I WANT TO CREATE FOR MYSELF, NOT
FOLLOW IN HIS FOOTSTEPS."
That might work.
Might? We'll have to do better than
Thanks for the contribution,
Forgive me for wanting a little
Inception's not about specificity.
When we get inside his head, we're
going to have to work with what we
Arthur shrugs, frustrated. And we-
EXT. NEW YORK STREETS - DAY
The team are in the middle of a DESERTED intersection.
Ariadne is showing Yusuf aspects of the geography.
We could split the idea into
emotional triggers, and use one on
How do you mean?
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...
"MY FATHER DOESN'T WANT ME TO BE
That could do it.
How do you produce these emotional
I forge each emotional concept in
the style and manner of Peter
Browning, a key figure in Fischer's
Two AFRICAN PEDESTRIANS wander into view.
Are those yours?
Eames shakes his head. Cobb turns to Yusuf.
Suppress them. We don't bring our
own projections into the dream-we
let Fischer's subconscious supply
Saito, when do I get to see
You fly out to Sydney on Tuesday.
We've arranged for you to spend
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.
...as part of a consulting
litigation team working for
I'm not smelling settlement here-we
take them down.
Mr. Browning, Maurice Fischer's
policy is always one of avoiding
Browning turns to the lawyer. Calm, but POWERFUL.
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.
How is he?
Fischer turns to Browning. Motions silence, as he glances at
his FATHER in the bed. Wheezing gently.
I don't want to bother him
unnecessarily but I know he-
Robert! I've told you to keep out
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.
Must be a cherished memory of his-
I put it by his bed. He hasn't even
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
Not now, Uncle Peter.
Browning looks at Fischer, considering. Biding his time.
The vultures are circling. The
sicker Maurice Fischer becomes, the
stronger Peter Browning becomes...
Eames WATCHES Browning, STUDYING his every move .
INT. BATHROOM - DAY
Eames gestures at a mirror, as if offering to shake hands...
I've had time to learn Browning's
physical presence and mannerisms...
In the mirror: BROWNING GESTURES BACK.
INT. WORKSHOP - CONTINUOUS
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.
So he gives himself the idea.
Precisely. That's the only way
to make it stick. It has to seem
Eames, I'm impressed.
Your condescension, as always, is
much appreciated, Arthur.