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.
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?
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.
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…
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.
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)