21 Jump Street Page #4

Cobb can't buiId anymore. can he?

I don't know if he can't. but he won't.

He thinks it's safer

if he doesn't know the Iayouts.

Why?

He won't teII me. But I think it's MaI.

-His ex-wife?

-No. not his ex.

-They're stiII together?

-No.

No. she's dead.

What you see in there

is just his projection of her.

What was she Iike in reaI Iife?

Dhe was IoveIy.

YUDUF:
You are seeking a chemist?

COBB:
Yes.

To formuIate compounds for a job?

And to go into the fieId with us.

No. I rareIy go into the fieId. Mr. Cobb.

WeII. we'd need you there to taiIor

compounds specific to our needs.

-Which are?

-Great depth.

A dream within a dream? Two IeveIs?

Three.

Not possibIe. That many dreams

within dreams is too unstabIe.

It is possibIe.

You just have to add a sedative.

A powerfuI sedative.

-How many team members?

-Five.

DAITO:

Dix.

The onIy way to know you've done the job

is if I go in with you.

There's no room for tourists

on a job Iike this. Mr. Daito.

This time. it seems there is.

This. I think. is a good pIace to start.

I use it every day.

COBB:
What for?

-Here. I'II show you.

Perhaps you wiII not want to see.

After you.

[MACHINE HIDDING]

EAMED:

Ten. TweIve. AII connected. BIoody heII.

They come every day to share the dream.

You see? Very stabIe.

-How Iong do they dream for?

YUDUF:
Three. four hours. each day.

In dream time?

With this compound? About 40 hours.

each and every day.

-Why do they do it?

YUDUF:
TeII him. Mr. Cobb.

After a whiIe. it becomes

the onIy way you can dream.

Do you stiII dream. Mr. Cobb?

-They come here every day to sIeep?

MAN:
No.

They come to be woken up.

The dream has become their reaIity.

Who are you to say otherwise. sir?

Let's see what you can do.

[METAL GROANING]

You know how to find me.

You know what you have to do.

Dharp. no?

DAITO:

Are you aII right. Mr. Cobb?

Yeah. yeah. Everything's just fine.

Robert Fischer. heir to the Fischer Morrow

energy congIomerate.

COBB:

What's your probIem with this Mr. Fischer?

That's not your concern.

Mr. Daito. this isn't your typicaI

corporate espionage.

You asked me for inception.

I do hope you understand

the gravity of that request.

Now. the seed that we pIant

in this man's mind wiII grow into an idea.

This idea wiII define him.

It may come to change....

WeII. it may come to change

everything about him.

We're the Iast company standing

between them and totaI energy dominance.

And we can no Ionger compete.

Doon. they'II controI the energy suppIy

of haIf the worId.

In effect. they become

a new superpower.

The worId needs Robert Fischer

to change his mind.

EAMED:

That's where we come in.

How is Robert Fischer's reIationship

with his father?

Rumor is the reIationship

is quite compIicated.

WeII. we can't work based

soIeIy on rumor. can we?

Can you get me access to this man here?

Browning.

Fischer Denior's right-hand man.

Fischer Junior's godfather.

It shouId be possibIe.

if you can get the right references.

References are something

of a speciaIty for me. Mr. Daito.

BROWNING:
I'm not smeIIing

settIement here. Take them down.

LAWYER:

Mr. Browning...

...Maurice Fischer's poIicy

is aIways one of avoiding Iitigation.

WeII. shaII we voice your concerns

with Maurice directIy?

Not sure that's necessary.

No. no. no. I think we shouId.

BROWNING:

How is he?

I don't want to bother him

unnecessariIy. but--

MAURICE:
Robert. I toId you keep out

the damn-- Wait. Do do it. Get--

NURDE:
Mr. Fischer.

MAURICE:
Put it through.

Never. never.

Never do the same as I asked.

Leave that.

Here.

BROWNING:

Must be a cherished memory of his.

I put it beside his bed.

He hasn't even noticed.

Robert...

...we need to taIk about

a power of attorney.

-I know this is hard. but it's imperative--

-Not now. UncIe Peter.

EAMED:

The vultures are circling.

And the sicker Maurice Fischer becomes,

the more powerful Peter Browning becomes.

I've had ampIe opportunity

to observe Browning...

...and adopt his physical presence, study his

mannerisms, and so on and so forth.

Do now in the first Iayer of the dream.

I can impersonate Browning.

And suggest concepts

to Fischer's conscious mind.

Then. when we take him

a IeveI deeper...

...his own projection of Browning

shouId feed that right back to him.

Do he gives himseIf the idea.

PreciseIy. That's the onIy way it wiII stick.

It has to seem seIf-generated.

Eames. I am impressed.

Your condescension. as aIways.

is much appreciated. Arthur. thank you.

[DOOR OPEND]

Were you going under on your own?

No. no. I was just. uh. running

some experiments.

I didn't reaIize anyone was here. so....

Yeah. I was just--

I was working on my totem. actuaIIy.

Here. Iet me take a Iook.

Do you're Iearning. huh?

An eIegant soIution

for keeping track of reaIity.

-Was it your idea?

-No. it was. uh....

It was MaI's. actuaIIy. This....

This one was hers. Dhe wouId spin it

in the dream and it wouId never toppIe.

Just spin and spin.

Arthur toId me she passed away.

How are the mazes coming aIong?

Each IeveI reIates to the part

of the subject's subconscious...

...that we are trying to access.

Do I'm making the bottom IeveI a hospitaI.

so Fischer wiII bring his father.

You know. I-- ActuaIIy. I have a question

about this Iayout.

No. no. no. Don't show me specifics.

OnIy the dreamer shouId know the Iayout.

Why is that so important?

In case one of us brings in

our projections.

We don't want them knowing

the detaiIs of the maze.

You mean in case you bring MaI in.

You can't keep her out. can you?

-Right.

-You can't buiId...

...because if you know the maze.

then she knows it.

WeII. she'd sabotage

the whoIe operation.

-Cobb. do the others know?

-No. No. they don't.

You've gotta warn them

if this is getting worse.

No one said it's getting worse.

I need to get home.

That's aII I care about right now.

Why can't you go home?

Because they think I kiIIed her.

-Thank you.

-For what?

For not asking whether I did.

''I wiII spIit up my father's empire.''

Now. this is obviousIy an idea that

Robert himseIf wouId choose to reject...

...which is why we need to pIant it deep

in his subconscious.

The subconscious is motivated

by emotion. right? Not reason.

We need to find a way to transIate this

into an emotionaI concept.

How do you transIate business strategy

into emotion?

That's what we're here to figure out.

Robert's reIationship with his father...

-...is stressed. to say the Ieast.

-Can we run with that?

We suggest breaking up his father's

company as a ''screw you'' to the oId man.

No. because I think positive emotion

trumps negative emotion every time.

We aII yearn for reconciIiation.

for catharsis.

We need Robert Fischer to have

a positive emotionaI reaction to aII this.

AII right. weII. try this. Um....

''My father accepts that I want to create

for myseIf. not foIIow in his footsteps.''

That might work.

Might? We're gonna need to do

Rate this script:2.5 / 2 votes