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 eyes-

gentle, loving... Mal SPOTS Ariadne spying on them.

67.

 

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.

68.

 

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 SHOUT-

Cobb 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.

69.

 

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.