Meet joe black patois script

Meet Joe Black Movie Quotes

meet joe black patois script

Meet Joe Black script at the Internet Movie Script Database. Meet Joe Black is a film about a media mogul who acts as a guide to Death, who takes the form of a young Jamaican Woman: It nice it happen to you. Jamaican Woman: It nice it happen to you. Like you come to the island and had a holiday. Sun didn't burn you red-red, just brown. You sleep and no mosquito.

Plot[ edit ] Billionaire media mogul Bill Parrish is considering a merger between his company and another media giant, and is about to celebrate his 65th birthday with an elaborate party planned by his eldest daughter, Allison. His youngest daughter, Susan, a resident in internal medicineis in a relationship with one of Bill's board members, Drew. She is considering marriage, but Bill can tell she's not passionately in love.

When she asks for the short version of his impassioned speech, he simply says, "Stay open. Susan meets a vibrant young man at a coffee shop. He takes an interest in her and tells her that lightning may strike. She is enamored but parts without getting his name. Unbeknownst to her, the man is struck by multiple cars in a possibly fatal accident. Death arrives at Bill's home in the uninjured body of the young man, explaining that Bill's impassioned speech has piqued his interest.

Given Bill's "competence, experience, and wisdom", Death says that for as long as Bill will be his guide on Earth, Bill will not have to die. Making up a name on the spot, Death is introduced to the family as "Joe Black".

Bill's best efforts to navigate the next few days, knowing them now to be his last, fail to keep events from going rapidly out of his control. Drew is secretly conspiring with a man bidding for Parrish Communications.

He capitalizes on Bill's strange behavior and unexplained reliance on Joe to convince the board of directors to vote Bill out as Chairman, using information given to him inadvertently by Bill's son-in-law, Quince, to push through approval for the merger which William had decided to oppose.

Susan is confused by the appearance of Joe, believing him to be the young man from the coffee shop, but eventually falls deeply in love with him. Maybe it's because you found out I'm Bill Parrish's daughter. Big day tomorrow, everybody. Joe rises, follows Parrish to the door, stops: JOE to Susan Susan. He makes an awkward little bow, then heads for the nearest door.

Joe pivots, and he follows Parrish out the proper door. 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. I'm sorry, I'm a little discon- certed, that stuff between you and Susan -- uh -- threw me. 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. 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. So -- He opens a door. Chair, lamp, bed -- Parrish is in a stunned state, chatters on unconsciously: 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. Would you like the man's name?

Meet Joe Black Quotes

Parrish glances around, a room in which the occupant could not want for anything. JOE You're putting me on the spot, Bill. JOE cont'd Let's put it this way. When I go, you go. JOE That's the best I can do. I just saw my doctor, he told me everything was fine. 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 keeps still, trying to cool the heat of Joe's temper. But meanwhile, you are still here. Call it gravy, frosting on the cake, whatever it is you say. JOE Not at all.

JOE Good night to you, Bill. Parrish gently closes the door. Joe looks around, checks out his surroundings: Miss Allison asked if you would like to have your dinner kept warm? 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 nods, and heads back downstairs. Parrish enters his den, takes a seat in his chair, stares into the middle distance, ruminates. In the process he opens this door, steps out into the hallway. 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. Nice to meet you. 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 regards his peanut butter sheepishly. But miles ahead of Peter Pan. Joe nods, Coyle fashions a spoonful, offers it to Joe.

But he has not yet found a comfortable way of masticating, his mouth and tongue go every which way, the staff observes him, fascinated. JOE Yes, I am. I thoroughly enjoyed this - uh - peanut butter.

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. 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 climbs out of the pool, gets halfway up the ladder, points to a stack of towels. 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 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. 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.

JOE Do you love Drew? JOE When you put your mouth to his, Susan, it seems a frequent thing. Nor is where I put my mouth. Do you live here? Then I'm going home. JOE I don't have any. She finishes drying herself, drops the towel on a chair, and prepares to leave. 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.

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. 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. 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. Joe is completely puzzled, finally Susan heads for one door, Joe for another. Susan indicates yet another door.

meet joe black patois script

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. 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. He nods and greets them as he strides down the hall, brisk "Good morning"'s to Coyle and Luisa.

JOE Good morning, Bill. How do you feel? This is the left- field thing of all time. What do I do? What do I tell my family? You'll ruin the good start we had last night.

I felt as if I were being treated like a person. 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. This 'adven- ture' involved only me, right?

Meet Joe Black - Wikiquote

Silence as Joe considers the point, Parrish quickly crosses to him, undoes the tie, and now begins tying it for him. JOE Sounds fair enough. It's a truth exchanged between two people. JOE You've got a deal. 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! 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. 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.

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? JOE You were hatching ideas, making plans, arriving at decisions, right?

JOE So you understand the concept then. When you're busy here, your work, what your task is, is being executed elsewhere.

JOE So you've grasped the idea. 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. JOE Make an exception? 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: I'm still young, this is not my time -- JOE That's what everybody says.

JOE That's what everybody says. Parrish is trying to control himself, glances at Joe. 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.

JOE What do you mean? JOE Can you keep a secret? JOE So can I. They turn into Parrish's office building. The colt will come from the clouds and boom! I get you down, Mr. Parrish, just say the word. Parrish and Joe arrive at the bank of elevators. Jaime, back at his post, hits a button. The elevator materializes, Parrish and Joe step on.

As Parrish strides down the hall, Joe right beside him, he passes instructions back to Jennifer who, scribbling, hurries along behind them. Jennifer wheels and heads right back to the office as Parrish arrives at the door to the Board Room.

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. 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: 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. I didn't expect you, but certainly you can't get enough of a good thing.

Meet Joe Black Movie Script

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. How about some water? JOE Why yes, thank you.

DREW Hot or cold. DREW And a glass. Drew indicates to the Board's Stenographer to arrange Joe's refreshments. 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 takes a moment, draws himself up to say something official then stops himself, what follows is spontaneous, reflective, deeply felt. 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.

meet joe black patois script

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. Sounds like you're not leaving much room for discussion. I know it looks like I'm reversing my field.

But given our needs, given the absolute necessity for growth, given the fu- ture, the truth is JOE 'Death and Taxes'?

meet joe black patois script

JOE "Death and Taxes"? JOE What an odd pairing. Black, JOE Of whom? DREW It doesn't matter. JOE Then why did you bring it up? 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. Protective of Parrish, and sensing his burgeoning difficulty, he interrupts: Give it some air? JOE to Drew Those cookies were excellent. He exits with Parrish, the door closes behind them.

DREW Who is that guy? Drew grabs a telephone: They booth stop, Parrish regards him. Are you going to be breathing down my neck right 'til the very end? JOE I don't understand. Parrish tries to gather himself. I'd like to be alone for a while. JOE Are you sad, Bill? 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?

Buy a tie or something. I know I'll be seeing you. But Joe doesn't move. Parrish reaches into his pocket and hands Joe some cash. Joe stares at the money as Parrish shows him the door. JOE It can't buy happiness? Parrish opens the door. Black a map of the city. JOE No thank you, Bill. 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.

Is that your uniform? Joe doesn't have an answer. JOE Oh goodness, no. JOE I came to see you. I'm doing grand rounds and then I'm examining back-to-back patients until dinner and then -- JOE Very well, I'll watch. JOE Whatever you do. My momma's sicker'n he is.

Easter looks up and sees Joe. She abruptly becomes still, eyes wide, as if sudden recognition. But Easter just stares at Joe, fearful. Is just a man. Joe looks at Easter, curiously. She just all fever, she don' mean nothin'. 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. Susan leads Teena away. Easter is riveted on Joe. JOE I from dat nex' place.

Like you bus driver to dere? JOE smiles No, no. She winces with pain, gasping. JOE I nuttin' to do wi' dat. JOE Doctor lady make it irey. Dis pain tru an' tru. Make it go 'way. Take me to dat nex' place. Joe regards Easter, a long moment. JOE Not time yet. 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 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. He takes his hand away, and the Orderly wheels Easter off. I'll be right there. Joe remains his normal voice. JOE She's in a great deal of pain. Susan regards Joe, puzzled.

Meet Joe Black quotes

There's nothing to be sorry for -- every hospital should have someone like you. I'm glad you came. I'm so very glad to be here. She doesn't move, they search for words. JOE Well, I could come again some other time. JOE sincerely Not now. JOE cont'd Don't you want me to come again? Susan turns to go, hesitates. Susan waves softly to him, heads down the hall, glances back once to see Joe has not moved, is watching her depart. Joe is more abstracted than usual, he is starting at Parrish's food.

Joe starts eating, Parrish watches him, somewhat fascinated, Joe's chewing has improved. A little Coleman's mustard. Joe takes another big bite. JOE Truly - uh - splendid. My wife turned me onto cold lamb sandwiches. Joan -- that was my wife -- JOE familiarly Uh-huh. She knew stuff like that. Silence, Parrish getting lost in his memories. The next day she was gone. What are you going to do? JOE cont'd How was it the first time you met 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.

DREW to joe 'Just kidding'? Drew takes a moment, then plunges in. 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. And you too, Drew. I'm tired of his fancy name and his fancy offer. I'm not going for it. Drew heads for the door, turns around.

JOE Why, at this juncture, are you letting yourself be so concerned by business matters? 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. I don't need anyone to tell me how to run my life. You'll give yourself a heart attack and ruin my vacation.

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. We're never all together two nights in a row. Maybe Christmas, Thanksgiving, that's it.

Maybe he doesn't want to be alone. I don't know, Daddy seems funny to me.

meet joe black patois script

Ever since Joe showed. It's like he dropped from the clouds He nuzzles Susan's neck, out of the corner of her eye she sees Joe still observing them. 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. Allison sees Susan's eyes flicker over towards Joe. 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. I want to talk to you about them next week. Or the week after. Quince sees Parrish hesitate. 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. 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. We sent out invitations to everyone, plane tickets included -- the RSVP's are amazing. I'm sorry I don't seem more appreciative. I know you're down, but you know when you're down, Drew, there's no place to go but up. I've got some other merger possibilities up my sleeve, and I'm putting them to see old man.