第六感生死缘Meet Joe Black Movie Script

PARRISH:

Susan, I don't think Joe is going to be with us long.

SUSAN:

Where's he going?

PARRISH:

I don't know, I can't say --

SUSAN:

C'mon! The guy's working with you. You always know chapter and verse about everyone who works --

PARRISH:

In this case, I can't. I - uh -- I just can't help you. I only would tell you -- that with Joe, you are on very, very dangerous ground. Susan doesn't answer for a moment.

SUSAN:

I love him.

PARRISH:

I don't care if you love him! I'm telling you he's no good for you! A moment.

SUSAN:

Of course not, Daddy. I'm sorry. There is something in Susan's tone that lets him know not a word has sunk in. Parrish slumps. SUSAN (cont'd) I love you, too. She kisses Parrish, rearranges one of his ranks of cards, shuffles through the deck, turns over the top card, lays down a card Parrish needs. SUSAN (cont'd) Lightning does strike. Parrish watches as Susan turns, disappears out the door. EXT. THIRD AVENUE, NEW YORK CITY - TWILIGHT Joe walking disconcertedly up the street, bumping shoulders with the rush hour crowd, trapped in the life of the city, he peers intently at faces, cars, into store windows. He stops now at the window of a Korean grocery, something has caught his eye, he steps inside. Through the window, Joe can be seen making a purchase, he hands the Korean Clerk some money, walks out. Joe, back on the street now, unscrews the top of a jar of peanut butter, dips a wad out with his fingers. The Korean Clerk runs out after him.

CLERK:

Change! Change! Joe stops, uncomprehending. The Clerk hands Joe bills and coins.

JOE:

Why are you giving me money?

CLERK:

Change.

JOE:

I am who I am. I cannot change. Joe tries to hand the money back, but the baffled Clerk refuses it.

CLE:

You change!

JOE:

That's impossible. You're wasting your money. I couldn't change even if I wanted to. The Clerk, exasperated, murmurs something in his language and returns to the store. Joe continues on down the street. INT. LIBRARY, PARRISH TOWNHOUSE - NIGHT Parrish is sitting in a wing chair staring at the fire. Joe appears in the doorway, Parrish doesn't notice him. Joe waits, finally Parrish looks up. They regard each other. Silence.

JOE:

Uh --

PARRISH:

Yes?

JOE:

-- I have the feeling that, all in all, what I made this voyage for -- has served its purpose.

PARRISH:

What are you saying, that it's time to go? Joe doesn't respond, Parrish and Joe measure each other for the moment. PARRISH (cont'd) I'm ready.

JOE:

You are?

PARRISH:

Yeah.

JOE:

Good. Tomorrow, after the party. Parrish nods, Joe nods back.

MAY:

(to Parrish) Telephone call, sir. Mr. Sloane from New York. Parrish nods, starts up for a wing off the main house, Joe right at his side. Parrish stops.

PARRISH:

Excuse me. Joe, not knowing whether to be affronted or not, hesitates, and Parrish strides away. Joe does not follow. INT. PARRISH'S STUDY, COUNTRY ESTATE - AFTERNOON A low-slung but well-appointed room with a writing table, a working fireplace, expensive and appropriate Hudson Valley prints. Parrish enters, clicks on the SPEAKERPHONE, observes the party activity through a wide, bow window.

PARRISH:

Eddie? SLOANE (O.S.) (speakerphone) Yeah - Bill - How are you? You okay?

PARRISH:

Fine, fine. Big doing up here. Why are you still down here? SLOANE (O.S.) (speakerphone) The Board's working through the weekend, tying up the loose ends on this damn thing. But I want to give it one more try, I'm still holding out some hope.