All language subtitles for 21.Jump.Street.S03E16.DVDRip.XviD-DIMENSION.eng

(upbeat music)

(slow synthesizer music)

? We never thought we'd
find a place where we belong

? Don't have to stand alone,
we'll never let you fall

? Don't need permission
to decide what you believe

? I said jump,
down on Jump Street

? I said jump,
down on Jump Street

? Your friends will be there
when your back is to the wall

? You'll find you need us 'cause
there's no one else to call

? When it was hopeless, a
decision's what you need

? You gotta be ready
to, be ready to

? Jump

? 21 Jump Street ?

- You're all familiar with
Creative Arts High School, yes?

- You mean like the
one in Fame, Captain?

- Bingo.

- Oh no, somebody isn't
stealing tights, are they?

- No, but somebody's dealing
a hell of a lot of drugs.

They do have a
severe drug problem.

- Guess who they want
to handle that problem?

- Yeah, the city says unless
the trafficking stops,

they're gonna pull
funding on the school.

- Then they'll have to go
to a regular high school

and get the crap beat
out of 'em every day.

- Thank you, Dennis.

- Uh, Hanson?

- Please don't ask, thanks.

- Okie dokie.

Alright guys, listen up.

On the real side, a lot
of very talented kids

are getting screwed up because
of some idiot dope dealers.

- Or they can't say no.

- Yeah.

Now, we're gonna bypass
the audition process.

There's an affirmative
action low income quota

that we can go in under.

- Captain, wait a minute,

these kids, you know, they
sing, they dance, they act.

- Well, that's the idea, Harry.

- So what are we gonna do?

- [Instructor] Five.
Six. Seven. Eight.

One. Two. Three. Four.

Five. Six. Twirl and
one. Two. Three. Four.

Five. Six. Everybody
round, two. Three. Four.

Five and next group.

One. Two. Three. Four.
Five. Six. Seven. Eight.

One. Two. Three.
Four. Five. Six.

Girls and one. Two. Three.
Four. Five. Six. Seven. Eight.

One. Two. Three. Four.
Five. Six. Seven. Eight.

One. Two. Three. Travel!

Five. Six. Seven. Eight.

One. Two. Three. Four.
Five. Six. Seven. Eight.

One. Two. Three. Four.

Excuse me, Mr.
Wong? Is that right?

- Wong.

- Wong. How many years
of jazz, Mr. Wong?

- Years?

- Ballet?

- I love the ballet.

- Tap?

Tell me, do you have
any dance routines

that you specialize in?

- Well, there's one
that I'm pretty good at.

(Caribbean music)

- Try the film department.

- Alright, Harry.

I wanna see you
make a movie, man,

but what I really wanna
see is how you see life.

This is your chance to
interpret what's all around you.

- That's it?

- Tell me what you
think art is, man.

- Art is painting, dancing,
singing, doing plays.

- Okay, okay, and what do all
those things have in common?

They're all visions of life.

Art is life as seen through
the artist's eyes, okay?

Okay.

Take this camera.

You break it, Imma
kick your butt.

You shoot anything
you like, man.

Shoot as much as you like.

You come back here,

Imma show you how to
edit and put it to music.

Harry, make some art, man.

- Okay.

Hey, hey.

- Alright, man.

- This is great.

I like it.

- Humming.

(group hums)

- Okay, everybody breathe.

Breathe in.

(group inhales deeply)

Breathe out.

(group exhales deeply)

Breathe in.

Breathe out.

- Breathing class.

I love it.

- Concentrate.

- Sorry.

- Now relax.

Feel your body.

Feel yourself.

Alright, let's see
your tongues rolling.

That's it, roll
your tongues. Good.

Very good.

Keep them rolling.

Keep them rolling.

Alright, now let's
chew, shall we?

Derek, chew.

Very good.

Very good.

Keep chewing.

Chew.

Alright, let me see
the tongues again.

Keep rolling your tongues.

Roll your tongues.

Good.

(group screaming)

- Enough!

Remember the feeling.

Fear.

You're afraid.

Your whole body can feel
it but it's turning.

It's making you angry.

Now feel that anger.

(Doug screams)

Mr. Peterson, what
were you feeling?

- Anger?

Anger at all this bull.

Come on, when we gonna act?

- When you get in touch
with your feelings.

- I am in touch
with my feelings.

You know they left a message.

They said, get the
show on the road.

- Mr. Peterson, I know
you're new to this class

but I strongly recommend
you connect your heart

to your head if
you have any hopes

of becoming an actor, alright?

- Alright.

- Good.

- Hey, guy.

- Hey.

- Wanna get in touch
with your feelings?

- Well, yeah, sure.

- I got anything you need, man,

wanna go up, down, sideways,

breathe through your nose, man.

- Oh, now you're talkin'.

Hey, you got the money?

- I got plenty of money.

- Okay, let's talk.

- You can hear that?

Eddie, Eddie, you are
making me so crazy

with these odd bars
of three, four,

makes me wanna rip
my toenails out.

It's been done.

- Wait, wait, wait,

you're the one who
always talks about when

Lennon did it in We
Can Work It Out, right?

- Lennon didn't know what
the hell he was doing.

It was pure feel.

- Alright, fine.

- That's what made it great.

What do you want?

- I'm new.

- Oh, okay. Cool.

How many instruments you play?

- Guitar and saxophone.

- That's it? Two?

(group laughs)

Hey, shut up.

Alright, we do three
things in this class.

We do a lot of heavy theory
and we try to find new music

and we play.

Right now, we're
talking new music.

You got any opinions?

- Not really.

- Well, you better be
loaded with opinions

if you're gonna
be in this class.

I'll get you started.
(clears throat)

Rock and roll is old.

(class moaning)

It's like a wrinkled
old prune of a whore

that has no business being
kissed by a young man.

What do you think of that?

- (Laughs) I love rock and roll.

- Hey, I love rock and roll
but it's old man's music.

It makes me wanna puke.

The kids listen to the same
crap that I grew up on.

I mean, why don't kids
get their own music

that nobody over
25 can understand?

- 'Cause art is dead.

- That's a good
answer, new blood.

Alright, let's play.

We're gonna do Shuffle in F.

New blood, you're on drums.

- Oh, hey, hey, I
don't play drums.

- Well, you can't be a musician
if you don't play drums.

Now get on the
kit next to Herbie

and sit there 'til you find
the beat. (clears throat)

Alright, it's my favorite part,

makes me feel like
Doc Severinsen.

One, two, one, two, three, four.

(lively music)

(electric guitar solo)

(very lively
electric guitar solo)

- Excuse me, Mr. Buckwell.

Mr. Buckwell, excuse me.

- Oh, yeah.

- Now you've inspected every
program in our curriculum.

Is there a specific art
you're interested in?

- Well, I'd like to sign up
for that dance class, you know.

- Any reason?

- Well, you know, I think
I'd look really good

in those leotards and
they got a lot of women

in this class and I get
along really well with women.

- Oh, whoa, Mr. Buckwell,

those are hardly reasons
we should enroll you

in the dance program.

Now, do you have
any special talents?

- That's cool.

What are they doin'?

- [Woman] Performance art.

- Oh yeah, what's that?

- Performance art is the
expression of an urge

to free art from the frame in
the wall where we set apart

from life and to involve
art with life until art

should become
indistinguishable from life.

- That's what I do!

I'm kind of a free form poetic
kind of performance artist.

- Come on!

It is easy to be strange.

Your piece is strange
simply for shock value.

Where's the truth?

Green Acres is strange
but is there truth?

- Of course there is.

- Mr. Thurber, this is
Dennis, a new student.

- Hi.

- Describe your work.

- S & M haiku.

- Show me.

- Sure.

My friends always ask me,
"Why don't you watch TV?"

I tell them because it
gives me a headache.

(grunting and glass breaking)

Thank you.

- I want you to look
around and maybe,

maybe one of you is gonna
make a living as an actor.

Now which one of you do
you think that's gonna be?

See, a good actor uses
himself, his personality.

Part of every character
is what comes out of you.

Your vein of gold.

Now everyone has one.

John Wayne had that strength
that was great for westerns.

Ritter, John Ritter,

he's got that glib timing that's
just wonderful for sitcoms.

- Easy.

- Alright, I wanna
do an exercise today.

I want you to pick
an inanimate object

and I want you all to
become that object, okay?

Ann, what would you like to be?

- I'd like to be a tree.

- You'd like to be a tree.

Wonderful so be a tree.

- Judy, what would
you like to be?

- A pencil.

- Okay, let's see a pencil.

- (Laughs)

- And Doug, what
would you like to be?

- A piece of paper so she
can write all over me.

(group laughs)

- Mr. Peterson, why
are you in this class?

- Well, you know,

I figure it's the first stop
on the road to immortality.

- Ah, well your first stop
is your reading assignments,

Mr. Peterson.

Tell me, did you find time
to read between wise cracks?

- Yes, I certainly did.

- Oh good, he did.

Isn't that wonderful?

Why don't you tell us about it?

- Well, Spencer Tracy,
he's a good actor, right?

- Oh, he's a
wonderful actor, yeah.

- Well, you know what
he says about acting?

- What'd he say?

- He says, you know,

you should remember your lines

and not bump into the furniture.

- Yes, he did say
that, didn't he?

- Yeah, well, I think
he was onto something.

- Good. Good.

Well, I can't wait to see
your scene, my darling.

- Scene?

- Yes, next class.

I want you to do
a two minute scene

from any well-known
play, alright?

- Okay, no problem.

(saxophone playing)

- How you doin'?

- Hey.

- I'm in Sharp's class with you.

- Yeah, I know, I remember.

You threw Herbie off
his shuffle, right?

- Right but you know, I never
really played drums before.

- Oh that's okay, Mr. Sharp
does that to everybody.

I think he's a
syncopation freak.

- Yeah, I like that stuff
you were playin' though.

It's great.

- That? That was nothing.

I was just running
arpeggios, goofin' around,

it's really easy.

- Yeah, well Eddie was
kinda fallin' on his face

tryin' to keep up with you.

- Eddie. Eddie's got
sausage fingers, that's why.

It's no big deal,

I could teach you that
stuff in 20 minutes.

- Really?

- I'm telling you,
it's no problem.

- Wow, that's great.

I'm Tom.

- Jimmy. Wolfe.

- Good to meet you.

- Yeah.

- The dog.

Open my eyes on a
bloodshot morning.

The champion strings his leash.

Points at my throat.

Howls and spits
all over the place.

He misses Clarice and
her southern grease

where he used to wash his face.

He's howlin' in pain but
he's howlin' in vain,

the lights on Love
Street are red.

I whip him three or
four times a night.

Offer him hand out of spite.

I'll be frank,

I spank and I spank.

This thing's bigger
than both of us.

(group cheering and applauding)

- I liked what you did.

- Yeah?

- Yeah.

- I like talking about the dog.

I saw your audition
yesterday, man.

- Yeah?

- Yeah.

What do you call that?

- I call it S & M haiku.

You like it?

- That's the great
thing about art, man.

Sometimes you can't
tell the difference

between art and bull crap.

- Okay, so you
didn't like my poem.

- That wasn't a poem.

- That's not one
of my best poems.

- Spit out cotton and clean
your rear view mirror.

Run like you mean
it, drunk jock.

The whores will
win, fools will win.

- But break like a
horse out of the gate.

- You get high?

- Perpetually.

- You play hoops?

- Formidably.

(group cheering)

- What's up, man.

Yo.

Rupert.

Some danger out there or what?

- Lewis is back with a
couple of his homeboys

and has come to show how
some dazzling, young,

black boys could whip ass
on the old white junkie.

(group laughs)

- Come here. (mumbling)

Thank you.

There you go, buck.

A little anti-freeze
before the game.

Come on, we'll go behind
a building and do it, huh?

- I'll get high after
the game, man, alright?

Yo, cool.

(slower saxophone music)

- Alright, boys, let's
rock and roll, huh?

One. Two. Three and.

(rock music)

- Eddie, your G's singin' flat.

- It's not me, it's Tommy's
ass, I'm telling you.

- It's you and Rex, a little
too much attack on the synth.

Just spread it out,

let the tonic hang over
the whole bar, okay?

- Alright, here we go,
one more time you guys.

One. Two. Three. Yeah.

(rock music)

- Hey, buck.

- [Dennis] Hey.

Listen man,

me and Danny were
gonna read some poetry

and drink some wine
with the (inaudible).

You wanna come?

- Yeah.

- Alright.

- Thanks.

- Meet at the
courts about 10:30?

- I'll be there.

- Alright.

- To sit in a small room
and drink a can of beer

and roll a cigarette
while listening to Brahms

on a small radio is to come back

from a dozen wars alive, man.

Man, he is talkin' about
the freaking moment here.

- [Dennis] So where
is that moment?

I can't hold it.

- 'Cause the
moment's liquid, man.

You gotta know how to freeze it,

if you wanna hold it.

- It's just like
playin' hoops, man.

Get high before the
game, you'd freeze it.

- Hey, Dave.

Everything we do is done
the second we do it.

You can't freeze life.

You try to hold it, man, and
you're squeezin' nothin'.

- You don't try to
hold onto it, man.

You don't try to hold onto it.

You try to hold onto life?

You curse the blood, man.

Reject everything,
especially fear.

Fear cripples the moment, man.

- Hey, Dave.

You live without fear?

- Hey, I've felt fear, man.

Fear is what rots life.

Crippling fear, man.

Everyday people feel
happiness and they crush it

with this lonesome worry, man.

Am I gonna lose this happiness?

What if an earthquake
hits or I lose my job?

Or my girlfriend?
Or my BMW? Or my CD?

Or my baseball cards, man?

Fear strangles the
sweet breath of living.

You D?

This is the place, man,

where the moment is liquid

and children fly
close to the sun.

- I know what you mean, man.

- No, you don't, buck.

You gotta get high
before the game.

- I get too messed
up to play, man.

- You gotta lose your
fear of flyin', man.

Smack makes you immune to
the fear of burnin' up.

It's when everything
comes together.

All the poetry
meets the physical.

It's just you and your buddies

lost in the total grace
of hoops and heroine, man.

- Hey, blow, think fast.

- Geez.

- Yes.

- All this in one week?

- One day.

- I think I found a connection.

- Damn, I thought I did well.

- Hey, Captain, I think
we found the source.

It's the entire school.

- I don't get this.

Why so much in this one place?

- Well, pressure to perform,

emulating a lifestyle.

- Check this out.

Could just be the location.

That school's in a very
tough neighborhood.

- I think it's fear.

I mean, these kids
feel life so intensely.

I mean, that's gotta
be pretty scary, right?

Maybe that's the only
way they know how to deal

with their pain.

(very fast electric
guitar playing)

- See, instead of hammering,
just do it like that.

Then like pick all the
notes in the scale.

Do it.

(slower electric guitar playing)

See? That's not bad, man.

You got a great stretch.

- I never even thought of
using positions like that.

- Mr. Sharp'll show 'em to you.

It's just, you know,

the rest of the guys in the
class like to fool around.

- Hey, how can a player
like you sit around

and play blues stuff with us?

- I love playin' blues, man.

It's powerful in its simplicity.

I mean, it's all music, man.

Don't you get off on all of it?

It's like I could draw from
country western, from reggae,

from classical, from
jazz, from blues.

I mean, you know, if
you don't hear it,

how can you learn from it?

- Opera? Do you use opera?

- Well, yeah, man.

I mean, Wagner,

he's a hell of a lot more
complicated than Run DMC.

But they both caused riots, man.

- I'd like to hear
your stuff sometime.

We oughta play it in class.

- No, I think it's
too complicated.

I mean, nobody can even play
it except for maybe Mr. Sharp.

- Really, Mr. Sharp can play?

- Hell yes, man.

He's in this kick ass band,
plays down at the Lizard.

You should go check him out.

- Yeah, maybe I will.

- Hey, listen.

I'm gonna get together with
Herbie and some of the guys

to score some dope.

You wanna go?

- No, man.

I don't take any drugs.

That's what keeps you
from making great music.

- You've got enough
of everything in you

for the both of us.

- No, no, no, it's,

you've got enough of everything
in you for the both of us.

- You've got, Doug, I
can't do this, I'm sorry.

Forget it, I'm not
gonna embarrass myself.

I'm very sorry.

- Well, alright, I'll
just get somebody else,

don't worry about it.

One of these days, Alice.

One of these days.

Bang zoom!

- Right in the kisser.

- Hey, I didn't see you there.

I was just rehearsing.

What are you doin' here?

- This is my office, man.

- Oh, really?

- Yeah, this is my
home, this is my church.

- Oh, like you come here
to pray to karst, huh?

- (Laughs) No, I come
here by myself a lot.

- Why?

- An empty theater.
It's a trip, man.

Check it out. Look at it.

This place could be anything.

Put a couple flats in
here and it's a castle.

You put a scrim in
here, it's a desert.

You put on some makeup,
you're the devil.

Throw in some rogues and
with the right dialogue,

you're a god.

- Oh, it's like make believe.

- No, you're there.
That's the thrill.

You can go anywhere,
you can be anything.

What could be better?

(sneakers shuffling on pavement)

- My guy's gonna be there.

Alright, deuces.

- Alright.

- Come on, buck.

Come on, buck. This
is the moment, man.

Do it perfect.

- I'll do it after
the game, alright?

- Oh, come on, man. Let loose.

- Just try it once, buck.

Forget about life or death, man.

Just stay in the zone.

(snorting)

(ominous music)

(rock music)

- What's the damage?

- Alright, you've got
123 grams of coke,

3 1/2 pounds of mary jane
including 50 doobers,

you've got 300 bennies,
150 goofballs, 750 pinkies,

200 screaming charlies,
couple deuces of smack,

a tube of glue and 3
packets of instant coffee.

- Sal, how come you're so
up on drug terminology?

- Dragnet reruns, sir.
Every night at eight.

- I don't get it, man.

All these kids got
such potential.

- Ah, potential.

Now there is a scary word.

(jazz music)

- Man, one of these
days I'm gonna down here

and blow with these guys.

- Sharp would never let you
on the same stage as him.

- He would to, man.

Sharp really likes me.

Why you think we argue so much?

- Hey, you know what?

He sounds like Ornette Coleman.

- Yeah, he used to
play with Ornette

when he came to town, man.

(jazz music)

- Hey, I thought you said
this guy was gonna be here.

- He's already here, man.
He's up on stage right now.

- Who's that, Mr. Sharp?

- No, man. Jimmy.

He's the biggest
dealer in school.

- The reason you're not
hittin' that passing tone right

is 'cause your thumb
position is bad.

You just gotta put it
back like this, okay?

- Hey, you know that plant you
got us last night was great?

- Are you here to learn about
music or talk about dope?

- Well, I just think it's kinda
strange that you sell dope

but you don't smoke it.

- I'm only sellin' it 'cause
I need the money, okay?

As soon as I finish
my tapes, I'm through.

- What tapes?

- I'm recording my music, man.

- I got all the
backing tracks down,

I just put in my guitar
over dubs and I'm there.

- Hey, that's great!

You're still gonna
give me that key

tomorrow night though, right?

- Yes.

- Okay.

Hey, listen.

If you're gonna get out of it,

why don't you turn
me under your guy

and then I'll give
you the kickback?

- Just forget it man, okay?

I'm doing this last deal
with you and I'm out of it.

- Alright, well, just show
me that finger stuff again,

would you?

- Norton? Hey, Norton!
Come down here, Norton!

Hey! What are you tryin' to
do, give me a heart attack?

Well Norton, how do I look?

- Divine, Ralph.

(class laughs)

- Thank you, Norton.

Did you find something
we could use as a ball?

- Oh yeah, I got this
here, pin cushion.

- Great.

Hey, give it to me.

Ouch! What's the
matter with you?

There's pins in it.

Here take the pins out.

- She loves me,
she loves me not.

- Will you stop with that?

- Thank you very much.

- We're not done.

- Oh, yes, you are.

Thank you, Mr.?

- Hendricks.

- Hendricks.

Mr. Peterson,

your assignment was to
prepare a scene from a play.

Now The Honeymooners,

as entertaining as
it is is not a play,

it's a television show.

- Yeah, but The Honeymooners --

- You know, anyone can clown.

Anyone can mimic but that's
not really acting, is it?

- Are you sayin' Jackie
Gleason's not a great actor?

- Gleason was a brilliant actor.

There were many poignant
moments in The Honeymooners

but what made his
performances work was that

he was very, very real.

He never blew a scene for a gag.

He drew a very
believable character.

He acted that character
and it was the pathos

and shortcomings
of that character,

that made us laugh.

- Well, the guy's a classic.

That's why I'm doin' this stuff.

- Then why don't
you do it right?

Do you know the high note scene?

- Yeah, yeah, I seen every
episode a thousand times.

- Well then, let's
do it, alright?

Give me something real.

- Well, he doesn't
know the lines.

- Just do it, Mr.
Peterson, alright?

- Alright.

Hey Alice, what's the
matter? What do you got --

- Wait, what are you doing?

- Doing the high note scene.

- You are aping the performer.

Now why don't you get rid
of that ridiculous costume?

Take it off!

Alright, that's good.

Now, I want to hear
you do this character

with your voice, alright?

I wanna see a little man who's
never realized his dreams.

Can we do that?

- Okay.

Hey, Alice.

What's the matter? What do
you got behind your back?

Uh, oh yeah, I
didn't pass the test.

I failed again.

Don't, don't say anything, I,

don't say anything, Alice.

I know how you feel.

I feel the same way, too.

Boy, what a moax I am.

I'm gonna make good.

Gonna list all my weak points
and list all my strong points.

I was gonna be a big success.

I wasn't gonna be
a failure anymore.

Boy, that's a laugh.

- No, that's not a laugh.

The new Ralph Kramden
is a wonderful man

and what you've done
in the last few weeks

has not been foolish
or a lot of malarkey

and I'm not gonna let
you tear him down just

because of this
one disappointment.

Ralph, you see, you
can't win the first time.

You gotta keep
trying and trying.

I know you didn't pass
the test this time

but there's always next year.

The year after that.

I like the new Ralph Kramden.

I'm not gonna let
you give up on him

and if the old Ralph Kramden
shows his face around here,

I'm gonna hit him right over
the head with this cornet.

- You know something, Alice?

I did hit that high note once.

The day I married you.

Baby, you're the greatest.

(teacher laughs)

(class cheers and applauds)

I just realized this, you
know, The Honeymooners,

I used to laugh at
it all the time.

You know, I thought
it was really funny.

Homina, homina,
homina and bang zoom,

all that kind of stuff,

but I never really
thought of Doug Penhall

as Ralph Kramden before.

You know, when I was talkin'
about being a failure

and all that kinda stuff?

Well, I could really
relate to that

'cause of things that
happened in my past.

- Well, that's exactly
why you were so good.

I mean, you made me remember
times I let myself down.

- That's what I had to do,

go back and re-experience
those, it hurt.

These kids, every day
they have to do that,

drum up the emotions,
relive 'em, it must be hell.

- Well, it is but
that's what they want,

to feel it and express
it so we can feel it too.

- Why would they want to
pollute those feelings?

(rock music)

(crowd chattering)

- Okay, you've all been invited
to witness and participate

in a performance piece that's
never been done before.

The performance
is in four parts.

The first part will be
a video presentation

accompanied by Dennis Buckwell
reading his poem Oblivion.

(audience cheers and applauds)

- Oblivion.

The artist lives in oblivion.

The space reserved only
for the moment of death,

the microsecond of
absolute infinity.

Total ecstasy.

Destruction.

(loud explosion and
orchestra music begins)

Pain.

Fear.

Elation.

Madness.

Divinity captured in
one fleeting moment.

The artist lives in oblivion,

suspended on the
threshold of perfection,

moaning and groaning,

running from the grasp
of razor mediocrity,

betraying the everyday,

oblivion comes everyday.

The second part of
our piece is this,

as nearly every
student in this room

has either possessed
illegal narcotics

or sold them to
undercover officers,

you're all busted.

(crowd chattering)

- Now for the final
portion of our show,

I'd like to introduce
Judge Stephen J. Roth

from the municipal
court. (claps)

- Thank you, thank
you very much.

I've never done a show
quite like this before

but I can assure you that
this is legitimate theater.

My performance piece
is called Due Process.

It starts with every
student in this school

being bused to my court room
where you will experience

the booking and
arraignment of every genius

who sold drugs to one of
our undercover officers.

For the finale, I will serve
up a multitude of punishments,

such as probation,
community service,

and for the habituate
amongst you,

a very special
treat, incarceration.

For my encore, I have arranged
with the Board of Education

to place this entire
school on probation.

If the drug traffic in this
school does not decrease

at a satisfactory rate,

the show is over.

That's all folks.

(Woody the Woodpecker laughs)

(Woody the Woodpecker
theme song)

(crowd chattering)

- Okay, give me an A.

Alright, now give me an E.

Alright, man.

Let's go back to A, okay?

A.

- Hey.

Sounds like you've got some
pretty good student here.

- Yes, man. I'm teachin' 'em
a little Bo Diddley beat.

- Is this your probation?

- Yeah, you know, 300
hours community service.

I thought it was
gonna kill me but,

it's really pretty cool.

- Yeah, well you know, a
couple people messed up

but the majority's
doin' real good.

- Yeah, so far.

(strums guitar)

- Future Jimmy Wolfes.

- Yeah, I think I found a better
way to get my music across

than what I was doin', you know?

- Good.

You take care.

Bye children.

Be nice.

(hollering and chattering
on basketball court)

- I heard you dropped
out of school.

- Yeah, too many cops.

- So what've you been
doin' besides gettin' high?

- Hey, don't lay that
hypocrisy on me, man,

because you were
right there with us.

A cop.

Flyin' high on heroine with a
bunch of basketball junkies.

- That's right, man.

I was right there with ya.

High as I can be,
shootin' hoops,

feeling liquid with the moment
except it wasn't on heroine.

I faked it.

- You're lyin'. I saw
you snort the line, man.

- It's part of my job.

Man, I could fake a snort
without a junkie knowing it.

Dave, what I didn't
fake was feelin' high.

I'm 22 years old.

I'm in the moment every
second of every day.

I feel things and taste things

that can never seep through
your wall of dope, man.

- Save your preach, cop.

I reject everything, man, and
it's not because I'm unhappy

or confused or
afraid of reality.

See, I can chew up the
nastiest tastes reality

has to dish out, man,

and if reality serves me
up some raw sewage, man,

I'll slurp up a whole
toilet bowl full.

Call it ambrosia.

- You always had a
way with words, Dave.

(instrumental to 21
Jump Street theme song)

(dramatic music)