Meet Joe Black (1998)

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.

			JENNIFER
	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.

			JENNIFER
	I've been buzzing you, Mr. Parrish.
	Are you all right?

			PARRISH
	Sure.

			JENNIFER
	Lunch is 'in' today, have you given
	it any thought --_

			PARRISH
		(interrupting)
	No.  Nothing.

			JENNIFER
	Nothing?

Parrish is within himself, doesn't answer.

			JENNIFER (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 for 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 king 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 food.

			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 there any
	prognostications about the possibil-
	ilites of a fatal collision on a golf
	cart or suffocating in an avalanche
	on a ski 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 vase, 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.

			JENNIFER
	Didn't the family get together last
	night --?

			PARRISH
		(remonstrating, gently)
	Jennifer.

			JENNIFER
	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 both 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)
		(to Teena)
	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 staring 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 Joe 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.  It 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
	Hi, Ed, hi folks, I didn't know
	everybody was going to be here, what
	a nice surprise.  What's the big
	confab?

			SLOANE
		(acidly)
	This is a secret meeting.

			DREW
		(to Quince)
	I hope you'll respect its nature --
	What we're trying to do here is
	gather our thoughts -- in light of
	Bill's rejection of Bontecou's offer
	-- and make an appropriate presenta-
	tion to him as to how we think the
	company might proceed.  Won't you
	share with our Board the information
	you gave me last night?

Quince hesitates, then realizes what Drew has on his mind.
He nods confidently to Drew, then turns importantly to the
Board.

			QUINCE
	Well, I'm happy to tell you I've got
	good news.  As I was telling Drew,
	I've been making a little hay while
	the Bontecou sun was shining -- two,
	possibly three new and boiling hot
	prospects for merger.

			DREW
	How did Bill react to the leads
	you've developed?

			QUINCE
	He was interested.

			DREW
		(prompting)
	-- But he was concerned about the
	timing?

			QUINCE
	The timing -- yes.  He says it's up
	to Joe.

			DREW
	'It's up to Joe'?

			QUINCE
	That's what he said.

Quince, having dispensed his information, looks proudly
around at the Board members.  They are stunned, Sloane in
shock.  Drew is absolutely still, letting Quince's words
sink in.

INT. DINING ROOM, PARRISH TOWNHOUSE - NIGHT

Parrish, Joe, Susan, Allison and Quince are seated at the
table, dessert plates in front of them, coffee cups beside.
Allison and Susan's eyes are on Parrish, looking for some
clue as to why has he gathered the family together yet
again.  Parrish is somewhat within himself, but he peeks
over his demi-tasse cup at Joe, Parrish aware of Joe's
heightened interest in Susan, and Susan's reciprocation.

Coyle enters carrying two imposing stemmed silver trays with
cakes on them, Luisa follows with one other.  They set them
down in front of Parrish.

			PARRISH
	What is this?

			ALLISON
	Annie made them.

			PARRISH
	Who's Annie?

			ALLISON
	From La Rosette, only the greatest
	pastry chef in America.
		(pointing)
	This is orange, from real Seville
	oranges.  Lemon, on a mille-feuille
	crust, a little on the fanciful.
	And a while, nothing like a good old
	white cake, vanilla, with Angel food
	but some maroons shavings thrown in.

			PARRISH
	I don't like cake.

			ALLISON
	It's for the party, Dad --

			PARRISH
	Oh, the goddam party --

			ALLISON
	'Goddam party'!

Allison bursts into tears.

			ALLISON (cont'd)
		(to Quince)
	Did you hear that?

Quince quickly slashes a piece, takes a huge bite.

			QUINCE
	This is great, honey.  The orange.
	Has it got a little vodka in it?
	Like that Finnish stuff, orange
	vodka --
		(to Parrish)
	Put your lips around this one, Bill.
	It's out of this world.

			PARRISH
	No thank you, Quince.
		(to Allison)
	I'm sorry, honey.  I'm no good at
	this.  Why don't you choose whatever
	cake you like?

			ALLISON
	I knew you were going to say that.
	Tito Puente.  The old platoon.  Now
	the cake.  You just don't care.  Why
	did I do this?  I should have my head
	examined.  I'm trying to throw the
	party for the century for my father --
	and you know what -- he doesn't give
	a shit.

She bursts into tears all over again.

			QUINCE
	But he does give a shit.  Don't you,
	Bill?

			PARRISH
	Yeah, I give a shit.

			QUINCE
	See.  There.  What'd I tell you?

Joe watches as Quince dabs at Allison's tears with a napkin.

			QUINCE (cont'd)
	Feel better?

			ALLISON
	Yeah, but --

			QUINCE
	But what?

			ALLISON
	What will I tell Annie?

Parrish forks a bit of a cake.

			PARRISH
	This one.

			QUINCE
	The vodka.  What'd I tell you?

Quince puts a reassuring arm around Allison, she seems to
relax now, Joe has been a keen observer of what has trans-
pired between husband and wife, between man and woman, a
sense that he has taken in the virtue of such a relation-
ship.

INT. SALON, PARRISH TOWNHOUSE - NIGHT

After dinner, Parrish, Allison and Susan are gathered to-
gether.  At the bar on the other side of the room, Joe
watches as Quince pours himself a stiff hooker of brandy.

			JOE
		(to Quince)
	Cirrhosis of the liver is the fifth
	leading killer of adult Western
	males.

			QUINCE
	I didn't know that.

			JOE
	On the other hand, Winston Churchill
	drank a bottle of cognac a day and
	lived until he was ninety-one.

After a moment.

			QUINCE
	You're an original, Joe.  A little
	hard to figure, maybe...

			JOE
	And you're a nice man, Quince.

			QUINCE
	Thanks.

			JOE
	You're welcome.

ANOTHER ANGLE

Drew appears unannounced in the doorway, exchanges a tense
glance with Susan, then heads straight for Parrish who seems
surprised to see him.

			DREW
		(to Parrish)
	Sorry to intrude, Bill, but we've
	got a bit of a crisis downtown --
	it's not something we could talk
	about on the phone.

Parrish takes Drew aside.

			DREW (cont'd)
	The Board's real unhappy, Pappy --
	they felt you dealt with them pre-
	emptorily, you never gave them a
	chance to speak --

			PARRISH
	What is there to say?  They know
	what John Bontecou is -- and if they
	didn't, they know now.

			DREW
	Yes, you made your feeling abun-
	dantly clear.  Now they want to do
	the same with theirs.

			PARRISH
	What are their feelings?

			DREW
	If I read this Board right now, they
	want you to accept Bontecou's offer.

			PARRISH
	Over my dead body.

Parrish's burgeoning anger has now gotten the attention of
Joe, Susan, Quince and Allison.

			DREW
	What do you think the Board is going
	to say when I tell them that?

			PARRISH
	I don't care.

			DREW
	With all due respect, you damn well
	better care because if you try to
	stonewall them again, there'll be
	blood on the floor.

Silence, Parrish carefully calibrating Drew's remark.

			PARRISH
	Whose?

			DREW
	Yours.

			PARRISH
	I'm feeling real uncomfortable right
	now because the guy who reports to
	me is threatening me.

			DREW
	I'm just giving you the truth.  There
	was a time when William Parrish liked
	the truth.

Joe, although across the room, is all attention.

			PARRISH
	I think it's time you went home,
	Drew.

			DREW
	Certainly.  Goodnight.

Drew goes, everybody is in shock, Susan pursues him out into
the hallway.

			SUSAN
	Drew!

He stops.

			SUSAN (cont'd)
	Never talk to my father like that
	again.

			DREW
	Don't worry about it.  There's a
	beginning and a middle and an end
	to everything.  And I think I've
	come to the end of my chapter with
	the Parrishes.

Joe has followed them into the hallway.

			DREW (cont'd)
	And the end began with this guy.

Drew looks down towards Joe.

			DREW (cont'd)
	Mr. Black --?  We ran a check on you
	and you know what we came up with?

			JOE
	No, I don't --

			DREW
	Not good, not bad, you know what we
	got?  Nothing.  No credit, no cars,
	no mortgages -- no wives.  Nothing.

Joe waits.

			DREW (cont'd)
	All of a sudden a guy appears on the
	scene with the Chairman of one of
	the greatest communications corpora-
	tions of the world, the boss makes
	him privy to all the company's
	secrets, he attends the Board meet-
	ings, and us working stiffs with
	MBA's up the ass and years and years
	and years of experience, we're left
	outside with our noses pressed
	against the window.

Joe doesn't respond.

			DREW (cont'd)
	This is a big-time operation, deal-
	ing in big-time issues, demanding
	big-time executives who make big-
	time decisions.  So, Joe, why don't
	you tell me exactly what it is
	that's big time about you?

After a moment.

			JOE
	You first.

			SUSAN
		(to Drew)
	Why don't you get off his case?

			DREW
	Oh, you're the great Joe's attorney
	now?  Are we going to go to court?
	Or are we going to go to bed?  And I
	don't mean you and me.  I mean you
	and him.

			SUSAN
	That's it.  It's over.  Get out.

			DREW
	So I guess a blowjob's out of the
	question?

Joe clears his throat.

			DREW (cont'd)
	Did you say something?

Joe considers him evenly.

			JOE
	Almost.

			SUSAN
		(to Drew)
	I said get out.

Now Drew wheels, heads right for the front door and exits with
a SLAM.

			JOE
	What an angry fellow.

A moment passes before Susan realizes she and Joe are alone,
and Joe does as well.

			SUSAN
	I'm sorry about --

			JOE
	Please.  We don't need to talk about
	Drew.

She regards Joe.

			SUSAN
	No.  We don't.

They drift, osmotically, into the library in awkward silence.

			SUSAN (cont'd)
	Brave you had a chance to look at
	Dad's rare books?  Jefferson's
	Parliamentary Manual, a first
	edition Bleak House --

Joe comes closer, takes a deep breath.

			JOE
	I love your smell.

			SUSAN
	-- I guess you haven't.

Now Susan, close to Joe, leans closer, her nose in Joe's
neck.  Joe holds himself very still.

			SUSAN (cont'd)
	I like your smell, too.

			JOE
	Thank you.

			SUSAN
	It was everything.

Silence, the TICKING of the clock.

			SUSAN (cont'd)
	When I was little, my mother used to
	say, "Darling, you could set your
	heart by this clock".

			JOE
	-- Could you?

			SUSAN
	Never tried, 'til now.
		(suddenly)
	Joe, may I kiss you?

			JOE
	Why, yes.  Thank you.

A moment.

			SUSAN
	You're welcome.

Susan reaches out for Joe, they kiss, he is awkward but his
very awkwardness endearing.  Susan pulls him closer, they
linger now, mouths on each other's, then separate.

			SUSAN (cont'd)
	Thank you.

			JOE
	You're welcome.

The clock TICKS on.  A sense of foreboding falls over Joe's
face, his fear that he is passing through some barrier, a
point of no return.

			SUSAN
	Joe?

The apprehensive expression on Joe's face fades away.

			JOE
	Yes?

			SUSAN
	I don't know who you are.

			JOE
	Well...I'm -- uh, Joe.  And you're
	Susan.  And I - uh - have this weak
	feeling in my knees --

			SUSAN
	And is your heart beating strangely?

			JOE
	Faster.  And I want the scent from
	underneath your ears and the taste
	of your lips and the touch of your
	tongue to stay with me -- forever.

An intake of breath.  She is about to speak.

			JOE (cont'd)
	And you don't even have to say a
	word.

Their faces inches from each other's.

			SUSAN
	I have to go home.

But neither Susan nor Joe moves.

			SUSAN (cont'd)
	Don't I?

Her question makes Joe, almost involuntarily, smile.  Susan
takes the opportunity to step back from him.  The SOUND of
someone at the door, it is Parrish, Susan turns, comprehends
immediately how the situation will appear to him.

			SUSAN
	Goodnight, Daddy.

She drifts right past him, exits.  Joe and Parrish are left
alone now, eyes on each other's.

			JOE
	Hello, Bill.

			PARRISH
		(carefully)
	Hello.  Would you like to join me,
	Quince and Allison for a nightcap?

			JOE
	Um -- not right now.

An awkward moment.

			PARRISH
	Okay.  Goodnight.

			JOE
	Goodnight.

Parrish turns and exits, Joe's head inclines, he breathes in
the scent of his collar.

						CUT TO:

INT. EXECUTIVE SUITE, PARRISH COMMUNICATIONS - NEXT DAY

Parrish, followed by Joe, emerges from his private elevator,
is greeted as usual:

			JENNIFER
	Good morning, Mr. Parrish.

			PARRISH
	Good morning, Jennifer.

			JENNIFER
	The Board is waiting.

			PARRISH
	What?

			JENNIFER
	Didn't you call a Board meeting?

Jennifer sees Parrish is trying to right his balance, she
knows better than to press the point.

			JENNIFER (cont'd)
	Yes, the members are waiting.  They
	are in the Board room now.

Jennifer nods respectfully as Parrish doesn't cast a flicker
of any further surprise, heads straight for the Board room,
Joe right beside him.

INT. BOARD ROOM, PARRISH COMMUNICATIONS - DAY

Parrish and Joe enter, the entire Board is assembled, includ-
ing Drew, Quince and Sloane.

			PARRISH
	Good morning.

An odd mixture of responses, the Board sheepish and at the
same time looking their most dutiful at this odd meeting,
its sudden convening clearly a problem for Parrish, a prob-
lem which he does not attempt to hide, only control.

			DREW
	Did you want to have a cup of coffee
	or something, Bill?

			PARRISH
	I don't think so.  Do you?

Drew gets the message, at the same time Joe is checking out
all the attendees, his eyes come to rest on Drew.

			DREW
		(to Parrish)
	To get to the point, we have re-
	ceived new information from John
	Bontecou concerning his desires for
	this company to merge with his, and
	we wanted to set the details before
	you.

A moment as Parrish looks around, the moment extends, it
appears he may not ever answer.

			PARRISH
	That's it?

			DREW
	Bontecou wants a quick response
	and --

			PARRISH
	The answer is no, quick enough for
	you?

			DREW
	Don't you want to hear the details?

			PARRISH
	I'm not interested in the details.
	And I'm not interested in the big
	picture either.  What I am inter-
	ersted in is how my Board got conven-
	ed behind my back, is entertaining a
	further proposal from a man whom it
	offends me to do business with,
	moreover has the audacity to present
	this to me like a prize fish, and I
	am expected to clap for it like a
	performing seal.  No, thank you.

			DREW
	So I am to understand from your re-
	sponse that you do not want to hear
	the details of Bontecou's offer?

			PARRISH
	Yes, you are to understand that, and
	now may I ask you a question?

			DREW
	Certainly, Bill.

			PARRISH
	Are you running this Board or am I?

Sloane leans in.

			SLOANE
	We're not getting anywhere here.
	Why don't we take some of the best
	out of this thing, let's consider
	it coolly, let's take a week --

			DREW
	Bontecou wants a speedier response
	than that.

			SLOANE
	He'll wait --

			PARRISH
	Doesn't need to.  Today, tomorrow,
	a week from now -- 'a week from
	now', who can think about a week
	from now -- the answer is going to
	be the same -- a loud, unmistakable,
	all-inclusive, airtight -- 'No'.

A BUZZ amongst the Board, they finally rustle into silence
under Parrish's withering glance.

			PARRISH (cont'd)
	That's it?  I've got a busy day
	and this meeting has already set
	me behind.  Shall we adjourn?

			DREW
	Before we do, while we're here,
	there is a second question the
	Board would like a response to,
	a far simpler one.

Parrish waits.

			DREW (cont'd)
	Who is the man sitting to the right
	of you?

Everybody's eyes are on Joe.

			PARRISH
	I've already introduced Mr. Black to
	you all.

			DREW
	But who is he?  What are his creden-
	tials?  What is his relationship to
	you?

No response from Parrish.

			DREW (cont'd)
	The feeling of the Board is this: we
	fear Mr. Black is not only influenc-
	ing your decisions in regard to this
	company, but that you are relying on
	him to make them for you.

Quince flinches at these words, his hands clasped in front
of him, his knuckles white as Parrish regards Drew, but still
does not answer.

			DREW (cont'd)
	The lack of response, Bill, is not
	appropriate.  We are your Board, we
	have a right to know how you are
	managing the operations of this
	company, and most importantly, that
	you have not delegated someone to do
	it for you.

Parrish squirms, desperately uncomfortable but still does
not speak.

			DREW (cont'd)
	Okay, one more time.

Drew regards Joe.

			DREW (cont'd)
	Who is Joe Black?

Parrish stares stoically into the middle distance as
Quince's head sinks into his hands.

			DREW (cont'd)
		(to the Board)
	A motion has been brought before
	the Board to invoke Article 19 of
	the corporate charter.

			PARRISH
	In English, please.

			DREW
	Mandatory retirement upon our
	Chairman's sixty-fifth birthday.

Parrish is expressionless.

			DREW (cont'd)
	At which time, the Chairman will be
	named Emeritus, he will be welcome
	to attend all meetings, and will
	serve as International Spokesman for
	the corporation plus, of course, a
	settlement, a golden parachute of
	such magnitude that his feet will
	never touch the ground.

Drew pauses.

			DREW (cont'd)
	Please indicate your vote by a "Yes"
	or "No".

A "Yes" is heard, now another "Yes", now more "Yes"es, all
reluctant, "No" from Sloane, "No" from Quince who realizes
he is the instrument of Parrish's dismissal.

			DREW (cont'd)
	The motion is passed.  We will of
	course delay the announcement, out
	of respect for our former Chairman,
	until after the celebration of his
	birthday this weekend.

			PARRISH
	Thank you for allowing me to save
	face, Drew.

Joe's eyes are riveted on Drew.

			DREW
		(to the Board)
	The other motion before us is the
	acceptance of John Bontecou's offer
	to merge this corporation with
	Bontecou International --

Parrish stands, Drew stops speaking.

			PARRISH
	Joe?

Silence, then Joe rises.

			JOE
		(to the Board)
	Who I am, and my relationship to
	Bill, will be divulged in our own
	good time.

Joe follows Parrish out of the room.

INT. HALLWAY, OUTSIDE BOARD ROOM - DAY

Sloane has pursued Parrish and Joe.

			SLOANE
		(to Parrish)
	...It's not over, 'til it's over.

			PARRISH
	Please, Eddie, no 'Fat Lady Sings"
	shit.

			SLOANE
	I still sense some doubt in this
	group, we could turn it around.
	You'll be up in the country?

			PARRISH
	Yes, the big 'celebration' of my
	mandatory retirement birthday.
	You're an honored guest, Eddie.

			SLOANE
	I'm going to stick it out here.  We
	still have a shot.

The elevator door opens, Parrish and Joe step inside and the
door closes, leaving Sloane behind.

INT. HALLWAY, PARRISH COMMUNICATIONS - DAY

The Board meeting has broken up, clusters of members have
lingered, exchanging post-mortems.  And enraged Quince has
cornered Drew, out of earshot of the others.

			QUINCE
	What have you done?  You've gotten
	the old man fired!

			DREW
	That we did.  Thanks to you.  He was
	wobbling, mind you, but you spplied
	the coup de grace.

Quince falls silent, aquiver with this reality.

			QUINCE
	I'm going to put a stop to this!

			DREW
	Quince, you can't unscramble
	scrambled eggs.

			QUINCE
	But I didn't mean to do it!

			DREW
	The train's left the station, pal,
	and you're aboard.  Would you like
	to hear the silver lining?  Check
	that, gold.  I've been working with
	John Bontecou all along.  We had
	a game plan -- acquire Parrish
	Communications then break it apart
	and peddle it piece-by-piece to the
	highest bidder.  I set it up for
	him, he smacks it out of the park.

Quince is struck dumb.

			DREW (cont'd)
	Don't you know what this'll mean?
	You'll be rich.  You'll sell your
	stock, you can stop kissing ass --
	What'll it feel like to be a man?

			QUINCE
	I don't want to get rich this way --
	I'm going to expose you.

			DREW
	Go right ahead.  Tell William
	Parrish how you betrayed him at
	a secret Board meeting.  And tell
	Allison how you got her father
	fired -- and he lost his company.

Quince goes ashen.

			DREW (cont'd)
	It's just life, Quin-cee.

Drew hails an employee across the hall.

			DREW (cont'd)
		(to Quince)
	Wake up and smell the thorns.

Drew joins the employee as Quince slumps against the wall.

INT. FOYER, PARRISH TOWNHOUSE - DAY

Parrish enters, Joe right behind him, Coyle takes their coats,
disappears.  Parrish hesitates for a moment, shrugs as if he
has a thought he doesn't want to share, then heads upstairs
with Joe.  He is trudging a bit, Joe senses his mood.

			JOE
	I'm sorry, Bill --

			PARRISH
	That's okay.

			JOE
	What's okay?

			PARRISH
	Just a manner of speaking.

Joe seems puzzled.

			PARRISH
		(cont'd)
	What 'okay' is, it's 'okay' it's
	over.  We've got bigger fish to fry,
	don't we, Joe?

			JOE
	'Fish'?

			PARRISH
	Never mind.  I'm tired.  I'm going
	to take a nap.

A moment.

			PARRISH (cont'd)
	Are you hungry?  Coyle will have
	Luisa fix you something to eat.

			JOE
	I'm not hungry.

			PARRISH
	Then I can't help you.

Parrish turns into his bedroom, closing the door gently
behind him.  Joe continues down the hall, enters the guest
wing.

INT. GUEST SUITE, PARRISH TOWNHOUSE - DAY

Midday sunlight streams into the sitting room, Joe passes
through to his bedroom, sits tentatively on the bed, feels
the edge of the silk spread, touches the pillow, then rises
again, crosses back to the sitting room.

Susan appears in the doorway, Joe suddenly senses her, turns
around.

			SUSAN
	You're here?

			JOE
	I am.

He stands, they regard each other for the moment.

			JOE (cont'd)
	May I take your coat?

She doesn't answer, starts to take off the coat herself, Joe
comes around her to help, Susan senses him breathing in the
scent at the back of her neck.

			SUSAN
	I just thought I'd drop by, scrounge
	a little lunch, I was in the neigh-
	borhood --

			JOE
	How beautiful.

He starts to hang Susan's coat up.

			SUSAN
	Just throw it on the chair.

Joe holds her coat carefully on the chair.  An awkward
moment, the two of them shifting from foot-to-foot.

			SUSAN (cont'd)
	When I called, they said that you
	and Daddy had just left the office.

			JOE
	He's taking a nap.

			SUSAN
	He must be tired -- this Bontecou
	thing --

			JOE
	Yes, he's tired.  I believe so.

A moment.

			JOE (cont'd)
	You must be hungry?

Susan sits on the couch.

			SUSAN
	No, not anymore.  Are you?

Joe hears the question but doesn't answer, sits down on the
couch beside her.

			SUSAN (cont'd)
	(after a moment)
	Are you cold?

			JOE
	...No.

			SUSAN
	Maybe it's the draft through the
	door.

She gets up, closes the door, sits back down again next to
Joe.  A warm, awkward silence, they move closer to each
other, now they fall into a foreplay which Susan recognizes
as such, Joe, on the other hand, participates hungrily but
has no knowledge where it is leading.  His movements are
instinctive, the smell of her hair, the shape of her fin-
gers, odd things about her seem to interest him.  This
excites her because she senses his untutoredness and the
very sense of that stirs her, their reactions to each other
are intuitive and spontaneous; even though Joe has no know-
ledge of how to make love to a woman, ironically his actions
are such that they never beg the question -- has he done it
before.

Strange territory for Joe, not to be 'in control' and exert-
ing his power, but his inventions and responses in lovemak-
ing are so real that an emotional exchange between he and
Susan builds.  Joe has found himself in an unexplored land
of feeling and passion, he loves what is happening and yet
at the same time, is terrified by it.  He feels himself being
lured by some power he has not only never been aware of, but
is deeply dangerous to partake of; he knows what he is doing
is putting who he is at great risk, yet he goes right on.
The powerful contradiction is transmitted to Susan, and in
the end there is the knowledge they have together made a
journey, they both have been swept away in a stream of events
they have created; and they don't care about the consequences.

Spent, they lie in silence.  Finally Susan speaks:

			SUSAN
	It's so wonderful to make love to
	you.  It's like making love to some-
	one who has never made love before.

Joe senses an opportunity not only to admit to what she has
said, but to tell her more, even the truth about himself.
He weighs, then resists, the impulse.

			JOE
	Thank you.

Her head nestles underneath his arm, she has a sense of his
comforting her without knowing that he is doing so.

			SUSAN
	Did you like making love to me?

			JOE
	I loved it.

			SUSAN
	More than you love peanut butter?

			JOE
	Yes!

She laughs at the earnestness with which he answers.

Joe seems to drift away now, they lie together as one but for
the first time, she feels separate from him, sensing him gone
to some distant, distant land.

			SUSAN
	Where are you going?

			JOE
	Nowhere?  I'm...here.

			SUSAN
	For how long?

			JOE
	Oh, I hope a long, long time.

A moment.

			SUSAN
	Me, too.

Another moment.

			JOE
	What do we do now?

She smiles.

			SUSAN
	It will come to us.

INT. FOYER, PARRISH TOWNHOUSE (LATER) - DAY

Joe and Susan are at the front door, he has helped her
on with her coat, she turns around, they kiss.  The kiss
lingers, Susan breaks away, reaches for the door, looks back
longingly at Joe and then she is gone, Joe closing the door
softly after her.

He turns back into the foyer, looks up, Parrish is on the
balcony, it is clear he has observed Joe and Susan.

			JOE
	Hello, Bill.

Parrish, in a state of shock, doesn't answer for a moment.

			JOE (cont'd)
	Did you have a nice nap?

			PARRISH
	I couldn't sleep.

			JOE
	I'm sorry to hear that.

He starts up the stairs.

			PARRISH
	No, I'll come down

Joe waits guardedly at the bottom of the stairs as Parrish
descends.

			PARRISH (cont'd)
	What's going on?

Joe senses Parrish's tone, doesn't answer.

			PARRISH (cont'd)
	I saw you kiss Susan.

			JOE
	Yes, I saw you see me.

			PARRISH
	Well, you're at the wrong place at
	the wrong time with the wrong woman.

			JOE
	I'll be the judge of that.

			PARRISH
	I'm her father!

			JOE
	With all due respect, Bill, I'm not
	asking your permission.

			PARRISH
	Well, you goddam well should.  You
	walk into my life, give me the worst
	news a guy can get, have me dancing
	on the heads of pins with my busi-
	ness and with my family, and now
	you're spooning with my daughter.

			JOE
	'Spooning'?

			PARRISH
	Yes, and stop repeating everything I
	say, and turning it into a question.
	Spooning, fooling around, God knows
	what.  You arrive on the scene -- why
	you picked me, I still don't under-
	stand --

			JOE
	I picked you for your verve, your
	excellence, and for your ability to
	- how shall I say - instruct.  You've
	lived a first-rate life.  And I find
	it eminently usable.

Parrish measures Joe.

			PARRISH
	What do you want?

Joe doesn't answer, riveted now on Parrish.

			PARRISH (cont'd)
	Everybody wants something, Joe.
	You've been taking me from pillar
	to post here.  I thought I knew who
	you were, and it wasn't a whole lot
	of fun, however it was almost bear-
	able.  Now I'm getting something
	else from you, something very, very
	strange -- what is it that you want,
	Joe?

			JOE
	I'm only following the Parrish
	bywords.  Looking for that 'ounce
	of excitement', that 'whisper of a
	thrill' -- What there is no sense
	living your life without.  You know
	what I mean, Bill.

Parrish's jaw sets.

			PARRISH
	You're violating the laws of the
	universe.

			JOE
	This universe?

			PARRISH
	Any universe that exists or ever
	existed.  You may be the pro, Joe.
	But I know who you are.  And you're
	all fucked up.

			JOE
	I don't like your tone, and I don't
	like your references.

			PARRISH
	And I don't give a shit.

			JOE
	May I remind you this is not just a
	dispute with a putative suitor, this
	is me.  So watch it...Bill.

			PARRISH
	Cut the 'Bill' crap out -- you
	sonofabitch.

			JOE
	I told you, 'watch it'.

Silence.  Now Joe turns on his heel, heads right out the
front door.  Parrish is left solitary, confounded, staring
at the closed door.

INT. EMERGENCY ROOM AREA, NEW YORK HOSPITAL - DAY

Joe walks down a hallway, a bouquet of flowers in hand,
looks around the usual feverish activity, he seems lost for
the moment, but a Receptionist catches his eye.

			RECEPTIONIST
	Can I help you?

			JOE
	Dr. Parrish.

			RECEPTIONIST
	She comes on at 6.

			JOE
	Oh.

He looks at the flowers, regards them for a moment, then
heads for an elevator.

INT. EASTER'S ROOM, NEW YORK HOSPITAL - DAY

Easter is sitting up in bed, hooked up to an TV and moni-
tors.  She glances over at the doorway, Joe is standing
there, observing her.  An awkward silence, he looks at
his flowers again, now sets them respectfully on Easter's
bedstand.

			EASTER
	Mistah Bad News.  'Bout time you
	show up.

Joe speaks to her in the dialect.

			JOE
	Don' be facety, woman.

			EASTER
	None facety, mistah.  You come for
	me?  Dat's good news.

			JOE
	No, I come to see Doctor.

			EASTER
	Doctor?  What could be wrong wit'
	you?

			JOE
	Nuthin'.

Silence, then Easter smiles.

			EASTER
	Oh, you come to see Doctor Lady?

			JOE
	Yes.

			EASTER
	My Doctor Lady?

			JOE
	Mine, too.

She thinks about this for the moment, Joe grows uncomfort-
able.

			EASTER
	You in love?

Joe seems slightly tormented by the question, Easter senses
him trying to frame a respect.

			JOE
	Yah.

			EASTER
	You loved back?

			JOE
		I am.

			EASTER
	She knows you real self?

			JOE
	She knows how she feel.

			EASTER
		(scoffing)
	Rass!

			JOE
		(irritably)
	Don' need you okayin'.

			EASTER
	Schoolboy tings is you head.
	Badness for you, badness for her,
	badness for me, lyin' here tumor,
	big as breadfruit, poison my inners
	an' waiting.

			JOE
	Brung you flowers and all I gettin's
	facety back.

			EASTER
		(stubbornly)
	Only flowers I wan' see's one's
	over my peaceful self restin' in
	the dutty.

			JOE
	Can do no right by people.  Come to
	take, you wan' to stay, leave you
	stay, you wan' to go.  Rahtid!

Silence, Easter waits, watching Joe.

			EASTER
	You not in you right place, mistah.

Easter's response stops Joe cold, he looks away and then
back at her, she had clearly reached him.

			EASTER (cont'd)
	I ain' either.  No more.  You come
	wi' me now.  Take me.

			JOE
	But I not lonely here.  Somebody
	want me here.

Easter considers Joe, she smiles sympathetically.

			EASTER
	It nice it happen to you.  It like
	you came to Cat Island and you had
	a holiday, sun didn't burn you red,
	just brown, sleep no mosquito eat
	you, rum no pound you head nex' day.
	But trut' is, dat bound to happen,
	you stay long enough.  So tak dat
	nice picture home wi' you, but don'
	be fooled.  We lonely here mostly,
	too.  If we lucky, we got some nice
	pictures.

Easter drifts into silence, her eyes and Joe's meet, a sense
they understand each other.  Easter shifts, trying hard to
ease her discomfort.

			JOE
		(gently)
	Got enough nice pictures, Easter.

She looks at him and nods gratefully and closes her eyes.
Joe watches her, now his eyes close.  Easter exhales
raspingly, falls still.  The monitors flatline.  A beeping
alarm sound somewhere down the hall.

Joe opens his eyes, takes a deep breath, he seems troubled.

			JOE (cont'd)
	G'bye, sistah.

He slips out of the room.

INT. LIBRARY, PARRISH TOWNHOUSE - LATE AFTERNOON

Parrish is playing solitaire.  The SOUND of the front door
closing, HEELS crossing the foyer, he looks up, at the foyer
door is Susan.

			PARRISH
	Hello, honey.

He starts to get up, she motions to him to stay, looks
around now.

			SUSAN
	Where's Joe?

			PARRISH
	Joe?

A silence.

			PARRISH (cont'd)
	Joe's not around.

			SUSAN
	Where is he?

			PARRISH
	I don't know.

Susan seems distracted.

			PARRISH (cont'd)
	Why are you looking for Joe?

			SUSAN
	Because I was sitting in a staff
	meeting, incredibly bored, my mind
	kept wandering and the only place it
	landed was -- Joe.

			PARRISH
	I don't understand.

			SUSAN
	Love.  Passion.  Obsession, all
	those things you told me to wait
	for.  Well, they've arrived.

Parrish blinks, stares down at his cards.

			PARRISH
	This is crazy --

			SUSAN
	Why?  A man appears at your side,
	almost never leaves it, you clearly
	trust him, depend on him, I sense
	you value him deeply, why aren't
	those things good enough for me?

			PARRISH
	You don't know anything about Joe --

			SUSAN
	What are you afraid of, Dad?  That
	I'll fall head over heels for Joe --
	well, I have -- as you did with Mom.
		(a moment)
	That's always been standard,
	whether you like or not.

Parrish tries to get hold of himself, changes gear now.

			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.

						CUT TO:

EXT. HELICOPTER POV, HUDSON VALLEY - AFTERNOON

A bird's eye view of the Hudson, over the George Washington
Bridge, past the widest expanse of the river at the Tappan
Zee, coming in now over the great lawns and old estates of
the Upper Hudson Valley, down towards Annadale-on-Hudson
and the Parrish country estate, which commands a beehive of
activity, tents and workmen and vehicles.

EXT. PARRISH COUNTRY ESTATE - AFTERNOON

The Parrish AStar sets down in its roped-off landing area.
The Butler runs towards it to open the door, Parrish and
Joe disembark.  Following the Butler, they make their way
through the maelstrom: tents being raised, platforms for
music groups, portable pools with clusters of florists
leaning over the edge to arrange lily pads within.  Parrish
and Joe move solemnly, observing the activity, not speaking
to one another.  Although they are shoulder-to-shoulder,
there is a distance between them.  They walk on past chan-
deliers in the garden and fake trees with lights woven
through their branches.  Adding to the confusion, the AStar
lifts off, the chandeliers rocking and floral pools rippling
from the blast of the rotors.  May, the housekeeper, appears.

			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.

			PARRISH
	Eddie, hold out all the hope you
	want but, I promise you, it's hope-
	less, it's over.  Come on up, let's
	get drunk, if I had your shoulder
	to lean on I might actually enjoy
	this --

			SLOANE (O.S.)
		(speakerphone)
	No, I'm going to stay down here,
	keep my finger in the dike and maybe
	by Monday, the waters could recede.

			PARRISH
	If you're trying to show me lay-
	down-in-front-of-the-bus loyalty,
	forget it.

			SLOANE (O.S.)
		(speakerphone)
	Sorry, Bill, have a drink, eat your
	cake, blow out the candles and make
	a wish.  Talk to you Monday.  Okay?

			PARRISH
	Okay, Eddie -- anyway, thanks for
	the memory.

Parrish clicks off the SPEAKERPHONE, turns around and looks
out the window again, the party preparations in full swing,
colored lights are tested, they flicker on and off.

EXT. LAWNS, COUNTRY ESTATE - AFTERNOON

Allison is everywhere, Parrish emerges from his wing, she
catches his eye immediately, the calm director of a DeMille-
like epic, politely giving workers instructions, making
lightning decisions.

Parrish turns his attention now to an ice-filled fountain
encircling two giant topiary letters written in faux-
Cyrillic, a 'B' and a 'P', as rubber-booted delivery men
carefully arrange giant ice chests of caviar under each
letter.  A smile creases Parrish's face as, in an unexpected
lull, Allison backs into him at the fountain.

			ALLISON
	Hi, Daddy, what do you think?

			PARRISH
	It's starting to grow on me.  But
	what do the 'B' and 'P' mean?

			ALLISON
	The fountain is the Caspian Sea and
	the Sea is serving up caviar.  The
	'B's for Beluga, the 'P' for
	Petrossian.  Of course, they also
	stand for 'Bill' and for 'Parrish'.

			PARRISH
	Do they, m'dear?

			ALLISON
	-- Plus we've got a baritone with a
	balalaika coming from The Russian
	Tea Room.  I've dressed him in a
	Cossack shirt and he'll sing Nelson
	Eddy songs.

Parrish shakes his head.

			PARRISH
	You are amazing.  Why, oh why,
	Allison, are you doing all this?

But before she can answer, a workman is tugging at Allison's
sleeve, she turns away from Parrish to give him instructions
out of Parrish's earshot, and then turns back, they step away
now, daughter and father, alone.

			ALLISON
	I do it because I love you.  Because
	everybody I loved you.  Mommy -- wher-
	ever she is -- Susan, Quince, the
	people who work for you, everybody
	who's ever known you.

			PARRISH
	Yeah?  And what about my enemies?

			ALLISON
	They respect you.  Isn't that a kind
	of love?

Unexpectedly, Allison brushes a lock away from Parrish's
forehead, with a flick she has rearranged his hair, he
blinks, a little embarrassed, but having liked it.

			ALLISON (cont'd)
	Above all, you've been a wonderful
	father.

			PARRISH
	I haven't been the father to you
	that --

			ALLISON
	That you've been to Susan?

			PARRISH
	I wasn't going to say --

			ALLISON
	But that's what you were thinking.
	And that's okay.  Because I know you
	love me.  Not like it is with Susan,
	the way your eyes light up when she
	comes in the room and the way she
	always gets a laugh out of you, as
	opposed to me when I walk in a room
	and that look comes over your face,
	"What does she want now?"

A weather-beaten military parade ground pennant passes, 24th
Infantry Regiment  "C" (Charlie) Company.

			ALLISON (cont'd)
	I already feel I've had everything I
	could have wanted for my birthday --

			PARRISH
	Hey, there's lots to come.
		(gesturing to the
		 activity)
	A little excess -- like you love.

The preparations are building to a climax, all the elaborate
plans coming to fruition.

			PARRISH
	You know, darling, this is going to
	be a wonderful party.

			ALLISON
		(gently)
	Yes, it is.

Allison wades into the maelstrom now, Parrish watches her
go, swarms of purveyors and caterers following her.

EXT. WINE BAR, LAWNS, COUNTRY ESTATE - AFTERNOON

Ambrose, the head caterer, is making a last minute check
of the bar's stock, Quince ambles up, in the background the
activity has built to a pitch, waiters adjusting their uni-
forms, purveyors' trucks pulling out in a cloud of dust.

			QUINCE
	Give me a Seagrams and '7'.

Ambrose looks at him blankly.

			QUICNCE (cont'd)
	No got?  Okay a double V.O., water
	back.

			AMBROSE
	I'm afraid this is a wine bar, Mr.
	Quince.

			QUINCE
	Okay, give me a bottle of wine.

			AMBROSE
	Red or white?

			QUINCE
	Both.

Joe appears, looking bewildered, jostled by caterers setting
up last-minute tables, a drummer from the band rolls his
traps past on a little cart.  Joe doesn't seem to know where
he is, when his eyes alight on Quince, he heads for this
oasis.  Ambrose sets down two bottles of wine and departs.

			QUINCE (cont'd)
		(to Joe)
	Red or white?

			JOE
	No, thank you.

Quince sips the red, now the white, now he pours some of
each into one glass.

			QUINCE
	C'mon, have a drink.  You look like
	you need one bad as me.

			JOE
	Do I?  I'm a little confused.

			QUINCE
	Confused, huh?  About what?

			JOE
	Love.

			QUINCE
	'Love'?  Oh, man, I've got troubles
	of my own.

			JOE
	You love Allison, don't you?

			QUINCE
	Oh yes, I do.

			JOE
	How did you meet?

			QUINCE
	I was a world-class loser and she
	was a happy, little rich girl --
	and for some reason she took me in.

			JOE
	But she loves you?

Quince smiles, nods embarrassedly.

			JOE (cont'd)
	How do you know?

			QUINCE
	Because there's nothing we don't
	know about each other and it's okay.
	I mean the deeper, darkest secrets
	-- they don't matter.

			JOE
	'The deepest, darkest secrets --'?

			QUINCE
	Yeah, it's like you know every inch
	of each other's souls -- and then
	you're free.

			JOE
	What do you mean 'free'?

			QUINCE
	Free to love each other.  Com-
	pletely.  Totally.  No fear.

Quince seems uncharacteristically within himself.

			QUINCE (cont'd)
	All that hoopla up there reminds me
	how I will never measure up to a man
	like Bill Parrish - or his daughter.

He drains his wine.

			QUINCE (cont'd)
	Do you like me, Joe?

			JOE
	Oh yes, you are one of my favorites.

			QUINCE
	What would you say if you knew
	it was me who brought down Bill
	Parrish?
		(a moment)
	I told Drew and the Board that Bill
	depended on you.  Drew led me on,
	but I had no business telling him
	in the first place.  He was setting
	up Bill from day one.  Drew and
	Bontecou are going to chop up the
	company and sell it off for parts.
	Bontecou was outside, Drew was Mr.
	Inside.  And I was the fool who made
	it all happen.  Oh God, what do I do?

Joe regards Quince.

			JOE
	Go to Bill Parrish and tell him
	everything.  He'll forgive you.

Quince drains one more glass of wine.

			QUINCE
	You think so?  How do you know?

			JOE
	Because that's the kind of man Bill
	Parrish is.

A moment.

			QUINCE
	Well, maybe... I guess you know him
	better than anybody.

Another moment.

			JOE
	-- Getting to.

The orchestra behind them plays a few riffs, sound checks,
getting close.

			QUINCE
	Do you think I should wait to tell
	him 'till after the party?

			JOE
	No.

Quince nods anxiously, then smiles gratefully.  They look on
as the pre-party activities swirl on around them.

EXT. FRONT ENTRANCE, COUNTRY ESTATE - SUNSET (LATER)

The moment just before sunset, the last pre-party minutes,
a procession of guests' cars winding up to the guest house,
being directed into adjacent fields.  Susan cuts past a re-
ceiving line that files up the stairs, she skirts the house
and heads straight for the action, the party on the lawns in
the rear, climbs a terrace where she commands a view of the
event on which the curtain is just about to rise.

EXT. LAWN, COUNTRY ESTATE - SUNSET

Guests milling, emerging from the crowd Susan sees, isolated
by a fountain, Joe.  He looks up towards her, he knows she
has seen him, they proceed to a rendezvous that has not been
prearranged but which they intuit.  Susan slants through the
guests, stopping here and there, excited greetings and cha-
tter float on the wind, "He, Susie!",  "What a party",  "You
look great", she keeps moving, a shimmering wraith.

Joe is on the right coordinate to meet her, his graceful,
unfailing step carrying him speedily to a destination he is
not certain of, but where he knows he will find Susan.

EXT. GARDEN, COUNTRY ESTATE - SUNSET

The very last rays of the sun setting over the wide expanse
of river, the light catching Susan and Joe as they enter the
garden, the party forming behind them, the river flowing in
front of them.

			SUSAN
	I like you in a black tie.

			JOE
	I love you in an evening gown.

			SUSAN
	It beats a surgical, doesn't it?

He smiles.

			SUSAN (cont'd)
	Daddy told me you might be leaving?

			JOE
	Yes.  Your father and I, our time
	together has come to an end.

			SUSAN
	Where are you going?

Joe attempts to answer, but nothing comes out.

			SUSAN (cont'd)
	You won't tell me?

			JOE
	Well -- I --

			SUSAN
	And you can't tell me who you are.

Again the same indescribable gesture from Joe.

			SUSAN (cont'd)
	I'm in love with a man, I don't know
	who he is, where he's going or when.

			JOE
	I can tell you the when part.  Tonight.

			SUSAN
	It gets worse.

			JOE
	No worse than it gets for me.  I'm
	in love with a woman whom I don't
	want to leave.

			SUSAN
	Then don't.

A moment.

			JOE
	We know so little about each
	other --

			SUSAN
	We know all that we need to know --

			JOE
	But there's so much to tell you --

			SUSAN
	Don't.  That will come later.

			JOE
	Will it?

			SUSAN
	Lightning struck.  We caught it in
	a bottle.  Don't let it out.  I want
	to be with you, Joe --

Another moment.

			JOE
	What will we do?

			SUSAN
	'Love will find out the way'.

			JOE
	'Love will find out the way'?

			SUSAN
	It's a saying.

			JOE
	I believe that, don't you?

			SUSAN
	Yes, that's why I said it.

They are on the brink of some decision, Joe is about to make
some declaration when Allison is heard --

			ALLISON (O.S.)
	There you are!

Allison appears.

			ALLISON (cont'd)
	What's going on here?  Tete-a-tetes
	on my big night?
		(to Susan)
	C'mon honey, you're needed.
		(to Joe)
	Can it wait?

But before he can answer --

			ALLISON (cont'd)
	Glad to hear it!
		(to Susan)
	Let's go.

She takes Susan's arm and marches her off, Joe, in thrall,
watches them go as the MUSIC erupts behind them, as 'up'
dance tune, a lilting, catchy melody envelops them all.  The
curtain has risen on William Parrish's 65th birthday party.

INT. PARRISH'S STUDY, COUNTRY ESTATE - NIGHT

Quince is "on the carpet", sweating through a confession,
Parrish moroses but  philosophical at his desk.

			QUINCE
	...what can I say after I say that
	I'm sorry?  I zipped when I should've
	zagged, I opened my big mouth one
	too many times, everything got all
	twisted --

			PARRISH
	It's okay, Quince.  I understand.
	You've always meant well and I
	appreciate that.  Sometimes things
	just turn out -- wrong.

A KNOCK on the door, it opens, Joe appears.

			JOE
	Excuse me --

He starts to step out.

			QUINCE
	Come in, Joe -- I want to thank you
	-- okay, Bill?

			PARRISH
	Sure.

As Joe enters, Quince flashes a warm smile at him.

			QUINCE
		(to Parrish)
	Joe knew the whole story.  I told
	him.  It was his idea that I come
	clean.  I mean I wanted to come
	clean but he gave me a pair of
	balls, you know what I mean?

			PARRISH
	Yes, I believe I do.

Quince now drifts off.

		QUICHE
	Yeah, well -- I can tell you guys
	got business --

			PARRISH
	No, I'm out of business, right,
	Quince?  However I do have some
	unfinished business -- with Drew.
	Get him out here.  Get him on the
	chopper and get him out here to-
	night.  I want to tell this guy
	how I feel about him face-to-face.

			QUINCE
	Oh, that could be a tall order, B.P.
	I doubt that Drew's anxious to see
	you face-to-face.

Joe steps in.

			JOE
		(to Quince)
	Tell Drew that Bill acknowledges
	that this was a contest and he's
	lost.  The race is to the swift,
	but could Drew summon a modicum
	of understanding and allow Bill to
	save face.  Tell him Bill wants it
	understood in the business community
	he has merely moved upstairs in his
	own company, and the executive
	continuity is unbroken.  Tonight's
	the night to do it.  He'll introduce
	Drew to his press friends as well as
	some of his close acquaintances from
	Washington and Drew can tell them
	that everything's sailing along just
	fine.

Parrish is impressed by Joe's acumen, a look of grudging
admiration.  He nods to Joe, summarizes:

			PARRISH
		(to Quince)
	All in all, what Bill wants to do is
	build the golden bridge to Drew with
	no hard feelings.

			QUINCE
	You think Drew will go for it?

			PARRISH
	Quince, I've got confidence in you.

			QUINCE
	Sir, I'll deliver the package.

He heads out, Parrish and Joe fall silent.

			PARRISH
	Thanks.

			JOE
	Not at all.

A moment.

			JOE (cont'd)
	How are you doing?

			PARRISH
	What the hell do you care?

			JOE
	I was just asking, Bill.

			PARRISH
	You 'want to know', I'll tell you.
	You're looking at a man who tonight
	is not about to walk through the
	Valley of the Shadow of Death, he's
	galloping into it.  And the same time,
	the business he built with his own
	hands and his own head is being
	commandeered by a couple of cheap
	pirates.  And, oh yes, I almost
	forgot, my daughter's fallen in
	love with Death.

Another moment.

			JOE
	-- And I'm in love with your
	daughter.

			PARRISH
	Say again?

			JOE
	I'm in love with your daughter, and
	I'm taking her with me tonight.

Parrish is stunned.

			PARRISH
	You're what?

			JOE
	I think you heard me, Bill.

			PARRISH
	You're not taking Susan anywhere.
	And what the hell does that mean
	anyway?

Joe doesn't answer for a moment.

			PARRISH (cont'd)
	I thought we had a deal.

			JOE
	I'm sorry, Bill --

			PARRISH
	Susan is my daughter, she has a
	wonderful life ahead of her and
	you're going to deprive her of
	it and you're telling me you're
	sorry?  Well, I'm sorry, apology
	not accepted.

			JOE
	I love her, Bill.  She is all that
	I ever wanted, and I've never wanted
	for anything because I've never
	wanted anything before, if you can
	understand.

			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' --

			SUSAN
	-- That was the place... and you were
	the guy.

Joe seems resigned now, the air gone out of him.

			SUSAN (cont'd)
	And you said you didn't want me to
	be your doctor because you didn't
	want me to examine you --?
		(a moment)
	Well, I got to examine you after
	all --

Joe blinks, at a loss.

			SUSAN (cont'd)
	I could come with you --

			JOE
	I - uh --

			SUSAN
	You want me to wait for you, you'll
	be back --

Joe doesn't answer, Susan is suddenly anxious.

			SUSAN (cont'd)
	Why do I want this night to last
	forever?

			JOE
	Don't you know, that's what I want
	more than anything.

He touches her face.

			SUSAN
	You said before you couldn't tell me
	who or where, only the 'when' -- Is
	when now?

A moment.

			JOE
	May I kiss you?

She waits.  He kisses her, they fall into a deep embrace.

			SUSAN
	That felt like a goodbye.

Joe's silence is heavy.

			SUSAN (cont'd)
	What's going on, Joe?  I feel like
	we're lifting off --

			JOE
	I'm still here.

			SUSAN
	But you're not.  You're somewhere
	else.
		(a moment)
	You're someone else --

Joe is struggling with a response, finally, inevitably, he
drifts into a long silence.  Susan is beside herself, her
emotions tossed in every direction, Joe steadies her.

			SUSAN
	Tell me you love me -- tell me
	you love me now --

			JOE
	I love you now, I'll love you
	always --

			SUSAN
	Hold me --

He holds on tight to her.  They are desperately entwined
until finally she releases him.

			JOE
	Susan --

			SUSAN
	-- Yes?

			JOE
	Thank you for loving me.

She smiles wanly, Joe leaves her.

INT. PARRISH'S STUDY, COUNTRY ESTATE - NIGHT

Parrish is seated by the window, lights from the party
flashing past, the MUSIC and laughter audible but muted,
the fever of the celebration lost on him, within himself.

Joe enters, Parrish looks up.

			JOE
	...We should think about getting
	started, Bill.

Parrish waits.

			JOE (cont'd)
	It'll just be us.

The tension in Parrish's body releases, he takes a breath.

			PARRISH
	Thank you.

Joe nods an acknowledgement, but his face reflects his pain.
Parrish regards him sympathetically.

The silence is broken by a KNOCK on the door.  Parrish, out
of politeness to Joe, does not respond.

			QUINCE (O.S.)
	Bill --?

After a moment.

			PARRISH
	Come in.

Quince appears, flushed with excitement.

			QUINCE
	-- I got him.  The chopper's two
	minutes away.

Parrish weighs the information for a moment.

			PARRISH
		(to Joe)
	How are we on time?

Joe shrugs, nods gently.

			JOE
	Okay.

			PARRISH
		(to Quince)
	Get him in here.

Quince exits, Parrish presses the button for the speaker-
phone.

			PARRISH (cont'd)
	...May? -- I know you're busy,  but I
	want you to put in a call to Eddie
	Sloane for me --

			MAY (O.S.)
	At home, sir --?

			PARRISH
	No, he's at the office.

EXT. LAWNS, COUNTRY ESTATE - NIGHT

An area on the fringe of the party, the helicopter blades
stop spinning.  Quince hurries to the aircraft door, opens
it and Drew steps out.  Quince leads the way through the
lights and MUSIC.  Drew, fashioning an imperial entrance for
himself, hails partygoers as he passes, Quince enjoying the
irony.

			DREW
	This is damn big of Bill, I also
	think it's smart.

			QUINCE
	He had no choice.  You're a
	formidable adversary.

			DREW
	He said that?

			QUINCE
	Well, you've got him by the short-
	hairs.

			DREW
	Yeah, the short, gray hairs.

He flashes a pleased-as-punch greeting to some unseen
acquaintance as they press on to Parrish's study.

INT. PARRISH'S STUDY, COUNTRY ESTATE - NIGHT

Parrish is at his desk, Joe in a distant corner of the room.

			SLOANE (O.S.)
		(speakerphone)
	We're all here, Bill --

			PARRISH
	I appreciate this, Eddie, members
	of the Board, this will just take a
	minute of your time.  As the custo-
	dians of the company, you may re-
	ceive information from what follows
	that is valuable to you --
		(a moment)
	-- or not.  Either way, thanks.

			SLOANE (O.S.)
		(speakerphone)
	We're all ears.

Drew enters with Quince, Quince nods, excusing himself, and
closes the door behind him.

			DREW
	Hi, Bill, happy birthday --

A moment.

			DREW (cont'd)
	I just wanted to say how appre-
	ciative I am of this - uh - grand
	gesture and --

			PARRISH
	Shut up and sit down.

Drew takes a seat.

			PARRISH (cont'd)
	You're a worthless sack of shit, you
	fucked me over, played footsie with
	John Bontecou, sold my company out
	to line your own pockets.

			DREW
	I don't know where you get that idea
	-- the Board agreed --

			PARRISH
	The Board didn't know you're a mole
	who burrowed inside so you could bury
	us all.

			DREW
	Is this Mr. Black's fantasy?  Another
	one of his whoppers?  Aren't you
	sick of this asshole lurking around?
	No one knows who he is, but one
	thing everyone does know, he somehow
	got your ear and has been pouring
	poison into it ever since.

Joe can no longer control himself.

			JOE
	You're the poison, Drew.  You've
	operated behind-the-scenes to suborn
	the trust of a man who has stamped
	you with his imprimatur of class and
	elegance and stature.  I've seen all
	kinds and degrees of deception in my
	time, but Bill Parrish has been on
	the receiving end of machinations so
	Machiavellian that it has rarely
	been my experience to encounter.  And
	yet he has combatted them stoically,
	and selflessly, without revealing my
	identity.  Had he violated the vow
	of secrecy he took, his task would
	have been far easier, he could have
	turned defeat into victory, but he
	is too honorable a man to have done
	that.  And now I must release him
	from that vow.  Because of me, he
	has lost his work, his company, his
	reputation -- and now he's going to
	tell you who I am.

Parrish is struck dumb.  He looks at Joe pleadingly, shaking
his head imperceptibly, but Joe nods to him blithely -- and
then commandingly.

			DREW
		(to Parrish)
	So tell me, tell me, I'm peeing in
	my pants.

			JOE
	-- And now you're going to pee some
	more.

			PARRISH
	Joe, don't do this --

			JOE
	It's time to put this person where
	he belongs.

			PARRISH
	It's not necessary, Joe.  Drew's
	going to step aside --

			DREW
	I'm not stepping anywhere --

			JOE
	I appreciate your gentlemanliness,
	Bill, but what we need to do here is
	drive the dagger home --

			DREW
	The dagger --?

			PARRISH
	I told you to shut up.

			JOE
		(to Drew)
	Prepare yourself, Drew - I am --

			PARRISH
	He is --

			JOE
	I'll take it from here --
		(to Drew)
	I am --

			PARRISH
	-- An IRS man.

Drew is stunned, Joe glances at Parrish, hesitates.

			PARRISH (cont'd)
	Yes, he is.  He's an -- IRS man.
	Aren't you, Joe?

Joe is at a loss, Parrish's eyes are glued to his, Joe gets
the hint.

			JOE
	Yes, I am.
		(to Drew)
	IRS man.

Drew's head swivels from Joe to Parrish and back again.

			PARRISH
	The Treasury Department asked
	my cooperation in his undercover
	investigation of John Bontecou.
	They were convinced that Bontecou,
	on past deals, had structured his
	mergers and acquisitions in sus-
	picious and complicated ways so as
	to evade paying the taxes he is
	liable for.  The IRS wanted to go
	after him, and this deal offered
	them the opportunity.
		(a moment)
	I agreed to cooperate.

			JOE
		(to Parrish)
	And we're very grateful.

			PARRISH
	Moreover, Agent Joe Black here --
	of course that's not his real name
	-- smelled out your involvement,
	Drew.  He developed evidence you
	were working both sides of the
	fence.  Unfortunately, that's known
	as a conflict of interest --

			JOE
	Undisclosed conflict of interest --

			PARRISH
	An offense --

			JOE
	An indictable offense.

Silence.

			DREW
	I think I'd like to talk to my
	lawyer --

			PARRISH
	No lawyers, Drew.  We're going to
	offer you a deal.

Drew is all attention.

			PARRISH (cont'd)
	Confess to the Board every details of
	your participation and then submit
	your resignation.

			DREW
	And what do I get?

			PARRISH
	You get not to go to jail.

			DREW
	You're talking through your hat.
	You're offering a deal because
	you've got no proof.

			PARRISH
	Proof?  We've got plenty of proof.

			JOE
		(to Drew)
	And he's talking through his lips.

Joe steps forward.

			JOE (cont'd)
	Make no mistake, Drew, if you choose
	to test my resolve in this matter,
	you'll be looking at an outcome that
	will have a finality that is beyond
	your comprehension, and you'll not
	be counting the days or the months
	or the years, but millenniums in the
	house with no doors.

Drew slumps.

			DREW
	All right, you win.  As soon as I
	get back to the city, I'll meet with
	the Board.

Sloane's voice erupts over the SPEAKERPHONE.

			SLOANE (O.S.)
	You're meeting with the Board right
	now, Drew.  Resignation accepted.
	Moreover, I propose a motion to re-
	confirm William Parrish as Chairman
	of the Board of Parrish Communica-
	tions as well as a rejection of the
	merger with Bontecou International.
	How say you, Board?

A chorus of thunderous "Yes"es resounds through the
SPEAKERPHONE.

			SLOANE (O.S., cont'd)
	The motion is passed.

			PARRISH
	Well, thank you, that's great, but
	it's more than I bargained for.  I
	just wanted to set the record
	straight.

			SLOANE (O.S.)
	But we want you back, Bill.  Mean-
	while, enjoy your party, celebrate,
	we'll attend to the nasty details.
	And Mr. Black, may we say thank you.

			JOE
	My pleasure.  This is an IRS Agent's
	dream.  I'll be promoted to Chief of
	Section off of this.

Parrish clicks the speakerphone off.  Drew is staring at
Joe, shaking his head.

			DREW
	Who would've ever believed it?  You,
	an IRS Agent --

Silence.  Joe shrugs, smiles.

			JOE
	'Death and Taxes'.

The door flies open, an anxious Allison appears.

			ALLISON
	Daddy!  We've been looking all over
	for you - this is your party - what
	are you doing in here?  Never mind.
	You're on.  Let's go.

She pulls him out of his chair, hustles him out of the room,
Joe right behind them.

EXT. LAWNS, COUNTRY ESTATE - NIGHT

The guests have formed themselves into a huge audience, the
orchestra strikes up "Happy Birthday" as Parrish appears
with Allison.  An enormous cake is unveiled with one great,
lit candle, Parrish beams then laughs.  He pauses over the
cake, now blows the candle out.  APPLAUSE, cries of "Speech!
Speech!", Parrish tries to demur but the request becomes
loud and rhythmic, he holds up his hand, nods, quiets the
crowd.  Joe observes from the fringe.

			PARRISH
		(to the guests)
	I thought I was going to sneak away
	tonight...

YELLS of "No!"  "Never!"

			PARRISH (cont'd)
	...What a glorious night, every
	face I see is a memory.  It may not
	be a perfectly perfect memory --
	sometimes we had our ups and downs
	-- but we're all together, and
	you're mine for a night.
		(a moment)
	-- And I'm going to break precedent,
	and tell you my one-candle wish --
	that you would have a life as lucky
	as mine, where you can wake up one
	morning and say "I don't want
	anything more."
		(another moment)
	Sixty-five years - don't they go by
	in a blink?

Parrish hesitates, waves and steps away, APPLAUSE that grows
into CHEERS, the music resumes, another dance tune.  Quince
grabs him, pumps his hand and claps him on the back.  Now
Parrish spots Allison, he wraps her in a tight embrace, they
hold each other close for a moment, but then are separated
by a surge of guests.  Parrish sees Susan, she smiles but
there is a tinge of sadness about her.  He heads towards her,
they are somehow situated as if they were alone in this crowd.

			SUSAN
	What a night.

			PARRISH
	I'm having a helluva time.

A moment.

			SUSAN
	You were right about Joe, he is
	going somewhere --

			PARRISH
		(gently)
	I'm sorry.

Susan is examining Parrish very closely.

			SUSAN
	Are you relieved?

			PARRISH
	Yes, but --

Parrish hesitates.

			SUSAN
	But what?

			PARRISH
	I want you to know how much I love
	you.  That you've given a meaning
	to my life that I had no right to
	expect, and that no one can ever
	take from me.

			SUSAN
	Daddy --

			PARRISH
	No -- I love you so much and I want
	you to promise me something.  I
	don't want you to ever worry about
	me.  If anything should happen, I'm
	going to be fine and everything's
	going to be all right.
		(a moment)
	-- And I have no regrets.

Susan is in pain now, she can't summon an answer.

			PARRISH (cont'd)
	And I want you to feel that way,
	too.

			SUSAN
	I love you, Daddy --

			PARRISH
	That's why it's okay.

They drift into silence.

			PARRISH (cont'd)
	No regrets?

After a moment.

			SUSAN
	'No regrets'.

A long silence, Susan smiles.

			PARRISH
	It's a good feeling, isn't it?

Silence again.

			SUSAN
	Everybody's saying goodbye...

They regard each other, a long pause, they have reached an
understanding.

			PARRISH
	I'm still here.
		(a moment)
	Would you like to dance with me,
	Susan?

			SUSAN
	Oh, yes --

He starts to lead her to the floor, immediately stops.

			PARRISH
	If you don't mind dancing with an
	old fogey like me.

			SUSAN
	Oh, Dad, you're not old.  You'll
	never be old.

He takes her in his arms and they dance away.

ANOTHER ANGLE

On a distant fringe of the party, a grass terrace that still
commands a view of the dance floor, is Joe.  His eyes are on
Parrish and Susan, he watches them admiringly yet ruefully.
A Waiter passes, catches sight of Joe, stops.

			WAITER
	Can I get you anything, sir?

Joe regards the Waiter for a moment.

			JOE
	Do you have any peanut butter?

The Waiter hesitates.

			WAITER
	I don't think so, sir.

			JOE
	Thank you, anyway.

The Waiter moves off.  Joe's attention returns to Parrish and
Susan, the dance number ends, a BOOM.

ANOTHER ANGLE

On the dance floor.

			PARRISH
	What was that?

			SUSAN
	The fireworks are about to start.

Parrish looks up, sees Joe up on the terrace, waiting.

			SUSAN (cont'd)
		(to Parrish)
	Shall we?

			PARRISH
	You go ahead, honey, I'm going to
	catch my breath.

Suddenly he hugs her, holds her very close.  She looks at
him, he smiles, nods, but doesn't release her until she
smiles back.  Now she heads out with the crowd for the
fireworks.  When Parrish senses she is on her way, he turns
and heads up towards Joe.

Joe rises to meet Parrish as he approaches.

			JOE
	Happy Birthday, Bill.

			PARRISH
	Thank you.

They watch the guests gathering to view the fireworks.
Joe's gaze lingers.

			PARRISH (cont'd)
	Did you say goodbye?

			JOE
	Not exactly.

			PARRISH
	I guess you have your reasons.

			JOE
	Yes.

Silence.

			PARRISH
	Now that we have a moment, would you
	mind if I expressed my gratitude for
	what you did for Susan?

Joe waits.

			PARRISH (cont'd)
	I never heard her speak of any man
	as she spoke of you -- It was always
	what I wanted for her -- but what
	happens to her now?

			JOE
	I wouldn't worry about it, Bill.
	These things have a way of working
	out.

Joe regards Parrish, waits until he has a sense that Parrish
has accepted what Joe has said, then Joe continues:

			JOE (cont'd)
	And would you mind if I expressed my
	gratitude...?

Parrish waits.

			JOE (cont'd)
	For you.  For the time you've given
	me.  For the person you are.

A moment.

			PARRISH
	Don't blow smoke up my ass, you'll
	ruin my autopsy.

Joe barely manages a smile, now looks back longingly at the
crowd below, searching.

			PARRISH (cont'd)
	It's hard to let go, isn't it?

			JOE
	Yes.

			PARRISH
	That's life.  What can I tell you?

A silence, an understanding there is another more to say.
Joe looks inquiringly at Parrish as if to say "Shall we?",
Parrish nods and Joe turns with him.  They set off now away
from the party, up a meadow that leads to a hill overlooking
the river.

ANOTHER ANGLE

Down below, the party guests' faces are lit by the initial
fireworks display.  Among them is Susan, but her interest
isn't there.  Not something pulls her attention, an over-
powering feeling that compels her to turn and see, at a
distance, Parrish and Joe walking away up the meadow.  Some-
thing about the sight saddens and at the same time frightens
her, she turns back to the party, dazed, tracing on the
fireworks.

ANOTHER ANGLE

Up the hill Parrish's step slows, Joe slowing with him.

			PARRISH
	I'm getting a little dizzy, I can
	feel my heart pumping --

But Parrish doesn't wait for a response, just continues on
up the meadow, towards the rise of the hill, Joe in step
with him.

			PARRISH (cont'd)
	Should I be afraid?

Joe stops, Parrish stops with him.

			JOE
	Not a man like you.

Parrish smiles faintly, takes a deep breath, he strides
out again, Joe right with him.  In tandem they continue
on and disappear over the crest of the hill.  A barrage
of fireworks lights up the sky.

ANOTHER ANGLE

Down below, Susan, in a pained reflex, again turns and looks
up towards the hill.  There is nobody there.  She hesitates,
now glides away from the party, her step quickens as she
walks up towards the hill.

Susan halts, in the distance a figure is approaching from
over the crest of the hill where Joe and Parrish disappeared.
He is heading straight for her, she tries to make him out,
seems to recognize him, starts to walk towards him as if
pulled by a magnet.  Now she stops again.  It is a man, he
keeps coming, and now that he is close and recognizes him.

			SUSAN
	Joe...?

He smiles quizzically, hasn't quite heard her, stands right
in front of her, loose, smiling, disoriented and yet so
appealing.  They are riveted on each other, uneasy and yet
close.

			SUSAN (cont'd)
	You're here...

He is trying to get his bearings.

			JOE
	-- You bet.

Something about him makes Susan slightly tentative.

			SUSAN
	Where did you go?

Joe shrugs, scratches his head endearingly, uncertain of
time and place.

			JOE
	I don't know -- y'know, I don't know
	-- it's all blurred up and hazy.  And
	would y'know what I mean if I said I
	don't think it's worth figuring out?

Some realization is dawning on Susan, it renders her
lightheaded.

			JOE (cont'd)
	...But now I'm back.

Susan regards Joe intently, searching his face for an
answer.

			SUSAN
		(gently)
	That's it?

			JOE
	Well, I don't know what else to say.
	It's a helluva party --

			SUSAN
	You think so?

			JOE
	Yeah...and you're the prettier
	thing here.

Susan blinks, a long silence, she touches the sleeve of his
jacket, now her hand traces the outline of his face, she
regards him intently and the dilemma she has been struggling
with the last moments fades away.

Susan slowly realizes this is the Young Man.  She is shaken,
a sudden intake of breath.

			YOUNG MAN
	Hey, you all right?

His hand politely touches her elbow, courteously lending her
support.

			SUSAN
	The coffee shop --

The Young Man nods, pleased with her recognition.

			YOUNG MAN
	I asked you if I said something
	wrong and you said it was so right
	it scared you.

Susan holds herself very still.

			YOUNG MAN (cont'd)
	And forgive me for saying this --
	but then you said -- and it's been
	with me ever since --

			SUSAN
	What has --?

He hesitates.

			YOUNG MAN
	You said you liked me.

			SUSAN
	No --

			YOUNG MAN
	Y'didn't?

A moment.

			SUSAN
	I said I liked you so much.

She falls silent now, overcome by the last moments'
revelations.  The Young Man senses her discomfort which
is on the edge of pain.

			YOUNG MAN
	Hey, everything's going great --
	don't y'think?

She doesn't answer for a moment.

			YOUNG MAN (cont'd)
	Don't you feel that way?

			SUSAN
	...We know so little about each
	other.

			YOUNG MAN
	But we've got time.

She searches the Young Man's eyes, his face is open,
completely vulnerable, waiting for her response.  A long
silence, the words come out haltingly:

			SUSAN
	I wish you could've known my
	father...

Another moment.

			YOUNG MAN
	Me, too.

Susan signs, the Young Man smiles gently, they are
completely intent on each other.

			SUSAN
	...What do we do now?

A long silence.

			YOUNG MAN
	It will come to us.

Susan smiles, the fireworks finale goes off, the MUSIC comes
up from below, the night fills with light.  The Young Man
searches Susan's face, now takes her hand -- and together
they start back towards the party.

			THE END