第六感生死缘Meet Joe Black Movie Script

PARRISH:

How perfect for you -- to take whatever you want because it pleases you. It's not love --

JOE:

Then what is it?

PARRISH:

Some aimless infatuation in which, for the moment, you feel like in- dulging. It's missing everything that matters.

JOE:

Which is what?

PARRISH:

Trust, responsibility, taking the weight, for your choices and feel- ings and spending the rest of your life living up to them. And above all, not hurting the object of your love.

JOE:

So that's what love is?

PARRISH:

Multiply it by infinity and take it to the death of forever and you will still have barely a glimpse of what I am talking about.

JOE:

Those were my words, Bill.

PARRISH:

Well, they're mine now. Joe is silent for a moment, cogitating.

JOE:

Susan wants to come. She says she's in love with me.

PARRISH:

With you?! Who is 'you'? Did you tell her who you are?

JOE:

No.

PARRISH:

Does she know where she's going? Joe doesn't answer. PARRISH (cont'd) Susan went, in whatever way she did, for that poor sonofabitch whose body you took, and everything else since has been aftermath. You say you love her but you don't know what love is. She 'loves' you but she doesn't know who you are. You make a deal, you're breaking it -- the bottom line is, Joe, you're conducting a Great Romance under false pretenses.

JOE:

I don't like what you're saying.

PARRISH:

I don't expect you to.

JOE:

Are you threatening me?

PARRISH:

I certainly hope so -- I loved Susan from the moment she was born, and I love her now, and every minute in between, and what I dream of is a man who will discover her and she will discover a man who will love her, who is worthy of her, who is of this world, of this time and has the grace and compassion and fortitude to walk beside her as she makes her way through this beautiful thing called life. Parrish is beginning to reach Joe.

JOE:

Are you telling me I can't be part of it? A pause, Parrish's posture changes.

PARRISH:

Why did you come in here and tell me, Joe? You are the Biggest Shot of all, you don't have to ask my permission, but that's what you're doing. You know why? Because you've somewhere, somehow, developed into a good guy, and you know this is all wrong... I don't know what you're going to do -- how can this be love? She doesn't know who you are. Why don't you tell her? Try it out on her? See what happens. Reveal everything there is to know about yourself and let the chips fall where they may.Joe has received what Parrish has said. PARRISH (cont'd) Okay? -- I've given it my best shot. I wish I could tell you to sleep on it but... Parrish lets his words drift into silence, he shrugs, Joe regards him. EXT. LAWNS, COUNTRY ESTATE - NIGHT Joe makes his way down the path from Parrish's study, a weight on his shoulders, his step measured, within himself until he is hit by the lights and laughter and MUSIC of the party. He drifts into the center and runs right into Susan, couples swirl about them, the eye of a storm of gaiety.

SUSAN:

Hello, Joe. What'd you know? She smiles. SUSAN (cont'd) There's something so indescribably sexy about you in a crowd. I could make love to you right here. He hesitates, reaches out to take her hand, studies it. SUSAN (cont'd) If you're going to tell my future, you're on the wrong side. A moment.

JOE:

There is something I do want to tell you -- He stammers into silence.

SUSAN:

But you can't. Joe is about to respond but doesn't. SUSAN (cont'd) Just then -- when you hesitated -- the way you shift from foot-to-foot, I've always found endearing but just now -- I got a chill. But he drifts again, now she takes his hand. SUSAN (cont'd) Remember that morning in the coffee shop? You said 'What's wrong with taking care of a woman, she takes care of you --"

JOE:

Did I say that?

SUSAN:

And I said you'd have a hard time finding a woman like that. Joe shifts, she smiles at his embarrasement. SUSAN (cont'd) Well, you've found one, Joe.

JOE:

The 'coffee shop' --