![Find Men in Black on Amazon](https://www.scripts.com/images/script/491_men-in-black.png)
Men in Black Page #3
- PG-13
- Year:
- 1997
- 98 min
- 1,476 Views
From over the rise, car engines WHINE in the distance and
headlights start to flash around them. Kay reaches into his
pocket and pulls out a tubular metallic device the size of a
pocket recorder. He checks his watch, figures in his head,
then dials an electronic counter on the side of the device
up to "08."
KAY:
This is called a "neuralyzer." A
gift from some friends from out of
town. The red eye here isolates and
measures the electronic impulses in
your brain. More specifically, the
ones for memory.
Behind him, six more MEN IN BLACK, all wearing black suits
and sunglasses, come over the hill. Kay barks a few orders
to them.
KAY:
Gimme a splay burn on the perimeter,
please; holes at 40, 60, and 80.
2ND INS AGENT
What in the hell is going on?!
KAY:
Exactly the right question. And the
answer lies right -- here. Pay
attention.
JANUS:
Who are you, really?
KAY:
Really? I'm just a figment of your
imagination.
He holds up the neuralyzer. The Agents peer closely at it.
Kay reaches into his pocket, puts on his own black sunglasses --
-- and pushes a button on the side of the neuralyzer. A
BLINDING FLASH a tenth of a second long sears the Agents'
eyeballs. They stare blankly.
KAY:
God, we're a gullible breed.
Behind him, TONGUES OF FIRE blast from a flame thrower held
by one of the Men in Black. Kay looks back at the INS Agents,
who are just coming around, as if awakening from a concussion.
KAY:
I mean it, fellas, you are lucky to
be alive after a blast like that.
The Agents look around, confused.
AGENT JANUS:
What -- blast?
Kay gestures behind him, where the Men in Black are now using
fire extinguishers to douse the flames they themselves
started.
KAY:
Underground gas vein, genius. You
guys need to exercise more caution
before discharging your firearms.
He jabs a finger into Janus' chest.
KAY:
Especially you.
Dee has moved away from them all and is sitting on a rock,
staring up at the night sky, his sunglasses dangling idly
from one hand. Kay steps away from the group and finds him.
He sits down next to him.
DEE:
I'm sorry. About... back there.
KAY:
Happens.
DEE:
Didn't used to.
He holds up his hands, which tremble with age.
DEE:
The spirit's willing, Kay, but the
rest of me...
He looks up, at the million stars shining overhead.
DEE:
They're beautiful, aren't they?
KAY:
What?
DEE:
The stars. We never just -- look.
Anymore.
(back to Kay)
I'll tell ya, Kay. I will miss the
chase.
Kay pulls his neuralyzer from his pocket and looks down at
it.
KAY:
No. You won't.
EXT. GRAND CENTRAL STATION - SOUTHERN EXPOSURE - NIGHT
A shot of the clock on the Station's stately southern
A pair of feet running. They belong to a man we will know as
the PERPETRATOR. As we track with him, he SPEEDS UP and OUT
OF FRAME.
A new set of feet come into frame. These belong to JAMES
EDWARDS, a NYC COP in undercover street clothes. In the
BACKGROUND, about ten feet behind, are two other cops, trying
to keep up.
Edwards is a lot faster, though. He pulls out his badge that
hangs from a chain under his shirt.
EDWARDS:
Stop! NYPD!
He continues running, out of frame, and we stay on one of
the other COPS, overweight, who gives up the chase and drops
to his knees, heaving air.
COP:
All yours, Edwards!
The Cop fumbles in his pocket for a pack of cigarettes.
TRACK WITH EDWARDS AND THE PERP
As they run down the bridge that traverses Park Avenue in
the low Forties.
The Perp veers to the left and, seemingly oblivious to the
fact that it's a thirty-foot drop, he hurdles the guard rail,
and drops to Forty-first Street below.
EDWARDS is surprised by this maneuver, but doesn't waste a
second. He, too, hurdles the guard rail and lands on...
EXT. 41ST STREET AND PARK AVENUE - NIGHT
A DOUBLE-DECKER BUS, one of those cheesy sightseers that
hold up midtown traffic. The bus, of course, is completely
filled with JAPANESE TOURISTS, and it seems like every single
one of them has a video camera.
EDWARDS pushes through the crowd...
EDWARDS:
Grand Central Station off to your
left, folks...
With the bus still moving, he scrambles down the circular
stairs and runs out through the side door.
Translation
Translate and read this script in other languages:
Select another language:
- - Select -
- 简体中文 (Chinese - Simplified)
- 繁體中文 (Chinese - Traditional)
- Español (Spanish)
- Esperanto (Esperanto)
- 日本語 (Japanese)
- Português (Portuguese)
- Deutsch (German)
- العربية (Arabic)
- Français (French)
- Русский (Russian)
- ಕನ್ನಡ (Kannada)
- 한국어 (Korean)
- עברית (Hebrew)
- Gaeilge (Irish)
- Українська (Ukrainian)
- اردو (Urdu)
- Magyar (Hungarian)
- मानक हिन्दी (Hindi)
- Indonesia (Indonesian)
- Italiano (Italian)
- தமிழ் (Tamil)
- Türkçe (Turkish)
- తెలుగు (Telugu)
- ภาษาไทย (Thai)
- Tiếng Việt (Vietnamese)
- Čeština (Czech)
- Polski (Polish)
- Bahasa Indonesia (Indonesian)
- Românește (Romanian)
- Nederlands (Dutch)
- Ελληνικά (Greek)
- Latinum (Latin)
- Svenska (Swedish)
- Dansk (Danish)
- Suomi (Finnish)
- فارسی (Persian)
- ייִדיש (Yiddish)
- հայերեն (Armenian)
- Norsk (Norwegian)
- English (English)
Citation
Use the citation below to add this screenplay to your bibliography:
Style:MLAChicagoAPA
"Men in Black" Scripts.com. STANDS4 LLC, 2024. Web. 31 Aug. 2024. <https://www.scripts.com/script/men_in_black_491>.
Discuss this script with the community:
Report Comment
We're doing our best to make sure our content is useful, accurate and safe.
If by any chance you spot an inappropriate comment while navigating through our website please use this form to let us know, and we'll take care of it shortly.
Attachment
You need to be logged in to favorite.
Log In