтесь, Джо Блэк” рассказывает и об отношениях с близкими, с родными – он говорит о необходимости оказывать внимание и проявлять любовь к членам своей семьи.
То есть это метафорическая сказка-притча без какого бы то ни было скрытого смысла, но при этом с христианским посылом.
Другой взгляд
По мнению некоторых зрителей, фильм “Знакомьтесь, Джо Блэк” является достаточно бессмысленным ремейком французского фильма “Смерть берет выходной”.
Сюжет этой картины был перекроен в угоду среднестатистическому американскому зрителю, не готовому постигать глубинный смысл оригинального полотна. Тонкой нитью здесь проходит мысль о том, что умереть не так страшно, как потерять свой бизнес. То есть это картина о типично американских ценностях.
Кроме того, странной кажется любовь существа, не являющегося человеком, и видевшего за века своего существования множество разных девушек, к совершенно обычной дочери Перриша. Впрочем, это загадка: пути любви еще менее предсказуемы, чем пути смерти.
Приятная сказка на ночь.
16.48%
Молодой Брэд Питт хорош, в остальном ничего особенного.
11.52%
Интересный глубокий фильм.
68.4%
Какой диагноз у режиссера?
3.59%
Проголосовало: 807
Киноман, сериаломан, писатель. Любит искать скрытый смысл даже в самых простых вещах. Пишет странные сказки, обожает сериалы про шпионов и Искусственный Интеллект.
| Знакомьтесь, Джо Блэк | |
| Meet Joe Black | |
 |
|
| Жанр |
мелодрама |
|---|---|
| Режиссёр |
Мартин Брест |
| Продюсер |
Мартин Брест |
| Автор сценария |
Бо Голдман |
| В главных ролях |
Брэд Питт |
| Оператор |
Джо Макдональд |
| Композитор |
Томас Ньюман |
| Кинокомпания |
Universal Pictures |
| Длительность |
178 минут |
| Бюджет |
$ 90 млн |
| Сборы |
$ 142 млн[1] |
| Страна |
США |
| Год |
13 ноября 1998 |
| IMDb |
ID 0119643 |
«Знакомьтесь, Джо Блэк» (англ. Meet Joe Black) — мистическая драма о жизни и смерти, с участием Брэда Питта, Энтони Хопкинса и Клэр Форлани. Сценарий фильма был создан по пьесе Альберто Каселлы «Смерть берёт выходной».
Слоганы картины
- англ. «He’s Expecting You» — «Он ждет тебя»
- англ. «Meet Joe Black: Sooner or Later Everyone Does…» — «Знакомьтесь, Джо Блек: Рано или поздно всем придется познакомиться…»
Сюжет
История об Ангеле Смерти, взявшем отпуск от своих обычных обязанностей и принявшем обличие обворожительного Джо Блэка (Брэд Питт). Он появляется в доме газетного магната Уильяма Перриша (Энтони Хопкинс) в канун его 65-летнего юбилея. Смерть заключает с Перришем сделку: Уильям станет проводником Джо в мире людей, а кончина Перриша будет отложена. Перриш представляет Джо своей семье и близким, но толком не объясняет кто это. Джо Блэк знакомится с такими радостями жизни как арахисовое масло и внимание женщин. Дочь Перриша Сьюзен (Клэр Форлани) не может оторвать глаз от приятного молодого человека. Они начинают встречаться, показывают знаки расположения друг другу, что приводит отца в ужас. Перришу удаётся договориться со Смертью, что заберут в последний путь только его, но произойдёт это сразу после юбилея.
Джо везде сопровождает Перриша, в том числе и на собрании директоров, где планируется недружественное слияние компании магната с конкурентами. Перриш строго против слияния. Один из членов совета директоров Дрю, за спиной Перриша хочет провернуть сделку. Перриш не может объяснить подчиненным, что делает рядом с ним Джо и, пользуясь этой слабостью, Дрю вынуждает его принять решение об отставке и согласиться со слиянием.
Приходит время юбилея, который проводят с большой помпой. Перед юбилеем зять Перриша Куинс признаётся ему, что предал его, дав Дрю необходимую информацию для измены. Джо неожиданно предлагает Перришу разделаться с Дрю и время для этого он даст. Во время встречи Джо представляется секретным агентом налоговой службы и угрожает Дрю, что сделка содержит состав преступления, и тот может оказаться за решёткой. Дрю, под давлением угроз, отзывает назад своё требование об отстранении Перриша с поста главы компании.
Торжества заканчиваются праздничным салютом. Юбиляр прощается со всеми и с дочерью. Перед тем как им уйти Джо признаётся Перришу, что по настоящему полюбил Сьюзен и оставить её было нелегко. Они вдвоём, спускаясь по лестнице, уходят, скрываются из глаз, но через некоторое время молодой человек в облике Джо возвращается назад к Сьюзен. Он даёт понять, что ничего не помнит из происшедшего в последние дни, но очень хочет с ней встречаться.
В ролях
| Актёр/Актриса | Персонаж |
|---|---|
| Брэд Питт | Джо Блэк |
| Энтони Хопкинс | Уильям Перриш |
| Клэр Форлани | Сьюзен Перриш |
| Джейк Вебер | Дрю Берримор |
| Марсия Гэй Харден | Элисон Перриш |
| Джеффри Тэмбор | Квинс |
Интересные факты
- Основная часть фильма была снята в Нью-Йорке, в госпитале на Пятой Авеню и в Бруклине, штат Нью-Йорк.
- Поместье Уильяма Перриша в первых и заключительных частях — это здание Aldrich Mansion в Warwick Neck, Род-Айленд, Наррагансет Залив.
- Съемки фильма проходили с 11 июня по 12 ноября 1997 года в Нью-Йорке, городе Уорик (штат Род-Айленд) и в городе Тенек (штат Нью-Джерси).
- Картина является ремейком фильма 1934 года «Смерть берёт выходной» («Death Takes a Holiday»), первоначально переделанного и выпущенного под тем же названием в 1971 году.
Музыка
Дата выпуска: 20 марта 1998
Оригинальные названия саундтрэков
- 1. Yes.
- 2. Everywhere Freesia
- 3. Walkaway
- 4. Meet Joe Black
- 5. Peanut Butter Man
- 6. Whisper Of A Thrill
- 7. Cheek To Cheek в исполнении Chris Boardman
- 8. Cold Lamb Sandwich
- 9. Fifth Ave.
- 10. A Frequent Thing
- 11. Death And Taxes
- 12. Served Its Purpose
- 13. Sorry For Nothing
- 14. Mr. Bad News
- 15. Let’s Face The Music And Dance в исполнении Chris Boardman
- 16. The Question
- 17. Someone Else
- 18. What A Wonderful World в исполнении Chris Boardman
- 19. That Next Place
- 20. Somewhere Over The Rainbow/What A Wonderful World в исполнении Израель Камакавиво’оле
См. также
- «Привидение»
- «Город ангелов»
- «В глубине»
Ссылки
- Официальный сайт фильма
- Сценарий фильма
- «Знакомьтесь, Джо Блэк» (англ.) на сайте allrovi
- Знакомьтесь, Джо Блэк (англ.) на сайте Rotten Tomatoes
- Обзор и рецензия фильма Роджер Эберт
Примечания
- ↑ Box office data (Проверено 14 октября 2012)
 Фильмы Мартина Бреста |
|---|
|
Красиво уйти • Полицейский из Беверли-Хиллз • Успеть до полуночи • Запах женщины • Знакомьтесь, Джо Блэк • Джильи |
Обзор на мистическую, полную философского смысла мелодраму «Знакомьтесь, Джо Блэк».
Содержание:
- Производство фильма
- Сюжетные особенности
- Подбор актеров и прочие интересные факты
- Награды и финальная статистика
Ты берешь то, что нравится, а это не любовь! В лучшем случае — симпатия, влечение, может, даже страсть. Любовь подразумевает другое: полное доверие, жертвенность, ответственность за свои поступки, умение прощать и признавать ошибки, и в итоге — жить во благо любимой. А теперь возведи эту мысль в степень бесконечности и получишь представление, о чем я говорю…
Производство фильма
Приём эстетизации Смерти как художественного персонажа известен человечеству с давних времён. Вспомним хотя бы культуру раннего Средневековья, поэзию Франсуа Вийона и лермонтовского «Демона» в придачу. ХХ век продолжил аналогичные эксперименты.
В 30-х годах драматург А. Каселла пишет пьесу с говорящим названием «Смерть берёт выходной». Спектакль наделал много шума на Бродвейских подмостках. Он выдержал сотни представлений и двумя годами позже был экранизирован. Эта первоначальная видеоверсия получила признание жюри Венецианского кинофестиваля.
В начале 70-х годов был выпущен одноименный римейк, с треском провалившийся в прокате. По прошествии ещё пары десятков лет к сюжету пьесы Каселлы обратился американский режиссёр Мартин Брест. Он дал своей картине иное название, углубил психологические портреты заглавных действующих лиц и вдохнул в состарившийся литературный источник новую жизнь. Так появился фильм «Знакомьтесь, Джо Блэк».
К работе над сценарием был привлечён Бо Голдман (к/ф «Пролетая над гнездом кукушки»), музыкальным оформлением занимался Томас Ньюман (к/ф «Побег из Шоушенка», «Запах женщины», «Зелёная миля»). Мистическая мелодрама была отснята с июня по ноябрь 1997 года кинокомпанией Universal Pictures. Натура для съёмок получилась обширной, работа проходила в 3-х штатах: в Нью-Йорке, Нью-Джерси и в Род-Айленде.
Сюжетные особенности
Сюжетная линия фильма имеет нестандартную завязку. Главное действующее лицо кинокартины – Смерть. Но это не скелет с косой из подростковых ужастиков, а весьма обаятельный молодой человек, погибший буквально накануне. Смерть на время выбирает его тело, чтобы поразвлечься в мире живых людей, получить новые эмоции и, возможно, завести интересные знакомства.
Как ни странно, ровесница самого мироздания оказывается беспомощной в простейших житейских ситуациях (везде необходим опыт, даже в повседневных пустяках!). Ей срочно требуется собственный надёжный гид. В качестве компаньона Смерть выбирает газетного магната Перриша и заключает с ним сделку. Отныне Перриш повсюду водит с собой незнакомого молодого человека, представляя его недоумённой публике как некоего Джо Блэка.
Блэк и Перриш проводят бок о бок массу времени. При этом леденящее душу соседство не пугает бизнесмена. Он полон любви и заботы к дочерям, не печётся о богатстве и вообще ведёт себя так, как будто Смерти не существует вовсе.
Глядя на Перриша, Блэк всё больше начинает очеловечиваться: он проникается уважением к бесстрашию старика, стремится помочь ему в непростой рабочей ситуации, а в конечном итоге вовсе влюбляется в младшую дочь магната, красавицу Сьюзен. Возникшую ситуацию нужно как-то разрешать, ведь игра зашла слишком далеко. И если бы раньше Смерть не задумываясь молниеносным ударом разрубила клубок противоречий, то сейчас она вынуждена анализировать свои поступки и их возможные последствия.
Подбор актеров и прочие интересные факты
Режиссёрская ставка Бреста была сделана на триаду главных действующих лиц: Блэка, Перриша и Сьюзен. Картина не предполагала никаких зрелищных спецэффектов, только драма с элементами психологии. С поставленной задачей могли справиться лишь профессионалы соответствующего уровня.
В середине 90-х годов актёрская звезда Брэда Питта уже во всю мощь сияла на голливудском небосклоне. Поэтому никаких других претендентов на роль Джо продюсеры даже не рассматривали. Экранный образ Перриша достался несравненному Энтони Хопкинсу. На съёмочной площадке мэтр, как всегда, оставался безукоризнен.
Роль Сьюзен была отдана юной британской актрисе Клэр Форлани. К этому времени молодая англичанка уже успела поработать в связке с Ш. Коннери и Н. Кейджем, так что назвать её неопытной дебютанткой было бы несправедливо.
Съёмочный процесс проходил интенсивно. Профессиональная команда трудилась с полной самоотдачей. Однако рабочий график не стал помехой романтическим отношениям.
- Во время работы над фильмом Питт и Форлани были на самом деле влюблены друг в друга.
- Хопкинс и Брест часто спорили между собой. Режиссёр настаивал на нескончаемых дублях, а знаменитый актёр противился этому.
- На роль Перриша первоначально всерьёз хотели утвердить Дж. Хэкмена.
- Среди актёров фильма трое являются обладателями «Оскара»: Питт, Хопкинс и Марша Гэй Харден (Элисон, старшая дочь Перриша).
- Существует укороченная версия фильма, откуда вырезано большинство «деловых» сцен с Хопкинсом. Такие произвольные купюры вызвали в своё время справедливый режиссёрский гнев.
- В фильме можно заметить несколько кадровых нестыковок: бокал вина, который держит зять медиамагната, кочует из руки в руку при каждой смене следующего кадра; то же самое происходит перед юбилеем Перриша с шоколадным пирожным на блюде. Лямочки наряда Сьюзен то скрещиваются на спине героини, то лежат параллельно.
- В финале фильма звучит саундтрек «What a wonderful world», записанный ещё в конце 60-х годов самим Л. Армстронгом и включённый позднее в Зал Славы премии Грэмми.
Награды и финальная статистика
«Знакомьтесь, Джо Блэк» увидел свет 13 ноября 1998 г. Создание кинокартины обошлось в кругленькую сумму – 90$ млн! Достаточно долго фильм носил статус самого дорогого кино, в котором нет ни единого спецэффекта. Мировые кассовые сборы получились для исходного бюджета более чем скромными – чуть более 140$ млн.
В довершение всего, лента была номинирована на мировые антипремии как «Худший ремейк» и «Худший фильм года». Мнения критиков не совпали со зрительским восприятием. Публика тепло восприняла картину, философская драма многим пришлась по душе.
Сегодня фильм уверенно входит в топы самых успешных кинокартин современности. Возможно, загадка его успеха кроется в понятных человеческих ценностях, которых часто не хватает в нынешних реалиях.
Тарас С.Частный инвестор, предприниматель, блогер. Инвестирую с 2008 года. Зарабатываю в интернете на высокодоходных проектах, криптовалютах, IPO, акциях и других активах. Со-владелец нескольких ресторанов и сети магазинов электронной техники. Консультирую партнеров, делюсь опытом.
Присоединяйся в Telegram-канал блога со свежими новостями.
Чат с консультантом в Телеграм.
Знакомьтесь, Джо Блэк.
Да…
Да…
Да…
Пожалуйста, не волнуйтесь, все успеем!
Господи, здесь же еще конь не валялся.
И в график мы совсем не укладываемся!
Да, знаю, я перфекционистка!
-Но ведь так хочется, чтобы все было на высоте!
— Нам тоже.
— Но пока что мы пытаемся хотя бы успеть!
— А может сразу тянуться к звездам?
-Доброе утро.
— Доброе утро.
— Нужно решить вопрос с цветами.
— Конечно! Фрезии, только фрезии.
Везде фрезии. Папа их обожает!
Доброе утро, доброе утро. Привет!
-Что со светом?
— Со светом?
Как всегда — не очень яркий, не очень тусклый.
В духе иллюминации
на танцплощадках 20-ых годов.
Если еда — это проза вечеринок,
то освещение — это лирика!
А что, хорошее сравнение. Еда — проза. Свет — лирика?
Нормально. А если музыка — пища для любви, то играй, скрипач! Да, я схожу с ума.
Доброе утро, мистер Перриш.
— Как вам все эти приготовления, Хелен?
— По-моему, будет очень красиво.
Эллисон говорит — даже президент будет.
-У президента есть дела поважней вечеринки в честь моего дня рождения.
— Какие же это?
— Папочка! У тебя есть минутка?
— Привет, Эллисон.
Минутка, не больше. Дела не ждут.
— Ну что там у тебя?
— Я насчет фейерверка.
-Есть идея выстроить цифру 65 на реке. -Хм.
Спортсмены-лучники из колледжа Нью-Палц подожгут ее огненными стрелами
Когда загорится, будет прямо как похоронный ритуал викингов,
только без мрачного подтекста.
Речная служба Гудзона согласна в виде исключения дать добро.
Но, конечно, придется оплатить …
сверхурочные пожарной службе.
Ну как тебе?
— Пойдет? Нет?
Эллисон, я тебе доверяю. Ты у нас спец.
Но это твой день рождения! И я не люблю стрелы! Они раздражают меня.
— Привет, пап.
— Здравствуй, солнышко.
— Привет.
— Привет. Значит, ты — солнышко, а я — Эллисон!
O.
Пап, Дрю звонил из вертолета, они в двух минутах отсюда.
-Дрю летит сюда?
— Мм.
Он хочет лететь с тобой.
Может присядешь, и спокойно позавтракаешь, а то смотри, худющий какой.
— Ты мне поможешь?
— Не могу.
Конечно! У тебя пациенты! А мне разбираться с тремя поварами,
один из которых обожает трюфели, другой их ненавидит,
а третий не знает, что это такое!
— Терпеть не могу вечеринки…
— Папуль, успокойся.
Эта тебе безумно понравится.
Неужели недостаточно просто прожить 65 лет, чтобы тебе об этом не напоминали?
— Нет!
Все, пап, расслабься. У тебя серьезный день впереди.
— А ты откуда знаешь?
— Дрю сказал мне.
Он все тебе говорит?
Надеюсь.
Он тебе нравится, да?
Думаю, да.
— Не хочу вмешиваться, но-
— Вот и не надо.
Вот и наш мальчик.
Идем?
— Ладно.
— Привет, красавица.
Привет.
Доброе утро, Дрю. Спасибо, что заехал.
Сегодня великий день. Решил еще раз обсудить до встречи.
Появились какие-нибудь мысли, идеи, сомнения?
Мыслей