I want to create for myself, not

FOLLOW IN HIS FOOTSTEPS."

 

COBB

That might work.

58.

 

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?

59.

 

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.

60.

 

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...

61.

 

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: