Meet Joe Black Page #3

Synopsis: Bill Parrish (Anthony Hopkins), businessman and devoted family man, is about to celebrate his 65th birthday. However, before he reaches that landmark, he is visited by Death (Brad Pitt), who has taken human form as Joe Black, a young man who recently died. Joe and Bill make a deal: Bill will be given a few extra days of his life, and Joe will spend the same time getting to know what it's like to be human. It seems like a perfect arrangement, until Joe falls in love -- with Bill's daughter.
Production: Universal Pictures
  3 wins & 6 nominations.
 
IMDB:
7.2
Metacritic:
43
Rotten Tomatoes:
50%
PG-13
Year:
1998
178 min
6,010 Views


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 --

Rate this script:2.5 / 2 votes

Bo Goldman

There are but a few select screenwriters who are spoken of with the kind of reverence usually reserved for film Directors - Robert Towne, Alvin Sargent and Bo Goldman. Goldman is a screenwriter's screenwriter, and one of the most honored in motion picture history. The recipient of two Academy Awards, a New York Film Critics Award, two Writers Guild Awards, three Golden Globes, additional Academy Award and Writers Guild nominations and, ultimately, the Guild's life achievement Award - The Laurel. Born in New York City, Goldman was educated at Exeter and Princeton where he wrote, produced, composed the lyrics and was president of the famed Triangle show, a proving ground for James Stewart and director Joshua Logan. On graduation, he went directly to Broadway as the lyricist for "First Impressions", based on Jane Austen's "Pride and Prejudice", produced by composer Jule Styne and directed by Abe Burrows, starring Hermione Gingold, Polly Bergen and Farley Granger. Moving into television, Goldman was mentored by the redoubtable Fred Coe (the "D.W. Griffith of dramatic television") and became part of the twilight of The Golden Age, associate producing and script editing Coe's prestigious Playhouse 90 (1956)'s, "The Days of Wine and Roses", "A Plot to Kill Stalin" and Horton Foote's "Old Man". Goldman went on to himself produce and write for Public Television on the award-winning NET Playhouse. During this period, Goldman first tried his hand at screen-writing, resulting in an early version of Shoot the Moon (1982) which stirred the interest of Hollywood and became his calling card. After reading Shoot the Moon (1982), Milos Forman asked Goldman to write the screenplay for One Flew Over the Cuckoo's Nest (1975). Goldman's first produced film won all five top Academy Awards including Best Screenplay for Goldman. "Cuckoo's Nest" was the first film to win the top five awards since Frank Capra's It Happened One Night (1934). Goldman also received the Writers Guild Award and the Golden Globe Award for his work on the film. He next wrote The Rose (1979), which was nominated for four Academy Awards, followed by his original screenplay, Melvin and Howard (1980), which garnered Goldman his second Oscar, second Writers Guild Award and the New York Film Critics Circle Award for Screenplay of the Year. Goldman's first screenplay, Shoot the Moon (1982), that started it all, was then filmed by Alan Parker, starring Diane Keaton and Albert Finney, the film received international acclaim and was embraced by America's most respected film critics including Pauline Kael and Richard Schickel. For Shoot the Moon (1982), Goldman earned his third Writers Guild nomination. Over the next few years, he contributed uncredited work to countless scripts, including Milos Forman's Ragtime (1981), starring James Cagney and Donald O'Connor, The Flamingo Kid (1984), starring Matt Dillon, and Warren Beatty's Dick Tracy (1990). Goldman tried his hand at directing an adaptation of Susan Minot's novel "Monkeys", and a re-imagining of Ingmar Bergman's Wild Strawberries (1957) (aka "Wild Strawberries") as a vehicle for Gregory Peck, but for budgetary and scheduling reasons, both movies lost their start dates. Goldman returned solely to screen-writing with Scent of a Woman (1992), starring Al Pacino. Goldman was honored with his third Academy Award nomination and his third Golden Globe Award. He followed this with Harold Becker's City Hall (1996), starring Al Pacino and John Cusack, and then co-wrote Meet Joe Black (1998), starring Brad Pitt and Anthony Hopkins. More recently, Goldman did a page one uncredited rewrite of The Perfect Storm (2000). It was Goldman's script that green lit the movie at Warner Bros. and convinced George Clooney to star in the film, which went on to earn $327,000,000. In 2005, he helped prepare the shooting script for Milos Forman's Goya's Ghosts (2006), produced by Saul Zaentz and starring Natalie Portman and Javier Bardem. He wrote a script for a remake of Jules Dassin's Rififi (1955) (aka Rififi), for director Harold Becker, starring Al Pacino. Goldman is married to Mab Ashforth, and is the father of six children, seven grandchildren and one great grandchild. He resides in Rockville, Maine. more…

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    "Meet Joe Black" Scripts.com. STANDS4 LLC, 2024. Web. 28 Mar. 2024. <https://www.scripts.com/script/meet_joe_black_716>.

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