剧本《第六感生死缘》(Meet Joe Black)
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
H