21 Jump Street Page #5

a IittIe better than ''might.''

Thank you for your contribution. Arthur.

Forgive me for wanting

a IittIe specificity. Eames.

Dpecificity?

Inception's not about being specific.

When we get inside his mind. we're

gonna have to work with what we find.

EAMED:
On the top IeveI. we open up

his reIationship with his father...

...and say. ''I wiII not foIIow

in my father's footsteps.''

Then the next IeveI down. we feed him.

''I wiII create something for myseIf.''

Then. by the time we hit the bottom IeveI.

we bring out the big guns.

-''My father doesn't want me to be him.''

EAMED:
ExactIy.

[MACHINE HIDDING]

Three Iayers down. the dreams are gonna

coIIapse with the sIightest disturbance.

Dedation.

For sIeep stabIe enough to create

three Iayers of dreaming...

...we'II have to combine it with

an extremeIy powerfuI sedative.

[MACHINE HIDDING]

Good night.

YUDUF:
The compound we'll be using

to share the dream...

...creates a clear connection

between dreamers...

-...whiIst acceIerating brain function.

-In other words. more time on each IeveI.

Brain function in the dream wiII be

about 20 times normaI.

And when you enter a dream within

that dream. the effect is compounded.

It's three dreams.

that's 10 hours times 20--

Math was never my strong subject.

How much time is that?

It's a week. the first IeveI down.

Dix months the second IeveI down.

and the third IeveI--

That's 10 years.

Who'd wanna be stuck

in a dream for 10 years?

Depends on the dream.

Do once we've made the pIant.

how do we get out?

I'm hoping you have something more

eIegant than shooting me in the head.

-A kick.

-What's a kick?

EAMED:

This. Ariadne. wouId be a kick.

It's that feeIing of faIIing you get

that joIts you awake.

-Dnaps you out of the dream.

-We gonna feeI a kick with this sedation?

YUDUF:

That's the cIever part.

I customized the sedative to Ieave

inner-ear function unimpaired.

That way. however deep the sIeep.

the sIeeper stiII feeIs faIIing.

Or tipping.

The trick is to synchronize a kick

that can penetrate aII three IeveIs.

We couId use a musicaI countdown

to synchronize the different kicks.

[''NON. JE NE REGRETTE RIEN'' PLAYING]

EAMED:
He hasn't got any surgery

scheduled, no dental, nothing.

COBB:
Wasn't he supposed to have

a knee operation?

Nothing. Nothing that they'II

put him under for. anyway. And we need--

We need at Ieast a good 10 hours.

Dydney to Los AngeIes.

One of the Iongest fIights in the worId.

He makes it every two weeks.

He must be fIying private. then.

DAITO:
Not if there were unexpected

maintenance with his pIane.

ARTHUR:
It wouId have to be a 7 47.

-Why's that?

On a 7 47. the piIot's up top...

...the first-cIass cabin's in the nose.

so no one wouId waIk through.

You'd have to buy out the entire cabin

and the first-cIass fIight attendant.

I bought the airIine.

It seemed neater.

WeII. Iooks Iike we have our 10 hours.

Ariadne? Terrific work. by the way.

[MACHINE HIDDING]

MAL:

You know how to find me.

You know what you have to do.

You remember when you asked me

to marry you?

Of course I do.

You said you had a dream.

That we'd grow oId together.

And we can.

COBB:

You shouIdn't be here.

Just wanted to see what kind of tests

you're doing on your own every night.

-This has nothing to do with you.

-This has everything to do with me.

-You've asked me to share dreams with you.

-Not these. These are my dreams.

ARIADNE:

Why do you do this to yourseIf?

It's the onIy way I can stiII dream.

Why is it so important to dream?

In my dreams. we're stiII together.

These aren't just dreams.

These are memories.

And you said never to use memories.

I know I did.

You're trying to keep her aIive.

You can't Iet her go.

You don't understand.

These are moments I regret.

They're memories that I have to change.

WeII. what's down there that you regret?

Listen. there's onIy one thing

you need to understand about me.

ARIADNE:

This is your house?

Mine and MaI's. yes.

Where is she?

Dhe's aIready gone.

That's my son. James.

He's digging for something.

maybe a worm.

[JAMED GIGGLING]

That's PhiIIipa.

I thought about caIIing out to them...

...so they'd turn and smiIe

and I couId see...

...those beautifuI faces of theirs.

but it's aII too Iate.

MAN:

Right now or never. Cobb.

COBB:

Then I start to panic.

I reaIize I'm gonna regret this moment...

...that I need to see their faces

one Iast time.

WOMAN:

James! PhiIIipa! Come on in!

COBB:

But the moment's past.

And whatever I do.

I can't change this moment.

As I'm about to caII out to them...

...they run away.

If I'm ever gonna see their faces again.

I've gotta get back home.

The reaI worId.

[TRAIN APPROACHING]

[DIREN WAILING IN THE DIDTANCE]

What are you doing here?

My name is--

I know who you are.

What are you doing here?

I'm just trying to understand.

How couId you understand?

Do you know what it is to be a Iover?

To be haIf of a whoIe?

No.

I'II teII you a riddIe.

You're waiting for a train.

A train that wiII take you far away.

You know where you hope

this train wiII take you...

...but you don't know for sure.

But it doesn't matter.

How can it not matter to you

where that train wiII take you?

COBB:

Because you'II be together.

MAL:
How couId you bring her here. Dom?

-What is this pIace?

This is a hoteI suite where we

used to spend our anniversary.

What happened here?

You promised!

You promised we'd be together!

PIease. I need you to stay here

just for now!

You said we'd be together!

You said we'd grow oId together!

I'II come back for you. I promise.

[YELLING]

Do you think you can just buiId

a prison of memories to Iock her in?

Do you reaIIy think that

that's gonna contain her?

DAITO:

It's time.

Maurice Fischer just died in Dydney.

-When's the funeraI?

-Thursday. In Los AngeIes.

Robert shouId accompany the body

no Iater than Tuesday. We shouId move.

AII right.

-Cobb. I'm coming with you.

-I promised MiIes. No.

The team needs someone who

understands what you're struggIing with.

And it doesn't have to be me...

...but then you have to show Arthur

what I just saw.

Get us another seat on the pIane.

COBB:
If I get on this pIane

and you don't honor our agreement...

...when we Iand.

I go to jaiI for the rest of my Iife.

CompIete the job en route...

...I make one phone caII from the pIane...

...you have no troubIe

getting through Immigration.

-I'm sorry.

-Oh. yeah. absoIuteIy.

Thank you.

Excuse me. I think this is yours?

You must have dropped it.

FLIGHT ATTENDANT:

WouId you care for a drink?

Oh. Water. pIease.

Oh. um. same. pIease.

Um....

Thank you.

You know. I couIdn't heIp but notice...

...but you wouIdn't happen to be reIated

to the Maurice Fischer. wouId you?

Yes. he. um....

He was my father.

WeII. he was a very inspiring figure.

I'm sorry for your Ioss.

-Here you go.

-Thank you.

COBB:

Hey.

To your father.

May he rest in peace. huh?

[MACHINE HIDDING]

Rate this script:2.5 / 2 votes