[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
♪ 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.
Alright, now let's chew, shall we?
Derek, chew.
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.
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]