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Roblox Inception Movie

ANTON5009 Join Date: 2009-02-08 Post Count: 125 #43286015Tuesday, March 01, 2011 12:21 AM GMT I've done it before. Arthur is taken aback. Cobb turns to the window. ARTHUR Did it work? COBB (quiet) Yes. ARTHUR Who did you do it to? Cobb looks at Arthur. Closed. Arthur shrugs. ARTHUR So why are we headed to Paris? COBB We're going to need a new architect. INT. GREAT HALL, ÉCOLE D'ARCHITECTURE - MORNING Cobb, carrying a shopping bag, looks into a lecture hall: no students, just a RUMPLED PROFESSOR hunched over paperwork. 24. INT. LECTURE HALL - CONTINUOUS COBB (O.S.) You never did like your office. PROFESSOR MILES looks up, squinting. Recognizes Cobb. MILES No space to think in that broom cupboard. Cobb steps down past the empty wooden rows. MILES Is it safe for you to be here? COBB Extradition between France and the U.S. is a bureaucratic nightmare. MILES I think they'd find a way to make it work in your case. Cobb hand Miles the shopping bag. COBB Can you take these back for the kids? MILES It'll take more than the occasional stuffed animal to convince those children they still have a father. COBB I know. I thought you could talk to Marie about bringing them on vacation. Somewhere I could meet- MILES Why would she listen to me? COBB You were married for twenty years. MILES She blames me as much as you. COBB Doesn't she understand that my kids need me? 25. MILES Yes, she does. We all do. Go back and face the music, Dom. Explain what Mal did. COBB Be realistic, Stephen. They'd never understand− they'd lock me up and throwaway the key. Or worse. MILES You think what you're doing now is helping your case? COBB Lawyers don't pay for themselves. This is what I have. This is what you taught me. MILES I never taught you to be a thief. COBB No, you taught me to navigate other people's minds. But after what happened with Mal there weren't a whole lot of legitimate ways for me to use that skill. Miles looks at Cobb. MILES Why did you come here, Dom? Cobb shifts slightly. COBB I found a way home. A job. For powerful people. If I pull it off, I can get back to my family. But I need help. Miles realizes something. MILES My God. You're here to corrupt one of my brightest and best. COBB If you have someone good enough, you have to let them decide for themselves. You know what I'm offering- MILES Money? 26. COBB No, not just money: the chance to build cathedrals, entire citiesthings that have never existed, things that couldn't exist in the real world... MILES Everybody dreams, Cobb. Architects are supposed to make those dreams real. COBB That's not what you used to say. You told me that in the real world I'd be building attic conversions and gas stations. You said that if I mastered the dream-share I'd have a whole new way of creating and showing people my creations. You told me it would free me. Miles looks at Cobb, sad. MILES And I'm sorry. I was wrong. COBB No, you weren't. Your vision was a vision of pure creativity. It's where we took it that was wrong. MILES And now you want me to let someone else follow you into fantasy. COBB They won't actually come on the job, they'll just design the levels and teach them to the dreamers. MILES Design them yourself. COBB Mal won't let me. Miles looks at Cobb. Appalled. MILES Come back to reality, Dom. Please. COBB You want to know what's real, Stephen? Your grandchildren waiting for their dad to come back. 27. (MORE) This job-this last job-is how I get there. Miles looks down, fiddles with his papers. COBB I wouldn't be standing here if there were any other way. I can get home. But I need an architect who's as good as I was. Miles looks Cobb in the eye. Decides. MILES I've got someone better. INT. CORRIDOR - LATER Miles and Cobb stand by as STUDENTS file out of a lecture. MILES Ariadne... A young woman carrying books turns. This is ARIADNE. MILES I'd like you to meet Mr. Cobb. She sizes him up with quick eyes. Offers her hand. ARIADNE Pleased to meet you. MILES If you have a few moments, Mr. Cobb has a job offer to discuss with you. ARIADNE A work placement? COBB (smiles Not exactly. EXT. ROOFTOP, ÉCOLE D'ARCHITECTURE - MOMENTS LATER Ariadne leans against the parapet, overlooking Paris. She unwraps a sandwich, watching Cobb pull out a pad of GRAPH PAPER and a PEN. He offers them. She bites her sandwich. COBB A test. 28. COBB (CONT'D) ARIADNE (mouth full) Aren't you going to tell me anything? COBB Before I describe the job, I have to know you could do it. ARIADNE Why? COBB It's not, strictly speaking, legal. Ariadne raises her eyebrows. COBB You have two minutes to draw a maze that takes me one minute to solve. Ariadne takes the pad and pen. Cobb looks at his watch. COBB Go. She starts DRAWING LINES on the grid, constructing a maze. COBB Stop. Ariadne hands the pad and pen to Cobb. He glances at the pad, then, looking her in the eye, TRACES the solution. She is taken aback. Cobb RIPS off the sheet, hands the pad back. COBB Again. She traces straight lines, CONCENTRATING... COBB Stop. She hands Cobb the pad, a touch pleased. Cobb solves the puzzle instantly, as before. Her smile falls. COBB You'll have to- She GRABS the pad, frustrated... but this time she FLIPS it over and starts drawing on the BLANK CARDBOARD of the back. Cobb watches, surprised. He smiles as he sees that she's drawing CIRCLES, creating a maze based on concentric rings. Ariadne hands back the pad, defiant. Cobb takes the pen, starts the maze. This time he gets stuck. Nods. 29. COBB (working the maze) More like it. EXT. NARROW STREET, PARIS - DAY Arthur stops at a warehouse door. Consults a piece of paper. INT. WORKSHOP - CONTINUOUS A large, dusty warehouse. The SLIDING DOOR cracks open. Arthur enters. Looks around, approvingly. INT. SAME - LATER Arthur DRAGS LAWN CHAIRS into the middle of the room. He erects a table. Lays out several SILVER CASES, unpacking them, laying out lines of tubing, MECHANISMS... EXT. PARISIAN CAFE - DAY Cobb and Ariadne sit at an outdoor table. COBB They say we only use a fraction of the true potential of our brains... but they're talking about when we're awake. While we dream, the mind performs wonders. ARIADNE Such as? COBB How do you imagine a building? You consciously create each aspect, puzzling over it in stages... But sometimes, when your imagination flies- ARIADNE I'm discovering it. COBB Exactly. Genuine inspiration. Cobb leans forwards and draws on the paper table cloth. COBB In a dream your mind continuously does that... Cobb has drawn a circle made of two arrows. 30. COBB It creates and perceives a world simultaneously. So well that you don't feel your brain doing the creating. That's why we can shortcircuit the process... ARIADNE How? COBB By taking over the creating part. Cobb draws a straight line between the two arrows. COBB This is where you come in. You build the world of the dream. We take the subject into that dream, and let him £111 it with his subconscious ARIADNE But are you trying to fool him that the dream is actually real life? COBB (nods) While we're in there, We don't want him to realize he's dreaming. ARIADNE How could I ever get enough detail to Convince him that it's real? COBB Our dreams reel real while we're in them. It's only when we wake up we realize things were strange, Ariadne gestures around them- ARIADNE But all the textures of real lifethe stone, the fabric. cars... people... your mind can't create all this. COBB It does. Every time you dream. Let me ask you a question: You never remember the beginning of your dreams, do you? You just turn up in the middle of what's going on. 31. ARIADNE I guess. COBB So... how did we end up at this restaurant? ARIADNE We came here from... Ariadne trails off, confused. COBB How did we get here? Where are we? Ariadne THINKS, unable to remember. A FAINT RUMBLE begins. ARIADNE Oh my God. We're dreaming. Cobb nods. The RUMBLE is BUILDING. COBB Stay calm. We're actually asleep in the workshop. This is your first lesson in shared dreaming, remember? Ariadne looks around, mind REELING. Cobb BRACESThe restaurant VIOLENTLY FRAGMENTS, EXPLODING AND IMPLODING PARTICLES OF FURNITURE, WALLS, PEOPLE FLYING AROUND- Ariadne WONDERS at the MAYHEM WHIRLING around them- Cobb SHIELDS his head against the debris. She sees him- ARIADNE (shouting over noise) If it's just a dream, why are you covering your- Ariadne is WIPED FROM HER SEAT BY A MASSIVE BLAST and we- CUT TO: INT. WORKSHOP - DAY Ariadne JOLTS awake. COBB (O.S.) Because it's never just a dream. Ariadne turns to Cobb's voice. They are both sitting in the lawn chairs. Arthur watches over them. 32. COBB And a face full of glass hurts like hell, doesn't it? While we're in it, it's real. ARTHUR That's why the military developed dream sharing-a training program where soldiers could strangle, stab and shoot each other, then wake up. ARIADNE How did architects get involved? COBB Someone had to design the dreams. (to Arthur) Let's go another five minutes- ARIADNE We were only asleep for five minutes? We talked for an hour at least... COBB When you dream, your mind functions more quickly, so time seems to pass more slowly. ARTHUR Five minutes in the real world gives you an hour in the dream. COBB Let's see how much trouble you can cause in five minutes. And we- CUT TO: EXT. SAME PARISIAN STREET - DAY Ariadne walks down the crowded street with Cobb. Cobb looks around at the street, the cafe, approving. COBB It's good. You've got the cafe, the layout... you forgot the book shop but pretty much everything else is here. Ariadne looks at the passers-by. ARIADNE Who are the people? 33. COBB They’re projections of my subconscious. ARIADNE Yours? COBB Sure-you are the dreamer, I am the subject. My subconscious populates your world. That's one way we get at a subject's thoughts-his mind creates the people, so we can literally talk to his subconscious. ARIADNE How else do you do it? COBB Architecture. Build a bank vault or a jail, something secure, and the subject's mind will fill it with information he's trying to protect. ARIADNE Then you break in and steal it. COBB Exactly. Ariadne wonders at the detail of the street. ARIADNE I love the concrete sense of things- (stamps foot) Real weight, you know? I thought a dream space would be all about the visual, but it's the feel of things. Question is, what happens as you start to mess with physics... She CONCENTRATES on the street. The street starts to BEND IN HALF− the buildings on either side FOLDING IN until they form the INSIDE OF A CUBE OF CITY, GRAVITY FUNCTIONING INDEPENDENTLY ON EACH PLANE. Ariadne looks up (or down) at the people on the opposite city surface. Cobb watches her excitement. ARIADNE It's something, isn't it? COBB (quiet) Yes. It is. 34. As they walk, Ariadne notices more and more of the projections STARING at her. ARIADNE Why are they looking at me? COBB Because you're changing things. My subconscious feels that someone else is creating the world. The more you change things, the quicker the projections converge on you. ARIADNE Converge? COBB They feel the foreign nature of the dreamer, and attack-like white blood cells fighting an infection. ARIADNE They're going to attack us? COBB Just you, actually. They walk along the street to where it joins the next gravitational plane. They step up onto the different plane and walk down the street towards a river. As Ariadne approaches, steps emerge from the flagstone, and she leads Cobb up onto a small jetty. As she concentrates, pillars emerge and a BRIDGE starts to telescope out from the jetty. They step onto it as it grows. Cobb is impressed. COBB It's beautiful... but if you keep on changing things... People crossing the bridge STARE at Ariadne. Several of them BUMP her shoulder as they pass. ARIADNE Mind telling your subconscious to take it easy? COBB That’s why it’s called subconscious. I don’t control it. The bridge now spans the Seine. Cobb marvels at it. COBB Arched stone, iron pillars... it's... 35. Cobb pauses, thinking. Remembering. INSERT CUT: Mal, hair blowing, turns to Cobb, smiling, laughing. He smiles back. They are on the same bridge. COBB I know this bridge. This place is real− (serious) You didn't imagine it, you remembered it... ARIADNE (nods) I cross it every day on my way to the college. COBB Never recreate places from your memory. Always imagine new places. ARIADNE You have to draw from what you know- COBB (tense) Use pieces-a streetlamp, phonebooths, a type of brick-not whole areas. Several people around them ECHO Cobb's attitude... ARIADNE Why not? COBB Because building dreams out of your own memories is the surest way to lose your grip on what's real and what's a dream. ARIADNE Did that happen to you? Cobb says nothing. He stands there, starinq at Ariadne. PEOPLE around her stop and look at her, hostile. COBB Look, this isn't about me- Cobb reaches for Ariadne's arm, turns her to him- ARIADNE Is that why you need me to build your dreams? 36. A passerby GRABS Ariadne's shoulder- COBB Leave her alone- More of the crowd join in, PULLING at Ariadne, holding her arms open- Cobb PULLS people off- the crowd PUSHES him away- Cobb sees someone WALKING PURPOSEFULLY through the crowd towards the helpless, Ariadne- it is Mal. She approaches with even strides- Ariadne stares at her, uneasy. ARIADNE Wake me up, Cobb. As Mal walks, she pulls out a LARGE KNIFECOBB Mal, no! ARIADNE Wake me up! Ariadne SCREAMS as Mal LUNGES at her with the knife and we- CUT TO: INT. WORKSHOP-DAY Ariadne WAKES, BREATHING HARD. Arthur moves to her- ARTHUR It's okay. ARIADNE Why couldn’t I wake? ARTHUR The only way to wake from inside the dream is to die. Cobb, in the lawn chair opposite, PULLS his tubes out. COBB She'll need a totem. ARIADNE What? ARTHUR Some kind of personal icon. A small object that you can always have with you, and that no one else knows, Cobb gets to his feet, Ariadne stares at him, furious. He heads to the bathroom. 37. ARIADNE That's some subconscious you've got, Cobb. (calls after him) She's a real charmer! ARTHUR Sounds like you've met Mrs. Cobb. ARIADNE (surprised) She's his wife? Arthur nods, pulling off Ariadne's tubes. ARTHUR So. A totem. You need something small, potentially heavy... INT. BATHROOM, WORKSHOP - CONTINUOUS Cobb takes out his PEWTER SPINNING TOP, SPINS it on the marble counter... INT. WORKSHOP - CONTINUOUS Ariadne looks at Arthur, puzzled. ARIADNE Like a coin? ARTHUR Too common. You need something that has a weight or movement that only you know. INT. BATHROOM, WORKSHOP - CONTINUOUS Cobb STUDIES the spin of the top as it decays, becoming more and more ECCENTRIC... INT. WORKSHOP - CONTINUOUS ARIADNE What’s yours? Arthur holds out a DIE. ARTHUR A loaded die. Ariadne reaches for it- Arthur snatches sit away- 38. ARTHUR I can’t let you handle it. That’s the point. No one else can know the weight or balance of it. ARIADNE Why? ARTHUR So when you examine your totem... INT. BATHROOM, WORKSHOP - CONTINUOUS Cobb’s spinning top WOBBLES OVER. ARTHUR (O.S.) You know, beyond a doubt, that you’re not in someone else’s dream. Cobb GRABS it like a drowning man reaching for a lifeline. INT. WORKSHOP - CONTINUOUS Ariadne thinks this over. ARIADNE That’s not an issue for me. ARTHUR Why not? ARIADNE Arthur, maybe you can’t see what’s going on, maybe you don’t want to. But Cobb’s got problems he’s tried to bury down there. I’m not going to open my mind to someone like that. Ariadne gets to her feet. Walks away. COBB (O.S.) She’ll be back. Arthur turns. Cobb is standing in the bathroom doorway. COBB I’ve never seen anyone pick it up so fast. And one reality won’t be enough for her now. When she comes back, get her building mazes. ARTHUR Where will you be? 39. COBB I’ve got to talk to Eames. ARTHUR Eames? But he’s in Mombasa. Cobol’s backyard. COBB Necessary risk. ARTHUR There are plenty of other thieves. COBB We don’t just need a thief. We need a forger. INT. GAMBLING DEN, MOMBASA - DAY Crowded, bustling, smoke-filled. a westerner (40’s), shabby suit, is squeezed in at a dice game. This is EAMES. He FIDDLES with his last two chips. COBB (O.S.) Rub them against each other all you like, they’re not going to breed. Eames looks up to see Cobb. EAMES You never know. Eames tosses down his last chips. The dice are rolled... COBB Drink? Eames loses. EAMES You’re buying. Cobb follows Eames. Eames mysteriously produces two stacks of chips and puts them down in front of the cashier. Cobb pulls one off the top, squints at the embossed name. COBB You’re spelling hasn’t improved. Eames GRABS the chip. Hands it to the cashier. EAMES Piss off. COBB How’s your handwriting? 40. Eames takes his money. Smiles at Cobb. EAMES Versatile. INT. STREET, MOMBASA - CONTINUOUS Eames leads Cobb down the quiet street. EAMES Word is, you’re not welcome in these parts. COBB Yeah? EAMES There’s a price on your head from Cobol Engineering. Pretty big one, actually. COBB You wouldn’t sell me out. Eames looks at Cobb, offended. EAMES ‘Course I would. COBB (smiles) Not when you hear what I’m selling. EXT. BALCONY OF A COFFEE HOUSE - LATER A ramshackle balcony overlooking a bust street. Eames pours. COBB Inception. Eames’s glass stops halfway to his mouth. COBB Don’t bother telling me it’s impossible. EAMES It’s perfectly possible. Just bloody difficult. COBB That’s what I keep saying to Arthur. 41. EAMES Arthur? You’re still working with that stick-in-the-mud? COBB He’s a good point man. EAMES The best. But he has no imagination. If you’re going to perform inception, you need imagination. COBB You’ve done it before? EAMES Yeas and no. We tried it. Got the idea in place, but it didn’t take. COBB You didn’t plant it deep enough? EAMES It’s not just about depth. You need the simplest version of the ideathe one that will grow naturally in the subject’s mind. Subtle art. COBB That’s why I’m here. EAMES What’s the idea you need to plant? COBB We want the heir to a major corporation to break up his father’s empire. EAMES See, right there you’ve got various political motivations, antimonopolistic sentiment and so forth. But all that stuff’s at the mercy of the subject’s prejudiceyou have to go to the basic. COBB Which is? EAMES The relationship with the father. (downs drink) Do you have a chemist? 42. Cobb shakes his head. EAMES There’s a man here. Yusuf. He formulates his own versions of the compounds. COBB Let’s go see him. EAMES Once you’ve lost your tail. (Cobb reacts) Back by the bar, blue tie. Came in about two minutes after we did. COBB Cobol Engineering? EAMES They pretty much own Mombasa. Cobb glances over the balcony. COBB Run interference. We’ll meet downstairs in half an hour. EAMES Back here? COBB Last place they’d expect. Eames downs his drink. Rises. Walks over to the Businessman. EAMES Freddy! The Businessman looks up, awkward. EAMES Freddy Simmonds, it is you! Cobb nonchalantly SLIPS over the balcony DROPPING HARD into the midst of the crowd on the street below. EAMES (looks harder) Oh. No, it isn’t. EXT. STREET, MOMBASA - CONTINUOUS Cobb stands up, PUSHES into the crowd- faces PEER at him- he moves, trying to blend- TURNS- a SECOND BUSINESS MAN is there. 43. COBB (disarming smile) Yes? SECOND BUSINESSMAN We need to- Cobb HEAD BUTTS the Second Businessman, PUSHES past him- The First Businessman races out of the bar, sees Cobb's wake, DIVES after him- Cobb RACES headlong through tight passageways, WEAVING through or KNOCKING into the locals... He steps into a dark, crowded cafe, scanning the tables... the First Businessman enters, spots him. An AFRICAN MAN gets in Cobb's face, jabbering at him in Swahili- Cobb considers his options... the First Businessman DRAWS A GUN- Cobb bolts, steps up on a table and out an open window, SCRAMBLING into the alley outside... Cobb LOOKS left, right... CUTS LEFT into a narrow, CROWDED alley- the alley NARROWS TO A DEAD END. Faces in the CROWD start to watch Cobb- PEOPLE start to SURROUND him- Cobb looks back the way he came- the two Businessmen are there, GUNS DRAWNCobb sees a SMALL GAP between the buildings at the narrow endhe THROWS himself into it- gets STUCK HALFWAY... The crowd bears down, GRABBING for him as Cobb struggles to SQUEEZE HIMSELF through the gap... Cobb's moving INCHES as his pursuers gain YARDS... the Crowd is upon him... he BURSTS FREE. TUMBLING onto the next street, ROLLING out of sight. Cobb Jumps to his feet- in a market square. TWO MORE BUSINESSMEN move towards him. Cobb BOLTS but a CAR SKIDS UP, BLOCKS HIS PATH- the door opens- SAITO IS IN THE BACK. SAITO Care for a lift, Mr. Cobb? COBB (jumping in) What brings you to Mombasa, Mr. Saito? SAITO I have to protect my investment. EXT. COFFEE HOUSE - MOMENTS LATER Eames stands on the pavement. The car pulls up. Cobb beckons from the rear window. Eames looks at Saito. Back to Cobb. EAMES This is your idea of losing a tail? 44. COBB (shrugs) Different tail. INT. WORKSHOP - DAY Arthur sits at the table, working on a mechanism. A small COUGH prompts him to look up: Ariadne is there. ARTHUR He said you'd be back. ARIADNE I tried not to come. ARTHUR But there's nothing else quite like it. ARIADNE No paper, no pens... nothing between you and raw, direct creation. Arthur picks up his mechanism. ARTHUR Shall we take a look at paradoxical architecture? Ariadne nods, takes off her coat and we- CUT TO: INT. PENROSE STEPS - LATER Arthur leads Ariadne down some busy steps in a large glass and steel ATRIUM in an office complex. ARTHUR You're going to have to master a few tricks if you're going to build three complete dream levels. A SECRETARY DROPS some papers as they pass... ARIADNE What sort of tricks? They take a tight turn and continue down the next flight. ARTHUR In a dream, you can cheat architecture into impossible shapes. 45. (MORE) That lets you create closed loops, like the Penrose Steps. The infinite staircase. Ariadne FREEZES- THEY ARE IN THE EXACT SPOT THEY STARTED DESCENDING FROM, next to the Secretary gathering her papers. Ariadne puzzles at the impossible construction of the stairs. ARTHUR See... Arthur stops her gently- they are on the highest step, with a LARGE DROP to the next step. Arthur gestures at the drop. ARTHUR Paradox. A closed loop like this helps you disguise the boundaries of the dream you've created. ARIADNE How big do the levels have to be? ARTHUR Anything from the floor of a building, to an entire city. But it has to be complicated enough for us to hide from the projections. ARIADNE A maze. ARTHUR And the better the maze- ARIADNE The longer we have before the projections catch us. Ariadne looks around. Sees people LOOKING at Arthur. ARIADNE My subconscious seems polite enough. ARTHUR You wait, they'll turn ugly. No one likes to see someone else messing around in their mind. ARIADNE Cobb can't build anymore, can he? 46. ARTHUR (CONT'D) ARTHUR I don't know if he can't, but he won't. He thinks it's safer if he doesn't know the layouts. ARIADNE Why? ARTHUR He won't tell me. I think it's Mal. I think she's getting stronger. ARIADNE His ex-wife? ARTHUR She's not his ex. ARIADNE They're still together? Arthur turns to Ariadne. Gentle. ARTHUR No. No, she's dead, Ariadne. What you see in there is just his projection of her. ARIADNE What was she like in real life? ARTHUR (quiet) She was lovely. CUT TO: EXT. ROOFTOP, OLD TOWN, MOMBASA - DAY Saito deposits a FILE in front of Cobb: PHOTOS, DOCUMENTS. As Cobb runs through them, he passes them to Eames. SAITO Robert Fischer, 32. Heir to the Fischer Morrow energy conglomerate. He's spent his whole life being groomed as successor-breaking up his father's empire will take a radical shift in his thinking. COBB What's your problem with Fischer? SAITO That's not your concern. 47. COBB This isn't the usual corporate espionage, Mr. Saito. This is inception. The seed of the idea we plant will grow in this man's mind. It'll change him. It might even come to define him. Saito looks at Cobb. SAITO My sources suggest you might not have always been so cautious. COBB Then you need new sources, Mr. Saito. Saito considers Cobb. Shrugs. SAITO Fischer Morrow has the regulators in their pockets. We're the last company standing between them and total energy dominance and we can no longer compete. Soon they'll control the energy supply of half the world. They'll be able to blackmail governments, dictate policy. In effect, they become a new superpower. The world needs Robert Fischer to change his mind. EAMES That's where we come in. How's Robert Fischer's relationship to his father? SAITO Rumor is the relationship is complicated. COBB We'll need more than rumor, Mr. Saito. Eames picks up a photo: a distinguished executive (68). EAMES Can you get me access to him? Browning. Fischer senior's righthand man. Fischer junior's godfather. 48. SAITO It should be possible. If you can get the right references. EAMES References are something of a specialty for me, Mr. Saito. EXT. DECREPIT BUILDING, MOMBASA - LATER Eames leads Cobb and Saito down uneven steps to a doorway. INT. STAIRWELL - CONTINUOUS Peeling paint, buzzing flies. They ascend to a dusty, wire-reinforced glass door which Eames pushes open- INT. PHARMACY - CONTINUOUS Row upon row of wooden shelves holding hundreds of dusty glass bottles of all shapes and colors. At the far end, a portly 40-year-old man rises from behind his desk, beckoning. This is YUSUF. YUSUF Come, come. Eames shakes Yusuf's hand. Yusuf stops at Cobb. YUSUF Ah, yes. Mr. Cobb. I've heard so very much about you. (indicates chairs) please. Yusuf chases a CAT off Saito's chair. YUSUF Bloody cats. Yusuf moves to a shelf and runs his fingers over the glass bottles. None of them has a label. YUSUF You work using Somnacin, I think, Mr. Cobb? COBB You're well informed, Mr. Yusuf. Yusuf places a bottle on the desk in front of Cobb. 49. COBB (dubious) Somnacin? YUSUF (proudly) Yusuf's Somnacin. Yusuf pulls the stopper, holds it towards Cobb's nose. COBB As good as the real thing? Yusuf WHIPS the bottle away from Cobb, offended. YUSUF Better. Yusuf holds the bottle to the light, marveling. YUSUF Binds the dreamers tight. Let's them dream as one. Makes it real. Of course, if you'd prefer, you could use Somnacin brand. If you could explain to the international control council what you wanted it for. Yusuf puts the bottle back onto the shelf. Sits. YUSUF You are seeking a chemist? (Cobb nods) To formulate compounds for a job? COBB And to come into the held with us. YUSUF I rarely go into the held, Mr. Cobb. COBB We need you there to tailor compounds to our particular requirements. YUSUF Which are? COBB Great depth. YUSUF A dream within a dream? Two levels? 50. COBB Three. YUSUF Not possible. That many dreams within dreams would be too unstable. COBB I've done it before. You just have to add a sedative. YUSUF A powerful sedative. How many team members? COBB Five. SAITO Six. (to Cobb) The only way to know you've done the job is if I go in with you. COBB There's no room for tourists on these jobs, Mr. Saito. SAITO This time, it would seem there is. Cobb looks at him, uneasy. Yusuf pulls out another bottle. YUSUF Of course. I use it every day. Yusuf hands it to Cobb, who considers the white liquid inside. COBB For what? Yusuf beckons them further into the pharmacy, to a METAL DOOR. He STOPS- second thoughts. YUSUF Perhaps... you will not want to see. Cobb motions to continue. Yusuf pulls out a large key. 51. INT. BACK ROOM, PHARMACY - CONTINUOUS A dark room with ROWS of low COTS. Each with a sleeping occupant. Tubes connect their wrists. An ELDERLY BALD MAN watches over them. EAMES (counting) Eighteen, twenty-all connected, bloody hell. YUSUF They come every day. To share the dream. Yusuf nods at the Elderly Bald Man, who moves to the nearest bed. Reaches out to the OCCUPANT. Gives his face a FIRM SLAP. The sleeper does not even stir. YUSUF See? Very stable. COBB How long do they dream? YUSUF Three, four hours. Every day. COBB How long in dream time? YUSUF With this compound... about forty hours. Each and every day. Saito surveys the room, appalled. SAITO Why do they do it? YUSUF Tell him, Mr. Cobb. COBB After a while... (looks at Saito) It becomes the only way you can dream. YUSUF Do you still dream, Mr. Cobb? Cobb STARES at the sleepers. Uneasy. EAMES They come here every day to sleep? 52. ELDERLY BALD MAN (O.S.) No. Cobb turns to the Elderly Bald Man, who looks fondly at his dreamers. ELDERLY BALD MAN They come to be woken up... the dream has become their reality... The Elderly Bald Man pokes a crooked finger at Cobb's chest. ELDERLY BALD MAN And who are you to say otherwise? Cobb STARES at the Elderly Bald Man. DISTURBED. Cobb turns to Yusuf. TOSSES him the bottle. COBB Let's see what you can do. INT. SAME - MOMENTS LATER Cobb is lying on an empty cot, asleep. Yusuf stands over him. As we move in on Cobb's SLEEPING FACE we hear the sound of a FREIGHT TRAIN, BUILDING, and we- CUT TO: EXT. WASTELAND - DAY CLOSE ON Cobb's face as he lies, EYES CLOSED, cheek pressed to a METAL RAIL- THE SOUND OF THE TRAIN IS DEAFENING- Cobb is BREATHING, BREATHING, BREATHING, and we- CUT TO: INT. BACK ROOM, PHARMACY - DAY Cobb's eyes open. Yusuf is watching him. YUSUF Sharp, no? Cobb nods. Gets to his feet, looking around- INT. BATHROOM, PHARMACY - CONTINUOUS Cobb SPLASHES water on his face, breathing hard- INSERT CUT: A CURTAIN BILLOWS. MAL TURNS TO US, HAIR BLOWING, SMILING. Cobb fumbles in his pockets, pulls out his spinning top. He tries to set it spinning on the back edge of the sink, but it FALLS to the floor and rolls towards the door- Saito is there. WATCHING Cobb. He looks down at the spinning top. 53. SAITO Everything alright, Mr. Cobb? Cobb dries his face with a paper towel. Picks up his top. COBB Everything's fine. INT. BACK ROOM, WORKSHOP - NIGHT Close on a small BRASS CHESS PIECE. Ariadne tips it over. Frowning, she picks up a micro drill, peels back the felt on the bottom and widens a hole in one side of its base. Tests the TIPPING POINT again. A NOISE makes her look up. INT. WORKSHOP - CONTINUOUS Ariadne comes into the main space. Someone is there, unpacking one of the MECHANISMS. Cobb. ARIADNE You're back. Cobb looks up with a start. Caught out. ARIADNE Are you going under on your own? COBB I just-I need to test some things. I didn't realize anyone was here. ARIADNE Just working on my totem. Ariadne holds up the chess piece. Cobb reaches for it. COBB Let me see- Ariadne SNAPS it out of his reach. Smiles. Cobb nods. COBB You're learning. ARIADNE It's an elegant solution to keeping track of reality. Your invention? COBB No. Mal's. Cobb pulls out his spinning top. Looks at it. 54. COBB This one was hers. She'd spin it in a dream and it would never topple. Just spin and spin... ARIADNE Arthur told me she died. COBB She did. How are the mazes coming? Ariadne indicates three large ARCHITECTURAL MODELS. ARIADNE Good. Each level relates to the part of the subject's subconscious we're trying to access. I'm making the bottom level a hospital, so that Fischer will bring his father there- COBB Don't tell me. Remember, you only want the dreamer to know the layout. ARIADNE Why's that so important? COBB In case one of us brings in part of our subconscious. You wouldn't want any projections knowing the layout. ARIADNE In case you bring Mal in. Cobb says nothing. ARIADNE You won't build yourself because if you know the maze, then she knows it. And she'd sabotage the operation. You can't keep her out, can you? Cobb says nothing. ARIADNE Do the others know? COBB No. 55. Go to point in timearrow_right 10 minutes before 5 minutes before At time of posting 5 minutes after 10 minutes after more_horiz

ANTON5009 Join Date: 2009-02-08 Post Count: 125 #43286720Tuesday, March 01, 2011 12:31 AM GMT ARIADNE You have to warn them if it's getting worse- COBB (gentle) I didn't say it's getting worse. Look, Ariadne, I need them for this job. I need you for this job. Without your help, I'll never get back to my children. And that's all I can care about right now. ARIADNE Why can't you go home, Cobb? Cobb looks at her, deciding what to say. COBB They think I killed her. ARIADNE How did she die? Cobb thinks. INSERT CUT: Mal, wind BLOWING her hair, smiles at Cobb. Now we see Cobb- SHAKING HIS HEAD, TEARS STREAMING, BEGGINGCOBB Thank you. ARIADNE For what? COBB Not asking whether I did. INT. WORKSHOP - DAY Ariadne, Arthur, Yusuf, Eames and Saito sit around the room, looking at FILES. Cobb presides. COBB The mark is Robert Fischer, heir to the Australian energy conglomerate, Fischer Morrow. Cobb opens a large presentation pad. COBB (reads aloud) "I WILL SPLIT UP MY FATHER'S EMPIRE." Cobb turns to the team. 56. COBB An idea Robert Fischer's conscious mind would never accept. We have to plant it deep in his subconscious. ARTHUR How deep? COBB Three levels down. ARTHUR A dream within a dream within a dream? Is that even possible? COBB Yes. It is. COBB Now, the subconscious motivates through emotion, not reason, so we have to translate the idea into an emotional concept. ARTHUR How do you translate a business strategy into an emotion? COBB That's what we have to figure out. Robert and his father have a tense relationship. Worse, even, than the gossip columns have suggested... EAMES Do you play on that? Suggest breaking up his father's company as a 'screw you' to the old man? COBB No. Positive emotion trumps negative emotion every time. We yearn for people to be reconciled, for catharsis. We need positive emotional logic. Eames thinks. Paces. Looking back at the board. EAMES Try this... "MY FATHER ACCEPTS THAT I WANT TO CREATE FOR MYSELF, NOT FOLLOW IN HIS FOOTSTEPS." COBB That might work. 57. ARTHUR Might? We'll have to do better than that. EAMES Thanks for the contribution, Arthur. ARTHUR Forgive me for wanting a little specificity, Eames. COBB Inception's not about specificity. When we get inside his head, we're going to have to work with what we find. Arthur shrugs, frustrated. And we- CUT TO: EXT. NEW YORK STREETS - DAY The team are in the middle of a DESERTED intersection. Ariadne is showing Yusuf aspects of the geography. EAMES We could split the idea into emotional triggers, and use one on each level. COBB How do you mean? EAMES On the top level, we open up his relationship with his father.... Say: "I WILL NOT FOLLOW IN MY FATHER'S FOOTSTEPS." Next level down we've accessed his ambition and self-esteem. We feed him: "I WILL CREATE SOMETHING MYSELF." Then, the bottom level, we bring out the emotional big guns... COBB "MY FATHER DOESN'T WANT ME TO BE HIM." EAMES That could do it. ARTHUR How do you produce these emotional triggers? 58. EAMES I forge each emotional concept in the style and manner of Peter Browning, a key figure in Fischer's emotional life. Two AFRICAN PEDESTRIANS wander into view. ARTHUR Are those yours? Eames shakes his head. Cobb turns to Yusuf. ARTHUR Yusuf? YUSUF Yup. Sorry. COBB Suppress them. We don't bring our own projections into the dream-we let Fischer's subconscious supply the people. EAMES Saito, when do I get to see Browning? SAITO You fly out to Sydney on Tuesday. We've arranged for you to spend several days... INT. ANTEROOM, MAURICE FISCHER'S OFFICE - DAY Eames sits in the crowded room. Boxes and files are piled high. Browning stands by a pair of double doors. SAITO (V.O.) ...as part of a consulting litigation team working for Browning. BROWNING I'm not smelling settlement here-we take them down. LAWYER Mr. Browning, Maurice Fischer's policy is always one of avoiding litigation- Browning turns to the lawyer. Calm, but POWERFUL. 59. BROWNING Shall we relay your concerns directly to Maurice? Browning opens the doors to Maurice Fischer's inner office. Eames leans in to watch as Browning beckons the Lawyer into- INT. MAURICE FISCHER'S INNER OFFICE - CONTINUOUS The office is a MAKESHIFT HOSPITAL ROOM: a BED where the desk should be. Browning addresses a figure at the window. ROBERT FISCHER, 30'S, abstracted. BROWNING How is he? Fischer turns to Browning. Motions silence, as he glances at his FATHER in the bed. Wheezing gently. BROWNING I don't want to bother him unnecessarily but I know he- FATHER Robert! I've told you to keep out the damn!- MAURICE LASHES OUT, KNOCKING things from his bedside table. A NURSE calms Maurice as Fischer crouches to retrieve a FRAMED PHOTOGRAPH. He looks at the photo through the broken glass- a YOUNG BOY holds a PINWHEEL CLEARLY MADE BY A CHILD (each of the points is numbered in pen), his FATHER blows on it. BROWNING Must be a cherished memory of his- FISCHER I put it by his bed. He hasn't even noticed. BROWNING Robert, we have to talk about a power of attorney. I know this is hard for you, but it's important that we start to think about the future- FISCHER Not now, Uncle Peter. Browning looks at Fischer, considering. Biding his time. EAMES (V.O.) The vultures are circling. The sicker Maurice Fischer becomes, the stronger Peter Browning becomes... 60. Eames WATCHES Browning, STUDYING his every move . INT. BATHROOM - DAY Eames gestures at a mirror, as if offering to shake hands... EAMES (V.O.) I've had time to learn Browning's physical presence and mannerisms... In the mirror: BROWNING GESTURES BACK. INT. WORKSHOP - CONTINUOUS EAMES Now, in the dream, I can impersonate Browning and suggest the concepts to Fischer's conscious mind... (draws a diagram) Then we take Fischer down another level and his own subconscious feeds it right back to him. ARTHUR (impressed) So he gives himself the idea. EAMES Precisely. That's the only way to make it stick. It has to seem self-generated. ARTHUR Eames, I'm impressed. EAMES Your condescension, as always, is much appreciated, Arthur. CUT TO: INT. DESERTED HOTEL LOBBY - DAY The team sit on the steps of the large marble lobby, debating. Ariadne is showing Arthur the lobby. EAMES He's not scheduled for surgery, no dental, nothing. COBB I thought he had some knee thing? EAMES Nothing they'd put him under for. Besides, we need a good ten hours. 61. SAITO Sydney to Los Angeles. They turn to Saito. SAITO Twelve hours and forty-five minutes-one of the longest flights in the world. He makes it every two weeks... EXT. AIRFIELD - DAY Fischer steps out of a black town car and walks across the tarmac towards a GULF STREAM JET, accompanied by two aides. COBB (V.O.) Surely he flies private? SAITO (V.O.) Not if there were unexpected maintenance with his plane. Fischer is met at the steps by a DISTRAUGHT FLIGHT OFFICER. INT. HOTEL LOBBY - DAY Cobb chews this over. Arthur comes over. ARTHUR It'd have to be a 747. COBB Why? ARTHUR On a 747 the pilots are up above, first class is in the nose so nobody walks through the cabin. We'd have to buyout the whole cabin, and the first class flight attendant- SAITO We bought the airline. Everyone turns to Saito. SAITO It seemed... neater. COBB Neater, huh? (gets to his feet) Well, now we have ten uninterrupted hours. 62. (MORE) (to Ariadne) Nice lobby, by the way. And we- CUT TO: INT. WORKSHOP - DAY The group is back in the workshop, deep in discussion. ARTHUR My question is how we go down three layers with enough stability. Three layers down a little turbulence is gonna translate into an earthquake. The dreams are gonna collapse with the slightest disturbance. Yusuf clears his throat. YUSUF Sedation. For sleep stable enough to create three layers of dreaming... INT. MAKESHIFT LAB - DAY Yusuf depresses a plunger. Arthur is SLEEPING in a chair. YUSUF (V.O.) We will have to combine it with an extremely powerful sedative.... Eames SLAPS Arthur, HARD. Arthur does not stir. INT. WORKSHOP - DAY Arthur unconsciously rubs his cheek. YUSUF The compound we'll be using to share the dream is an advanced Somnacin derivative. It creates a very clear connection between dreamers, whilst actually accelerating brain function. CUT TO: COBB Buying us more time in each level. YUSUF Brain function in the dream will be about twenty times normal. 63. COBB (CONT'D) (MORE) And when you go into a dream within that dream the effect is compounded. ARIADNE How much time? YUSUF Three dreams... that's ten hours, times twenty, times twenty, times twenty... EAMES Math was never my strong suit. COBB It's basically a week one layer down, six months two layers down- ARIADNE And ten years in the third level. Who wants to spend ten years in a dream? YUSUF Depends on the dream. EAMES It's not going to take us long to crack Fischer open once we get going. We'll be out in a couple days, max. ARTHUR How do we get out once we've made the plant? (to Cobb) I hope you've got something a little more elegant in mind than shooting me in the head like last time. Arthur tilts back in his chair. Yusuf turns to Cobb. COBB A kick. ARIADNE What's a kick? Eames slips his foot under Arthur's chair leg. TIPS it- Arthur's legs SHOOT UP INSTINCTIVELY for balance- EAMES That, Ariadne, would be a kick. 64. YUSUF (CONT'D) COBB That feeling of falling which snaps you awake. We use that to jolt ourselves awake once we're done. ARTHUR But how are we going to feel that through the sedation? YUSUF That's the clever part. I customize the sedative... INT. MAKESHIFT LAB - DAY Cobb, Eames and Yusuf watch Arthur, ASLEEP, in a chair. YUSUF (O.S.) To leave inner ear function unimpaired... Yusuf, with a wicked grin, slowly TIPS Arthur's chair backwards... as he falls, Arthur's body JERKS, EYES OPENING just before he HITS the floor. INT. WORKSHOP - DAY Arthur thinks, nodding slowly. YUSUF That way, however deep the sleep, the sleeper will still feel falling... INT. MAKESHIFT LAB - DAY Yusuf gleefully LEANS a SLEEPING ARTHUR to one side ... YUSUF (V.O.) Or tipping... Arthur goes down with a CRASH, JERKING AWAKEINT. WORKSHOP - DAY Arthur thinks this through. ARTHUR Even that won't cut through three layers of deep sleep. COBB The trick is to devise a kick for each level, then synchronize them to get a snap that penetrates all three layers. 65. Arthur looks at Cobb, getting it. ARTHUR We can use the musical countdown to synchronize the different kicks. INT. WORKSHOP - NIGHT Ariadne comes into the darkened main space. Cobb is lying on one of the chairs, asleep. Plugged into the mechanism. Ariadne stands over him. Watching. She opens the case, PULLS one of the tubes, sits, checking the dials as she injects the needle cap into her arm, and we- CUT TO: INT. CAGE STYLE ELEVATOR - DAY Ariadne ascends. She looks at the buttons. Spots the "B." The elevator STOPS. She looks through the grill at- INT. YOUNG GIRL'S BEDROOM - DAY Ariadne pulls back the grill and walks across the room, considering the dusty furnishings. At the window is a doll's house, front slightly ajar. Ariadne opens it. Inside is a SAFE. She tries it. LOCKED. A NOISE STARTLES her- she turns, looking through a doorway into another room... INT. LIVING ROOM - CONTINUOUS Ariadne looks into the room to see Cobb and Mal talking, arguing. A private moment. Mal brushes at Cobb's hair, trying to convince him. We hear snatches of conversation- MAL You remember when you asked me to marry you? COBB Of course... MAL You said you had a dream... COBB That we'd grow old together. MAL And we can. You know how to find me... you know what you have to do. Cobb is shaking his head, gently. Mal looks into Cobb's eyesgentle, loving... Mal SPOTS Ariadne spying on them. 66. FREEZES, staring, hostile. Cobb turns, sees Ariadne, moves towards her, leaving Mal. COBB You shouldn't be in here. Cobb guides her back into the elevator. ARIADNE I wanted to know what "tests" you need to do on your own every night. INT. CAGE STYLE ELEVATOR - DAY Cobb shuts the CAGE DOOR. Ariadne hits a button. The elevator RISES. Through the GRILL Ariadne can see a BEACH stretching off into the distance. The elevator stops. Mal sits on the sand. Beside her, the two children are crouched, away from us, building a SANDCASTLE. ARIADNE Why do you do this to yourself? COBB This is the only way I can still dream. ARIADNE Is it so important to dream? Cobb stares at his family. COBB In my dreams... we're still together. The kids, WITHOUT TURNING AROUND, jump up and RUN AWAY. INT. CAGE STYLE ELEVATOR - CONTINUOUS The elevator descends. ARIADNE But these aren't just dreams, are they? They're memories. You said never to use memories. COBB And I shouldn't. ARIADNE You're keeping her alive. COBB No. 67. ARIADNE You can't let her go. COBB No. These are moments I regret. Moments I turned into dreams so I could change them. Ariadne's fingers move across the buttons- stop at the "B." ARIADNE What've you got buried down there that you regret? Cobb pushes her hand away. Hits the third floor button. COBB There's only one thing I need you to understand about me... INT. KITCHEN, COBB AND MAL'S HOUSE - MOMENTS LATER Ariadne follows Cobb into the kitchen. A THIN MAN is there, standing by the table. He holds a FOLDED PIECE OF PAPER. ARIADNE This is your house? COBB Mine and Mal's. ARIADNE Where is she? COBB She'd already died. The Thin Man offers Cobb the piece of paper. A CHILD'S SHOUTCobb TURNS. Ariadne follows his gaze to the garden. A small blonde boy faces away from them, crouched on his haunches to look at something on the ground. COBB It's James. My boy. He's found something. Maybe a worm. A slightly older girl RUNS into view. COBB And there's Philippa. She crouches beside the boy. Their FACES ARE AWAY FROM US. They point and discuss whatever is on the ground. 68. COBB I thought about calling out, so they'd turn and smile those incredible smiles... but I'm out of time- The Thin Man thrusts the paper into Cobb's hand. THIN MAN Right now. Or never, Cobb. Cobb nods, turns from the window- COBB Then I panic that I'll always wish I'd seen them turn, that I can't waste this chance... Cobb TURNS BACK to call out- but the children RACE OFF... COBB But the moment's passed. And whatever I do, the dream's always the same... When I'm about to call... they run. Cobb watches them run off, calling for grandma, FACES UNSEEN. COBB If I'm going to see their faces again-I've got to get back here in the real world... Behind him, Ariadne SLAMS the grill shut. Cobb TURNS. INT. CAGE STYLE ELEVATOR - CONTINUOUS Ariadne hits the BASEMENT button. The elevator starts to DESCEND. ariadne STARES, fascinated as glimpses of floors slip past: Mal's childhood bedroom, a thundering wall of freight train... The elevator STOPS. Through the grill Ariadne sees a HOTEL SUITE. She pulls open the grill, steps cautiously out into- INT. ELEGANT HOTEL SUITE - CONTINUOUS (NOW NIGHT) DISHEVELED bedclothes, UPENDED room service table, STRAWBERRIES across the floor. A STRUGGLE. Ariadne steps forwards- SMASH− she looks down to see that she has kicked over a CHAMPAGNE FLUTE. Ariadne feels a draught. The CURTAIN BILLOWS. MAL (O.S.) What are you doing here? Ariadne TURNS. Mal is there. 69. ARIADNE My name is- MAL I know who you are. What are you doing here? ARIADNE I don't know. Trying to understand. MAL How could you understand? Do you know what it is to be a lover? To be half of a whole? ARIADNE No. Mal moves slowly towards Ariadne... MAL I'll tell you a riddle. You're waiting for a train. A train that will take you far away. You know where you hope this train will take you, but you don't know for sure... Mal glides around Ariadne, looking her over. MAL But... it doesn't matter. How can it not matter to you where that train will take you? COBB (O.S.) Because you'll be together. Cobb is standing in the elevator. Mal nods. Looks at him. MAL How could you bring her here, Dom? ARIADNE What is this place? COBB A hotel. We spent our anniversaries in this suite. ARIADNE What happened here? Mal picks up the BROKEN STEM of a champagne flute... 70. INT. CAGE STYLE ELEVATOR - CONTINUOUS Cobb PULLS Ariadne into the elevator- Mal THROWS herself towards Ariadne- Cobb SLAMS the GRILL- Mal SMASHES against it AGAIN and AGAIN like a WILD ANIMAL- Ariadne FLINCHESMAL you PROMISED! YOU SAID WE'D BE TOGETHER!- COBB We can. We will. But I need you to stay here for now- MAL YOU SAID WE'D GROW OLD TOGETHER!- Cobb pushes a button and the elevator starts to rise. COBB I'll come back. I need you to stay here on your own for now. Just while I do this job. Then we can be together- MAL WE'LL BE TOGETHER-YOU PROMISED!- Mal THROWS herself against the grill, and. we- CUT TO: INT. WORKSHOP - NIGHT Ariadne watches Cobb sleeping. His eyes gradually flicker open. He sees her watching him. ARIADNE You think you can just build a prison of memories to lock her in? You think that's going to contain her? The LIGHTS COME ON: Saito and Arthur stand in the doorway. SAITO Maurice Fischer just died in Sydney. COBB When's the funeral? SAITO Thursday. In Los Angeles. 71. COBB Robert'll accompany the body Tuesday at the outside. We have to move. Cobb gets up. Ariadne comes over to him. ARIADNE (low) I'm coming with you. COBB No. I promised Miles. ARIADNE The team needs someone in there who understands what you're struggling with. If you don't want it to be me then you need to show Arthur what I just saw. Cobb looks at Ariadne. Turns to Saito. COBB We need one more seat on the plane. INT. DEPARTURE GATE, SYDNEY - DAY Saito stands looking out the window at a 747. Cobb arrives beside him. They watch a COFFIN being loaded. COBB If I get on this plane and you haven't taken care of things... when we land I go to jail for the rest of my life. SAITO Complete the job en route, I make one phone call from the plane... you will have no trouble clearing immigration. INT. FIRST CLASS CABIN, 747 - CONTINUOUS The luxurious cabin has only ten seats. Cobb finds his- sees Ariadne in the seat behind his. They do not acknowledge each other. Behind her is Arthur, looking out the window. Eames enters, STUFFS his bag into the overhead bin, BLOCKING the passenger behind: ROBERT FISCHER, standing there, patient, bag in hand, wearing black. EAMES Oh, sorry. 72. Eames SQUEEZES up against his seat to let Fischer BRUSH PAST. Fischer moves to his seat, directly in front of Cobb. Eames TOSSES Cobb a PASSPORT. Cobb flips it open: Fischer's. Pockets it. Yusuf and Saito enter, take their seats. EXT. RUNWAY - MOMENTS LATER The 747 HURTLES down the runway. INT. FIRST CLASS CABIN, 747 - MOMENTS LATER Cobb looks down at his hand: a TINY VIAL taped to the center of his palm. He removes the cap. The seatbelt sign goes dark. Cobb unbuckles, stands. COBB Excuse me? Fischer looks up. FISCHER Yes? COBB I think this is yours... Cobb holds up the open passport, comparing the picture to Fischer. Fischer's hand goes to his pocket. Cobb hands Fischer the passport. FLIGHT ATTENDANT Would you gentlemen care for a drink? FISCHER Water. COBB Same. Fischer gives Cobb a thin smile. Holds up his passport. FISCHER Well, thank you. COBB No problem. Look, I couldn't help noticing your name. You're not related to Maurice Fischer? Fischer takes a beat. But Cobb seems harmless. FISCHER Actually, he was my father. 73. COBB I'm very sorry for your loss. He was an inspiring figure. The Flight Attendant brings their drinks- Cobb takes them. COBB Thanks. As he turns to Fischer he LOWERS his right hand ... a CLEAR LIQUID DROPS into Fischer's water as Cobb hands it to him. COBB To Maurice Fischer. (they drink) I'll leave you in peace. Fischer grants him a smile. EXT. 747 - LATER The great plane SOARS through a burning cloudscape. INT. FIRST CLASS CABIN, 747 - MOMENTS LATER Cobb reaches into the overhead for a blanket- lets it fall onto Fischer's head- Fischer doesn't flinch. ASLEEP. Cobb SIGNALS the others. The First Flight Attendant unlocks a CUPBOARD in the galley, then leaves, closing the curtain. Arthur moves into the galley and pulls out a MECHANISM CASE. Cobb and Arthur open the mechanism- uncoil the tubes- feed them around the window side of each of the seats. Arthur rolls up Fischer's cuff- PUSHES the needle cap into Fischer's wrist. Arthur pulls Fischer's cuff down and hides the tubes behind the armrest of Fischer's seat. Arthur runs the next tube to Ariadne. Cobb puts the case on Yusuf's lap. Yusuf checks the TIMERS, tapping the syringes. The others recline their seats. Yusuf HITS A BUTTON- closes the case- places it at his feet. He settles back, and we- CUT TO: INT. SEDAN - DAY Cobb DRIVES. Saito and Arthur are in the back. Rain BEATS down. Cobb pulls over- EXT. NEW YORK STREETS - CONTINUOUS Yusuf stands on the corner, silver briefcase in hand, collar turned up against the rain. He reaches for the door. 74. INT. SEDAN - CONTINUOUS Yusuf clambers into the back, brushing rain from his face. ARTHUR (indicates rain) Couldn't you have peed before you went under? YUSUF Sorry. The front door OPENS and Eames climbs in, soaked. EAMES Bit too much free champagne before takeoff, Yusuf? YUSUF Ha bloody ha. COBB At least we know he'll be looking for a cab in this. INT./EXT. SEDAN ON RAINY NEW YORK STREETS - CONTINUOUS Cobb pulls out into the heavy traffic. He weaves around several cars before lining up behind a YELLOW CAB. COBB Brace yourselves. Cobb hits the gas- REAR ENDS the cab with a CRUNCH. The CABDRIVER gets out, fuming. Heads to Cobb's window- CABDRIVER Hey, idiot! Why don't you try driving without your thumb up- He sees the SILENCED PISTOL Cobb is holding at his belly. COBB Walk away. The Cabdriver backs off. Arthur climbs into the cab. Both cars pull away. INT./EXT. CAB ON RAINY NEW YORK STREETS - CONTINUOUS Arthur SLOWS in front of the TRAIN STATION, peering at the pedes pedestrians. He SPOTS Fischer, lights the cab's sign. Fischer FLAGS him down. Fischer JUMPS into the back, brushing rain from his shoulders. 75. FISCHER Third and Market. Snappy. Eames JUMPS in from the other side. FISCHER What're you doing? EAMES Sorry, I thought it was free. Maybe we could share. FISCHER Maybe not. Saito gets into the front passenger seat. Pointing a gun. FISCHER Great. Arthur pulls away. Fischer pulls out his wallet and tosses it at Eames. FISCHER (contemptuous) There's 500 dollars in there. And the wallet's worth more than that. For that you ought to at least drop me at my stop. Eames smiles at this. EAMES I'm afraid- A SHOT SHATTERS the window by Eames's head- another SHOT IMPACTS by Saito- EAMES Get us out of here! Arthur hits the gas, but a BLACK S.U.V. SKIDS sideways in front, BLOCKING the path- A BLOCK BEHIND- Cobb is at a light. ARIADNE is getting in the front. Cobb has HEARD the GUNFIRECOBB Come on!- Cobb looks ahead to the AMBUSH, hits the gas- the sedan ROCKETS forwards... but BAM- A FREIGHT TRAIN CLIPS THE FRONT OF THE SEDAN, SHOVING IT SIDEWAYS AS AN ENDLESS TRAIN BARRELS PAST, A WALL BETWEEN COBB AND THE AMBUSH- 76. A SECOND S.U.V. is behind the cab- PLAIN CLOTHES SECURITY MEN advance through the traffic, weapons trained on the cab. Bullets RIP into the cab as Eames throws himself on top of Fischer, PULLING a SACK over his head- Inside the sedan, Ariadne watches the train passing- ARIADNE This wasn't in the design- Cobb BACKS UP, SPINS around, heading for the tail of the train- A Security Man emerges from the front S.U.V. carrying an AUTOMATIC RIFLE- he steps towards the cab through the rain, raises his weapon and BLASTS THE CAB'S WINDSCREENCobb clears the end of the train, and SKIDS across the tracks- Arthur CROUCHES down- PUSHES the accelerator with his HANDYANKS the wheel- FLYING BLIND. The cab NAILS the Security Man, CRUNCHING into the front S.U.V.- Cobb SMASHES his car into the rear S.U.V., creating a GAPArthur YANKS the transmission and REVERSES- SCRAPING through the gap- Security Men DIVE out of the way- Arthur throws a ragged J-turn to head down a SIDE STREET- Cobb follows in the other car. Rain whips across Arthur's face as he BREATHESARTHUR Everybody okay? Saito? Arthur looks at Saito. Saito's hand is at his belly. Covered in BLOOD. EXT. WAREHOUSE - MOMENTS LATER The sedan and cab pull into the side entrance- Eames jumps out− PULLS the shutter down behind them- INT. WAREHOUSE - CONTINUOUS Yusuf and Eames PULL Fischer from the cab, HUSTLING him through a doorway. Cobb JUMPS out of the sedan, furious. COBB Arthur! Arthur what the- Arthur pulls the bloody Saito from the front seat. COBB Oh, Christ. Is he dying? 77. ARTHUR I don't know. What happened back there? Where were you? COBB We were blocked by a freight train. ARTHUR (to Ariadne) Why would you put a train crossing in a downtown intersection? ARIADNE I didn't. COBB (snaps) Why were we all ambushed, Arthur?! Those weren't regular projectionsthey'd been trained! ARIADNE How could they be trained? ARTHUR Fischer's had an extractor teach his mind to defend itself. His subconscious is militarized. It should've shown on the research- COBB So why the hell didn't it?! ARTHUR Calm down. COBB Don't tell me to calm down-you were meant to check Fischer's background thoroughly. You can't make this kind of mistake-we're not prepared for this kind of violence- ARTHUR Cobb, we've dealt with sub-security before. We just have to be more- COBB This wasn't part of the plan, Arthur! (points at Saito) He's dying! EAMES So we put him out of his misery. 78. Eames steps into the room, pulls his gun and moves over Saito. COBB No. EAMES He's in agony. Let's wake him up- Cobb GRABS Eames's arm. COBB No! (they lock eyes) It won't wake him up. EAMES What do you mean, it won't wake him? When you die in a dream you wake up. YUSUF Not from this. We're too heavily sedated to wake up that way. Eames looks at Yusuf, then to Cobb. EAMES So what happens if one of us dies? COBB That person doesn't wake up. Their mind drops into Limbo. ARIADNE Limbo? ARTHUR Unconstructed dream space. ARIADNE What's down there? ARTHUR Raw, infinite subconscious. Nothing there but what was left behind by anyone on the team who's been trapped there before. On this team... just Cobb. ARIADNE How long would we be stuck there? 79. YUSUF You couldn't even think about trying to escape until the sedation eases- EAMES How long? YUSUF Decades-it could be infinite-I don't know! Ask him-he's the one who's been there before! Eames moves to Cobb. Looks him in the eye. EAMES Great. So now we're stuck in Fischer's mind battling it out with his private army, and if we get hit we're stuck in Limbo 'til our brains dissolve into scrambled egg? Cobb says nothing. Saito groans more loudly. ARTHUR Let's just get him upstairs. INT. OFFICE, WAREHOUSE - MOMENTS LATER Saito is laid out on an old desk. Arthur examines him. He motions to Ariadne. Eames watches Cobb. ARTHUR Hold this. Firm pressure. Arthur turns to Cobb. ARTHUR You knew the risks and you didn't tell us. COBB There wasn't meant to be any risk. We weren't supposed to be dealing with a load of gunnre. ARTHUR You had no right. COBB It's the only way you can go three layers deep, Arthur. Arthur turns to Yusuf, hostile. 80. ARTHUR And you. You went along with this? YUSUF I trusted him. ARTHUR You trusted him? When? When he promised you half his share? YUSUF (offended) No! His whole share. Plus, he told me he'd done it before. Arthur turns to Cobb. ARTHUR Oh, yeah? With Mal? That worked out great, didn't it, Cobb? Cobb grabs Arthur. COBB You don't know anything about that. This was the only way to do this job, Arthur. I did what I had to do to get back to my children. EAMES So you led us into a war zone with no way out. COBB We have a way out. The kick. We just have to push on, do the job as fast as possible and get out using the kick. EAMES Forget it. We go any deeper, we just raise the stakes. I'm sitting it out on this level. COBB You'll never make it, Eames. Fischer's security is surrounding this place as we speak. The ten hours of the flight is a week at this level−you'll never make it without getting killed. Downwards is the only way forwards. We have to carry on. Saito groans. Cobb looks at him- 81. COBB And we have to do it fast. Eames and Arthur weigh this. COBB Eames, go get ready. Arthur, let's get in there and soften him up. INT. BATHROOM, WAREHOUSE - LATER Cobb and Arthur, wearing BALACLAVAS, PULL the sack from Fischer's head. He is chained to the radiator. FISCHER I'm insured against kidnapping up to ten million-this'll be simple- COBB No, it won't. Fischer looks at Cobb, unnerved. ARTHUR In. your lather's office, below the bookshelves, is his personal safe. We need the combination. FISCHER I never noticed a safe- COBB Doesn't mean you don't know the combination. FISCHER Well, I don't. ARTHUR We have it on good authority that you do. FISCHER Whose? INT. OFFICE, WAREHOUSE - CONTINUOUS Yusuf looks through Fischer's wallet. Eames is opening a HINGED, THREE-WING MIRROR. YUSUF Five hundred dollars, this cost? EAMES What's inside? 82. YUSUF Cash, cards, ID... and this- Yusuf holds up a SNAPSHOT: the photo from Maurice Fischer's office− YOUNG ROBERT holds his HOMEMADE PINWHEEL, his FATHER blows on it. Eames takes it from Yusuf. STUDIES it. Cobb enters. Eames hands him the snapshot. EAMES Useful? Cobb studies the snapshot. Eames examines himself in the hinged mirror from multiple angles: ONE BY ONE the myriad Eames reflections BECOME BROWNINGS. Cobb pockets the photo. COBB You're on. You've got an hour. EAMES An hour? I was supposed to have all night to crack him. COBB And Saito was supposed to keep his guts on the inside. You've got an hour-get something we can use. Eames turns from the mirror AS BROWNING. He glances at his watch, then SCREAMS, as if begging for mercy- INT. BATHROOM, WAREHOUSE - CONTINUOUS Browning's CRY reverberates- Fischer looks up, concerned- FISCHER What's that? ARTHUR Good authority. Another cry rings out. Fischer recognizes the voice. FISCHER Uncle Peter?! Make them stop- ARTHUR The combination. FISCHER I don't know it! ARTHUR Why would Browning tell us you did? FISCHER Let me talk to him-I'll find out. 83. INT. BATHROOM, WAREHOUSE - MOMENTS LATER Cobb pushes Browning (Eames), bloody and bruised, into the room and forces him down next to Fischer. Cobb handcuffs Browning's wrist to a metal bracket on the side of the sink. COBB You've got an hour. Get talking. Cobb leaves. BROWNING (EAMES) They've had me for two days. They've got someone with access to your father's office and they're trying to open his safe-they thought I'd know the combination, but I don't- FISCHER Neither do I, Uncle Peter. BROWNING (confused) Maurice told me that after he passed only you would be able to open it. FISCHER He never gave me the combination. Browning thinks for a minute. Realizes something. BROWNING He did, he just didn't tell you that it was a combination. FISCHER What, then? BROWNING Something only you would know. Some meaningful combination of numbers from your experiences with Maurice- FISCHER We didn't have a lot of meaningful experiences together. BROWNING Perhaps after your mother died... FISCHER After my mother died, I went to him in my grief. 84. (MORE) You know what he told me? "There's really nothing to be said, Robert." BROWNING He always had a hard time with emotional- FISCHER I was eleven, Uncle Peter. Browning (Eames) takes this in. BROWNING He loved you, Robert. In his way. FISCHER "In his way?" At the end he called me to his deathbed. He could barely speak, but he took the trouble to say one last thing to me. He pulled me close... I could make out only one word. "Disappointed." Browning can say nothing. INT. OFFICE, WAREHOUSE - CONTINUOUS Cobb pulls off his balaclava. Looks down at Saito, who is breathing fast, shallow. COBB How's he doing? ARIADNE He's in a lot of pain. Cobb takes Saito's hand. Looks him in the eye. COBB When we get you down to the next level, the pain will be less intense. Saito nods, breathing hard. ARIADNE (low) And if he dies? COBB His conscious mind will drop out of the dream. He'll be trapped in Limbo for a lifetime... ARIADNE What will that do to him? 85. FISCHER (CONT'D) Cobb looks at her. Grave. COBB When he wakes... his mind could be completely gone. SAITO When... when we wake I will still honor our arrangement... Cobb looks down at Saito sadly. COBB Saito-san, when you wake you might not even remember that we had an arrangement. You'll have forgotten this world. Limbo will be your reality. Lost there so long, you'll have become an old man... SAITO Filled with regret? COBB Waiting to die alone. Yes. SAITO Then I'll take the chance and come back. And we'll be young men together again. Saito smiles weakly. Cobb nods at him, turns to Ariadne. ARIADNE When were you trapped in Limbo? Cobb says nothing. Ariadne pulls him away from Saito. ARIADNE Cobb, you might have convinced the rest of this team to carry on with the job. But they don't know the truth. COBB What truth? ARIADNE The truth that at any minute you might bring a freight train through the wall. The truth that Mal is bursting up through your subconscious. 86. (MORE) The truth that as we go deeper into Fischer, we're also going deeper into you-and I'm not sure we're going to like what we find there. Cobb stares back at Ariadne. Saying nothing. ARIADNE This is not just about Fischer, it's about you. Tell me what happened to you and Mal. Trapped in Limbo. Cobb looks at her. Thinking it through. COBB We were on a job. Exploring dreams within dreams. But we didn't understand how your mind can turn hours into years. How you can get trapped. Trapped so deep that when you wash up on the shore of your subconscious... INSERT CUT: MAL LIES ON THE SAND, STARING UP AT A CLOUDLESS SKY, WAVES WASHING OVER HER... COBB You can lose track of what's real. ARIADNE How long were you stuck? Cobb pauses before he answers. Looks at Ariadne. COBB Fifty years. Ariadne stares at him, incredulous. ARIADNE How did you stand it? INSERT CUT: COBB AND MAL BUILD A SANDCASTLE ON THE BEACH... COBB We built. We created a whole world for ourselves... INSERT CUT: COBB AND MAL WALK THROUGH A DESERTED CITY. COBB It's not so bad at first, being gods. The problem is knowing that it's not real. It became impossible for me to live like that. 87. ARIADNE (CONT'D) ARIADNE But not for her? COBB She accepted it. At some point... INSERT CUT: INT. MAL'S CHILDHOOD HOME - DAY Mal opens a DOLL'S HOUSE. Inside is a SAFE. She opens it- it is empty. She pulls out her SPINNING TOP. COBB (V.O.) ...she'd decided to forget that our world wasn't real. Mal places the top inside the safe. LOCKS IT AWAY... INT. OFFICE, WAREHOUSE - CONTINUOUS ARIADNE And when you finally woke up? COBB To wake from that. From decades lived. To be old souls thrown back into youth. It was hard. At first Mal seemed okay. But I started to realize something was wrong. Finally she admitted it. This idea she was possessed by. This simple little idea that changed everything... ARIADNE What was it? COBB That our world was not real. No matter what I did, no matter what I said, she was convinced that we were still in a dream. That we needed to wake up again... INT. COBB AND MAL'S KITCHEN - DAY (FLASHBACK) Cobb is trying to calm Mal, who is hysterical. COBB (V.O.) That to get home we'd have to kill ourselves. INT. WORKSHOP - DAY Ariadne looks at Cobb, appalled. 88. ARIADNE What about your children? Cobb has to look away. COBB She... she believed they weren't real. That our real children were waiting. Somewhere above... INT. COBB AND MAL'S KITCHEN - DAY (FLASHBACK) Mal shakes her head at Cobb as he USHERS the children out of the room, FACES UNSEENCOBB Calm down, Mal- MAL They're projections, Dom. Your dreams. I'm their mother-don't you think I can tell the difference? Cobb closes the door- turns to her, eyes full of bitter tears. COBB If it's my dream then why can't I control it? Why can't I stop this? MAL (it's obvious) You don't know you're dreaming. COBB You keep telling me I am- MAL And you don't believe me! COBB (V.O.) She was certain. But she loved me too much to go without me. So she made a plan... INT. ELEGANT HOTEL CORRIDOR - NIGHT (FLASHBACK) Cobb walks along, checking door numbers against a key. COBB (V.O.) For our anniversary... INT. ELEGANT HOTEL SUITE - CONTINUOUS (FLASHBACK) Cobb enters the lavish suite. He notices the DISHEVELED BEDCLOTHES. 89. He steps forwards- SMASH- he has tipped over a champagne glass with his foot... dinner for two is SPREAD ACROSS THE FLOOR. He looks at the DEBRIS, confused... next to the broken glass is a SPINNING TOP. He picks it up, studying it, thinking. He feels a draught, looks to the window. The CURTAIN BILLOWS. EXT. EXTERIOR ATRIUM - CONTINUOUS (FLASHBACK) Cobb looks out the window: Mal sits on the ledge of the opposite window. HAIR BLOWING. Feet dangling over the dizzyingly high atrium. She smiles. MAL Join me. COBB Mal, come back inside. MAL No. I'm going to jump. And you're coming with me. COBB No, I'm not. This is real-if you jump, you're not going to wake up, you're going to die. Let's go back inside and talk about this, please. MAL We've talked enough. She KICKS off a shoe and watches it DROP. MAL Come out onto the ledge or I'll jump right now. She means it. Cobb swings his legs out, sitting on the ledge opposite is wife. He looks down at the drop. MAL I'm asking you to take a leap of faith. COBB I can't do that, Mal. I can't leave our children. MAL If I go without you, they'll take them away, anyway. COBB What do you mean? 90. MAL I filed a letter with our attorney. Explaining how I'm fearful for my safety, how you've threatened to kill me... Cobb looks back at the wrecked hotel suite, PANICKING... MAL (CONT’D) I love you, Dom. I’ve freed you from the guilt of choosing to leave them. We’re going home to our real children. COBB Out children are here, Mal. Mal CLOSES HER EYES. Cobb looks for some way to reach her... MAL You’re waiting for a train... COBB NO! MAL, NO, I CAN’T! MAL A train that will take you far away... COBB DON’T DO THIS! MAL You know where you hope this train will take you, you can’t know for sure... COBB DON’T! MAL But it doesn’t matter... COBB NO! MAL Because you’ll be together... Mal SLIPS FORWARD INTO SPACE. Cobb SCREAMS after her. Then tries to bury his face in the wall... INT. OFFICE, WAREHOUSE - DAY Cobb stares as he remembers. 91. COBB He letter to the authorities refuted all the claims about her sanity that she knew I’d make... INT. COBB AND MAL’S KITCHEN - DAY (FLASHBACK) Cobb stands with the Thin Man, who has a piece of paper. COBB (V.O.) She’d had herself declared sane by three different psychiatrists. Cobb hears a SHOUT- turns to the garden. James CROUCHES, Philippa joins him, examining the ground, FACES UNSEEN... COBB (V.O.) (CONT’D) It was impossible for me to explain the nature of her madness... The Thin Man thrusts the paper into Cobb’s hand. THIN MAN Right now. Or never, Cobb. Cobb turns back to the window- about to call out- James and Philippa RUN OFF. Cobb turns from the window. Looks at the paper in his hand. It is an AIRPLANE TICKET. COBB (V.O.) So I ran. And I’ve been running ever since, trying to buy my way back to my family... INT. OFFICE, WAREHOUSE - DAY Cobb looks across at Ariadne. ARIADNE Psychiatrists judged her sane? COBB She was sane. She was just lost in the labyrinth. ARIADNE Then why should you blame yourself? COBB Because we were a family. And we had a life I would do anything to get back to now. But that reality wasn’t enough for me then. 92. ARIADNE It might have been your idea to push the limits, Cobb. But you’re not responsible for the idea that destroyed her. The idea that her world wasn’t real... that was her own idea from her own mind. Cobb says nothing. ARIADNE (CONT’D) Your guilt defines her. Powers her. If we’re going to succeed in this, you’re going to have to forgive yourself, and you’re going to have to confront her. But you don’t have to do it alone. COBB You don’t have to do this for me- ARIADNE I’m doing it for the others. They don’t know the risk they’ve taken coming in here with you. Cobb looks at the rooftop opposite, sees a SNIPER take up a position. Cobb shakes his head, frustrated. COBB We can’t stay here. Arthur?! INT. BATHROOM, WAREHOUSE - CONTINUOUS Browning puts his hand on Fischer’s shoulder. BROWNING These people are going to kill us if we don’t give them the combination. FISCHER They won’t, they’ll try to ransom us- BROWNING I heard them-they’re going to lock us in and run the can into the river. FISCHER What is in the safe? 93. BROWNING Something for you. Maurice always said it was his most previous gift... a will. FISCHER Maurice’s will is with Port and Dunn. BROWNING It’s an alternate. It supersedes the other only if you want it to. FISCHER What does it say? BROWNING It splits all the component businesses of Fischer Morrow into individual companies, transferring ownership to the boards of those companies... FISCHER Leaving me nothing? BROWNING A basic living. Nothing more. The entire empire would cease to exist. FISCHER Destroy my own inheritance? Why would he suggest such a thing? BROWNING I don’t know, Robert. Cobb OPENS the door. Arthur is behind him. COBB Come to your senses? FISCHER Let us go. I don’t know the combination. Not consciously. Cobb considers this. Opens his phone. Pulls out his gun. COBB Let’s try instinctively. I have someone standing in your father’s office ready to tap in a combination. He holds the phone to Fischer’s mouth. 94. Go to point in timearrow_right 10 minutes before 5 minutes before At time of posting 5 minutes after 10 minutes after more_horiz

ANTON5009 Join Date: 2009-02-08 Post Count: 125 #43317440Tuesday, March 01, 2011 9:10 PM GMT COBB (CONT’D) First six numbers that come into your head. Right now. FISCHER I have no idea- Cobb SWINGS the gun onto Browning- COBB RIGHT NOW! FISCHER Five, two, eight... four, nine, one. Cobb lowers his weapon. Listens to the phone. Shakes his head. Shuts the phone. COBB You’ll have to do better. Bag ‘em. Arthur puts SACKS over their heads. INT. WAREHOUSE - CONTINUOUS Cobb and Arthur drag Fischer and Browning to the van- FISCHER We’re worth much more to you alive... Arthur places Fischer on the back seat- uses a DROPPER to drop LIQUID onto Fischer’s mask- his head SLUMPS FORWARDS. “Browning” yanks the sack from his head- it is now EAMES. EAMES (excited) His relationship with his father’s much worse that we thought. ARTHUR That helps us? Arthur pulls a SNIPER RIFLE from a case by the van. COBB The stronger the issues, the more powerful the catharsis. Cobb motions for Yusuf to follow his upstairs. ARTHUR But how do you reconcile them if they’re that estranged? 95. EAMES I’m working on that. Arthur lines up a shot through the window- ARTHUR Well, work fast-Fischer’s projections are closing in quick, we need to break out of here before we’re totally boxed in... Arthur SHOOTS two snipers. Cobb and Yusuf gently load Saito into the van. He groans. Ariadne straps him in, checks his bandages. Arthur can’t get the last sniper- he’s too hidden behind a wall- EAMES Shouldn’t be afraid to dream a little bigger, Arthur- Eames lines up a shot with a grenade launcher. Fires- the sniper EXPLODES into the air- Arthur looks at Eames. EAMES (CONT’D) Shall we? They climb into the van- INT./EXT. VAN ON RAINY STREETS - CONTINUOUS The van pulls out into the rain-drenched streets. Arthur opens the mechanism case and hands out tubes- COBB Shifting Fischer’s antipathy from his father onto Browning should work. EAMES We need the imagery, the words... ARIADNE So you destroy his one positive relationship? COBB No. We repair his relationship with his father and expose his godfather’s true nature. EAMES Hell, we should be charging Fischer as much as Saito. 96. ARTHUR What about his security? It’s going to get worse as we go deeper. COBB We bring in Mr. Charles. ARTHUR No. EAMES Who’s Mr. Charles? ARTHUR A bad idea. COBB Arthur, the second we approach Fischer in that hotel, they’re gonna mow us down-we run with Mr. Charles like on the Stein job. EAMES So you’ve done it before? ARTHUR Sure. But it didn’t work. The subject realized he was dreaming and his subconscious tore us to pieces. Eames takes this in. EAMES You learned a lot, though. Right? COBB (to Eames) I’ll need a decoy. EAMES No problem. How about a pretty young lady I’ve used before? COBB Fine- Cobb looks back: a second S.U.V. pulls out, tailing them. COBB (CONT’D) (to Yusuf) I know you’ve got to stay ahead of them, but drive with kid gloves, okay? The world down there is going to be very unstable- 97. ARTHUR And don’t make the jump too soonthat kick is our only way back, we have to be ready to catch it- YUSUF I’ll use the music to let you know when it’s coming, but the rest is up to you. Arthur puts the mechanism onto the front seat. YUSUF (CONT’D) Everyone ready? Nods all round. YUSUF (CONT’D) Sweet dreams- Yusuf hits a button and we- CUT TO: INT. HOTEL LOBBY BAR - SUNSET Fischer nurses a drink. Staring at the ice cracking. BLONDE (O.S.) Am I boring you? Fischer looks up. A beautiful BLONDE is next to him. BLONDE (CONT’D) I was telling you my story. I guess it wasn’t to your liking. FISCHER I have a lot on my mind. Fischer looks around the bar. There are several STERN-LOOKING CHARACTERS paying him too much attention. INT. HOTEL LOBBY - CONTINUOUS Arthur and Ariadne sit at a table across the lobby. They spot Cobb moving across the lobby towards Fischer. ARTHUR And there goes Mr. Charles. ARIADNE Who or what, exactly, is Mr. Charles? 98. ARTHUR It’s a gambit designed to turn Fischer against his own subconscious. INT. HOTEL LOBBY BAR - CONTINUOUS Cobb approaches the bar, watched closely by Fischer’s Subsecurity. COBB Mr. Fishcer! Good to see you again. Rod Green, Marketing. (to Blonde) And you must be... BLONDE Leaving. She presses against Fischer as she slides off her stool and deposits a cocktail napkin in front of him. BLONDE (CONT’D) In case you get bored. Cobb watches her walk away. The Sub-security FOLLOWS her. COBB I think you just got blown off... unless her phone number really does have only six digits. Fischer glances at the napkin: “528-491.” INT. HOTEL LOBBY - CONTINUOUS Arthur watches the Sub-security follow the Blonde. ARIADNE And why don’t you approve? ARTHUR Because it involves telling the mark that he’s dreaming. Which involves attracting a lot of attention to us. ARIADNE Didn’t Cobb say never to do that? ARTHUR You must’ve noticed by now how much time Cobb spends doing things he says never to do. 99. INT. HOTEL LOBBY BAR - CONTINUOUS Cobb turns to Fischer. COBB Strange way to make friends. (off look) Lifting your wallet, I mean. Fischer pats his pocket. Empty. He looks to the lobby where he sees the Sub-security trailing the Blonde. FISCHER God Dang it. The wallet alone’s worth- COBB Five hundred bucks. I know. Don’t worry, my guys are on it. FISCHER Who did you say you were? Fischer looks at him, curious. Cobb plows on, confident- COBB I said I was Rod Green from Marketing-but I’m not. My name is Mr. Charles. I might seem familiar to you. I’m in charge of your security here. INT. HOTEL LOBBY - CONTINUOUS The Blonde hurries up to Saito, emerging from the elevator- BLONDE Mr. Saito, can I have a minute? She pushes him back into the elevator, closing the door as the Sub-security approaches... INT. ELEVATOR - CONTINUOUS The Blonde fondles Saito’s lapels, getting close. SAITO I’m sorry, but... Saito glances over her shoulder to see, in the tunnel of infinite reflections created by the elevator’s opposing mirrors, three reflections in, THE BLONDE IS EAMES. He winks. SAITO (CONT’D) (pushing him away) Very amusing, Mr. Eames. 100. EAMES You look a bit perkier. A SHUDDER ripples through the elevator. SAITO Turbulence on the plane. EAMES Feels closer. That’s Yusuf’s driving. And we- CUT TO: INT./EXT. VAN ON RAINY DOWNTOWN STREETS - DAY Yusuf FIGHTS the wheel as the van CUTS DOWN AN ALLEY, BUMPING OVER POTHOLES and SMASHING TRASH CANS aside- THREE S.U.V.s IN FURIOUS PURSUIT. Yusuf looks in the rear view mirror, FRUSTRATED. He checks his WATCH, then checks the back: the SLEEPERS SHAKE with the impact and we- CUT TO: INT. HOTEL LOBBY BAR - NIGHT As a TREMOR echoes through the bar Fischer looks at Cobb trying to place him. FISCHER Security? You work for the hotel? COBB No. My specialty is subconscious security. FISCHER You’re talking about dreams. You’re talking about extraction. COBB Exactly. My job is to protect you... Behind Fischer a WAITER puts down a tray- tipping a champagne glass over- SMASH- Cobb NOTICES. Pauses, looks across the bar- HIS TWO CHILDREN ARE CROUCHED, BACKS TOWARDS US... Cobb looks around the bar, the patrons start to STARE at Cobb, suspicious- Cobb shifts back to Fischer- 101. COBB (CONT’D) My job is to protect you from any attempt to access your mind through your dreams. Cobb regains his patter- the patrons lose interest... INT. ELEVATOR - CONTINUOUS Eames pulls out Fischer’s wallet, moves to hand it to Saito, then PAUSES, opens it, leafs past the cast to find... The SNAPSHOT: young Robert holding his HOMEMADE PINWHEEL, his father blowing on it. The elevator doors open and Eames steps off. HANDS Saito the wallet. EAMES Get off at a different floor and keep moving. Dump the wallet, then meet me in the lobby. The security will try to track it down. We need to buy Cobb a little more time. The doors close. Saito puts the wallet in his pocket. He COUGHS- a deep, nasty cough. INT. HOTEL LOBBY BAR - CONTINUOUS Cobb looks over Fischer’s shoulder to see a SUITED MAN watching him. Another MAN is walking in from the lobby. COBB You’re not safe here. Cobb steps away from the bar. Fischer does not move. COBB (CONT’D) Trust me. They’re coming for you. Fischer sizes him up, A CLAP OF THUNDER ECHOES, and we- CUT TO: INT./EXT. VAN ON RAINY DOWNTOWN STREETS - DAY GUNSHOTS BLAST out the rear and side windows of the van- a Security Man is leaning out of the lead S.U.V. With a SHOTGUNWIND AND RAIN RIP THROUGH THE VAN- in the back, ARTHUR’S SLEEPING FACE IS WHIPPED BY THE SPRAY, AND WECUT TO: INT. HOTEL LOBBY BAR - SUNSET Fischer looks out the windows at sudden, HURRICANE-LIKE RAIN- 102. COBB Strange weather, huh? A TREMOR runs through the bar- Cobb looks around- COBB (CONT’D) You feel that? INT. HOTEL LOBBY - CONTINUOUS Ariadne and Arthur watch the GUSTS OF WIND RATTLE the windows. Arthur sees HOTEL GUESTS staring out at the weather, PUZZLED. Several of them TURN TO LOOK DIRECTLY AT ARTHUR. ARIADNE What’s happening? ARTHUR Cobb’s drawing Fischer’s attention to the strangeness of the dream. That’s making his subconscious look for the dreamer. For me. And we- CUT TO: INT./EXT. VAN ON RAINY STREETS - DAY At the end of the alley- Yusuf THROWS the van into a HARD RIGHT TURN- we move into EXTREME SLOW MOTION... THE SLEEPERS IN THE BACK ARE DRAWN TO ONE SIDE OF THE VAN BY THE CENTRIFUGAL FORCE... and we- CUT TO: INT. HOTEL LOBBY BAR - CONTINUOUS The liquid in Fischer’s drink RISES UP AGAINST ONE SIDE OF THE GLASS- Fischer notices, confused. COBB Very odd-the weather, the gravity... Fischer looks around the bar- it’s as if THE ENTIRE ROOM IS SET AT A 45-DEGREE ANGLE- glasses SLIDING off tables... COBB (CONT’D) But I can explain all this. You’ve actually been trained for this. (Fischer nods) Think of the strangeness of the weather, the shifts in gravity. None of this is real... 103. (MORE) (beat) We’re in a dream. Fischer looks at the room around them. Back to Cobb. All through the bar, patrons turn to look at Cobb IN UNISON. COBB (CONT’D) The simplest test of what I’m saying is for you to try and remember anything about the way you arrived in this hotel... okay? Fischer stares at Cobb, trying to process this. All around them, people STARE at Cobb. Several get up as if to approach. COBB (CONT’D) Breathe. Remember the training. Accept the fact that we’re in a dream. That’s why I’m here protecting you. As Fischer considers this we- CUT TO: INT./EXT. VAN ON RAINY STREETS - DAY Yusuf STRAIGHTENS UP the van, RACING down the street, swerving through traffic and we- CUT TO: INT. HOTEL LOBBY BAR - EVENING The building gradually EASES BACK INTO ALIGNMENTFISCHER So you... you’re not real? The bar patrons start to ignore Cobb again. COBB No. I’m a projection of your subconscious. I was put in place to protect you in the event that extractors pulled you into a dream. I believe that’s what has happened. Fischer takes this in. Then looks at the Security Men approaching across the crooked floor, he nods at Cobb- 104. COBB (CONT’D) INT. HOTEL LOBBY - EVENING Cobb escorts Fischer across the lobby. As he does so, he walks past the two CHILDREN, backs to us- Cobb ignores them- The two Sub-security fall in behind. Cobb hurries Fischer up the stairs- then PUSHES him into- INT. HOTEL LOBBY BATHROOM - CONTINUOUS Fischer stumbles in- turns to Cobb, angry- FISCHER Hey- Cobb reaches into his jacket- the First Man BURSTS in- Cobb KICKS him to the ground- DRAWS his gun as the SECOND MAN comes through the door, moving towards Fischer- BLAM! Cobb BLASTS the Second Man in the back- TURNS and SHOOTS the First Man. FISCHER (CONT’D) Jesus Christ! What are you doing?! Cobb turns to Fischer, calm. Convincing. COBB Look at the gun in his hand. Fischer looks: the Second Man was holding a pistol. Cobb opens the First Man’s jacket to show Fischer his holster and sidearm. COBB (CONT’D) These men were sent to abduct you. Cobb pulls out the gun and HANDS it to Fischer. COBB (CONT’D) If I’m going to help you, I need you to be calm. Fischer remembers something. FISCHER If this is a dream, I have to die and wake up- Fischer raises the gun towards his head- COBB I wouldn’t do that-they’ve probably got you sedated. If you pull that trigger, you might not wake up, you might drop into a lower dream state. 105. (MORE) Mr. Fischer, you know all this, you just have to remember it... Fischer lowers his gun. INT. HOTEL CORRIDOR - CONTINUOUS Saito walks down the corridor, followed by a Security Man. Saito DUCKS around the corner, moves to a GARBAGE CHUTE and DROPS Fischer’s WALLET into it. He SLIPS into the stairwell as the Security Man comes abreast of the chute and pauses. INT. HOTEL CORRIDOR - CONTINUOUS Arthur leads Ariadne to a particular room: 491. INT. ROOM 491 - CONTINUOUS Arthur leads Ariadne in. He opens the closet, opens the room safe, pulls our FOUR BRICKS OF PLASTIC EXPLOSIVE. ARTHUR So, if everything’s correct, this room should be directly below 528. INT. HOTEL LOBBY BATHROOM - CONTINUOUS Cobb looks reassuringly at Fischer. COBB What do you remember from before this dream? FISCHER (thinking) Rain... gunfire... Uncle Peter. (looks up) Christ-we’ve been kidnapped. COBB Where were they holding you? FISCHER They had us... in the back of a van... COBB Your body’s bouncing around in the back of a van right now-that explains the gravity shifts. FISCHER It was... to do with a safe... Christ, why’s it so hard to remember? 106. COBB (CONT'D) COBB It’s like trying to remember a dream after you’ve woken up. It takes years of practice to do it easily. So, you and Browning have been pulled into this dream so they can steal something from your mind. What? FISCHER They wanted a combination to a safe... they demanded the first numbers to pop into my head. COBB That’s them extracting a locator. FISCHER A locator? COBB A number from your own subconscious. It can be used any number of ways... (thinking) This is a hotel. Room numbers. What was the number you gave them? FISCHER 5, 2... something... it was a long number. 528... 528, 4 something. COBB (opens phone) Well, we know where to start. (into phone) Fifth floor. INT. ROOM 491 - CONTINUOUS Arthur hangs up the phone. He is standing on a chair, attaching the explosives to the ceiling. ARIADNE Do you use a timer? ARTHUR No, I have to judge it myself. Once you’re all asleep up in room 528, I wait ‘til Yusuf starts his kick... ARIADNE How will you know? 107. ARTHUR His music warns me it’s coming, then the van hitting the barrier of the bridge should be unmistakablethat’s when I blow the floor out from underneath us and we get a nice synchronized kick. Too soon, and we won’t get pulled out; too late and I won’t be able to drop us. ARIADNE Why not? ARTHUR The van will be in free fall. I can’t drop us with no gravity. Arthur finishes setting the charges. INT. HOTEL LOBBY - CONTINUOUS Saito moves through the lobby. Browning is coming in the other direction. Saito assumes him to be Eames. SAITO I see you’ve changed. BROWNING I’m sorry? Eames comes up behind Browning, catching Saito’s eye. SAITO I’m... I mistook you for a friend. BROWNING Good-looking fellow, I’m sure. Browning moves off. Saito approaches Eames. EAMES That’s Fischer’s projection of Browning. We’ll keep an eye on how he behaves- SAITO Why? EAMES How he acts will tell us if Fischer’s starting to suspect his motives the way we want him to. 108. INT. HOTEL CORRIDOR, FIFTH FLOOR - MOMENTS LATER Cobb leads Fischer around a corner. Arthur and Ariadne are waiting in the corridor. COBB They work for me. Fischer starts looking at room numbers. Stops at 528. Cobb draws his gun, steps back from the door and KICKS it open. INT. ROOM 528 - CONTINUOUS Cobb JUMPS into the room, gun up. The room is empty. Arthur and Ariadne search the room. Saito and Eames arrive. Eames shuts the door. Arthur FINDS something- ARTHUR Mr. Charles! Arthur holds up a MECHANISM CASE. Cobb shows it to Fischer. COBB You know what this is? Fischer’s eyes roam over the dials and plungers. FISCHER I think so. But I don’t understand. COBB They were going to put you under. FISCHER I’m already under. COBB Under again. FISCHER A dream within a dream? ARTHUR Shhhh! Arthur is at the door. Someone is there. A key goes into the lock- the door starts to open- Arthur REACHES OVER and GRABS the person entering, THROWS THEM TO THE FLOOR- puts his gun in their face. IT IS BROWNING. Fischer stares, disbelieving, at his own godfather. FISCHER Uncle Peter. What’s going on? Cobb pulls the key from Browning’s hand: ROOM 528. 109. COBB You said you were kidnapped together? FISCHER Not exactly, they already had him. They’d been torturing him... COBB You saw them torture him? Fischer shakes his head. Looks at Browning. Thinking. FISCHER The kidnappers are working for you. BROWNING No, Robert- FISCHER You’re trying to get that safe open. To get the alternate will. Browning looks up at Fischer. BROWNING Fischer Morrow’s been my entire life. I can’t let you destroy it. FISCHER I’m not going to throw away my inheritance. Why would I? BROWNING I couldn’t take the chance of you rising to your father’s final taunt. FISCHER What taunt? BROWNING That will. I’m sorry, Robert, but it’s his final insult. A challenge to build something for yourself. He’s telling you that you aren’t worthy of his achievements. Fischer takes this in. Devastated. FISCHER That he was “disappointed?” 110. Go to point in timearrow_right 10 minutes before 5 minutes before At time of posting 5 minutes after 10 minutes after more_horiz

ANTON5009 Join Date: 2009-02-08 Post Count: 125 #43321446Tuesday, March 01, 2011 10:22 PM GMT This Screenplay Failed- PM me for the screenplay if your the actor Go to point in timearrow_right 10 minutes before 5 minutes before At time of posting 5 minutes after 10 minutes after more_horiz

spencerisverycool Join Date: 2009-05-22 Post Count: 1493 #43387096Thursday, March 03, 2011 4:23 AM GMT lol u really posted the entire screenplay (not as good without video and audio) Go to point in timearrow_right 10 minutes before 5 minutes before At time of posting 5 minutes after 10 minutes after more_horiz

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