21 Jump Street Page #7

Synopsis: In high school, Schmidt (Jonah Hill) was a dork and Jenko (Channing Tatum) was the popular jock. After graduation, both of them joined the police force and ended up as partners riding bicycles in the city park. Since they are young and look like high school students, they are assigned to an undercover unit to infiltrate a drug ring that is supplying high school students synthetic drugs.
Production: Sony Pictures
  11 wins & 20 nominations.
 
IMDB:
7.2
Metacritic:
69
Rotten Tomatoes:
85%
R
Year:
2012
109 min
$134,000,000
Website
4,217 Views


That's an aIternate.

This wouId supersede the other

if you want it to.

It spIits up the component businesses

of Fischer Morrow.

It'd be the end of the entire empire

as we know it.

Destroying my whoIe inheritance?

-Why wouId he suggest such a thing?

-I just don't know.

He Ioved you. Robert.

In his own way.

FIDCHER:

In his own way.

At the end...

...he caIIed me in to his deathbed.

He couId bareIy speak.

But he took the troubIe

to teII me one Iast thing.

He puIIed me cIose.

And I couId onIy make out...

...one word.

''Disappointed.''

[DIGHD]

When were you in Iimbo?

You might have the rest of the team

convinced to carry on with this job.

-But they don't know the truth.

-Truth? What truth?

The truth that. at any minute. you might

bring a freight train through the waII.

The truth that MaI is bursting

through your subconscious.

And the truth that.

as we go deeper into Fischer...

...we're aIso going deeper into you.

And I'm not sure

we're gonna Iike what we find.

We were working together.

We were expIoring the concept

of a dream within a dream.

I kept pushing things.

I wanted to go deeper and deeper.

I wanted to go further.

I just didn't understand the concept that

hours couId turn into years down there...

...that we couId get trapped so deep...

...that when we wound up on the shore

of our own subconscious...

...we lost sight of what was real.

We created.

We buiIt the worId for ourseIves.

We did that for years.

We built our own world.

How Iong were you stuck there?

Domething Iike 50 years.

Jesus.

How couId you stand it?

It wasn't so bad at first.

feeIing Iike gods.

The problem was knowing

that none of it was real.

EventuaIIy. it just became impossibIe

for me to Iive Iike that.

And what about for her?

She had locked something away,

something deep inside her.

A truth that she had once known,

but chose to forget.

Limbo became her reaIity.

What happened when you woke up?

WeII. to wake up from that

after years. after decades...

...to become old souls thrown back

into youth like that?

l knew something was wrong with her.

She just wouldn't admit it.

EventuaIIy. she toId me the truth.

She was possessed by an idea.

This one very simple idea

that changed everything.

That our worId wasn't reaI.

That she needed to wake up

to come back to reaIity...

...that in order to get back home...

...we had to kiII ourseIves.

-What about your children?

-She thought they were projections...

...that our real children were waiting

for us up there somewhere.

MAL:
I'm their mother!

COBB:
CaIm down.

I can teII the difference.

If this is my dream.

why can't I controI this?

You don't know you're dreaming!

COBB:
She was certain

there was nothing l could do...

...no matter how much I begged.

no matter how much I pIeaded.

Dhe wanted to do it.

but she couId not do it aIone.

She loved me too much, so she came up

with a plan on our anniversary.

-Dweetheart. what are you doing?

-Join me.

Just-- Just step back inside. AII right?

Just step back inside now. come on.

No. I'm going to jump.

and you're coming with me.

No. I'm not.

Now. you Iisten to me.

If you jump. you're not gonna wake up.

remember? You're gonna die.

Now. just step back inside.

Come on. Dtep back inside

so we can taIk about this.

We've taIked enough.

-MaI.

-Come out onto the Iedge...

-...or I'II jump right now.

-Okay.

We're gonna taIk about this.

AII right?

-I'm asking you to take a Ieap of faith.

-No. honey.

No. I can't. You know I can't do that.

Take a second. think about our chiIdren.

Think about James.

Think about PhiIIipa. now.

If I go without you.

they'II take them away anyway.

-What does that mean?

-I fiIed a Ietter with our attorney...

...expIaining how I'm fearfuI

for my safety.

How you've threatened to kiII me.

-Why did you do this?

-I Iove you. Dom.

Why did--? Why wouId you do this to me?

I've freed you from the guiIt

of choosing to Ieave them.

We're going home to our reaI chiIdren.

Oh. no. no. no. MaI. you Iisten to me.

aII right? MaI. Iook at me. pIease?

You're waiting for a train.

-MaI. goddamn it. don't do this!

-A train that wiII take you far away.

James and PhiIIipa are waiting for you!

You know where you hope this train

wiII take you. but you can't know for sure.

-MaI. Iook at me!

-But it doesn't matter.

-MaI. goddamn it! MaI. Iisten to me!

-Because you'II be together.

Dweetheart! Look at me! MaI. no!

Jesus Christ!

Dhe had herseIf decIared sane

by three different psychiatrists.

It made it impossibIe for me to try

to expIain the nature of her madness.

So l ran.

[CHILDREN GIGGLING]

MAN:

Right now. or never. Cobb.

WOMAN:

James! PhiIIipa! Come on in! Come on!

AII right. Iet's go.

I Ieft my chiIdren behind and I've been

trying to buy my way back ever since.

Your guiIt defines her.

It's what powers her.

But you are not responsibIe

for the idea that destroyed her.

And if we are gonna succeed in this...

...you have to forgive yourseIf.

and you're gonna have to confront her.

But you don't have to do that aIone.

-No. you're not....

-I'm doing it for the others.

Because they have no idea the risk

they've taken coming down here with you.

We have to move.

Time's up.

AII right. I don't know any combination.

-Not consciousIy. anyway.

COBB:
How about instinctiveIy. huh?

I got somebody in your father's office

right now ready to tap in the combination.

Give me the first six numbers

that come to your head right now.

-I have no idea.

-Right now!

I said. right now! Right now!

Five. two. eight. four. nine. one.

You'II have to do better than that.

AII right. Bag them.

You're going for a ride.

FIDCHER:
We're worth more to you aIive.

You hear me?

What'd you get?

ReIationship with his father

is worse than we imagined.

This heIps us how?

The stronger the issues.

the more powerfuI the catharsis.

-How are we gonna reconciIe them?

-I'm working on that.

Work faster.

The projections are cIosing in quick.

We gotta break out of here

before we're totaIIy boxed in.

Damn it.

You mustn't be afraid to dream

a IittIe bigger. darIing.

We need to shift his animosity

from his father to his godfather.

-Destroy his one positive reIationship?

-No. repair his reIationship with his father...

...whiIst exposing his godfather's

true nature.

We shouId charge Fischer a Iot more

than Daito for this job.

His security is gonna

get worse as we go deeper.

-I think we run with Mr. CharIes.

-No.

EAMED:
Who's Mr. CharIes?

-Bad idea.

The second we get into that hoteI

his security's gonna be aII over us.

We run with Mr. CharIes

Iike on the Dtein job.

-You've done it before?

ARTHUR:
Yeah. and it didn't work.

The subject reaIized he was dreaming

and his subconscious tore us to pieces.

ExceIIent. But you Iearned a Iot. right?

-I need some kind of distraction.

EAMED:
No probIem.

How about a IoveIy Iady

that I've used before?

Listen to me.

You drive carefuIIy. aII right?

Rate this script:2.5 / 2 votes

Michael Bacall

Michael Bacall (born Michael Stephen Buccellato; April 19, 1973) is an American screenwriter and actor, known for having co-written the films Scott Pilgrim vs. the World, 21 Jump Street, and Project X. more…

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Submitted on August 05, 2018

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