Inception: Snap Back To Reality?

INT. ANTECHAMBER - DAY Eames pulls the defibrillator from Fischer's chest as he COUGHS AWAKE. EAMES: Get in there -- quick! Fischer looks up at the double doors. STAGGERS to his feet. Fischer pushes open the doors to the STRONGROOM. INT. STRONGROOM - CONTINUOUS Fischer walks into the silent white room. At one end of the room is a bed. A figure lies in the bed. His FATHER. Breathing with tremendous difficulty. Dying. And we- CUT TO: EXT. PENTHOUSE (LIMBO) - DAY Ariadne takes aim at Mal- COBB: No! Cobb holds Ariadne's gaze. She lowers the gun. And we- CUT TO: Eames GRABS the detonator- then moves to the door of the strongroom... CUT TO: INT. ELEVATOR, HOTEL - NIGHT Arthur HITS THE DETONATOR- INT. ELEVATOR SHAFT - CONTINUOUS The CHARGES on the bottom of the elevator EXPLODE, and we move into EXTREME SLOW MOTION as the flames BALLOON- CUT TO: INT. STRONGROOM - CONTINUOUS A RUMBLE BUILDS as Fischer approaches the bed, overcome with emotion. His Father sees him. Starts trying to speak. Fischer leans in... FATHER (hoarse whisper): I... was ... dis ... dis ... FISCHER: I know, Dad. You were disappointed that I couldn't be you. The dying man SHAKES HIS HEAD with surprising energy. FATHER (whisper): I was disappointed... that you tried. Fischer hears this. And we- CUT TO: INT. ELEVATOR SHAFT - NIGHT The elevator car is ROCKETED along its track by the explosion- INT. ELEVATOR - CONTINUOUS Arthur is SMASHED against the floor of the car next to the sleepers who SHUDDER with the force of ACCELERATION- and we- CUT TO: INT. ANTECHAMBER - DAY Eames WATCHES Fischer- EAMES (to himself): Come on, come on... INT. STRONGROOM - DAY The Father collapses back onto the pillow. Fischer starts to weep. His Father reaches out a trembling hand but when Fischer tries to hold IT, he SHAKES his son's hand away... He is reaching for the SAFE next to his bed. His fingers fumble at the keypad, he can't open it. His son pushes 5,2,8,4,9,1 into the keypad. Opens it. Inside the safe is the WILL. And beside it is a HOMEMADE PINWHEEL, clearly made by a child. By Fischer. He takes it out, MARVELING at it. He turns to his father, but his father is dead. Eames, watching from the door, HITS THE DETONATOR- EXT. HOSPITAL COMPLEX - CONTINUOUS A line of EXPLOSIONS RIPS ALONG THE LOWER WALL... the ENTIRE BUILDING STARTS TO SLIDE DOWN THE MOUNTAIN- EXT. PENTHOUSE (LIMBO) - DAY A FIERCE WIND starts HOWLING through the house as the sky outside DARKENS. Cobb shields Mal against the blast- looks up at Ariadne, who HOLDS the railing, FIGHTING the wind- COBB: That’s the kick-you have to go! ARIADNE: You’re coming! COBB: No, I’m not. I’m staying here to find Saito. (turns to Mal) And to say goodbye. Ariadne loosens her grip on the railing... ARIADNE: Don’t lose yourself. Find Saito. And bring him back. COBB: I will. Ariadne lets the wind pull her off the edge- FALLING- and we- INT. ANTECHAMBER - CONTINUOUS Ariadne DROPS as the FLOOR COLLAPSES- her eyes SNAP OPEN- EXT. PENTHOUSE (LIMBO) - DAY Cobb holds Mal in his arms. The wind DIES... MAL: We’d be together forever. You promised me. COBB: I know. But we can’t. And I’m sorry. MAL: You remember when you asked me to marry you? You said you dreamt that we’d grow old together. COBB: And we did... Mal looks at Cobb... thinking. Remembering. INSERT CUT: TWO ELDERLY PEOPLE (MAL AND COBB) WALK THROUGH LIMBO... ACROSS A WASTELAND... TWO ELDERLY HANDS CLUTCH EACH OTHER AS THEY LIE DOWN ON THE RAILROAD TRACK... COBB: I miss you more than I can bear...but we had our time together. And now I have to let go... She nods, weakly. Cobb holds Mal as her eyes close..DYING... and we- INT. STRONGROOM - CONTINUOUS Fischer and his Father’s body DROP AWAY- INT. ELEVATOR - NIGHT Ariadne DROPS inside the ROCKETING ELEVATOR, and as it SMASHES INTO THE TOP OF THE SHAFT Ariadne SMASHES into- INT./EXT. VAN INTO RIVER - DAY THE WATER, THE VAN CRUNCHING WITH THE IMPACT- WATER CRASHING THROUGH THE BROKEN WINDOWS FLOODING THE INTERIOR... Fischer’s EYES OPEN, PANICKING- he UNBUCKLES HIMSELF, pushes out of the broken window- STOPS, goes back to UNBUCKLE Browning and DRAG him out. EXT. RIVER - CONTINUOUS Fischer breaks the surface with Browning, who COUGHS and GASPS. He starts PULLING for the near bank, struggling through the rain-impacted water- INT. VAN, UNDERWATER - CONTINUOUS Ariadne, Arthur and Yusuf wait calmly underwater. They are sharing TWO REGULATORS pulled from beneath the front seat. Arthur turns to Saito. There is blood in the water around Saito’s belly- his eyes are LIFELESS- Arthur feels for a pulse... turns to Cobb, whose eyes are lifeless... Ariadne GRABS Arthur’s elbow, pulling him away... EXT. RIVERBANK - MOMENTS LATER Fischer turns Browning/Eames over. They lie there, exhausted. BROWNING: I'm sorry, Robert. Fischer stares at the rain on the water. FISCHER: The will means that Dad wanted me to be my own man, not live for him. (turns to Browning) And I'm going to, Uncle Peter. Browning nods. Wipes the rain from his face. In the puddle beside them, the reflection is not Browning, but Eames. EXT. UNDERNEATH BRIDGE IN THE RAIN - MOMENTS LATER Arthur sits on the riverbank, breathing heavily. ARTHUR: What happened? ARIADNE: Cobb stayed. ARTHUR: With Mal? ARIADNE: No. To find Saito. Arthur looks out at the water below the bridge. ARTHUR: He'll be lost... ARIADNE: No. He'll be alright. And we- CUT TO: EXT. DAWN. CRASHING SURF. The waves TOSS a BEARDED MAN onto wet sand. As the Japanese Security Guard turns him onto his back, we realize that this is Cobb- OLDER. WEARY. TRAVELLED... INT. DINING ROOM, CASTLE - DAY Cobb WOLFS his food. The Elderly Japanese Man (Saito, 90 years old) watches him. SAITO: So... have you come to kill me? Cobb does not look up. SAITO: I've been waiting for someone to come for me... COBB: Someone from your half-remembered dream...? Saito peers at Cobb. SAITO: Cobb? Not possible-he and I were young men together. And I am an old man... COBB: Filled with regret? Saito REMEMBERS, nods... SAITO: Waiting to die alone, yes. Cobb is STARING at something on the table. COBB: I came back for you... I came to remind you of what you once knew... Cobb gestures at the table. Saito follows his gaze down to the polished surface of the table... COBB: That this world is not real. The top IS STILL SPINNING PERFECTLY, AS IF IT WILL NEVER TOPPLE. Saito looks at the top. Then back to Cobb. SAITO: You came to convince me to honor our arrangement? COBB: Yes. And to take a leap of faith. As Saito-san listens to Cobb, he looks at the GUN on the table between them... COBB: Come back and we'll be young men together again. The elderly Saito looks at Cobb. Nods. And we-