Men in Black Page #10

ZED:

And how did you come to that

conclusion?

EDWARDS:

Hook-head guy. You explain to me how

he can think with a hook for a head.

Answer; it's not his head. His head

is that butt-ugly bean-bag thing

over there. 'Cause if you look at

the snarling beast-guy, he's not

snarling, he's sneezing -- he's got

tissues in his hand. No threat there,

and anyhow, the girl's books were

way too advanced for an eight-year-

old's. And besides, from where I'm

looking, she was the only one who

appeared to have a motive. And I

don't appreciate your jumping down

my throat about it.

Sideways glances from the other recruits. Zed sighs.

EDWARDS:

Or, uh -- do I owe her an apology?

CUT TO:

INT. MIB BUILDING - OBSERVATION ROOM/INTERVIEW ROOM - DAY

ZED and KAY stand behind smoked glass, staring at the

RECRUITS, who are still in the shooting gallery, waiting for

a decision.

ZED:

He's got a real problem with

authority.

KAY:

So do I. The guy ran down a

cephlapoid, Zed. On foot. Tenacity.

That I can use.

ZED:

I hope you know what you're doing.

Zed turns and walks away. Kay stares through the glass, at

EDWARDS, who stands alone on one side of the room, apart

from the rest of the group.

Zed reappears on the other side of the glass, coming through

a door and into the shooting gallery. As he talks, Kay turns

and walks off.

ZED:

Congratulations, you're everything

we've come to expect from years of

government training. Now, if you'll

just follow me, we have one more

test to administer, an eye exam.

INT. MIB BUILDING - HALLWAY - DAY

The RECRUITS follow ZED out of the shooting gallery and into

a long hallway. Zed motions them off to the left. EDWARDS is

the last one out of the room, but he stops as he steps into

the hallway.

KAY is outside the door, waiting for him. Edwards recognizes

him from last night.

EDWARDS:

You! Hey, what's goin' on?

The other recruits continue down the hall with Zed. Kay

doesn't answer, just gestures to Edwards to follow him down

the hall, which he does.

KAY:

Back in the mid-fifties, the

government started a little

underfunded agency with the simple

and laughable purpose of making

contact with a race not of this

planet.

As they pass an alcove, Edwards notices the six other

Recruits, who have been herded into a corner. Zed, addressing

them, pulls a neuralyzer from his pocket.

ZED:

Now, if you'll look directly at the

end of this device.

He holds a neuralyzer up in front of them, and the Recruits

stare obediently at it as Zed slips on a pair of black

sunglasses.

Edwards stares, fascinated, but Kay's hand reaches in and

yanks him away, just as Zed's neuralyzer FLASHES WHITE.

INT. MIB BUILDING - HALLWAY - DAY

As KAY leads EDWARDS down an impossibly long corridor, he

hands him a file folder stuffed thick with eight by ten

photographs.

He hands Jay the first picture, a shot of eight or nine MEN

in plain black suits standing around a fifties-style office

with metal desks and fluorescent lights. DEE and ZED are

there, much younger.

KAY:

Everybody thought the agency was a

joke. Except the aliens. They made

contact on March 2nd, 1961, outside

New York City.

Another photograph, a grainy black and white image of two

ships hovering in the night sky -- classic flying saucer

shapes.

KAY:

There were nine of us that night.

Seven agents. An amateur astronomer.

And one poor kid who got lost on the

wrong back road.

Yet another photograph, this one showing a young KAY, in a

shirt and tie, holding a bouquet of flowers, staring at the

open door of the landed flying saucer. ALIEN SHAPES are

visible within.

EDWARDS:

You brought the aliens flowers?

Kay steers Edwards to the right, down another corridor, just

as long as the first.

KAY:

They were intergalactic refugees

with a simple request. Let us use

the earth as an apolitical zone for

people without a planet. Ever see

"Casablanca?" Same thing, no Nazis.

We agreed. So we masked all evidence

of their landing.

Another picture, this one of the 1964 World's Fair grounds,

still under construction. Giant models of rockets mark the

Fair's theme of space travel; most prominent in the

construction are two tall towers, with the flying saucers

now mounted at the top of each.

EDWARDS:

The 1964 World's Fair was a coverup?

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