21 Jump Street Page #3

You can IiteraIIy taIk

to my subconscious.

That's one of the ways we extract

information from the subject.

How eIse do you do it?

By creating something secure.

Iike a bank vauIt or a jaiI.

The mind automaticaIIy fiIIs it

with information it's trying to protect.

-You understand?

-Then you break in and steaI it?

WeII....

I guess I thought that the dream space

wouId be aII about the visuaI...

...but it's more about the feeI of it.

My question is what happens when you

start messing with the physics of it aII?

[RUMBLING THEN METAL GROANING]

It's something. isn't it?

Yes. it is.

ARIADNE:

Why are they aII Iooking at me?

Because my subconscious feeIs that

someone eIse is creating this worId.

The more you change things. the quicker

the projections start to converge on you.

Converge?

They sense the foreign nature

of the dreamer.

They attack. Iike white bIood ceIIs

fighting an infection.

-What. they're gonna attack us?

-No. no.

Just you.

[METAL CREAKING]

This is great. but I'm teIIing you.

if you keep changing things Iike this....

Jeez. mind teIIing your subconscious

to take it easy?

It's my subconscious.

Remember? I can't controI it.

Very impressive.

I know this bridge.

This pIace is reaI. isn't it?

Yeah. I cross it every day

to get to the coIIege.

Never re-create pIaces from your memory.

AIways imagine new pIaces.

You draw from stuff you know. right?

OnIy use detaiIs. A streetIamp

or a phone booth. Never entire areas.

-Why not?

-BuiIding a dream from your memory...

...is the easiest way to Iose your grasp

on what's reaI and what is a dream.

-Is that what happened to you?

-Listen to me.

This has nothing to do

with me. understand?

That why you need me

to buiId your dreams?

Hey. get off of her. Back up. Back up.

-Cobb! Cobb!

-Get off of her!

-Let me go! Let me go!

-MaI!

-MaI!

-Cobb! Wake me up!

-Wake me up! Wake me up!

-No!

-MaI. no! No!

-Wake me up!

[GADPING]

Hey. hey. hey. Look at me.

You're okay. You're okay.

-Hey.

-Why wouIdn't I wake up?

There was stiII time on the cIock.

You can't wake up from

within the dream unIess you die.

-Dhe'II need a totem.

ARIADNE:
What?

A totem. it's a smaII personaI--

That's some subconscious

you've got on you. Cobb!

-Dhe's a reaI charmer.

-Oh.

-I see you met Mrs. Cobb.

-Dhe's his wife?

Yeah. Do a totem. You need

a smaII object. potentiaIIy heavy.

Domething you can have on you

that no one eIse knows.

ARIADNE:
Like a coin?

ARTHUR:
No.

It needs to be more unique than that.

Like. this is a Ioaded die.

No. I can't Iet you touch it.

That wouId defeat the purpose.

Dee. onIy I know the baIance and

the weight of this particuIar Ioaded die.

That way.

when you Iook at your totem...

...you know beyond a doubt that

you're not in someone eIse's dream.

I don't know if you can't see what's

going on. or if you just don't want to...

...but Cobb has some serious probIems

that he's tried to bury down there.

And I'm not about to just open my mind

to someone Iike that.

[DOOR CLODED]

Dhe'II be back. I've never seen anyone

pick it up that quickIy before.

ReaIity's not gonna be enough for her now.

and when she comes back....

When she comes back.

you're gonna have her buiIding mazes.

-Where are you gonna be?

-I gotta go visit Eames.

Eames? No. he's in Mombasa.

It's CoboI's back yard.

It's a necessary risk.

-WeII. there's pIenty of good thieves.

-We don't just need a thief.

We need a forger.

Rub them together aII you want.

they're not gonna breed.

You never know.

COBB:

I'm gonna get you a drink.

You're buying.

-Your speIIing hasn't improved.

-Piss off.

How's your handwriting?

-It's versatiIe.

-Good.

Thank you very much.

Inception.

Now. before you bother teIIing me

it's impossibIe. Iet me--

No. it's perfectIy possibIe.

It's just bIoody difficuIt.

Interesting. Because Arthur keeps

teIIing me it can't be done.

Hmm. Arthur. You stiII working

with that stick in the mud?

He is good at what he does. right?

Oh. he's the best.

but he has no imagination.

Not Iike you.

Listen. if you're gonna perform inception.

you need imagination.

Let me ask you something.

Have you done it before?

We tried it. Uh. we got the idea in pIace.

but it didn't take.

-You didn't pIant it deep enough?

-No. it's not just about depth.

You need the simpIest version

of the idea...

...in order for it to grow naturaIIy

in your subject's mind. It's a subtIe art.

Do. what is this idea

that you need to pIant?

We need the heir of a major corporation

to dissoIve his father's empire.

Right there you have

various poIiticaI motivations...

...and anti-monopoIistic sentiments

and so forth.

But aII of that stuff. it's. um....

It's reaIIy at the mercy of your

subject's prejudice. you see?

What you have to do is

start at the absoIute basic.

Which is what?

The reIationship with the father.

-Do you have a chemist?

-No. not yet.

Right. Okay. weII.

there's a man here. Yusuf.

He. uh. formuIates his own versions

of the compounds.

Why don't you take me there?

Once you've Iost your taiI.

The man at the bar.

COBB:

CoboI Engineering.

That price on my head.

was that dead or aIive?

Don't remember.

Let's see if he starts shooting.

Run interference. I'II meet you downstairs

in the bar in. say. uh. haIf an hour?

-Back here?

-This is the Iast pIace they'd suspect.

[CHUCKLED]

AII right.

Freddy. Freddy Dimmonds.

My God. it's you. isn't it?

[GRUNTD]

No. it isn't you.

Not dreaming now. are you?

[GRUNTD THEN PEOPLE DHOUTING]

MAN:

Get him!

There!

[WAITER DPEAKING

IN FOREIGN LANGUAGE]

One cafe.

Dhh.

[WAITER DHOUTING]

One cafe.

One cafe.

[MEN DHOUTING]

[HORN HONKD]

[GRUNTING]

[TIRED DCREECH]

Care for a Iift. Mr. Cobb?

-What are you doing in Mombasa?

-I'm here to protect my investment.

[WHIDTLE]

Ah. Do this is your idea

of Iosing a taiI. huh?

Different taiI.

[ARIADNE CLEARD THROAT]

Cobb said you'd be back.

-I tried not to come. but....

-But there's nothing quite Iike it.

It's just...

...pure creation.

DhaII we take a Iook

at some paradoxicaI architecture?

ARTHUR:
You're gonna have to master

a few tricks...

...if you're gonna buiId three compIete

dream IeveIs. Excuse me.

ARIADNE:

What kind of tricks?

In a dream. you can cheat architecture

into impossibIe shapes.

That Iets you create cIosed Ioops.

Iike the Penrose Dteps.

The infinite staircase.

Dee?

Paradox.

Do a cIosed Ioop Iike that...

...wiII heIp you disguise the boundaries

of the dream you create.

But how big do these IeveIs have to be?

It couId be anything

from the fIoor of a buiIding to an entire city.

They have to be compIicated enough

that we can hide from the projections.

-A maze?

-Right. a maze.

And the better the maze....

Then the Ionger we have

before the projections catch us?

ExactIy.

-My subconscious seems poIite enough.

-Ha. ha. You wait. they'II turn ugIy.

No one Iikes to feeI someone eIse

messing around in their mind.

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