Detailing the results of Nolan’s efforts,
FADE IN:
DAWN. CRASHING SURF.
The waves TOSS a BEARDED MAN onto wet sand. He lies there.
A CHILD’S SHOUT makes him LIFT his head to see: a LITTLE BLONDE BOY crouching, back towards us, watching the tide eat a SANDCASTLE. A LITTLE BLONDE GIRL joins the boy. The Bearded Man tries to call them, but they RUN OFF, FACES UNSEEN. He COLLAPSES.
The barrel of a rifle ROLLS the Bearded Man onto his back. A JAPANESE SECURITY GUARD looks down at him, then calls up the beach to a colleague leaning against a JEEP. Behind them is a cliff, and on top of that, a JAPANESE CASTLE.
INT. ELEGANT DINING ROOM, JAPANESE CASTLE — LATER
The Security Guard waits as an ATTENDANT speaks to an ELDERLY JAPANESE MAN sitting at the dining table, back to us.
ATTENDANT (in Japanese)
He was delirious. But he asked for you by name. And…
(to the Security Guard)
Show him.
SECURITY GUARD (in Japanese)
He was carrying nothing but this…
He puts a HANDGUN on the table. The Elderly Man keeps eating.
SECURITY GUARD
…and this.
The Security Guard places a SMALL PEWTER CONE alongside the gun. The Elderly Man STOPS eating. Picks up the cone.
ELDERLY JAPANESE MAN (in Japanese)
Bring him here. And some food.
INT. SAME — MOMENTS LATER
The Elderly Man watches the Bearded Man WOLF down his food.
He SLIDES the handgun down the table towards him.
ELDERLY JAPANESE MAN (in English)
Are you here to kill me?
The Bearded Man glances up at him, then back to his food.
The Elderly Japanese Man picks up the cone between thumb and forefinger.
ELDERLY JAPANESE MAN
I know what
He SPINS it onto a table — it CIRCLES gracefully across the polished ebony… a SPINNING TOP.
ELDERLY JAPANESE MAN
I’ve seen one before. Many, many years ago…
The Elderly Japanese Man STARES at the top mesmerized.
ELDERLY JAPANESE MAN
It belonged to a man I met in a half-remembered dream…
MOVE IN on the GRACEFULLY SPINNING TOP…
ELDERLY JAPANESE MAN
A man possessed of some radical notions…
The Elderly Japanese Man STARES, remembering…
COBB (V.O.)
CUT TO:
INT. SAME ELEGANT DINING ROOM — NIGHT (YEARS EARLIER)
The speaker, COBB, is 35, handsome, tailored. A young Japanese man, SAITO, eats as he listens.
COBB
A bacteria? A virus?
Cobb gestures at their feast with his wine glass—
COBB
An intestinal worm?
Saito’s fork pauses, mid-air. Cobb GRINS. A third man is at the table — ARTHUR. He jumps in to save the pitch—
ARTHUR
What Mr. Cobb is trying to say—
COBB
An
Saito looks at Cobb, curious.
COBB
Resilient, highly contagious. Once an idea’s taken hold in the brain it’s almost impossible to eradicate. A person can cover it up, ignore it — but it stays there.
SAITO
But surely — to forget…?
COBB
Information, yes. But an
(taps forehead)
In there, somewhere.
SAITO
For someone like you to steal?
ARTHUR
Yes. In the dream state, conscious defenses are lowered and your thoughts become vulnerable to theft. It’s called extraction.
COBB
But, Mr. Saito, we can train your subconscious to defend itself from even the most skilled extractor.
SAITO
How can you do that?
COBB
Because I
Cobb leans forwards. Holding Saito’s gaze.
COBB
But if I’m going to help you, you have to be completely open to me. I’ll need to know my way around your thoughts better than your wife, your analyst, anyone.
(gestures around)
If this is a dream and you’ve got a safe full of secrets, I need to know what’s in that safe. For this to work, you have to let me in.
Saito gives this a flicker of a smile. Rises. A BODYGUARD opens double doors which give onto a LAVISH PARTY.
SAITO
Gentlemen. Enjoy your evening as I consider your proposal.
They watch Saito leave. Arthur turns to Cobb, worried—
ARTHUR
He knows.
Cobb motions silence. A TREMOR starts, they steady their glasses, Cobb glances at his watch— THE SECOND HAND IS FROZEN.
ARTHUR
What’s going on up there?
And we—
CUT TO:
FILTHY BATHROOM — DAY (FEELS LIKE DIFFERENT TIME)
Cobb, ASLEEP, SITTING IN A CHAIR AT THE END OF A STEAMING BATH. The chair is up on a cabinet — the bottom of the legs level with the rim of the tub.
A sweating man (40’s) watches over Cobb. This is NASH. A distant EXPLOSION rumbles through the room. Nash moves to the window, parts the curtains. Outside: a CHAOTIC DEVELOPING-WORLD CITY — the street filled with RIOTERS — SMASHING, BURNING.
Nash checks Cobb’s left wrist: above his watch, tape holds TWO THIN YELLOW TUBES in place. Nash looks at Cobb’s watch — THE SECOND HAND CRAWLS UNNATURALLY SLOWLY.
Nash follows the tubes to a SILVER BRIEFCASE at Arthur’s feet: ARTHUR IS ASLEEP in an armchair. Tubes connect the briefcase to Arthur’s wrist.
Nash follows another set of tubes from the briefcase to where they pass under the door to the bedroom. Through the crack of the door, Nash sees SAITO ASLEEP on the bed, tubes running to his wrist. BOOM — a closer EXPLOSION, and we—
CUT TO:
INT. BULLET TRAIN COMPARTMENT — DAY (FEELS LIKE DIFFERENT TIME)
Nash, ASLEEP. Head ROCKING AGAINST THE WINDOW as the train BUMPS OVER A ROUGH PIECE OF TRACK.
A Japanese Man, TODASHI (18) watches Nash nervously. He checks Nash’s wrist: TWO YELLOW TUBES CONNECT NASH WITH THREE OTHER SLEEPING MEN IN THE COMPARTMENT: COBB, ARTHUR, SAITO.
Todashi checks his watch: THE SECOND HAND TICKS IN REAL TIME. Another TRAIN PASSES in the opposite direction with a MIGHTY WHUMP — Todashi’s eyes FLY to Nash’s sleeping face—
NASH JERKS WITH THE MOVEMENT OF THE TRAIN, and we—
CUT TO:
INT. FILTHY BATHROOM — CONTINUOUS
Another EXPLOSION- Nash CHECKS the sleeping Cobb and we—
CUT TO:
EXT. ROOFTOP TERRACES, JAPANESE CASTLE — NIGHT
A LOW TREMOR RUMBLES THROUGH THE CASTLE. Cobb and Arthur steady themselves against the wooden rail. Several TILES and pieces of MASONRY fall. Below them a BLACK SEA churns. Other GUESTS wander the massive terraces.
ARTHUR
Saito
COBB
I can get it here. The information’s in the safe− he looked right at it when I mentioned secrets.
Arthur nods. Then spots someone over Cobb’s shoulder.
ARTHUR
What’s
Cobb turns to see a beautiful woman, elegantly dressed, staring out at the sea. This is MAL. Cobb watches her.
COBB
You just get to your room. I’ll take care of the rest.
ARTHUR
See that you do. We’re here to work.
Arthur brushes past Mal, shaking his head. She nears Cobb. Looks out at the DROP. The WIND WHIPS HER HAIR—
MAL
If I jumped, would I survive?
COBB
With a clean dive, perhaps. Mal, why are you here?
She turns to look at him. Amused.
MAL
I thought you might be missing me…
She smiles. He leans in, mesmerized.
COBB
I am. But I can’t trust you anymore.
She stares up at him, inviting.
MAL
So what?
INT. BEDROOM SUITE, JAPANESE CASTLE — MOMENTS LATER
Mal sips champagne as she studies a painting by Francis Bacon.
MAL
Looks like Arthur’s taste.
Cobb is looking down through the window at the GUARDS patrolling the castle at ground level.
COBB
Actually, Mr. Saito is partial to postwar British painters.
He turns to Mal, donning a pair of black leather gloves.
COBB
Would you sit down?
Mal lowers herself gracefully into a leather wingback chair.
Cobb approaches, pulls out a length of BLACK ROPE and kneels at Mal’s feet. She looks down at him.
MAL
Tell me…
Cobb TIES the rope around the CHAIR LEGS.
MAL
Do the children miss me?
Cobb pauses. He lets his gloved fingers lightly touch Mal’s ankle. He looks up at her.
COBB
You can’t imagine.
Mal looks away, uncomfortable. Cobb gets to his feet, letting out the rope as he moves back to the window.
MAL
What’re you doing?
Cobb tosses the rope out—
COBB
Getting some air.
He tugs on the rope, testing. The weight of the chair, with Mal on it, holds.
COBB
Stay seated. Please.
And with that, he JUMPS. Mal considers the open window.
EXT. JAPANESE CASTLE WALL — CONTINUOUS
Cobb RAPPELS down the wall, darting past windows. He stops at a particular one. Gets out a glass cutter— Suddenly he starts DROPPING—
INT. BEDROOM SUITE, JAPANESE CASTLE — CONTINUOUS
The EMPTY CHAIR SLIDES across the floor — WEDGES under the window—
EXT. JAPANESE CASTLE WALL — CONTINUOUS
Cobb JOLTS to a stop 15 ft. lower. He looks up at the bedroom window. Shakes his head. Starts climbing back.
INT. KITCHEN, JAPANESE CASTLE — MOMENTS LATER
Cobb drops silently from the window into the darkened kitchen. He pulls a PISTOL from his belt, screwing a SILENCER onto the barrel as he GLIDES across the room.
INT. HALL, JAPANESE CASTLE — CONTINUOUS
Cobb SLIPS through the shadows towards a GUARD stationed at the head of a GRAND STAIRCASE…
The Guard HEARS something — TURNS — PEERS into the shadows…
Cobb FLASHES out of the shadows, silenced pistol up, AIMING— PHHT— head shot— the Guard starts to drop… but Cobb is already there to CATCH him, sliding on his knees and lowering the Guard SILENTLY to the floor.
INT. DINING ROOM, JAPANESE CASTLE — CONTINUOUS
Cobb moves to a PAINTING. With practiced hands he removes it from the wall, revealing a SAFE. Cobb spins the dial, pulls it OPEN, GRABS an envelope from within, stuffs it into his waistband, where there is already an IDENTICAL ENVELOPE.
LIGHTS COME ON. Cobb freezes.
SAITO (O.S.)
Turn around.
Cobb turns. At the far end of the room: Saito. Next to him is Mal, gun in hand. She smiles at Cobb.
MAL
The gun, Dom.
Cobb doesn’t move. Mal motions outside — two GUARDS drag Arthur into the room. Mal puts the gun to his head.
MAL
Please.
Cobb slowly places his gun at his end of the long table, then SLIDES it along the polished ebony. It comes to rest HALFWAY down the length or the table.
SAITO
Now the envelope, Mr. Cobb.
Cobb reaches into his waistband, removes ONE of the envelopes, SLIDES it along the table. Steps back, hands raised.
COBB
Did
SAITO
That you’re here to steal from me?
(beat)
Or that we’re actually asleep?
Arthur gives Cobb an I-told-you-so look.
SAITO
I want to know who your employer is.
Mal COCKS the gun at Arthur’s temple.
COBB
No point threatening him in a dream.
MAL
That depends on what you’re threatening. Killing him would just wake him up… but pain? Pain is in the mind…
Mal LOWERS the gun and SHOOTS Arthur in the leg — Arthur drops, SCREAMING — Mal looks at Cobb, cold.
MAL
And, judging by the decor, we’re in
Cobb watches Arthur’s PAIN. Mal aims at Arthur’s other leg…
Cobb SPRINGS for the table, SKIDDING along its polished surface — he GRABS his gun — SHOOTS ARTHUR BETWEEN THE EYES — Arthur DROPS — the room starts to SHUDDER in a MASSIVE EARTHQUAKE− Cobb SPRINGS for the door- Arthur’s eyes stare at the ceiling, DEAD, and we—
CUT TO:
INT. FILTHY BATHROOM — DAY
Arthur’s EYES OPEN as he WAKES IN THE ARMCHAIR — he GRABS at the tubes at his wrist, YANKING them free—
NASH
What’re you doing?! It’s too soon—
FLUID spurts from the tubes as Arthur STRUGGLES with the SILVER CASE on the bathroom floor.
ARTHUR
I know! We have to reconnect the loop before they wake up!
Arthur grabs the case and pushes through the door to the bedroom — following the tubes to where they meet Saito’s wrist — SAITO LIES ON THE BED ASLEEP. Saito STIRS and we—
CUT TO:
INT. JAPANESE CASTLE CORRIDOR — NIGHT
Cobb LURCHES towards the stairs, as all around him the building BUCKS and HEAVES—
INT. DINING ROOM, JAPANESE CASTLE — CONTINUOUS
Saito and the Guards PANIC. Mal walks calmly through the destruction, picks up the envelope and turns to Saito.
MAL
He was close. Very close.
EXT. GRAND STAIRCASE, JAPANESE CASTLE — CONTINUOUS
Cobb runs up the stairs, pulling out the SECOND ENVELOPE—
INT. DINING ROOM, JAPANESE CASTLE — CONTINUOUS
Saito RIPS open the envelope, pulls out sheets of paper. He looks at Mal, PANICKED. He turns to the Guards—
SAITO
Stop him!
Mal, confused, looks at the sheets of paper: THEY ARE BLANK.
Mal smiles, amused.
INT. GRAND STAIRCASE, JAPANESE CASTLE — CONTINUOUS
As Cobb runs up the stairs he reads the TYPEWRITTEN SHEETS from his envelope, and we—
CUT TO:
INT. DILAPIDATED HOTEL ROOM — DAY
Arthur OPENS the silver case: a COMPLEX MECHANISM of TUBES, SYRINGES, DOSAGE CONTROLLERS. Arthur’s hands fly across the machine’s controls as he glances at Saito’s STIRRING face—
ARTHUR
I’m not going to make it! Wake Cobb!
INT. FILTHY BATHROOM — CONTINUOUS
Nash turns to Cobb. Raises his hand and SMACKS him across the face, and we—
CUT TO:
INT. GRAND STAIRCASE, JAPANESE CASTLE — NIGHT
Cobb is SMASHED sideways off his feet…
INT. DINING ROOM, JAPANESE CASTLE — NIGHT
The CEILING CRACKS above Saito- he looks up as a TON of STONE floods down, CRUSHING HIM and we—
CUT TO:
INT. DILAPIDATED HOTEL ROOM — DAY
Saito’s eyes FLICKER OPEN. AWAKE.
INT. FILTHY BATHROOM — CONTINUOUS
Nash SMACKS Cobb again—
NASH
He won’t wake!
INT. DILAPIDATED HOTEL ROOM — CONTINUOUS
Arthur crouched by Saito, connects the second tube.
ARTHUR
Dunk him!
A CLICK: Arthur looks up to find Saito with a gun to his head and a finger to his lips, gesturing silence…
INT. FILTHY BATHROOM — CONTINUOUS
Nash puts his hand on Cobb’s forehead and PUSHES HIM BACKWARDS — as Cobb starts to FALL BACKWARDS in the chair we are in SLOW MOTION, and we—
CUT TO:
INT. GRAND STAIRCASE, JAPANESE CASTLE — NIGHT
Cobb, full speed, picks himself up, scrambling to read the last sheet of paper. He stares at it PUZZLED — bullets hit around him as the Guards race up the stairs and we—
CUT TO:
INT. FILTHY BATHROOM — DAY
Cobb in SLOW MOTION, hits the WATER — head THRASHING as he goes under — and we—
CUT TO:
INT. GRAND STAIRCASE, JAPANESE CASTLE — NIGHT
Cobb glances up from the paper as WATER EXPLODES IN THROUGH ALL THE WINDOWS, FLOODING THE ENTIRE HALL — COBB IS SWAMPED BY WATER, SPUN IN ALL DIRECTIONS AT ONCE — HE PULLS DEEPER OR FOR THE SURFACE, WE CAN’T TELL…
HE BREAKS THE SURFACE, GASPING FOR AIR IN THE BATHTUB IN THE—
INT. FILTHY BATHROOM — DAY
Cobb’s AWAKE, GULPING AIR, getting his bearings.
Saito SMASHES into the room, KNOCKING Nash down— Cobb LAUNCHES himself out of the tub, FLYING dripping wet across the room to SLAM Saito against the door — the gun DROPS, Cobb’s fist CONNECTS with Saito’s jaw and the struggle is over.
INT. DILAPIDATED HOTEL ROOM — MOMENTS LATER
Cobb, wet but composed, sits, turning Saito’s gun in his hand. Nash holds Saito’s arms behind him. Outside, the sounds of RIOTING grow louder.
COBB
You came prepared.
SAITO
I bring the gun because not even my head of security knows this apartment. How did
Arthur, at the window, looks out at the WORSENING VIOLENCE.
COBB
Hard for a man in your position to keep a love nest totally secret… particularly when there’s a married woman involved.
SAITO
She would never…
COBB
And yet, here we are.
Saito is silent.
COBB
With a dilemma.
SAITO
You got what you came for.
COBB
Not quite. The key piece of information wasn’t there, was it, Mr. Saito?
Arthur looks over at Cobb, worried.
ARTHUR
They’re getting closer, Cobb.
CUT TO:
INT. BULLET TRAIN COMPARTMENT — DAY
Todashi slips a pair of HEADPHONES over Nash’s ears, then pulls out an MP3 player and we—
CUT TO:
INT. DILAPIDATED HOTEL ROOM — DAY
Saito’s eyes are on the floor.
COBB
You held something back because you knew what we were up to…
Cobb uses the barrel of the gun to raise Saito’s chin.
COBB
So why let us in at all?
Saito smiles, defiant. VIOLENT NOISES echo up the stairway…
SAITO
An audition.
COBB
Audition for what?
SAITO
It doesn’t matter. You failed.
COBB
I extracted all the information you had in there.
SAITO
But your deception was readily apparent.
And we—
CUT TO:
INT. BULLET TRAIN COMPARTMENT — DAY
Todashi opens the SILVER BRIEFCASE, revealing the complex mechanism of syringes and controllers — FOUR CONTROLLERS DISPLAY COUNTDOWNS.
Todashi waits for the first countdown to hit “30,” then HITS PLAY on the MP3 player— He watches Nash’s sleeping face as he RAISES the volume…
Through Nash’s headphones: the opening bars of Edith Piaf’s “Non, je ne regrette rien,” and we—
CUT TO:
INT. DILAPIDATED HOTEL ROOM — DAY
In the distant background, strange MASSIVE low-end MUSICAL start, sounding like DISTANT HORNS…
SAITO
So leave me and go.
COBB
You know the corporation who hired us won’t accept failure. We won’t last two days…
The DISTANT, SLOWED-DOWN MUSIC is becoming LOUDER, as are the SHOUTS coming up the stairs. Arthur looks at his watch, its SLOW SECOND TICKING MARKS TIME WITH THE MASSIVE MUSIC.
ARTHUR
Come on, Cobb.
COBB
So now I have to do this the old-fashioned way—
Cobb GRABS SAITO AND PUTS HIS HEAD TO THE FLOOR, gun pressed into his cheek. Saito looks into Cobb’s eyes — sees he
SAITO
I’ve always hated this carpet.
Cobb’s eyes flick to the carpet and back.
SAITO
It’s stained and frayed in such distinctive ways…
Cobb looks up at Nash, who shrugs, at a loss.
SAITO
But very definitely made of
Cobb glares at Nash, and we—
CUT TO:
INT. BULLET TRAIN COMPARTMENT — DAY
Todashi watches the first of the countdowns hit ZERO— He looks up at Arthur, STIRRING, and we—
CUT TO:
INT. DILAPIDATED HOTEL ROOM — DAY
Saito turns from the carpet to look up at Cobb.
SAITO
Which means I’m not lying on my carpet, in my apartment…
(smiles)
You’ve lived up to your reputation, Mr. Cobb… I’m still dreaming.
Cobb looks over to Arthur, but ARTHUR HAS VANISHED, and we—
CUT TO:
INT. BULLET TRAIN COMPARTMENT — DAY
Arthur’s eyes flicker open, AWAKE. He RIPS at his tubes.
TODASHI
How’d it go?
ARTHUR
Not good.
Arthur checks the remaining three countdowns, and we—
CUT TO:
INT. DILAPIDATED HOTEL ROOM — DAY
Saito gets to his feet, looking admiringly at Cobb.
SAITO
A dream within a dream— I’m impressed.
Cobb lowers the gun. Defeated. Glances at his watch. The music REVERBERATES, the RIOTERS BANG ON THE DOOR, and we—
CUT TO:
INT. BULLET TRAIN COMPARTMENT — DAY
Arthur retracts the tubes into the case as he watches the next countdown hit ZERO, and we—
CUT TO:
INT. DILAPIDATED HOTEL ROOM — DAY
Another BANG on the door— Saito, confident now, approaches Cobb. Nash is behind Saito.
SAITO
But in my dream, we really ought to be playing by my rules…
NASH
Ah, yes, but you see, Mr. Saito—
Saito turns to Nash—
COBB
We’re not in your dream—
Saito turns back to Cobb, BUT COBB HAS VANISHED—
NASH
We’re in mine.
Saito SPINS back to Nash — the DOOR SMASHES OFF ITS HINGES AS RIOTERS POUR INTO THE ROOM, SWARMING OVER NASH… BUT NASH IS GONE. The music DIES. Saito and the rioters stand there in the SILENCE, the light DWINDLING… and we—
CUT TO:
INT. BULLET TRAIN COMPARTMENT — DAY
Nash’ eyes open, AWAKE.
ARTHUR (O.S.)
Asshole!
Nash BLINKS. Arthur is in his face, furious.
ARTHUR
How could you get the carpet wrong?!
NASH
It wasn’t my fault!
ARTHUR
You’re the
NASH
I didn’t know he was going to rub his damn cheek on it!
Cobb pulls Arthur away from Nash.
COBB
Lets go.
ARTHUR
And you — what the hell was all that?
COBB
I had it under control.
ARTHUR
I’d hate to see out of control—
COBB
There’s no time for this— I’m getting off at Kyoto.
ARTHUR
Why? He’s not gonna search every compartment.
COBB
I can’t stand trains.
Arthur moves to the briefcase. Turns a dial.
ARTHUR
I can keep him under for one minute—
Arthur hits a button — A PLUNGER DEPRESSES. Cobb RIPS the tape off Saito’s wrist, ROLLS up his tubes. Arthur SLAMS the silver case shut. Todashi pulls open the door-
COBB
Every man for himself.
Arthur and Nash EXIT, heading in different directions down the corridor. Cobb hands Todashi a thick roll of CASH, looks at Saito, who stirs. Cobb moves off.
EXT. JAPANESE COUNTRYSIDE — CONTINUOUS
The BULLET TRAIN speeds through the lush landscape.
INT. BULLET TRAIN COMPARTMENT — CONTINUOUS
Saito WAKES GENTLY. Looks around the compartment, empty but for Todashi, reading a comic. Saito looks down at his wrist.
Sees a small mark. Rubs it. SMILES.
EXT. TOKYO — DUSK
Moving over the vast city towards a high rise. A HELICOPTER thumps into frame, heading for a pad on the roof.
INT. APARTMENT, TOKYO — CONTINUOUS
Cobb sits, waiting. Checks his watch, restless. He pulls a HANDGUN. Checks it is loaded. places it on the table in front of him. Pulls out a PEWTER SPINNING TOP, SPINS it on the table… He INTENT STUDIES the top’s spin… As he stares, the sound of a FREIGHT TRAIN builds and builds — the top WOBBLES, TIPS onto its side — the sound of the train STOPS.
The PHONE RINGS — Cobb GRABS it—
CHILDREN’S VOICES (over phone)
COBB
Hey, guys. How are you?
CHILDREN’S VOICES (over phone)
Cobb closes his eyes, trying to picture his children:
COBB
Who’s just okay? Was that James?
JAMES (over phone)
COBB
I can’t. Not for a while.
JAMES (over phone)
COBB
Well, James, like I’ve told you — I’m away because I’m working…
LITTLE GIRL (over phone)
Cobb pauses. Takes a breath.
COBB
Philippa, can you ask Grandma to pick up the phone—
PHILIPPA (over phone)
Cobb TENSES, as if about to SMASH the phone.
COBB
Well, we’ll just have to hope Grandma’s wrong about that won’t we?
JAMES
(over phone)
COBB
Yes?
JAMES (over phone)
Cobb looks like he just got punched-
COBB
No. No, we talked about this, James. Mommy’s gone.
JAMES (over phone)
GRANDMA’S VOICE (over phone)
COBB
I’ll give some presents to Grandpa, okay? Just be good for—
Cobb STARES at the dead phone. Then DOWNS his drink— A KNOCK at the door. Cobb GRABS the top, the gun — MOVES to the door — cracks it: Arthur.
ARTHUR
Our ride’s on the roof.
Cobb nods. Moves to pick up his bag. Arthur watches.
ARTHUR
Cobb… are you okay?
Cobb looks up.
COBB
Yeah, why?
ARTHUR
Down in the dream… Mal showing up like that…
COBB
Yeah. I’m sorry about your leg.
ARTHUR
It’s getting worse, isn’t it?
COBB
One apology’s all you’re getting, Arthur. Now, where’s Nash?
ARTHUR
Hasn’t shown. Wanna wait?
COBB
(shakes head)
We were supposed to deliver Saito’s expansion plans to Cobol Engineering two hours ago. By now they know we failed. Time to disappear.
INT. CORRIDOR — CONTINUOUS
Cobb and Arthur head towards the elevator.
ARTHUR
Where will you go?
COBB
Buenos Aires. I can lie low there. Maybe sniff out a job when things quiet down. You?
ARTHUR
Stateside.
COBB
(wistful)
’Course. Send my regards.
Arthur looks at Cobb. Nods. Sympathetic.
EXT. ROOFTOP HELIPAD — NIGHT
The HELICOPTER sits, ROTORS SPINNING. As Cobb and Arthur reach the door, it SLIDES OPEN. Cobb steps up into the leather-padded interior. He freezes.
INT. HELICOPTER ON PAD — CONTINUOUS
Nash, BEATEN BLOODY, sits on the far side, slumped against the wine. Beside him: SAITO. He nods politely at Cobb.
SAITO
He sold you out. Thought to come to me and bargain for his life…
Saito’s BODYGUARD offers Cobb a GUN.
SAITO
So I offer you the satisfaction.
COBB
That’s not how I deal with things.
SAITO
Would you work with him again?
Cobb shakes his head. Saito’s BODYGUARDS PULL Nash from the chopper. Saito motions Cobb and Arthur to sit. The chopper RISES. Cobb watches Nash DRAGGED across the pad.
COBB
What will you do to him?
SAITO
Nothing. But I can’t speak for your friends from Cobol Engineering.
Saito looks out at the city slipping by.
COBB
What do you want from us?
SAITO
Inception.
Arthur raises his eyebrows. Cobb is poker-faced.
SAITO
Is it possible?
ARTHUR
Of course not.
SAITO
If you can steal an idea from someone’s mind, why can’t you plant one there instead?
ARTHUR
Okay, here’s planting an idea: I say to you, “Don’t think about elephants.”
(MORE)
ARTHUR (CONT’D)
(Saito nods)
What are you thinking about?
SAITO
Elephants.
ARTHUR
Right. But it’s not your idea because you know I gave it to you.
SAITO
You could plant it subconsciously—
ARTHUR
The subject’s mind can always trace the genesis of the idea. True inspiration is impossible to fake.
COBB
No, it isn’t.
SAITO
Can you do it?
COBB
I won’t do it.
SAITO
In exchange, I’ll give you the information you were paid to steal.
COBB
Are you giving me a choice? Because I can find my own way to square things with Cobol.
SAITO
Then you do have a choice.
COBB
And I choose to leave.
EXT. AIRFIELD — MOMENTS LATER
The helicopter sets down next to a PRIVATE JET.
INT. HELICOPTER — CONTINUOUS
Saito indicates the plane.
SAITO
Tell the crew where you want to go, they’ll file the plan en route.
Cobb and Arthur look at each other. Then move for the door.
SAITO
Mr. Cobb…? There is one other thing I could offer you.
(Cobb stops)
How would you like to go home? To America. To your children.
Cobb turns back to Saito.
COBB
You can’t fix that. Nobody could.
SAITO
Just like inception.
Cobb considers this. Arthur touches his arm.
ARTHUR
Cobb, come on—
COBB
How complex is the idea?
SAITO
Simple enough.
COBB
No idea’s simple when you have to plant it in someone else’s mind.
SAITO
My main competitor is an old man in poor health. His son will soon inherit control of the corporation. I need him to decide to break up his father’s empire. Against his own self-interest.
ARTHUR
Cobb, we should walk away from this.
COBB
If I were to do it. If I could do it… how do I know you can deliver?
SAITO
You don’t. But I can. So do you want to take a leap of faith, or become an old man, filled with regret, waiting to die alone?
Cobb looks at Saito. Barely nods.
SAITO
Assemble your team, Mr. Cobb. And choose your people more wisely.
INT. PRIVATE JET — LATER
Cobb reclines his seat. Arthur picks at a salad, angry.
ARTHUR
I know how much you want to go home—
COBB
(sharp)
No, you don’t.
ARTHUR
But this can’t be done.
COBB
It can. You just have to go deep enough.
ARTHUR
You don’t know that!—
COBB
I’ve done it before.
Arthur is taken aback. Cobb turns to the window.
ARTHUR
Did it work?
COBB
(quiet)
Yes.
ARTHUR
Who did you do it to?
Cobb looks at Arthur. Closed. Arthur shrugs.
ARTHUR
So why are we headed to Paris?
COBB
We’re going to need a new architect.
INT. GREAT HALL, ÉCOLE D’ARCHITECTURE — MORNING
Cobb, carrying a shopping bag, looks into a lecture hall: no students, just a RUMPLED PROFESSOR hunched over paperwork.
INT. LECTURE HALL — CONTINUOUS
COBB (O.S.)
You never did like your office.
PROFESSOR MILES looks up, squinting. Recognizes Cobb.
MILES
No space to think in that broom cupboard.
Cobb steps down past the empty wooden rows.
MILES
Is it safe for you to be here?
COBB
Extradition between France and the U.S. is a bureaucratic nightmare.
MILES
I think they’d find a way to make it work in your case.
Cobb hand Miles the shopping bag.
COBB
Can you take these back for the kids?
MILES
It’ll take more than the occasional stuffed animal to convince those children they still have a father.
COBB
I know. I thought you could talk to Marie about bringing them on vacation. Somewhere I could meet—
MILES
Why would she listen to me?
COBB
You were married for twenty years.
MILES
She blames me as much as you.
COBB
Doesn’t she understand that my kids need me?
MILES
Yes, she does. We all do. Go back and face the music, Dom. Explain what Mal did.
COBB
Be realistic, Stephen. They’d never understand — they’d lock me up and throwaway the key. Or worse.
MILES
You think what you’re doing now is helping your case?
COBB
Lawyers don’t pay for themselves. This is what I have. This is what you taught me.
MILES
I never taught you to be a thief.
COBB
No, you taught me to navigate other people’s minds. But after what happened with Mal there weren’t a whole lot of legitimate ways for me to use that skill.
Miles looks at Cobb.
MILES
Why did you come here, Dom?
Cobb shifts slightly.
COBB
I found a way home. A job. For powerful people. If I pull it off, I can get back to my family. But I need help.
Miles realizes something.
MILES
My God. You’re here to corrupt one of my brightest and best.
COBB
If you have someone good enough, you have to let them decide for themselves. You know what I’m offering—
MILES
Money?
COBB
No, not just money: the chance to build cathedrals, entire cities — things that have never existed, things that couldn’t exist in the real world…
MILES
Everybody dreams, Cobb. Architects are supposed to make those dreams real.
COBB
That’s not what you used to say. You told me that in the real world I’d be building attic conversions and gas stations. You said that if I mastered the dream-share I’d have a whole new way of creating and showing people my creations. You told me it would free me.
Miles looks at Cobb, sad.
MILES
And I’m sorry. I was wrong.
COBB
No, you weren’t. Your vision was a vision of pure creativity. It’s where we took it that was wrong.
MILES
And now you want me to let someone else follow you into fantasy.
COBB
They won’t actually come on the job, they’ll just design the levels and teach them to the dreamers.
MILES
Design them yourself.
COBB
Mal won’t let me.
Miles looks at Cobb. Appalled.
MILES
Come back to reality, Dom. Please.
COBB
You want to know what’s real, Stephen? Your grandchildren waiting for their dad to come back.
(MORE)
COBB (CONT’D)
This job — this
Miles looks down, fiddles with his papers.
COBB
I wouldn’t be standing here if there were any other way. I can get home. But I need an architect who’s as good as I was.
Miles looks Cobb in the eye. Decides.
MILES
I’ve got someone better.
INT. CORRIDOR — LATER
Miles and Cobb stand by as STUDENTS file out of a lecture.
MILES
Ariadne…
A young woman carrying books turns. This is ARIADNE.
MILES
I’d like you to meet Mr. Cobb.
She sizes him up with quick eyes. Offers her hand.
ARIADNE
Pleased to meet you.
MILES
If you have a few moments, Mr. Cobb has a job offer to discuss with you.
ARIADNE
A work placement?
COBB
(smiles)
Not exactly.
EXT. ROOFTOP, ÉCOLE D’ARCHITECTURE — MOMENTS LATER
Ariadne leans against the parapet, overlooking Paris. She unwraps a sandwich, watching Cobb pull out a pad of GRAPH PAPER and a PEN. He offers them. She bites her sandwich.
COBB
A test.
ARIADNE
(mouth full)
Aren’t you going to tell me anything?
COBB
Before I describe the job, I have to know you could do it.
ARIADNE
Why?
COBB
It’s not, strictly speaking, legal.
Ariadne raises her eyebrows.
COBB
You have two minutes to draw a maze that takes me one minute to solve.
Ariadne takes the pad and pen. Cobb looks at his watch.
COBB
Go.
She starts DRAWING LINES on the grid, constructing a maze.
COBB
Stop.
Ariadne hands the pad and pen to Cobb. He glances at the pad, then, looking her in the eye, TRACES the solution. She is taken aback. Cobb RIPS off the sheet, hands the pad back.
COBB
Again.
She traces straight lines, CONCENTRATING…
COBB
Stop.
She hands Cobb the pad, a touch pleased. Cobb solves the puzzle instantly, as before. Her smile falls.
COBB
You’ll have to—
She GRABS the pad, frustrated… but this time she FLIPS it over and starts drawing on the BLANK CARDBOARD of the back. Cobb watches, surprised. He smiles as he sees that she’s drawing CIRCLES, creating a maze based on concentric rings.
Ariadne hands back the pad, defiant. Cobb takes the pen, starts the maze. This time he gets stuck. Nods.
COBB
(working the maze)
More like it.
EXT. NARROW STREET, PARIS — DAY
Arthur stops at a warehouse door. Consults a piece of paper.
INT. WORKSHOP — CONTINUOUS
A large, dusty warehouse. The SLIDING DOOR cracks open. Arthur enters. Looks around, approvingly.
INT. SAME — LATER
Arthur DRAGS LAWN CHAIRS into the middle of the room. He erects a table. Lays out several SILVER CASES, unpacking them, laying out lines of tubing, MECHANISMS…
EXT. PARISIAN CAFE — DAY
Cobb and Ariadne sit at an outdoor table.
COBB
They say we only use a fraction of the true potential of our brains… but they’re talking about when we’re
ARIADNE
Such as?
COBB
How do you imagine a building? You consciously create each aspect, puzzling over it in stages… But sometimes, when your imagination
ARIADNE
I’m
COBB
Exactly. Genuine inspiration.
Cobb leans forwards and draws on the paper table cloth.
COBB
In a dream your mind
Cobb has drawn a circle made of two arrows.
COBB
It creates and perceives a world
ARIADNE
How?
COBB
By taking over the creating part.
Cobb draws a straight line between the two arrows.
COBB
This is where you come in. You build the world of the dream. We take the subject into that dream, and let him fill it with his subconscious.
ARIADNE
But are you trying to fool him that the dream is actually real life?
COBB
(nods)
While we’re in there, We don’t want him to realize he’s dreaming.
ARIADNE
How could I ever get enough detail to convince him that it’s real?
COBB
Ariadne gestures around them—
ARIADNE
But all the textures of real life — the stone, the fabric, cars…
COBB
It does. Every time you dream. Let me ask you a question: You never remember the beginning of your dreams, do you? You just turn up in the middle of what’s going on.
ARIADNE
I guess.
COBB
So… how did we end up at this restaurant?
ARIADNE
We came here from…
Ariadne trails off, confused.
COBB
How did we get here? Where are we?
Ariadne THINKS, unable to remember. A FAINT RUMBLE begins.
ARIADNE
Oh my God. We’re
Cobb nods. The RUMBLE is BUILDING.
COBB
Stay calm. We’re actually asleep in the workshop. This is your first lesson in shared dreaming, remember?
Ariadne looks around, mind REELING. Cobb BRACES—
The restaurant VIOLENTLY FRAGMENTS, EXPLODING AND IMPLODING PARTICLES OF FURNITURE, WALLS, PEOPLE FLYING AROUND — Ariadne WONDERS at the MAYHEM WHIRLING around them — Cobb SHIELDS his head against the debris. She sees him—
ARIADNE
(shouting over noise)
If it’s just a dream, why are you covering your—
Ariadne is WIPED FROM HER SEAT BY A MASSIVE BLAST and we—
CUT TO:
INT. WORKSHOP — DAY
Ariadne JOLTS awake.
COBB (O.S.)
Because it’s never
Ariadne turns to Cobb’s voice. They are both sitting in the lawn chairs. Arthur watches over them.
COBB
And a face full of glass hurts like hell, doesn’t it? While we’re in it, it’s real.
ARTHUR
That’s why the military developed dream sharing — a training program where soldiers could strangle, stab and shoot each other, then wake up.
ARIADNE
How did architects get involved?
COBB
Someone had to design the dreams.
(to Arthur)
Let’s go another five minutes—
ARIADNE
We were only asleep for five minutes? We talked for an hour at least…
COBB
When you dream, your mind functions more quickly, so time seems to pass more slowly.
ARTHUR
Five minutes in the real world gives you an hour in the dream.
COBB
Let’s see how much trouble you can cause in five minutes. And we—
CUT TO:
EXT. SAME PARISIAN STREET — DAY
Ariadne walks down the crowded street with Cobb. Cobb looks around at the street, the cafe, approving.
COBB
It’s good. You’ve got the cafe, the layout… you forgot the book shop but pretty much everything else is here.
Ariadne looks at the passers-by.
ARIADNE
Who are the people?
COBB
They’re projections of my subconscious.
ARIADNE
Yours?
COBB
Sure —
ARIADNE
How else do you do it?
COBB
Architecture. Build a bank vault or a jail, something secure, and the subject’s mind will fill it with information he’s trying to protect.
ARIADNE
Then you break in and steal it.
COBB
Exactly.
Ariadne wonders at the detail of the street.
ARIADNE
I love the concrete sense of things—
(stamps foot)
Real weight, you know? I thought a dream space would be all about the visual, but it’s the
She CONCENTRATES on the street. The street starts to BEND IN HALF — the buildings on either side FOLDING IN until they form the INSIDE OF A CUBE OF CITY, GRAVITY FUNCTIONING INDEPENDENTLY ON EACH PLANE. Ariadne looks up (or down) at the people on the opposite city surface. Cobb watches her excitement.
ARIADNE
It’s something, isn’t it?
COBB
(quiet)
Yes. It is.
As they walk, Ariadne notices more and more of the projections STARING at her.
ARIADNE
Why are they looking at me?
COBB
Because you’re changing things. My subconscious
ARIADNE
Converge?
COBB
They feel the foreign nature of the dreamer, and attack — like white blood cells fighting an infection.
ARIADNE
They’re going to attack us?
COBB
Just you, actually.
They walk along the street to where it joins the next gravitational plane. They step up onto the different plane and walk down the street towards a river. As Ariadne approaches, steps emerge from the flagstone, and she leads Cobb up onto a small jetty. As she concentrates, pillars emerge and a BRIDGE starts to telescope out from the jetty. They step onto it as it grows. Cobb is impressed.
COBB
It’s beautiful… but if you keep on changing things…
People crossing the bridge STARE at Ariadne. Several of them BUMP her shoulder as they pass.
ARIADNE
Mind telling your subconscious to take it easy?
COBB
That’s why it’s called
The bridge now spans the Seine. Cobb marvels at it.
COBB
Arched stone, iron pillars… it’s…
36.
Cobb pauses, thinking. Remembering.
COBB
I know this bridge. This place is real—
(serious)
You didn’t imagine it, you
ARIADNE
(nods)
I cross it every day on my way to the college.
COBB
Never recreate places from your memory. Always imagine new places.
ARIADNE
You have to draw from what you know—
COBB
(tense)
Use pieces — a streetlamp, phonebooths, a type of brick — not whole areas.
Several people around them ECHO Cobb’s attitude…
ARIADNE
Why not?
COBB
Because building dreams out of your own memories is the surest way to lose your grip on what’s real and what’s a dream.
ARIADNE
Did that happen to you?
Cobb says nothing. He stands there, staring at Ariadne.
PEOPLE around her stop and look at her, hostile.
COBB
Look, this isn’t about
Cobb reaches for Ariadne’s arm, turns her to him—
ARIADNE
Is that why you need me to build your dreams?
A passerby GRABS Ariadne’s shoulder—
COBB
Leave her alone—
More of the crowd join in, PULLING at Ariadne, holding her arms open— Cobb PULLS people off — the crowd PUSHES him away — Cobb sees someone WALKING PURPOSEFULLY through the crowd towards the helpless, Ariadne — it is Mal. She approaches with even strides — Ariadne stares at her, uneasy.
ARIADNE
Wake me up, Cobb.
As Mal walks, she pulls out a LARGE KNIFE—
COBB
Mal, no!
ARIADNE
Wake me up!
Ariadne SCREAMS as Mal LUNGES at her with the knife and we—
CUT TO:
INT. WORKSHOP — DAY
Ariadne WAKES, BREATHING HARD. Arthur moves to her—
ARTHUR
It’s okay.
ARIADNE
Why couldn’t I wake?
ARTHUR
The only way to wake from inside the dream is to die.
Cobb, in the lawn chair opposite, PULLS his tubes out.
COBB
She’ll need a totem.
ARIADNE
What?
ARTHUR
Some kind of personal icon. A small object that you can always have with you, and that no one else knows.
Cobb gets to his feet, Ariadne stares at him, furious. He heads to the bathroom.
ARIADNE
That’s some subconscious you’ve got, Cobb.
(calls after him)
She’s a real charmer!
ARTHUR
Sounds like you’ve met Mrs. Cobb.
ARIADNE
(surprised)
She’s his wife?
Arthur nods, pulling off Ariadne’s tubes.
ARTHUR
So. A totem. You need something small, potentially heavy…
INT. BATHROOM, WORKSHOP — CONTINUOUS
Cobb takes out his PEWTER SPINNING TOP, SPINS it on the marble counter…
INT. WORKSHOP — CONTINUOUS
Ariadne looks at Arthur, puzzled.
ARIADNE
Like a coin?
ARTHUR
Too common. You need something that has a weight or movement that only
INT. BATHROOM, WORKSHOP — CONTINUOUS
Cobb STUDIES the spin of the top as it decays, becoming more and more ECCENTRIC…
INT. WORKSHOP — CONTINUOUS
ARIADNE
What’s yours?
Arthur holds out a DIE.
ARTHUR
A loaded die.
Ariadne reaches for it — Arthur snatches it away—
ARTHUR
I can’t let you handle it. That’s the point. No one else can know the weight or balance of it.
ARIADNE
Why?
ARTHUR
So when you examine your totem…
INT. BATHROOM, WORKSHOP — CONTINUOUS
Cobb’s spinning top WOBBLES OVER.
ARTHUR (O.S.)
You know, beyond a doubt, that you’re not in someone else’s dream.
Cobb GRABS it like a drowning man reaching for a lifeline.
INT. WORKSHOP — CONTINUOUS
Ariadne thinks this over.
ARIADNE
That’s not an issue for me.
ARTHUR
Why not?
ARIADNE
Arthur, maybe you can’t see what’s going on, maybe you don’t want to. But Cobb’s got problems he’s tried to bury down there. I’m not going to
Ariadne gets to her feet. Walks away.
COBB (O.S.)
She’ll be back.
Arthur turns. Cobb is standing in the bathroom doorway.
COBB
I’ve never seen anyone pick it up so fast. And one reality won’t be enough for her now. When she comes back, get her building mazes.
ARTHUR
Where will you be?
COBB
I’ve got to talk to Eames.
ARTHUR
Eames? But he’s in Mombasa. Cobol’s backyard.
COBB
Necessary risk.
ARTHUR
There are plenty of other thieves.
COBB
We don’t just need a thief. We need a forger.
INT. GAMBLING DEN, MOMBASA — DAY
Crowded, bustling, smoke-filled. a westerner (40’s), shabby suit, is squeezed in at a dice game. This is EAMES. He FIDDLES with his last two chips.
COBB (O.S.)
Rub them against each other all you like, they’re not going to breed.
Eames looks up to see Cobb.
EAMES
You never know.
Eames tosses down his last chips. The dice are rolled…
COBB
Drink?
Eames loses.
EAMES
You’re buying.
Cobb follows Eames. Eames mysteriously produces two stacks of chips and puts them down in front of the cashier. Cobb pulls one off the top, squints at the embossed name.
COBB
You’re spelling hasn’t improved.
Eames GRABS the chip. Hands it to the cashier.
EAMES
Piss off.
COBB
How’s your handwriting?
Eames takes his money. Smiles at Cobb.
EAMES
Versatile.
INT. STREET, MOMBASA — CONTINUOUS
Eames leads Cobb down the quiet street.
EAMES
Word is, you’re not welcome in these parts.
COBB
Yeah?
EAMES
There’s a price on your head from Cobol Engineering. Pretty big one, actually.
COBB
You wouldn’t sell me out.
Eames looks at Cobb, offended.
EAMES
’Course I would.
COBB
(smiles)
Not when you hear what I’m selling.
EXT. BALCONY OF A COFFEE HOUSE — LATER
A ramshackle balcony overlooking a bust street. Eames pours.
COBB
Inception.
Eames’s glass stops halfway to his mouth.
COBB
Don’t bother telling me it’s impossible.
EAMES
It’s perfectly possible. Just bloody difficult.
COBB
That’s what I keep saying to Arthur.
EAMES
Arthur? You’re still working with that stick-in-the-mud?
COBB
He’s a good point man.
EAMES
The best. But he has no imagination. If you’re going to perform inception, you need imagination.
COBB
You’ve done it before?
EAMES
Yes and no. We tried it. Got the idea in place, but it didn’t take.
COBB
You didn’t plant it deep enough?
EAMES
It’s not just about depth. You need the simplest version of the idea — the one that will grow naturally in the subject’s mind. Subtle art.
COBB
That’s why I’m here.
EAMES
What’s the idea you need to plant?
COBB
We want the heir to a major corporation to break up his father’s empire.
EAMES
See, right there you’ve got various political motivations, anti-monopolistic sentiment and so forth. But all that stuff’s at the mercy of the subject’s prejudice — you have to go to the basic.
COBB
Which is?
EAMES
The relationship with the father.
(downs drink)
Do you have a chemist?
Cobb shakes his head.
EAMES
There’s a man here. Yusuf. He formulates his own versions of the compounds.
COBB
Let’s go see him.
EAMES
Once you’ve lost your tail.
(Cobb reacts)
Back by the bar, blue tie. Came in about two minutes after we did.
COBB
Cobol Engineering?
EAMES
They pretty much own Mombasa.
Cobb glances over the balcony.
COBB
Run interference. We’ll meet downstairs in half an hour.
EAMES
Back here?
COBB
Last place they’d expect.
Eames downs his drink. Rises. Walks over to the Businessman.
EAMES
Freddy!
The Businessman looks up, awkward.
EAMES
Freddy Simmonds, it
Cobb nonchalantly SLIPS over the balcony DROPPING HARD into the midst of the crowd on the street below.
EAMES
(looks harder)
Oh. No, it isn’t.
EXT. STREET, MOMBASA — CONTINUOUS
Cobb stands up, PUSHES into the crowd — faces PEER at him — he moves, trying to blend — TURNS — a SECOND BUSINESS MAN is there.
COBB
(disarming smile)
Yes?
SECOND BUSINESSMAN
We need to—
Cobb HEAD BUTTS the Second Businessman, PUSHES past him—
The First Businessman races out of the bar, sees Cobb’s wake, DIVES after him— Cobb RACES headlong through tight passageways, WEAVING through or KNOCKING into the locals…
He steps into a dark, crowded cafe, scanning the tables… the First Businessman enters, spots him. An AFRICAN MAN gets in Cobb’s face, jabbering at him in Swahili — Cobb considers his options… the First Businessman DRAWS A GUN — Cobb bolts, steps up on a table and out an open window, SCRAMBLING into the alley outside…
Cobb LOOKS left, right… CUTS LEFT into a narrow, CROWDED alley — the alley NARROWS TO A DEAD END. Faces in the CROWD start to watch Cobb — PEOPLE start to SURROUND him — Cobb looks back the way he came — the two Businessmen are there, GUNS DRAWN—
Cobb sees a SMALL GAP between the buildings at the narrow end — he THROWS himself into it — gets STUCK HALFWAY…
The crowd bears down, GRABBING for him as Cobb struggles to SQUEEZE HIMSELF through the gap… Cobb’s moving INCHES as his pursuers gain YARDS… the Crowd is upon him… he BURSTS FREE. TUMBLING onto the next street, ROLLING out of sight.
Cobb Jumps to his feet — in a market square. TWO MORE BUSINESSMEN move towards him. Cobb BOLTS but a CAR SKIDS UP, BLOCKS HIS PATH- the door opens- SAITO IS IN THE BACK.
SAITO
Care for a lift, Mr. Cobb?
COBB
(jumping in)
What brings you to Mombasa, Mr. Saito?
SAITO
I have to protect my investment.
EXT. COFFEE HOUSE — MOMENTS LATER
Eames stands on the pavement. The car pulls up. Cobb beckons from the rear window. Eames looks at Saito. Back to Cobb.
EAMES
This is your idea of losing a tail?
COBB
(shrugs)
Different tail.
INT. WORKSHOP — DAY
Arthur sits at the table, working on a mechanism. A small COUGH prompts him to look up: Ariadne is there.
ARTHUR
He said you’d be back.
ARIADNE
I tried not to come.
ARTHUR
But there’s nothing else quite like it.
ARIADNE
No paper, no pens… nothing between you and raw, direct creation.
Arthur picks up his mechanism.
ARTHUR
Shall we take a look at paradoxical architecture?
Ariadne nods, takes off her coat and we—
CUT TO:
INT. PENROSE STEPS — LATER
Arthur leads Ariadne down some busy steps in a large glass and steel ATRIUM in an office complex.
ARTHUR
You’re going to have to master a few tricks if you’re going to build three complete dream levels.
A SECRETARY DROPS some papers as they pass…
ARIADNE
What sort of tricks?
They take a tight turn and continue down the next flight.
ARTHUR
In a dream, you can cheat architecture into impossible shapes.
(MORE)
ARTHUR (CONT’D)
That lets you create closed loops, like the Penrose Steps. The infinite staircase.
Ariadne FREEZES — THEY ARE IN THE EXACT SPOT THEY STARTED DESCENDING FROM, next to the Secretary gathering her papers.
Ariadne puzzles at the impossible construction of the stairs.
ARTHUR
See…
Arthur stops her gently — they are on the highest step, with a LARGE DROP to the next step. Arthur gestures at the drop.
ARTHUR
Paradox. A closed loop like this helps you disguise the boundaries of the dream you’ve created.
ARIADNE
How big do the levels have to be?
ARTHUR
Anything from the floor of a building, to an entire city. But it has to be complicated enough for us to hide from the projections.
ARIADNE
A maze.
ARTHUR
And the better the maze—
ARIADNE
The longer we have before the projections catch us.
Ariadne looks around. Sees people LOOKING at Arthur.
ARIADNE
My subconscious seems polite enough.
ARTHUR
You wait, they’ll turn ugly. No one likes to see someone else messing around in their mind.
ARIADNE
Cobb can’t build anymore, can he?
ARTHUR
I don’t know if he can’t, but he won’t. He thinks it’s safer if he doesn’t know the layouts.
ARIADNE
Why?
ARTHUR
He won’t tell me. I think it’s Mal. I think she’s getting stronger.
ARIADNE
His ex-wife?
ARTHUR
She’s not his ex.
ARIADNE
They’re still together?
Arthur turns to Ariadne. Gentle.
ARTHUR
No. No, she’s dead, Ariadne. What you see in there is just his projection of her.
ARIADNE
What was she like in real life?
ARTHUR
(quiet)
She was lovely.
CUT TO:
EXT. ROOFTOP, OLD TOWN, MOMBASA — DAY
Saito deposits a FILE in front of Cobb: PHOTOS, DOCUMENTS. As Cobb runs through them, he passes them to Eames.
SAITO
Robert Fischer, 32. Heir to the Fischer Morrow energy conglomerate. He’s spent his whole life being groomed as successor — breaking up his father’s empire will take a radical shift in his thinking.
COBB
What’s your problem with Fischer?
SAITO
That’s not your concern.
COBB
This isn’t the usual corporate espionage, Mr. Saito. This is
Saito looks at Cobb.
SAITO
My sources suggest you might not have always been so cautious.
COBB
Then you need new sources, Mr. Saito.
Saito considers Cobb. Shrugs.
SAITO
Fischer Morrow has the regulators in their pockets. We’re the last company standing between them and total energy dominance and we can no longer compete. Soon they’ll control the energy supply of half the world. They’ll be able to blackmail governments, dictate policy. In effect, they become a new superpower. The world needs Robert Fischer to change his mind.
EAMES
That’s where we come in. How’s Robert Fischer’s relationship to his father?
SAITO
Rumor is the relationship is complicated.
COBB
We’ll need more than rumor, Mr. Saito.
Eames picks up a photo: a distinguished executive (68).
EAMES
Can you get me access to him? Browning. Fischer senior’s right-hand man. Fischer junior’s godfather.
SAITO
It should be possible. If you can get the right references.
EAMES
References are something of a specialty for me, Mr. Saito.
EXT. DECREPIT BUILDING, MOMBASA — LATER
Eames leads Cobb and Saito down uneven steps to a doorway.
INT. STAIRWELL — CONTINUOUS
Peeling paint, buzzing flies. They ascend to a dusty, wire-reinforced glass door which Eames pushes open—
INT. PHARMACY — CONTINUOUS
Row upon row of wooden shelves holding hundreds of dusty glass bottles of all shapes and colors. At the far end, a portly 40-year-old man rises from behind his desk, beckoning. This is YUSUF.
YUSUF
Come, come.
Eames shakes Yusuf’s hand. Yusuf stops at Cobb.
YUSUF
Ah, yes. Mr. Cobb. I’ve heard so very much about you.
(indicates chairs)
please.
Yusuf chases a CAT off Saito’s chair.
YUSUF
Bloody cats.
Yusuf moves to a shelf and runs his fingers over the glass bottles. None of them has a label.
YUSUF
You work using Somnacin, I think, Mr. Cobb?
COBB
You’re well informed, Mr. Yusuf.
Yusuf places a bottle on the desk in front of Cobb.
COBB
(dubious)
Somnacin?
YUSUF
(proudly)
Yusuf’s Somnacin.
Yusuf pulls the stopper, holds it towards Cobb’s nose.
COBB
As good as the real thing?
Yusuf WHIPS the bottle away from Cobb, offended.
YUSUF
Better.
Yusuf holds the bottle to the light, marveling.
YUSUF
Binds the dreamers tight. Let’s them dream as one. Makes it real. Of course, if you’d prefer, you could use Somnacin brand.
Yusuf puts the bottle back onto the shelf. Sits.
YUSUF
You are seeking a chemist?
(Cobb nods)
To formulate compounds for a job?
COBB
And to come into the held with us.
YUSUF
I rarely go into the held, Mr. Cobb.
COBB
We need you there to tailor compounds to our particular requirements.
YUSUF
Which are?
COBB
Great depth.
YUSUF
A dream within a dream? Two levels?
COBB
Three.
YUSUF
Not possible. That many dreams within dreams would be too unstable.
COBB
I’ve done it before. You just have to add a sedative.
YUSUF
A
COBB
Five.
SAITO
Six.
(to Cobb)
The only way to know you’ve done the job is if I go in with you.
COBB
There’s no room for tourists on these jobs, Mr. Saito.
SAITO
This time, it would seem there is.
Cobb looks at him, uneasy. Yusuf pulls out another bottle.
YUSUF
Of course. I use it every day.
Yusuf hands it to Cobb, who considers the white liquid inside.
COBB
For what?
Yusuf beckons them further into the pharmacy, to a METAL DOOR. He STOPS — second thoughts.
YUSUF
Perhaps… you will not want to see.
Cobb motions to continue. Yusuf pulls out a large key.
INT. BACK ROOM, PHARMACY — CONTINUOUS
A dark room with ROWS of low COTS. Each with a sleeping occupant. Tubes connect their wrists. An ELDERLY BALD MAN watches over them.
EAMES
(counting)
Eighteen, twenty — all connected, bloody hell.
YUSUF
They come every day. To share the dream.
Yusuf nods at the Elderly Bald Man, who moves to the nearest bed. Reaches out to the OCCUPANT. Gives his face a FIRM SLAP. The sleeper does not even stir.
YUSUF
See? Very stable.
COBB
How long do they dream?
YUSUF
Three, four hours. Every day.
COBB
How long in dream time?
YUSUF
With this compound… about forty hours. Each and every day.
Saito surveys the room, appalled.
SAITO
Why do they do it?
YUSUF
Tell him, Mr. Cobb.
COBB
After a while…
(looks at Saito)
It becomes the only way you can dream.
YUSUF
Do
Cobb STARES at the sleepers. Uneasy.
EAMES
They come here every day to sleep?
ELDERLY BALD MAN (O.S.)
No.
Cobb turns to the Elderly Bald Man, who looks fondly at his dreamers.
ELDERLY BALD MAN
They come to be
The Elderly Bald Man pokes a crooked finger at Cobb’s chest.
ELDERLY BALD MAN
And who are
Cobb STARES at the Elderly Bald Man. DISTURBED. Cobb turns to Yusuf. TOSSES him the bottle.
COBB
Let’s see what you can do.
INT. SAME — MOMENTS LATER
Cobb is lying on an empty cot, asleep. Yusuf stands over him.
As we move in on Cobb’s SLEEPING FACE we hear the sound of a FREIGHT TRAIN, BUILDING, and we—
CUT TO:
EXT. WASTELAND — DAY
CLOSE ON Cobb’s face as he lies, EYES CLOSED, cheek pressed to a METAL RAIL — THE SOUND OF THE TRAIN IS DEAFENING — Cobb is BREATHING, BREATHING, BREATHING, and we—
CUT TO:
INT. BACK ROOM, PHARMACY — DAY
Cobb’s eyes open. Yusuf is watching him.
YUSUF
Sharp, no?
Cobb nods. Gets to his feet, looking around—
INT. BATHROOM, PHARMACY — CONTINUOUS
Cobb SPLASHES water on his face, breathing hard—
Cobb fumbles in his pockets, pulls out his spinning top. He tries to set it spinning on the back edge of the sink, but it FALLS to the floor and rolls towards the door — Saito is there. WATCHING Cobb. He looks down at the spinning top.
SAITO
Everything alright, Mr. Cobb?
Cobb dries his face with a paper towel. Picks up his top.
COBB
Everything’s fine.
INT. BACK ROOM, WORKSHOP — NIGHT
Close on a small BRASS CHESS PIECE. Ariadne tips it over.
Frowning, she picks up a micro drill, peels back the felt on the bottom and widens a hole in one side of its base. Tests the TIPPING POINT again. A NOISE makes her look up.
INT. WORKSHOP — CONTINUOUS
Ariadne comes into the main space. Someone is there, unpacking one of the MECHANISMS. Cobb.
ARIADNE
You’re back.
Cobb looks up with a start. Caught out.
ARIADNE
Are you going under on your own?
COBB
I just— I need to test some things. I didn’t realize anyone was here.
ARIADNE
Just working on my totem.
Ariadne holds up the chess piece. Cobb reaches for it.
COBB
Let me see—
Ariadne SNAPS it out of his reach. Smiles. Cobb nods.
COBB
You’re learning.
ARIADNE
It’s an elegant solution to keeping track of reality. Your invention?
COBB
No. Mal’s.
Cobb pulls out his spinning top. Looks at it.
COBB
This one was hers. She’d spin it in a dream and it would never topple. Just spin and spin…
ARIADNE
Arthur told me she died.
COBB
She did. How are the mazes coming?
Ariadne indicates three large ARCHITECTURAL MODELS.
ARIADNE
Good. Each level relates to the part of the subject’s subconscious we’re trying to access. I’m making the bottom level a hospital, so that Fischer will bring his father there—
COBB
Don’t tell me. Remember, you only want the dreamer to know the layout.
ARIADNE
Why’s that so important?
COBB
In case one of us brings in part of our subconscious. You wouldn’t want any projections knowing the layout.
ARIADNE
In case
Cobb says nothing.
ARIADNE
You won’t build yourself because if you know the maze, then she knows it. And she’d sabotage the operation. You can’t keep her out, can you?
Cobb says nothing.
ARIADNE
Do the others know?
COBB
No.
ARIADNE
You have to warn them if it’s getting worse—
COBB
(gentle)
I didn’t say it’s getting worse. Look, Ariadne, I need them for this job. I need you for this job. Without your help, I’ll never get back to my children. And that’s all I can care about right now.
ARIADNE
Why can’t you go home, Cobb?
Cobb looks at her, deciding what to say.
COBB
They think I killed her.
ARIADNE
How did she die?
Cobb thinks.
COBB
Thank you.
ARIADNE
For what?
COBB
Not asking whether I did.
INT. WORKSHOP — DAY
Ariadne, Arthur, Yusuf, Eames and Saito sit around the room, looking at FILES. Cobb presides.
COBB
The mark is Robert Fischer, heir to the Australian energy conglomerate, Fischer Morrow.
Cobb opens a large presentation pad.
COBB (reads aloud)
“I WILL SPLIT UP MY FATHER’S EMPIRE.”
Cobb turns to the team.
COBB
An idea Robert Fischer’s conscious mind would never accept. We have to plant it deep in his subconscious.
ARTHUR
How deep?
COBB
Three levels down.
ARTHUR
A dream within a dream within a dream? Is that even possible?
COBB
Yes. It is.
COBB
Now, the subconscious motivates through emotion, not reason, so we have to translate the idea into an emotional concept.
ARTHUR
How do you translate a business strategy into an emotion?
COBB
That’s what we have to figure out. Robert and his father have a tense relationship. Worse, even, than the gossip columns have suggested…
EAMES
Do you play on that? Suggest breaking up his father’s company as a ‘screw you’ to the old man?
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)
Well, now we have ten uninterrupted hours.
(MORE)
COBB (CONT’D)
(to Ariadne)
Nice lobby, by the way. And we—
CUT TO:
INT. WORKSHOP — DAY
The group is back in the workshop, deep in discussion.
ARTHUR
My question is how we go down three layers with enough stability. Three layers down a little turbulence is gonna translate into an
Yusuf clears his throat.
YUSUF
Sedation. For sleep stable enough to create three layers of dreaming…
INT. MAKESHIFT LAB — DAY
Yusuf depresses a plunger. Arthur is SLEEPING in a chair.
YUSUF (V.O.)
Eames SLAPS Arthur, HARD. Arthur does not stir.
INT. WORKSHOP — DAY
Arthur unconsciously rubs his cheek.
YUSUF
The compound we’ll be using to share the dream is an advanced Somnacin derivative. It creates a very clear connection between dreamers, whilst actually accelerating brain function.
CUT TO:
COBB
Buying us more time in each level.
YUSUF
Brain function in the dream will be about twenty times normal.
(MORE)
64.
YUSUF (CONT’D)
And when you go into a dream within that dream the effect is compounded.
ARIADNE
How much time?
YUSUF
EAMES
Math was never my strong suit.
COBB
It’s basically a week one layer down, six months two layers down—
ARIADNE
And ten years in the third level. Who wants to spend ten years in a dream?
YUSUF
Depends on the dream.
EAMES
It’s not going to take us long to crack Fischer open once we get going. We’ll be out in a couple days, max.
ARTHUR
How do we get out once we’ve made the plant?
(to Cobb)
I hope you’ve got something a little more elegant in mind than shooting me in the head like last time.
Arthur tilts back in his chair. Yusuf turns to Cobb.
COBB
A kick.
ARIADNE
What’s a kick?
Eames slips his foot under Arthur’s chair leg. TIPS it — Arthur’s legs SHOOT UP INSTINCTIVELY for balance—
EAMES
That, Ariadne, would be a kick.
COBB
That feeling of falling which snaps you awake. We use that to jolt ourselves awake once we’re done.
ARTHUR
But how are we going to feel that through the sedation?
YUSUF
That’s the clever part. I customize the sedative…
INT. MAKESHIFT LAB — DAY
Cobb, Eames and Yusuf watch Arthur, ASLEEP, in a chair.
YUSUF (O.S.)
Yusuf, with a wicked grin, slowly TIPS Arthur’s chair backwards… as he falls, Arthur’s body JERKS, EYES OPENING just before he HITS the floor.
INT. WORKSHOP — DAY
Arthur thinks, nodding slowly.
YUSUF
That way, however deep the sleep, the sleeper will still feel falling…
INT. MAKESHIFT LAB — DAY
Yusuf gleefully LEANS a SLEEPING ARTHUR to one side…
YUSUF (V.O.)
Or tipping…
Arthur goes down with a CRASH, JERKING AWAKE—
INT. WORKSHOP — DAY
Arthur thinks this through.
ARTHUR
Even that won’t cut through
COBB
The trick is to devise a kick for each level, then
Arthur looks at Cobb, getting it.
ARTHUR
We can use the musical countdown to synchronize the different kicks.
INT. WORKSHOP — NIGHT
Ariadne comes into the darkened main space. Cobb is lying on one of the chairs, asleep. Plugged into the mechanism. Ariadne stands over him. Watching.
She opens the case, PULLS one of the tubes, sits, checking the dials as she injects the needle cap into her arm, and we—
CUT TO:
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.
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.
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.
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.
INT. CAGE STYLE ELEVATOR — CONTINUOUS
Ariadne hits the BASEMENT button. The elevator starts to DESCEND. ariadne STARES, fascinated as glimpses of floors slip past: Mal’s childhood bedroom, a thundering wall of freight train… The elevator STOPS. Through the grill Ariadne sees a HOTEL SUITE. She pulls open the grill, steps cautiously out into—
INT. ELEGANT HOTEL SUITE — CONTINUOUS (NOW NIGHT)
DISHEVELED bedclothes, UPENDED room service table, STRAWBERRIES across the floor. A STRUGGLE. Ariadne steps forwards — SMASH — she looks down to see that she has kicked over a CHAMPAGNE FLUTE. Ariadne feels a draught. The CURTAIN BILLOWS.
MAL (O.S.)
What are you doing here?
Ariadne TURNS. Mal is there.
ARIADNE
My name is—
MAL
I know who you are. What are you doing here?
ARIADNE
I don’t know. Trying to understand.
MAL
How could you understand? Do you know what it is to be a lover? To be half of a whole?
ARIADNE
No.
Mal moves slowly towards Ariadne…
MAL
I’ll tell you a riddle. You’re waiting for a train. A train that will take you far away. You know where you hope this train will take you, but you don’t know for sure…
Mal glides around Ariadne, looking her over.
MAL
But… it
COBB (O.S.)
Because you’ll be together.
Cobb is standing in the elevator. Mal nods. Looks at him.
MAL
How could you bring her
ARIADNE
What is this place?
COBB
A hotel. We spent our anniversaries in this suite.
ARIADNE
What happened here?
Mal picks up the BROKEN STEM of a champagne flute…
INT. CAGE STYLE ELEVATOR — CONTINUOUS
Cobb PULLS Ariadne into the elevator — Mal THROWS herself towards Ariadne — Cobb SLAMS the GRILL — Mal SMASHES against it AGAIN and AGAIN like a WILD ANIMAL — Ariadne FLINCHES—
MAL
You PROMISED! YOU SAID WE’D BE TOGETHER!—
COBB
We can. We will. But I need you to stay here for now—
MAL
YOU SAID WE’D GROW OLD TOGETHER!—
Cobb pushes a button and the elevator starts to rise.
COBB
I’ll come back. I need you to stay here on your own for now. Just while I do this job. Then we can be together—
MAL
WE’LL BE TOGETHER — YOU PROMISED!—
Mal THROWS herself against the grill, and we—
CUT TO:
INT. WORKSHOP — NIGHT
Ariadne watches Cobb sleeping. His eyes gradually flicker open. He sees her watching him.
ARIADNE
You think you can just build a prison of memories to lock her in? You think that’s going to contain her?
The LIGHTS COME ON: Saito and Arthur stand in the doorway.
SAITO
Maurice Fischer just died in Sydney.
COBB
When’s the funeral?
SAITO
Thursday. In Los Angeles.
COBB
Robert’ll accompany the body Tuesday at the outside. We have to move.
Cobb gets up. Ariadne comes over to him.
ARIADNE
(low)
I’m coming with you.
COBB
No. I promised Miles.
ARIADNE
The team needs someone in there who understands what you’re struggling with. If you don’t want it to be me then you need to show Arthur what I just saw.
Cobb looks at Ariadne. Turns to Saito.
COBB
We need one more seat on the plane.
INT. DEPARTURE GATE, SYDNEY — DAY
Saito stands looking out the window at a 747. Cobb arrives beside him. They watch a COFFIN being loaded.
COBB
If I get on this plane and you haven’t taken care of things… when we land I go to jail for the rest of my life.
SAITO
Complete the job en route, I make one phone call from the plane… you will have no trouble clearing immigration.
INT. FIRST CLASS CABIN, 747 — CONTINUOUS
The luxurious cabin has only ten seats. Cobb finds his- sees Ariadne in the seat behind his. They do not acknowledge each other. Behind her is Arthur, looking out the window. Eames enters, STUFFS his bag into the overhead bin, BLOCKING the passenger behind: ROBERT FISCHER, standing there, patient, bag in hand, wearing black.
EAMES
Oh, sorry.
Eames SQUEEZES up against his seat to let Fischer BRUSH PAST. Fischer moves to his seat, directly in front of Cobb. Eames TOSSES Cobb a PASSPORT. Cobb flips it open: Fischer’s. Pockets it. Yusuf and Saito enter, take their seats.
EXT. RUNWAY — MOMENTS LATER
The 747 HURTLES down the runway.
INT. FIRST CLASS CABIN, 747 — MOMENTS LATER
Cobb looks down at his hand: a TINY VIAL taped to the center of his palm. He removes the cap. The seatbelt sign goes dark. Cobb unbuckles, stands.
COBB
Excuse me?
Fischer looks up.
FISCHER
Yes?
COBB
I think this is yours…
Cobb holds up the open passport, comparing the picture to Fischer. Fischer’s hand goes to his pocket. Cobb hands Fischer the passport.
FLIGHT ATTENDANT
Would you gentlemen care for a drink?
FISCHER
Water.
COBB
Same.
Fischer gives Cobb a thin smile. Holds up his passport.
FISCHER
Well, thank you.
COBB
No problem. Look, I couldn’t help noticing your name. You’re not related to
Fischer takes a beat. But Cobb seems harmless.
FISCHER
Actually, he was my father.
COBB
I’m very sorry for your loss. He was an inspiring figure.
The Flight Attendant brings their drinks — Cobb takes them.
COBB
Thanks.
As he turns to Fischer he LOWERS his right hand… a CLEAR LIQUID DROPS into Fischer’s water as Cobb hands it to him.
COBB
To Maurice Fischer.
(they drink)
I’ll leave you in peace.
Fischer grants him a smile.
EXT. 747 — LATER
The great plane SOARS through a burning cloudscape.
INT. FIRST CLASS CABIN, 747 — MOMENTS LATER
Cobb reaches into the overhead for a blanket — lets it fall onto Fischer’s head- Fischer doesn’t flinch. ASLEEP. Cobb SIGNALS the others. The First Flight Attendant unlocks a CUPBOARD in the galley, then leaves, closing the curtain. Arthur moves into the galley and pulls out a MECHANISM CASE.
Cobb and Arthur open the mechanism — uncoil the tubes — feed them around the window side of each of the seats. Arthur rolls up Fischer’s cuff — PUSHES the needle cap into Fischer’s wrist. Arthur pulls Fischer’s cuff down and hides the tubes behind the armrest of Fischer’s seat.
Arthur runs the next tube to Ariadne. Cobb puts the case on Yusuf’s lap. Yusuf checks the TIMERS, tapping the syringes. The others recline their seats. Yusuf HITS A BUTTON- closes the case- places it at his feet. He settles back, and we—
CUT TO:
INT. SEDAN — DAY
Cobb DRIVES. Saito and Arthur are in the back. Rain BEATS down. Cobb pulls over—
EXT. NEW YORK STREETS — CONTINUOUS
Yusuf stands on the corner, silver briefcase in hand, collar turned up against the rain. He reaches for the door.
INT. SEDAN — CONTINUOUS
Yusuf clambers into the back, brushing rain from his face.
ARTHUR
(indicates rain)
Couldn’t you have peed before you went under?
YUSUF
Sorry.
The front door OPENS and Eames climbs in, soaked.
EAMES
Bit too much free champagne before takeoff, Yusuf?
YUSUF
Ha bloody ha.
COBB
At least we know he’ll be looking for a cab in this.
INT./EXT. SEDAN ON RAINY NEW YORK STREETS — CONTINUOUS
Cobb pulls out into the heavy traffic. He weaves around several cars before lining up behind a YELLOW CAB.
COBB
Brace yourselves.
Cobb hits the gas — REAR ENDS the cab with a CRUNCH. The CABDRIVER gets out, fuming. Heads to Cobb’s window—
CABDRIVER
Hey, asshole! Why don’t you try driving without your thumb up—
He sees the SILENCED PISTOL Cobb is holding at his belly.
COBB
Walk away.
The Cabdriver backs off. Arthur climbs into the cab. Both cars pull away.
INT./EXT. CAB ON RAINY NEW YORK STREETS — CONTINUOUS
Arthur SLOWS in front of the TRAIN STATION, peering at the pedes pedestrians. He SPOTS Fischer, lights the cab’s sign.
Fischer FLAGS him down. Fischer JUMPS into the back, brushing rain from his shoulders.
FISCHER
Third and Market. Snappy.
Eames JUMPS in from the other side.
FISCHER
What’re you doing?
EAMES
Sorry, I thought it was free. Maybe we could share.
FISCHER
Maybe not.
Saito gets into the front passenger seat. Pointing a gun.
FISCHER
Great.
Arthur pulls away. Fischer pulls out his wallet and tosses it at Eames.
FISCHER
(contemptuous)
There’s 500 dollars in there. And the wallet’s worth more than that. For that you ought to at least drop me at my stop.
Eames smiles at this.
EAMES
I’m afraid—
A SHOT SHATTERS the window by Eames’s head — another SHOT IMPACTS by Saito—
EAMES
Get us out of here!
Arthur hits the gas, but a BLACK S.U.V. SKIDS sideways in front, BLOCKING the path—
A BLOCK BEHIND — Cobb is at a light. ARIADNE is getting in the front. Cobb has HEARD the GUNFIRE—
COBB
Come on!—
Cobb looks ahead to the AMBUSH, hits the gas — the sedan ROCKETS forwards… but BAM — A FREIGHT TRAIN CLIPS THE FRONT OF THE SEDAN, SHOVING IT SIDEWAYS AS AN ENDLESS TRAIN BARRELS PAST, A WALL BETWEEN COBB AND THE AMBUSH—
A SECOND S.U.V. is behind the cab — PLAIN CLOTHES SECURITY MEN advance through the traffic, weapons trained on the cab.
Bullets RIP into the cab as Eames throws himself on top of Fischer, PULLING a SACK over his head—
Inside the sedan, Ariadne watches the train passing—
ARIADNE
This wasn’t in the design—
Cobb BACKS UP, SPINS around, heading for the tail of the train—
A Security Man emerges from the front S.U.V. carrying an AUTOMATIC RIFLE — he steps towards the cab through the rain, raises his weapon and BLASTS THE CAB’S WINDSCREEN—
Cobb clears the end of the train, and SKIDS across the tracks—
Arthur CROUCHES down — PUSHES the accelerator with his HAND — YANKS the wheel — FLYING BLIND. The cab NAILS the Security Man, CRUNCHING into the front S.U.V.—
Cobb SMASHES his car into the rear S.U.V., creating a GAP—
Arthur YANKS the transmission and REVERSES- SCRAPING through the gap- Security Men DIVE out of the way- Arthur throws a ragged J-turn to head down a SIDE STREET- Cobb follows in the other car. Rain whips across Arthur’s face as he BREATHES—
ARTHUR
Everybody okay? Saito?
Arthur looks at Saito. Saito’s hand is at his belly. Covered in BLOOD.
EXT. WAREHOUSE — MOMENTS LATER
The sedan and cab pull into the side entrance— Eames jumps out − PULLS the shutter down behind them—
INT. WAREHOUSE — CONTINUOUS
Yusuf and Eames PULL Fischer from the cab, HUSTLING him through a doorway. Cobb JUMPS out of the sedan, furious.
COBB
Arthur! Arthur what the—
Arthur pulls the bloody Saito from the front seat.
COBB
Oh, Christ. Is he dying?
ARTHUR
I don’t know. What happened back there? Where were you?
COBB
We were blocked by a freight train.
ARTHUR
(to Ariadne)
Why would you put a train crossing in a downtown intersection?
ARIADNE
I didn’t.
COBB
(snaps)
Why were we all ambushed, Arthur?! Those weren’t regular projections — they’d been
ARIADNE
How could they be trained?
ARTHUR
Fischer’s had an extractor teach his mind to defend itself. His subconscious is militarized. It should’ve shown on the research—
COBB
So why the hell didn’t it?!
ARTHUR
Calm down.
COBB
Don’t tell me to calm down — you were meant to check Fischer’s background thoroughly. You can’t make this kind of mistake — we’re not prepared for this kind of violence—
ARTHUR
Cobb, we’ve dealt with sub-security before. We just have to be more—
COBB
This wasn’t part of the plan, Arthur!
(points at Saito)
He’s
EAMES
So we put him out of his misery.
Eames steps into the room, pulls his gun and moves over Saito.
COBB
No.
EAMES
He’s in agony. Let’s wake him up—
Cobb GRABS Eames’s arm.
COBB
No!
(they lock eyes)
It won’t wake him up.
EAMES
What do you mean, it won’t wake him? When you die in a dream you wake up.
YUSUF
Not from this. We’re too heavily sedated to wake up that way.
Eames looks at Yusuf, then to Cobb.
EAMES
So what happens if one of us dies?
COBB
That person doesn’t wake up. Their mind drops into Limbo.
ARIADNE
Limbo?
ARTHUR
Unconstructed dream space.
ARIADNE
What’s down there?
ARTHUR
Raw, infinite subconscious. Nothing there but what was left behind by anyone on the team who’s been trapped there before. On this team… just Cobb.
ARIADNE
How long would we be stuck there?
YUSUF
You couldn’t even think about trying to escape until the sedation eases—
EAMES
How long?
YUSUF
Decades — it could be infinite — I don’t know! Ask him — he’s the one who’s been there before!
Eames moves to Cobb. Looks him in the eye.
EAMES
Great. So now we’re stuck in Fischer’s mind battling it out with his private army, and if we get hit we’re stuck in Limbo ’til our brains dissolve into scrambled egg?
Cobb says nothing. Saito groans more loudly.
ARTHUR
Let’s just get him upstairs.
INT. OFFICE, WAREHOUSE — MOMENTS LATER
Saito is laid out on an old desk. Arthur examines him. He motions to Ariadne. Eames watches Cobb.
ARTHUR
Hold this. Firm pressure.
Arthur turns to Cobb.
ARTHUR
You knew the risks and you didn’t tell us.
COBB
There wasn’t meant to be any risk. We weren’t supposed to be dealing with a load of gunnre.
ARTHUR
You had no right.
COBB
It’s the only way you can go three layers deep, Arthur.
Arthur turns to Yusuf, hostile.
ARTHUR
And you. You went along with this?
YUSUF
I trusted him.
ARTHUR
You trusted him? When? When he promised you half his share?
YUSUF
(offended)
No! His whole share. Plus, he told me he’d done it before.
Arthur turns to Cobb.
ARTHUR
Oh, yeah? With Mal? That worked out great, didn’t it, Cobb?
Cobb grabs Arthur.
COBB
You don’t know anything about that. This was the only way to do this job, Arthur. I did what I had to do to get back to my children.
EAMES
So you led us into a war zone with no way out.
COBB
We have a way out. The kick. We just have to push on, do the job as fast as possible and get out using the kick.
EAMES
Forget it. We go any deeper, we just raise the stakes. I’m sitting it out on this level.
COBB
You’ll never make it, Eames. Fischer’s security is surrounding this place as we speak. The ten hours of the flight is a week at this level — you’ll never make it without getting killed. Downwards is the only way forwards. We have to carry on.
Saito groans. Cobb looks at him—
COBB
And we have to do it fast.
Eames and Arthur weigh this.
COBB
Eames, go get ready. Arthur, let’s get in there and soften him up.
INT. BATHROOM, WAREHOUSE — LATER
Cobb and Arthur, wearing BALACLAVAS, PULL the sack from Fischer’s head. He is chained to the radiator.
FISCHER
I’m insured against kidnapping up to ten million — this’ll be simple—
COBB
No, it won’t.
Fischer looks at Cobb, unnerved.
ARTHUR
In. your lather’s office, below the bookshelves, is his personal safe. We need the combination.
FISCHER
I never noticed a safe—
COBB
Doesn’t mean you don’t know the combination.
FISCHER
Well, I don’t.
ARTHUR
We have it on good authority that you do.
FISCHER
Whose?
INT. OFFICE, WAREHOUSE — CONTINUOUS
Yusuf looks through Fischer’s wallet. Eames is opening a HINGED, THREE-WING MIRROR.
YUSUF
Five hundred dollars, this cost?
EAMES
What’s inside?
YUSUF
Cash, cards, ID… and this—
Yusuf holds up a SNAPSHOT: the photo from Maurice Fischer’s office — YOUNG ROBERT holds his HOMEMADE PINWHEEL, his FATHER blows on it. Eames takes it from Yusuf. STUDIES it. Cobb enters. Eames hands him the snapshot.
EAMES
Useful?
Cobb studies the snapshot. Eames examines himself in the hinged mirror from multiple angles: ONE BY ONE the myriad Eames reflections BECOME BROWNINGS. Cobb pockets the photo.
COBB
You’re on. You’ve got an hour.
EAMES
An hour? I was supposed to have all night to crack him.
COBB
And Saito was supposed to keep his guts on the inside. You’ve got an hour — get something we can use.
Eames turns from the mirror AS BROWNING. He glances at his watch, then SCREAMS, as if begging for mercy—
INT. BATHROOM, WAREHOUSE — CONTINUOUS
Browning’s CRY reverberates— Fischer looks up, concerned—
FISCHER
What’s that?
ARTHUR
Good authority.
Another cry rings out. Fischer recognizes the voice.
FISCHER
Uncle Peter?! Make them stop—
ARTHUR
The combination.
FISCHER
I don’t know it!
ARTHUR
Why would Browning tell us you did?
FISCHER
Let me talk to him — I’ll find out.
INT. BATHROOM, WAREHOUSE — MOMENTS LATER
Cobb pushes Browning (Eames), bloody and bruised, into the room and forces him down next to Fischer. Cobb handcuffs Browning’s wrist to a metal bracket on the side of the sink.
COBB
You’ve got an hour. Get talking.
Cobb leaves.
BROWNING (EAMES)
They’ve had me for two days. They’ve got someone with access to your father’s office and they’re trying to open his safe — they thought I’d know the combination, but I don’t—
FISCHER
Neither do I, Uncle Peter.
BROWNING
(confused)
Maurice told me that after he passed only you would be able to open it.
FISCHER
He never gave me the combination.
Browning thinks for a minute. Realizes something.
BROWNING
He did, he just didn’t tell you that it was a combination.
FISCHER
What, then?
BROWNING
Something only you would know. Some meaningful combination of numbers from your experiences with Maurice—
FISCHER
We didn’t have a lot of meaningful experiences together.
BROWNING
Perhaps after your mother died…
FISCHER
After my mother died, I went to him in my grief.
(MORE)
FISCHER (CONT’D)
You know what he told me? “There’s really nothing to be said, Robert.”
BROWNING
He always had a hard time with emotional—
FISCHER
I was
Browning (Eames) takes this in.
BROWNING
He loved you, Robert. In his way.
FISCHER
“In his way?” At the end he called me to his deathbed. He could barely speak, but he took the trouble to say one last thing to me. He pulled me close… I could make out only one word. “Disappointed.”
Browning can say nothing.
INT. OFFICE, WAREHOUSE — CONTINUOUS
Cobb pulls off his balaclava. Looks down at Saito, who is breathing fast, shallow.
COBB
How’s he doing?
ARIADNE
He’s in a lot of pain.
Cobb takes Saito’s hand. Looks him in the eye.
COBB
When we get you down to the next level, the pain will be less intense.
Saito nods, breathing hard.
ARIADNE
(low)
And if he dies?
COBB
His conscious mind will drop out of the dream. He’ll be trapped in Limbo for a
ARIADNE
What will that do to him?
Cobb looks at her. Grave.
COBB
When he wakes… his mind could be completely gone.
SAITO
When… when we wake I will still honor our arrangement…
Cobb looks down at Saito sadly.
COBB
Saito-san, when you wake you might not even remember that we
SAITO
Filled with regret?
COBB
Waiting to die alone. Yes.
SAITO
Then I’ll take the chance and come back. And we’ll be young men together again.
Saito smiles weakly. Cobb nods at him, turns to Ariadne.
ARIADNE
When were you trapped in Limbo?
Cobb says nothing. Ariadne pulls him away from Saito.
ARIADNE
Cobb, you might have convinced the rest of this team to carry on with the job. But they don’t know the truth.
COBB
What truth?
ARIADNE
The truth that at any minute you might bring a
(MORE)
87.
ARIADNE (CONT’D)
The truth that as we go deeper into Fischer, we’re also going deeper into you — and I’m not sure we’re going to like what we find there.
Cobb stares back at Ariadne. Saying nothing.
ARIADNE
This is not just about Fischer, it’s about you. Tell me what happened to you and Mal. Trapped in Limbo.
Cobb looks at her. Thinking it through.
COBB
We were on a job. Exploring dreams within dreams. But we didn’t understand how your mind can turn hours into years. How you can get trapped. Trapped so deep that when you wash up on the shore of your subconscious…
COBB
You can lose track of what’s real.
ARIADNE
How long were you stuck?
Cobb pauses before he answers. Looks at Ariadne.
COBB
Fifty years.
Ariadne stares at him, incredulous.
ARIADNE
How did you stand it?
COBB
We built. We created a whole world for ourselves…
COBB
It’s not so bad at first, being gods. The problem is knowing that it’s not real. It became impossible for me to live like that.
ARIADNE
But not for her?
COBB
She accepted it. At some point…
INT. OFFICE, WAREHOUSE — CONTINUOUS
ARIADNE
And when you finally woke up?
COBB
To wake from that. From decades lived. To be old souls thrown back into youth. It was hard. At first Mal seemed okay. But I started to realize something was wrong. Finally she admitted it. This idea she was possessed by. This simple little idea that changed everything…
ARIADNE
What was it?
COBB
That our world was not real. No matter what I did, no matter what I said, she was convinced that we were still in a dream. That we needed to wake up again…
INT. COBB AND MAL’S KITCHEN — DAY (FLASHBACK)
Cobb is trying to calm Mal, who is hysterical.
COBB (V.O.)
INT. WORKSHOP — DAY
Ariadne looks at Cobb, appalled.
ARIADNE
What about your children?
Cobb has to look away.
COBB
She… she believed they weren’t real. That our real children were waiting. Somewhere above…
INT. COBB AND MAL’S KITCHEN — DAY (FLASHBACK)
Mal shakes her head at Cobb as he USHERS the children out of the room, FACES UNSEEN-COBB
Calm down, Mal—
MAL
They’re projections, Dom. Your dreams. I’m their mother—don’t you think I can tell the difference?
Cobb closes the door — turns to her, eyes full of bitter tears.
COBB
If it’s my dream then why can’t I control it? Why can’t I stop this?
MAL
(it’s obvious)
You don’t know you’re dreaming.
COBB
You keep telling me I am—
MAL
And you don’t believe me!
COBB (V.O.)
INT. ELEGANT HOTEL CORRIDOR — NIGHT (FLASHBACK)
Cobb walks along, checking door numbers against a key.
COBB (V.O.)
INT. ELEGANT HOTEL SUITE — CONTINUOUS (FLASHBACK)
Cobb enters the lavish suite. He notices the DISHEVELED BEDCLOTHES. He steps forwards — SMASH — he has tipped over a champagne glass with his foot… dinner for two is SPREAD ACROSS THE FLOOR. He looks at the DEBRIS, confused… next to the broken glass is a SPINNING TOP. He picks it up, studying it, thinking. He feels a draught, looks to the window. The CURTAIN BILLOWS.
EXT. EXTERIOR ATRIUM — CONTINUOUS (FLASHBACK)
Cobb looks out the window: Mal sits on the ledge of the opposite window. HAIR BLOWING. Feet dangling over the dizzyingly high atrium. She smiles.
MAL
Join me.
COBB
Mal, come back inside.
MAL
No. I’m going to jump. And you’re coming with me.
COBB
No, I’m not. This is real — if you jump, you’re not going to wake up, you’re going to die. Let’s go back inside and talk about this, please.
MAL
We’ve talked enough.
She KICKS off a shoe and watches it DROP.
MAL
Come out onto the ledge or I’ll jump right now.
She means it. Cobb swings his legs out, sitting on the ledge opposite is wife. He looks down at the drop.
MAL
I’m asking you to take a leap of faith.
COBB
I can’t do that, Mal. I can’t leave our children.
MAL
If I go without you, they’ll take them away, anyway.
COBB
What do you mean?
MAL
I filed a letter with our attorney. Explaining how I’m fearful for my safety, how you’ve threatened to kill me…
Cobb looks back at the wrecked hotel suite, PANICKING…
MAL (CONT’D)
I love you, Dom. I’ve freed you from the guilt of choosing to leave them. We’re going home to our real children.
COBB
Out children are here, Mal.
Mal CLOSES HER EYES. Cobb looks for some way to reach her…
MAL
You’re waiting for a train…
COBB
NO! MAL, NO, I CAN’T!
MAL
A train that will take you far away…
COBB
DON’T DO THIS!
MAL
You know where you hope this train will take you, you can’t know for sure…
COBB
DON’T!
MAL
But it doesn’t matter…
COBB
NO!
MAL
Because you’ll be together…
Mal SLIPS FORWARD INTO SPACE. Cobb SCREAMS after her. Then tries to bury his face in the wall…
INT. OFFICE, WAREHOUSE — DAY
Cobb stares as he remembers.
COBB
He letter to the authorities refuted all the claims about her sanity that she knew I’d make…
INT. COBB AND MAL’S KITCHEN — DAY (FLASHBACK)
Cobb stands with the Thin Man, who has a piece of paper.
COBB (V.O.)
Cobb hears a SHOUT- turns to the garden. James CROUCHES, Philippa joins him, examining the ground, FACES UNSEEN…
COBB (V.O.) (CONT’D)
The Thin Man thrusts the paper into Cobb’s hand.
THIN MAN
Right now. Or never, Cobb.
Cobb turns back to the window — about to call out — James and Philippa RUN OFF. Cobb turns from the window. Looks at the paper in his hand. It is an AIRPLANE TICKET.
COBB (V.O.)
So I ran. And I’ve been running ever since, trying to buy my way back to my family…
INT. OFFICE, WAREHOUSE — DAY
Cobb looks across at Ariadne.
ARIADNE
Psychiatrists judged her sane?
COBB
She
ARIADNE
Then why should you blame yourself?
COBB
Because we were a family. And we had a life I would do anything to get back to now. But that reality wasn’t enough for me then.
ARIADNE
It might have been your idea to push the limits, Cobb. But you’re not responsible for the idea that destroyed her. The idea that her world wasn’t real… that was her own idea from her own mind.
Cobb says nothing.
ARIADNE (CONT’D)
Your guilt defines her. Powers her. If we’re going to succeed in this, you’re going to have to forgive yourself, and you’re going to have to confront her. But you don’t have to do it alone.
COBB
You don’t have to do this for me—
ARIADNE
I’m doing it for the others. They don’t know the risk they’ve taken coming in here with you.
Cobb looks at the rooftop opposite, sees a SNIPER take up a position. Cobb shakes his head, frustrated.
COBB
We can’t stay here. Arthur?!
INT. BATHROOM, WAREHOUSE — CONTINUOUS
Browning puts his hand on Fischer’s shoulder.
BROWNING
These people are going to kill us if we don’t give them the combination.
FISCHER
They won’t, they’ll try to ransom us—
BROWNING
I heard them — they’re going to lock us in and run the can into the river.
FISCHER
What is in the safe?
BROWNING
Something for you. Maurice always said it was his most previous gift… a will.
FISCHER
Maurice’s will is with Port and Dunn.
BROWNING
It’s an alternate. It supersedes the other only if you want it to.
FISCHER
What does it say?
BROWNING
It splits all the component businesses of Fischer Morrow into individual companies, transferring ownership to the boards of those companies…
FISCHER
Leaving me nothing?
BROWNING
A basic living. Nothing more. The entire empire would cease to exist.
FISCHER
Destroy my own inheritance? Why would he suggest such a thing?
BROWNING
I don’t know, Robert.
Cobb OPENS the door. Arthur is behind him.
COBB
Come to your senses?
FISCHER
Let us go. I don’t know the combination. Not consciously.
Cobb considers this. Opens his phone. Pulls out his gun.
COBB
Let’s try instinctively. I have someone standing in your father’s office ready to tap in a combination.
He holds the phone to Fischer’s mouth.
COBB (CONT’D)
First six numbers that come into your head. Right now.
FISCHER
I have no idea—
Cobb SWINGS the gun onto Browning—
COBB
RIGHT NOW!
FISCHER
Five, two, eight… four, nine, one.
Cobb lowers his weapon. Listens to the phone. Shakes his head. Shuts the phone.
COBB
You’ll have to do better. Bag ’em.
Arthur puts SACKS over their heads.
INT. WAREHOUSE — CONTINUOUS
Cobb and Arthur drag Fischer and Browning to the van—
FISCHER
We’re worth much more to you alive…
Arthur places Fischer on the back seat — uses a DROPPER to drop LIQUID onto Fischer’s mask — his head SLUMPS FORWARDS. “Browning” yanks the sack from his head- it is now EAMES.
EAMES
(excited)
His relationship with his father’s much worse that we thought.
ARTHUR
That helps us?
Arthur pulls a SNIPER RIFLE from a case by the van.
COBB
The stronger the issues, the more powerful the catharsis.
Cobb motions for Yusuf to follow his upstairs.
ARTHUR
But how do you reconcile them if they’re that estranged?
EAMES
I’m working on that.
Arthur lines up a shot through the window—
ARTHUR
Well, work fast — Fischer’s projections are closing in quick, we need to break out of here before we’re totally boxed in…
Arthur SHOOTS two snipers. Cobb and Yusuf gently load Saito into the van. He groans. Ariadne straps him in, checks his bandages. Arthur can’t get the last sniper — he’s too hidden behind a wall—
EAMES
Shouldn’t be afraid to dream a little bigger, Arthur—
Eames lines up a shot with a grenade launcher. Fires — the sniper EXPLODES into the air— Arthur looks at Eames.
EAMES (CONT’D)
Shall we?
They climb into the van—
INT./EXT. VAN ON RAINY STREETS — CONTINUOUS
The van pulls out into the rain-drenched streets. Arthur opens the mechanism case and hands out tubes—
COBB
Shifting Fischer’s antipathy from his father onto Browning should work.
EAMES
We need the imagery, the words…
ARIADNE
So you destroy his one positive relationship?
COBB
No. We repair his relationship with his father and expose his godfather’s true nature.
EAMES
Hell, we should be charging Fischer as much as Saito.
ARTHUR
What about his security? It’s going to get worse as we go deeper.
COBB
We bring in Mr. Charles.
ARTHUR
No.
EAMES
Who’s Mr. Charles?
ARTHUR
A bad idea.
COBB
Arthur, the second we approach Fischer in that hotel, they’re gonna mow us down — we run with Mr. Charles like on the Stein job.
EAMES
So you’ve done it before?
ARTHUR
Sure. But it didn’t work. The subject realized he was dreaming and his subconscious tore us to pieces.
Eames takes this in.
EAMES
You learned a lot, though. Right?
COBB
(to Eames)
I’ll need a decoy.
EAMES
No problem. How about a pretty young lady I’ve used before?
COBB
Fine—
Cobb looks back: a second S.U.V. pulls out, tailing them.
COBB (CONT’D)
(to Yusuf)
I know you’ve got to stay ahead of them, but drive with kid gloves, okay? The world down there is going to be very unstable—
ARTHUR
And don’t make the jump too soon — that kick is our only way back, we have to be ready to catch it—
YUSUF
I’ll use the music to let you know when it’s coming, but the rest is up to you.
Arthur puts the mechanism onto the front seat.
YUSUF (CONT’D)
Everyone ready?
Nods all round.
YUSUF (CONT’D)
Sweet dreams—
Yusuf hits a button and we—
CUT TO:
INT. HOTEL LOBBY BAR — SUNSET
Fischer nurses a drink. Staring at the ice cracking.
BLONDE (O.S.)
Am I boring you?
Fischer looks up. A beautiful BLONDE is next to him.
BLONDE (CONT’D)
I was telling you my story. I guess it wasn’t to your liking.
FISCHER
I have a lot on my mind.
Fischer looks around the bar. There are several STERN-LOOKING CHARACTERS paying him too much attention.
INT. HOTEL LOBBY — CONTINUOUS
Arthur and Ariadne sit at a table across the lobby. They spot Cobb moving across the lobby towards Fischer.
ARTHUR
And there goes Mr. Charles.
ARIADNE
Who or what, exactly, is Mr. Charles?
ARTHUR
It’s a gambit designed to turn Fischer against his own subconscious.
INT. HOTEL LOBBY BAR — CONTINUOUS
Cobb approaches the bar, watched closely by Fischer’s Sub-security.
COBB
Mr. Fishcer! Good to see you again. Rod Green, Marketing.
(to Blonde)
And you must be…
BLONDE
Leaving.
She presses against Fischer as she slides off her stool and deposits a cocktail napkin in front of him.
BLONDE (CONT’D)
In case you get bored.
Cobb watches her walk away. The Sub-security FOLLOWS her.
COBB
I think you just got blown off… unless her phone number really does have only six digits.
Fischer glances at the napkin: “528-491.”
INT. HOTEL LOBBY — CONTINUOUS
Arthur watches the Sub-security follow the Blonde.
ARIADNE
And why don’t you approve?
ARTHUR
Because it involves telling the mark that he’s dreaming. Which involves attracting a lot of attention to us.
ARIADNE
Didn’t Cobb say never to do that?
ARTHUR
You must’ve noticed by now how much time Cobb spends doing things he says never to do.
INT. HOTEL LOBBY BAR — CONTINUOUS
Cobb turns to Fischer.
COBB
Strange way to make friends.
(off look)
Lifting your wallet, I mean.
Fischer pats his pocket. Empty. He looks to the lobby where he sees the Sub-security trailing the Blonde.
FISCHER
Goddamn it. The wallet alone’s worth—
COBB
Five hundred bucks. I know. Don’t worry, my guys are on it.
FISCHER
Who did you say you were?
Fischer looks at him, curious. Cobb plows on, confident—
COBB
I said I was Rod Green from Marketing — but I’m not. My name is Mr. Charles. I might seem familiar to you. I’m in charge of your security here.
INT. HOTEL LOBBY — CONTINUOUS
The Blonde hurries up to Saito, emerging from the elevator—
BLONDE
Mr. Saito, can I have a minute?
She pushes him back into the elevator, closing the door as the Sub-security approaches…
INT. ELEVATOR — CONTINUOUS
The Blonde fondles Saito’s lapels, getting close.
SAITO
I’m sorry, but…
Saito glances over her shoulder to see, in the tunnel of infinite reflections created by the elevator’s opposing mirrors, three reflections in, THE BLONDE IS EAMES. He winks.
SAITO (CONT’D)
(pushing him away)
Very amusing, Mr. Eames.
EAMES
You look a bit perkier.
A SHUDDER ripples through the elevator.
SAITO
Turbulence on the plane.
EAMES
Feels closer. That’s Yusuf’s driving.
And we—
CUT TO:
INT./EXT. VAN ON RAINY DOWNTOWN STREETS — DAY
Yusuf FIGHTS the wheel as the van CUTS DOWN AN ALLEY, BUMPING OVER POTHOLES and SMASHING TRASH CANS aside- THREE S.U.V.s IN FURIOUS PURSUIT. Yusuf looks in the rear view mirror, FRUSTRATED. He checks his WATCH, then checks the back: the SLEEPERS SHAKE with the impact and we-
CUT TO:
INT. HOTEL LOBBY BAR — NIGHT
As a TREMOR echoes through the bar Fischer looks at Cobb trying to place him.
FISCHER
Security? You work for the hotel?
COBB
No. My specialty is subconscious security.
FISCHER
You’re talking about dreams. You’re talking about extraction.
COBB
Exactly. My job is to protect you…
Behind Fischer a WAITER puts down a tray — tipping a champagne glass over — SMASH — Cobb NOTICES. Pauses, looks across the bar — HIS TWO CHILDREN ARE CROUCHED, BACKS TOWARDS US…
Cobb looks around the bar, the patrons start to STARE at Cobb, suspicious— Cobb shifts back to Fischer—
COBB (CONT’D)
My job is to protect you from any attempt to access your mind through your dreams.
Cobb regains his patter — the patrons lose interest…
INT. ELEVATOR — CONTINUOUS
Eames pulls out Fischer’s wallet, moves to hand it to Saito, then PAUSES, opens it, leafs past the cast to find… The SNAPSHOT: young Robert holding his HOMEMADE PINWHEEL, his father blowing on it. The elevator doors open and Eames steps off. HANDS Saito the wallet.
EAMES
Get off at a different floor and keep moving. Dump the wallet, then meet me in the lobby. The security will try to track it down. We need to buy Cobb a little more time.
The doors close. Saito puts the wallet in his pocket. He COUGHS — a deep, nasty cough.
INT. HOTEL LOBBY BAR — CONTINUOUS
Cobb looks over Fischer’s shoulder to see a SUITED MAN watching him. Another MAN is walking in from the lobby.
COBB
You’re not safe here.
Cobb steps away from the bar. Fischer does not move.
COBB (CONT’D)
Trust me. They’re coming for you.
Fischer sizes him up, A CLAP OF THUNDER ECHOES, and we—
CUT TO:
INT./EXT. VAN ON RAINY DOWNTOWN STREETS — DAY
GUNSHOTS BLAST out the rear and side windows of the van — a Security Man is leaning out of the lead S.U.V. With a SHOTGUN — WIND AND RAIN RIP THROUGH THE VAN — in the back, ARTHUR’S SLEEPING FACE IS WHIPPED BY THE SPRAY, AND WE—
CUT TO:
INT. HOTEL LOBBY BAR — SUNSET
Fischer looks out the windows at sudden, HURRICANE-LIKE RAIN—
COBB
Strange weather, huh?
A TREMOR runs through the bar — Cobb looks around—
COBB (CONT’D)
You feel that?
INT. HOTEL LOBBY — CONTINUOUS
Ariadne and Arthur watch the GUSTS OF WIND RATTLE the windows. Arthur sees HOTEL GUESTS staring out at the weather, PUZZLED. Several of them TURN TO LOOK DIRECTLY AT ARTHUR.
ARIADNE
What’s happening?
ARTHUR
Cobb’s drawing Fischer’s attention to the strangeness of the dream. That’s making his subconscious look for the dreamer. For me.
And we—
CUT TO:
INT./EXT. VAN ON RAINY STREETS — DAY
At the end of the alley — Yusuf THROWS the van into a HARD RIGHT TURN — we move into EXTREME SLOW MOTION… THE SLEEPERS IN THE BACK ARE DRAWN TO ONE SIDE OF THE VAN BY THE CENTRIFUGAL FORCE… and we—
CUT TO:
INT. HOTEL LOBBY BAR — CONTINUOUS
The liquid in Fischer’s drink RISES UP AGAINST ONE SIDE OF THE GLASS — Fischer notices, confused.
COBB
Very odd — the weather, the gravity…
Fischer looks around the bar — it’s as if THE ENTIRE ROOM IS SET AT A 45-DEGREE ANGLE — glasses SLIDING off tables…
COBB (CONT’D)
But I can explain all this. You’ve actually been trained for this.
(Fischer nods)
Think of the strangeness of the weather, the shifts in gravity. None of this is real…
(MORE)
COBB (CONT’D)
(beat)
We’re in a dream.
Fischer looks at the room around them. Back to Cobb. All through the bar, patrons turn to look at Cobb IN UNISON.
COBB (CONT’D)
The simplest test of what I’m saying is for you to try and remember anything about the way you arrived in this hotel… okay?
Fischer stares at Cobb, trying to process this. All around them, people STARE at Cobb. Several get up as if to approach.
COBB (CONT’D)
Breathe. Remember the training. Accept the fact that we’re in a dream. That’s why I’m here protecting you.
As Fischer considers this we—
CUT TO:
INT./EXT. VAN ON RAINY STREETS — DAY
Yusuf STRAIGHTENS UP the van, RACING down the street, swerving through traffic and we—
CUT TO:
INT. HOTEL LOBBY BAR — EVENING
The building gradually EASES BACK INTO ALIGNMENT—
FISCHER
So you… you’re not real?
The bar patrons start to ignore Cobb again.
COBB
No. I’m a projection of your subconscious. I was put in place to protect you in the event that extractors pulled you into a dream. I believe that’s what has happened.
Fischer takes this in. Then looks at the Security Men approaching across the crooked floor, he nods at Cobb—
INT. HOTEL LOBBY — EVENING
Cobb escorts Fischer across the lobby. As he does so, he walks past the two CHILDREN, backs to us — Cobb ignores them— The two Sub-security fall in behind. Cobb hurries Fischer up the stairs — then PUSHES him into—
INT. HOTEL LOBBY BATHROOM — CONTINUOUS
Fischer stumbles in — turns to Cobb, angry—
FISCHER
Hey—
Cobb reaches into his jacket — the First Man BURSTS in — Cobb KICKS him to the ground — DRAWS his gun as the SECOND MAN comes through the door, moving towards Fischer—
BLAM! Cobb BLASTS the Second Man in the back — TURNS and SHOOTS the First Man.
FISCHER (CONT’D)
Jesus Christ! What are you doing?!
Cobb turns to Fischer, calm. Convincing.
COBB
Look at the gun in his hand.
Fischer looks: the Second Man was holding a pistol. Cobb opens the First Man’s jacket to show Fischer his holster and sidearm.
COBB (CONT’D)
These men were sent to abduct you.
Cobb pulls out the gun and HANDS it to Fischer.
COBB (CONT’D)
If I’m going to help you, I need you to be calm.
Fischer remembers something.
FISCHER
If this is a dream, I have to kill myself and wake up—
Fischer raises the gun towards his head—
COBB
I wouldn’t do that — they’ve probably got you sedated. If you pull that trigger, you might not wake up, you might drop into a lower dream state.
(MORE)
COBB (CONT’D)
Mr. Fischer, you know all this, you just have to remember it…
Fischer lowers his gun.
INT. HOTEL CORRIDOR — CONTINUOUS
Saito walks down the corridor, followed by a Security Man.
Saito DUCKS around the corner, moves to a GARBAGE CHUTE and DROPS Fischer’s WALLET into it. He SLIPS into the stairwell as the Security Man comes abreast of the chute and pauses.
INT. HOTEL CORRIDOR — CONTINUOUS
Arthur leads Ariadne to a particular room: 491.
INT. ROOM 491 — CONTINUOUS
Arthur leads Ariadne in. He opens the closet, opens the room safe, pulls our FOUR BRICKS OF PLASTIC EXPLOSIVE.
ARTHUR
So, if everything’s correct, this room should be directly below 528.
INT. HOTEL LOBBY BATHROOM — CONTINUOUS
Cobb looks reassuringly at Fischer.
COBB
What do you remember from before this dream?
FISCHER
(thinking)
Rain… gunfire… Uncle Peter.
(looks up)
Christ — we’ve been kidnapped.
COBB
Where were they holding you?
FISCHER
They had us… in the back of a van…
COBB
Your body’s bouncing around in the back of a van right now — that explains the gravity shifts.
FISCHER
It was… to do with a safe… Christ, why’s it so hard to remember?
COBB
It’s like trying to remember a dream after you’ve woken up. It takes years of practice to do it easily. So, you and Browning have been pulled into this dream so they can steal something from your mind. What?
FISCHER
They wanted a combination to a safe… they demanded the first numbers to pop into my head.
COBB
That’s them extracting a locator.
FISCHER
A locator?
COBB
A number from your own subconscious. It can be used any number of ways…
(thinking)
This is a hotel. Room numbers. What was the number you gave them?
FISCHER
5, 2… something… it was a long number. 528… 528, 4 something.
COBB
(opens phone)
Well, we know where to start.
(into phone)
Fifth floor.
INT. ROOM 491 — CONTINUOUS
Arthur hangs up the phone. He is standing on a chair, attaching the explosives to the ceiling.
ARIADNE
Do you use a timer?
ARTHUR
No, I have to judge it myself. Once you’re all asleep up in room 528, I wait ’til Yusuf starts his kick…
ARIADNE
How will you know?
ARTHUR
His music warns me it’s coming, then the van hitting the barrier of the bridge should be unmistakable — that’s when I blow the floor out from underneath us and we get a nice synchronized kick. Too soon, and we won’t get pulled out; too late and I won’t be able to drop us.
ARIADNE
Why not?
ARTHUR
The van will be in free fall. I can’t drop us with no gravity.
Arthur finishes setting the charges.
INT. HOTEL LOBBY — CONTINUOUS
Saito moves through the lobby. Browning is coming in the other direction. Saito assumes him to be Eames.
SAITO
I see you’ve changed.
BROWNING
I’m sorry?
Eames comes up behind Browning, catching Saito’s eye.
SAITO
I’m… I mistook you for a friend.
BROWNING
Good-looking fellow, I’m sure.
Browning moves off. Saito approaches Eames.
EAMES
That’s Fischer’s projection of Browning. We’ll keep an eye on how he behaves—
SAITO
Why?
EAMES
How he acts will tell us if Fischer’s starting to suspect his motives the way we want him to.
INT. HOTEL CORRIDOR, FIFTH FLOOR — MOMENTS LATER
Cobb leads Fischer around a corner. Arthur and Ariadne are waiting in the corridor.
COBB
They work for me.
Fischer starts looking at room numbers. Stops at 528. Cobb draws his gun, steps back from the door and KICKS it open.
INT. ROOM 528 — CONTINUOUS
Cobb JUMPS into the room, gun up. The room is empty. Arthur and Ariadne search the room. Saito and Eames arrive. Eames shuts the door. Arthur FINDS something—
ARTHUR
Mr. Charles!
Arthur holds up a MECHANISM CASE. Cobb shows it to Fischer.
COBB
You know what this is?
Fischer’s eyes roam over the dials and plungers.
FISCHER
I think so. But I don’t understand.
COBB
They were going to put you under.
FISCHER
I’m already under.
COBB
Under again.
FISCHER
A dream within a dream?
ARTHUR
Shhhh!
Arthur is at the door. Someone is there. A key goes into the lock- the door starts to open— Arthur REACHES OVER and GRABS the person entering, THROWS THEM TO THE FLOOR — puts his gun in their face. IT IS BROWNING.
Fischer stares, disbelieving, at his own godfather.
FISCHER
Uncle Peter. What’s going on?
Cobb pulls the key from Browning’s hand: ROOM 528.
COBB
You said you were kidnapped together?
FISCHER
Not exactly, they already had him. They’d been torturing him…
COBB
You saw them torture him?
Fischer shakes his head. Looks at Browning. Thinking.
FISCHER
The kidnappers are working for you.
BROWNING
No, Robert—
FISCHER
You’re trying to get that safe open. To get the alternate will.
Browning looks up at Fischer.
BROWNING
Fischer Morrow’s been my entire life. I can’t let you destroy it.
FISCHER
I’m not going to throw away my inheritance. Why would I?
BROWNING
I couldn’t take the chance of you rising to your father’s final taunt.
FISCHER
What taunt?
BROWNING
That will. I’m sorry, Robert, but it’s his final insult. A challenge to build something for yourself. He’s telling you that you aren’t worthy of his achievements.
Fischer takes this in. Devastated.
FISCHER
That he was “disappointed?”
BROWNING
I’m so sorry. But he was wrong. You’ll make his company even greater than he ever could.
COBB
Your godfather’s lying, Robert.
Fischer turns to Cobb.
FISCHER
How do you know?
COBB
It’s what I do. He’s hiding something.
Cobb looks at Browning.
COBB
Let’s find out what.
Cobb nods at Arthur, who starts unpacking the mechanism.
Browning watches. Silent.
COBB
Let’s do to him what he was going to do to you.
Cobb rolls up his sleeve. Nods at Fischer to do the same.
COBB
We’ll penetrate his subconscious and find out what he doesn’t want you to know.
Fischer looks Cobb in the eye. Decides — rolls up his sleeve, offering his bare arm. The team run tubes to each other — Arthur injects Fischer, whose head slumps.
ARTHUR
He’s out.
ARIADNE
Wait, Cobb — I’m lost. Whose subconscious are we going into?
COBB
Fischer’s. I told him it was Browning’s so he’d come with us as part of our team.
ARTHUR
(impressed)
He’s going to help us break into his own subconscious.
COBB
That’s the idea. He’ll think that his security is Browning’s and fight them to learn the truth about his father.
Arthur hits buttons on the mechanism. The team goes out one by one. Cobb is last.
COBB
Fischer’s subconscious is going to run you down hard.
ARTHUR
I’ll lead them on a merry chase.
COBB
Be back in time for the kick.
ARTHUR
I’m on it.
Cobb is no longer listening — he stares at the net curtains, BILLOWING like those in Mal’s suite — a GLIMPSE of someone (Mal?). As the screen goes WHITE, and we are—
EXT. SNOW-COVERED MOUNTAINS — DAY
CLOSE ON Cobb’s face, staring. Fixed.
ARIADNE (O.S.)
Cobb? Cobb?
Ariadne is beside him. They stand on a cliff, dressed in white snowsuits, carrying white-painted weapons like WWII commandos. Cobb checks his SNIPER RIFLE, examines their objective: a massive FORTIFIED MEDICAL FACILITY a mile below.
ARIADNE
What’s down there?
COBB
Hopefully, the truth we want Fischer to learn.
ARIADNE
I meant what’s down there for you?
Cobb turns to her. Eames, Saito and Fischer arrive, SKIING down from the hill above. Cobb pulls Eames out of Fischer’s earshot.
COBB
You’re the dreamer. I need you to draw the security away from the complex.
EAMES
Then who guides Fischer in? You?
COBB
If I know the route… we could be compromised.
Eames looks as Cobb, uneasy. Ariadne comes over.
ARIADNE
I designed the place.
COBB
No. You’re with me.
SAITO (O.S.)
I could do it.
They turn to Saito. Saito shrugs at Eames. Eames smiles.
COBB
Eames, brief Saito on the route into the complex. What we’re looking for is going to be in the most heavily fortified section. That north tower.
Cobb moves to Fischer. Saito COUGHS. SPITS. Eames sees BLOOD on the snow. Looks at Saito.
COBB
Mr. Fischer, you’re going in with Mr. Saito.
FISCHER
You’re not coming in?
COBB
You have to do this on your own. You have to get in there, break into your godfather’s mind and find out the truth about your father.
Cobb taps Fischer’s radio mike.
COBB
Keep this live at all times. I’ll be listening in, covering you.
(holds up the sniper rifle)
The windows on the upper floors are big enough that I can cover you from that south tower.
Cobb slips into his skis, shoulders his rifle.
CUT TO:
INT. ROOM 528 — NIGHT
Arthur checks the mechanism. He hears LOW BOOMS like thunder.
He checks his watch — THE SECOND HAND CRAWLS FORWARDS. With a last look at the sleepers, he heads out into the corridor…
INT./EXT. VAN ON RAINY DOWNTOWN STREETS — DAY
A GUNSHOT slams into the van as Yusuf DRIVES — he glances back to see a MOTORCYCLE pulling up behind him, the REAR PASSENGER FIRING A SHOTGUN — the bike pulls alongside Yusuf’s window as the passenger RELOADS — Yusuf YANKS the wheel TOWARDS the bike, bringing the shotgun barrel into the cab so he can GRAB it, spin the wheel back — PULLING the passenger from the back of the bike… Yusuf turns a corner, heading into a disused MARKET—
INT. HOTEL CORRIDOR — CONTINUOUS
Arthur walks towards the elevator. It OPENS — a SECURITY MAN emerges, heading right for him. Arthur takes a TURN, speeding up. The BOOMS are louder, and we—
CUT TO:
INT./EXT. VAN ON RAINY DOWNTOWN STREETS — DAY
The bike crosses behind the van, catching up again as the driver pulls a handgun and starts BLASTING. Up ahead, an S.U.V. sits in a side road, lining up to head off the van—the SECURITY MAN driving the S.U.V. guns it, as the bike creeps up on the other side of the van- Yusuf HITS THE BRAKES, forcing the bike out into the path of the S.U.V., tossing the rider like a rag doll—
Heading out of the market, the van races onto a FREEWAY ON RAMP, approaching the BRIDGE. An S.U.V. SMASHES into the van’s side, FORCING it up against a CRASH BARRIER… the van starts to SLOWLY TILT OVER THE BARRIER as the S.U.V. PUSHES—
CUT TO:
INT. HOTEL CORRIDOR — NIGHT
As Arthur hurries down the corridor, the corridor starts to TILT, and Arthur is forced to run UP ONTO THE WALL — he rounds a corner — STRAIGHT INTO another Security Man— Arthur HEAD BUTTS him and they STRUGGLE — as they struggle, the corridor SPINS around, THROWING THEM UP ONTO THE WALLS, THE CEILING — as wall becomes floor they DROP through a door into—
INT. HOTEL ROOM — CONTINUOUS
The fight continues all over the spinning room — and we—
CUT TO:
INT./EXT. VAN ON RAINY OFF RAMP NEAR BRIDGE — DAY
SLEEPING ARTHUR BOUNCES around as the van TILTS, SCRAPING along the barrier — the van CLEARS THE END OF THE BARRIER AND ROLLS DOWN THE EMBANKMENT, and we—
CUT TO:
INT. HOTEL ROOM — NIGHT
Arthur and the Security Man DROP to the floor, Arthur on top. Arthur gets up — heads to the stairwell.
INT./EXT. VAN ON RAINY STREETS NEAR BRIDGE — DAY
The van SETTLES with a thump. Yusuf BREATHES hard. Then SMILES as he realizes he is in one piece. A RINGING BELL up ahead makes him look up to the bridge, where the barriers are starting to come down. Yusuf checks his watch—
YUSUF
Bugger.
Yusuf hits the gas, heading for the bridge. An S.U.V. lines up behind him, trying to catch up before the van crosses the barrier onto the bridge-The van JUST MAKES IT- the S.U.V. behind RIPS its read axle off, SCRAPING to a halt on the rising section. The Security Man inside starts FIRING on the van…
INT. HOTEL STAIRWELL — CONTINUOUS
Arthur RACES down the steps — OPENS the door to the fourth floor — spots SECURITY MEN outside room 491.
ARTHUR
Hey!
They TURN — he DARTS back into the stairwell — RACES down the stairs — the Security Men follow — they start SHOOTING, and we—
CUT TO:
EXT. SNOW-COVERED MOUNTAINS — DAY
Eames SKIS down within sight of the hospital complex. He reaches into his pack and lets off a FLARE.
EXT. HOSPITAL COMPLEX — CONTINUOUS
Security Men on the ramparts spot the flare and send PATROLS out on skis and SNOWMOBILES to investigate.
EXT. SNOW-COVERED MOUNTAINS — CONTINUOUS
Eames watches them close in, then launches himself down the mountain, STREAKING across the icy slope, and we—
CUT TO:
INT./EXT. VAN ON RAINY RISING BRIDGE — DAY
Yusuf PULLS FORWARD, looking over his shoulder to line up a BACKWARDS RUN at the edge. He DUCKS as vicious FIRE from the S.U.V. HAMMERS the vehicle. He looks at his watch. The SECOND HAND TICKING SLOWLY…
YUSUF
Sod it. I hope your ready.
He grabs an MP3 player and reaches into the back to place HEADPHONES on sleeping Arthur’s head. As he does so, he notices Saito’s bandage BLEEDING THROUGH. Yusuf hits PLAY — Edith Piaf’s “Non, je ne regrette rien” starts up and we—
CUT TO:
INT. HOTEL STAIRWELL — NIGHT
Arthur STOPS, hearing something — MASSIVE LOW-END MUSICAL TONES — he looks up PANICKED —
ARTHUR
No, Yusuf. Too soon!
SHOTS slam into the stairs around him and we—
CUT TO:
EXT. SNOW-COVERED MOUNTAINS — DAY
Cobb and Ariadne make their way down towards the complex.
EAMES (OVER RADIO)
Cobb listens. The wind sounds unusually LOW.
EXT. FOREST, SNOW-COVERED MOUNTAINS — CONTINUOUS
Eames is hidden at the base of some trees, whispering as a patrol passes beneath his position.
EAMES
I noticed it twenty minutes ago — at first I thought it was just wind…
EXT. SNOW-COVERED MOUNTAINS — CONTINUOUS
Cobb is listening intently. The “wind” changes pitch.
COBB
No, it’s music. Dammit.
EAMES (OVER RADIO)
COBB
We move fast. Saito, did you copy?
EXT. MOUNTAINS, THE OTHER SIDE OF THE COMPLEX — CONTINUOUS
Saito and Fischer CLIMB down a CLIFF FACE above the complex—
SAITO
We’re going as fast as we can.
EXT. SNOW-COVERED MOUNTAINS — CONTINUOUS
Ariadne looks at Cobb, concerned.
ARIADNE
How long do we have?
COBB
Yusuf’s about ten seconds from the jump, which gives Arthur about three minutes, which gives us about—
ARIADNE
Sixty minutes.
COBB
The route you gave them, can they do it in under an hour?
ARIADNE
I don’t think so. They’ve still got to climb down to the middle terrace.
COBB
They need a new route — a direct route.
ARIADNE
The building’s designed as a labyrinth.
COBB
There must be access routes that cut through the maze.
(into radio)
Eames?
EXT. FOREST, SNOW-COVERED MOUNTAINS — CONTINUOUS
Eames cannot answer- he SLALOMS through the forest, Sub-security in hot pursuit, bullets smashing into the trunks…
EXT. SNOW-COVERED MOUNTAINS — CONTINUOUS
Cobb turns to Ariadne.
COBB
Did Eames add any features?
ARIADNE
Yes.
COBB
What did he add?
Ariadne looks at Cobb.
ARIADNE
I shouldn’t tell you. If Mal—
COBB
There’s no time — what did he add?
ARIADNE
Utility closets, trap doors…
COBB
What about service features? Did he add any large pipes or—
ARIADNE
Ducts. He added an air duct system — it doesn’t follow the maze. They can use it to go straight from the outer walls to the upper tower.
COBB
Explain it to them.
ARIADNE
(into radio)
Saito?
EXT. CLIFF FACE BEHIND COMPLEX — CONTINUOUS
Saito is using a hammer to tap in a belay.
SAITO
Go ahead.
And we—
CUT TO:
INT./EXT. VAN ON RAINY RAISED BRIDGE — DAY
Yusuf looks at the Security Man in the S.U.V., gives him the finger and hits the GAS — RACING BACKWARDS at the barrier… and we—
CUT TO:
INT. HOTEL STAIRWAY — NIGHT
Arthur RUNS UP the stairs, gun in hand — rounds a corner and — IMPOSSIBLY — arrives behind the Security Man, who looks at him, CONFUSED, then looks down to realize he is now at the edge of a dangerous drop — Arthur shrugs.
ARTHUR
Paradox.
Arthur PUSHES him over the edge — he falls — Arthur races up to the fourth floor — throws open the door — and we—
CUT TO:
INT./EXT. VAN ON RAINY RAISED BRIDGE — DAY
In SLOW MOTION — the van SMASHES THROUGH THE CONCRETE BARRIER — and we—
CUT TO:
INT. HOTEL CORRIDOR — NIGHT
Arthur is SPRINTING down the corridor when a TREMENDOUS CRASH sends him FLYING into the air — and we—
CUT TO:
EXT. SNOW-COVERED MOUNTAINS — DAY
A MASSIVE RUMBLE prompts Cobb to look across the valley—
EXT. FOREST, SNOW-COVERED MOUNTAINS — CONTINUOUS
Eames shoots out of the trees, then FALLS to the snow as he sees a great CRACKING up ahead— the SLOPE IS FALLING AWAY IN AN AVALANCHE—
EXT. CLIFF FACE BEHIND COMPLEX — CONTINUOUS
Saito hears the RUMBLE above them. He looks down, Fischer is below, near the bottom of the sheer face—
SAITO
Look out!
Saito CUTS the rope — they FALL — HIT the icy face and SLIDE down the slope, clearing the path of the avalanche — and we—
CUT TO:
INT./EXT. VAN — DAY
In EXTREME SLOW MOTION, the van emerges from the concrete balustrade and starts FALLING — and we—
CUT TO:
INT. HOTEL CORRIDOR — NIGHT
Arthur is still FLYING through the corridor, NOT LANDING — GRAVITY HAS DISAPPEARED… he scrambles for a handhold, GRABBING a sconce — and we—
CUT TO:
EXT. SNOW-COVERED MOUNTAINS — DAY
Cobb watches the avalanche cloud slide past the complex.
ARIADNE
What was that?
COBB
The kick.
EAMES (OVER RADIO)
COBB
Yeah, we missed it.
EXT. FOREST, SNOW-COVERED MOUNTAINS — CONTINUOUS
Eames is lying on the snow.
EAMES
What the hell do we do now?
COBB (OVER RADIO)
EAMES
What next kick?
EXT. SNOW-COVERED MOUNTAINS — CONTINUOUS
Cobb looks at Ariadne as he talks into the radio.
COBB
When the van hits the water. I figure Arthur’s got a couple minutes and we’ve got about twenty.
Cobb and Ariadne MOVE towards the base of the complex.
EXT. HOSPITAL COMPLEX — CONTINUOUS
Saito and Fischer RUN around the base of the building. They find a large EXHAUST PORT. Lay a charge on the GRILL. They blow the charge. Climb into the open vent.
INT./EXT. VAN — DAY
In EXTREME SLOW MOTION, the van seems SUSPENDED IN MID-AIR
TEN STORIES ABOVE THE RIVER… and we—
CUT TO:
INT. HOTEL CORRIDOR — NIGHT
In ZERO GRAVITY, Arthur pulls himself to the door of 491,
opens it. He looks at the charges planted on the ceiling.
ARTHUR
How the hell do I
He PULLS the charges from the ceiling. Hurrying. And we—
CUT TO:
INT. DUCT SYSTEM, HOSPITAL COMPLEX — CONTINUOUS
Saito and Fischer hurry through the duct system. Saito is falling behind, coughing up blood.
EXT. UPPER TERRACE, HOSPITAL COMPLEX — CONTINUOUS
Cobb GRABS a Security Guard from behind, strangling him unconscious. He beckons to Ariadne, covering her as she runs towards him. They enter the base of the south tower.
INT. TOP ROOM, SOUTH TOWER, HOSPITAL COMPLEX — CONTINUOUS
A guard is manning the tower. Cobb and Ariadne enter — Cobb SHOOTS the guard and moves to the window.
ARIADNE
(she points)
That’s the antechamber outside the strongroom.
Cobb looks at the large windows of the antechamber.
COBB
What about the strongroom? Doesn’t it have any windows?
ARIADNE
Wouldn’t be very strong if it did.
(off look)
Look, if you wanted to design it yourself—
COBB
It’s fine. Better hope that we like what Fischer finds in there.
Cobb sets up his sniper rifle. Through the scope he can see three guards on the balcony outside the chamber. Three more inside. Cobb casually picks them off with his rifle. Ariadne watches through binoculars, appalled.
ARIADNE
These projections, they’re part of his subconscious?
COBB
Yeah.
ARIADNE
Are you destroying those parts of his mind?
COBB
No, of course not. They’re just projections.
EAMES (OVER RADIO)
EXT. FOREST, SNOW-COVERED MOUNTAINS — CONTINUOUS
Eames is watching the patrols HEAD BACK towards the complex.
EAMES
They’re heading your way. Like they know something.
INT. TOP ROOM, SOUTH TOWER, HOSPITAL COMPLEX — CONTINUOUS
Cobb hears this. Concerned.
COBB
Buy us some time.
EAMES (OVER RADIO)
EXT. FOREST, SNOW-COVERED MOUNTAINS — CONTINUOUS
Eames TAKES OFF towards the base of the complex. And we—
CUT TO:
INT. ROOM 528 — NIGHT
Arthur FLOATS into the room. The SLEEPERS are floating, loosely connected by their tubes. Arthur looks at them, MIND RACING. He PULLS Cobb towards Eames, and we—
CUT TO:
INT. DUCT SYSTEM, HOSPITAL COMPLEX — DAY
Saito and Fischer approach the grate covering the exit to the anteroom. Saito SLUMPS to the floor of the duct, pulls out his radio. Fischer looks at him — he is PALE, SHIVERING.
Fischer takes the radio, WHISPERS into it.
FISCHER (into radio)
We’re here. Are we clear to proceed?
INT. TOP ROOM, SOUTH TOWER, HOSPITAL COMPLEC — CONTINUOUS
Cobb SCANS the anteroom through the scope — it looks clear.
COBB
You’re clear, but hurry — there’s an army headed your way…
Ariadne watches the patrols approaching the complex…
INT. DUCT SYSTEM, HOSPITAL COMPLEX — CONTINUOUS
The SQUELCH from the radio is too loud- Fischer GRABS it and turns the volume to zero as he starts to remove the grate…
EXT. BASE OF THE HOPISTAL COMPLEX — CONTINUOUS
Eames is setting MINES along the LOWEST WALL of the structure. He moves carefully-there is a SHEER DROP below the wall…
INT. TOP ROOM, SOUTH TOWER, HOSPITAL COMPLEX — CONTINUOUS
Cobb SPOTS something through his scope. Something above the main windows, glimpsed through the side of the skylight.
COBB
Shit. There’s someone else in there.
Cobb prepares to fire. Ariadne GRABS the radio—
ARIADNE
Fischer, stop! It’s a trap!—
INT. DUCT SYSTEM, HOSPITAL COMPLEX — CONTINUOUS
Fischer does not see the flashing light on his radio as he carefully lifts the grate. He motions for Saito to stay…
INT. TOP ROOM, SOUTH TOWER, HOSPITAL COMPLEX — CONTINUOUS
Cobb TENSES to fire.
COBB
Come on… a little lower… a little—
COBB FREEZES — IT IS MAL IN HIS SIGHTS. Ariadne puts up her binoculars. Spots Mal. Fischer is climbing out of the vent…
ARIADNE
Cobb, that’s not really her—
Cobb turns to her—
COBB
How can you
INT. ANTECHAMBER — CONTINUOUS
Fischer moves into the antechamber, cautious—
FISCHER
I’m in.
Fischer turns up the volume—
ARIADNE (OVER RADIO)
Mal DROPS gracefully to the floor behind him—
MAL
Hello.
INT. TOP ROOM, SOUTH TOWER, HOSPITAL COMPLEX — CONTINUOUS
Cobb looks at Ariadne—
ARIADNE
Cobb, she’s just a projection. Fischer… he’s
Cobb thinks. Nods, TURNS back to the scope — too late — MAL SHOOTS FISCHER — Cobb reflexively pulls the trigger — Mal GOES DOWN — Cobb steps back from the scope, STUNNED.
ARIADNE
Eames? Get to the anteroom now!
They run for the door.
INT. DUCT SYSTEM, HOSPITAL COMPLEX — CONTINUOUS
Saito STARTS as he hears the shot. He starts edging forwards, clutching his belly. And we—
CUT TO:
INT. ROOM 528 — NIGHT
The sleepers are floating in a rough stack, top-and-tailed. Arthur pulls the bedding from the bed and uses the sheet to bind the sleepers together. And we—
CUT TO:
INT./EXT. VAN — DAY
In EXTREME SLOW MOTION, the van CREEPS DOWNWARDS, still high above the river… and we—
CUT TO:
INT. HOTEL CORRIDOR — NIGHT
Arthur PUSHES the floating stack of sleepers to the elevator. He hits the button — the doors open — he pushes them in — GRABS the charges — climbs through the hatch in the ceiling and we—
CUT TO:
INT. DUCT SYSTEM, HOSPITAL COMPLEX — DAY
Eames steps over Saito, who looks up at him with DYING eyes—
INT. ANTECHAMBER, HOSPITAL CORRIDOR — DAY
Eames jumps out of the vent to find Cobb and Ariadne standing over the bodies of Fischer and Mal.
EAMES
What happened?
ARIADNE
Mal killed Fischer—
COBB
I wouldn’t shoot her.
Eames grabs a defibrillator from the wall and pulls Fischer’s jacket open—
COBB
It won’t do any good—
Eames SHOCKS Fischer’s chest…
COBB
Even if you could revive his body, his mind’s trapped down there. It’s over.
Eames listens for a pulse. Looks up at Cobb.
EAMES
So that it, then? We failed.
COBB
I’m sorry.
EAMES
It’s you who doesn’t get back to your family.
Eames looks down at Fischer. Then over to the double doors.
EAMES
I wanted to know what was going to happen in there. I think we had this one.
ARIADNE
There’s still a way: We follow Fischer down—
They look at her.
EAMES
We’re almost out of time—
ARIADNE
Down there they’ll be enough time. We’ll find him — soon as you hear Arthur’s music start, you use the defibrillator to revive him — we give him his own early kick from below.
(MORE)
ARIADNE (CONT’D)
Get him in there—
(points to doors)
Then, as the music ends you blow the hospital and we all ride the kick back up through the layers.
Eames looks at her, then to Cobb.
EAMES
Okay, Saito can hold them off while I plant the rest of the charges.
COBB
Saito’s not going to last, Eames.
ARIADNE
We have to try!
EAMES
Go for it, but I’m taking the kick whether you’re back or not…
Eames pulls the mechanism from his pack. Offers it to Ariadne. Cobb watches. Silent. Ariadne pulls out the tubes—
ARIADNE
Can I trust you to do what’s needed? Mal’s down there—
COBB
And I can find her. She’ll have Fischer.
ARIADNE
How do you know?
COBB
She wants me to come after him. She wants me back down there with her.
Cobb rolls up his sleeve. Ariadne rolls up her own sleeve. Eames NODS. Cobb and Ariadne lie down. Eames hits the button— WATER. BUBBLES. DROWNING. And we are—
EXT. COAST (LIMBO) — DAY
Ariadne lies in the SURF, STARING up at a CLOUDLESS SKY. A tremendous BOOM prompts her to look around her — URBAN BUILDINGS PILED right down to the water. The buildings are DECAYING, falling into the ocean like a GLACIER calving. Cobb WADES towards her through the shallow water. Ariadne looks up at the crumbling city around them.
ARIADNE
This is your world?
COBB
It was. And this is where she’ll be.
And we—
CUT TO:
INT. ELEVATOR SHAFT — DAY
Arthur floats on top of the elevator, planting small charges on the EMERGENCY BRAKES and CABLE. He sets them, GRABS the other explosives, then PUSHES AWAY, shooting up the shaft. As he hits the DETONATOR, BLASTING the braking and safety systems of the elevator, we move into SLOW MOTION, the fireballs FLAMING OUT in graceful licks and we—
DISSOLVE TO:
INT. ANTECHAMBER — DAY
Eames RACES around, full speed — getting the defibrillator paddles — laying them by Fischer’s body — he runs into the duct — pulls Saito up to a seated position and hands him a handgun.
EAMES
Come on, Saito. I need you to cover Fischer while I plant the charges.
Saito nods weakly, tries to hold the gun. Eames moves to the window — pulls his machine gun off — checks its load. Ready. He watches the security patrols climb up the outer walls… Eames lays down a HAIL of covering fire — then heads outside—
EXT. HOSPITAL COMPLEX — CONTINUOUS
Eames races along the upper terrace dodging fire — BULLETS SHATTER a window behind him and we move into SLOW MOTION, the glass CASCADING GENTLY and we—
DISSOLVE TO:
EXT. COAST (LIMBO) — DAY
Cobb and Ariadne climb out of the waves, full speed. They move into the shadow of the tall, crumbling buildings. The streets are eerily DESERTED. As they move further in, the buildings become NEWER, different. Ariadne marvels at the extraordinary collection of buildings — every architectural style imaginable in waves of FAILED UTOPIAS.
ARIADNE
You built all this?
COBB
We both did.
ARIADNE
It’s incredible.
COBB
We built for years. Then, when that got stale, we started in on the memories.
A child’s SHOUT echoes through the deserted canyons, prompting Cobb to look down a side street: a LITTLE BLONDE BOY crouched, his back to us. A LITTLE BLONDE GIRL joins the boy, and, as Cobb turns down the street, they run off.
Cobb and Ariadne emerge into a peculiar SQUARE lined with an eclectic mix of buildings, from APARTMENT BLOCKS to HOUSES.
COBB
This is our neighborhood.
ARIADNE
(confused)
From what city?
COBB
No. Our neighborhood.
(pointing)
That was our first apartment… then we moved to that building… we got that small house when Mal became pregnant.
ARIADNE
You reconstructed them all from memory?
COBB
We had time.
Cobb pauses in front of a French country house. Staring.
ARIADNE
What’s that?
COBB
The house Mal grew up in.
ARIADNE
Will she be in there?
COBB
No. Come on—
Cobb leads Ariadne to the entrance of a glass skyscraper.
INT. SKYSCRAPER LOBBY (LIMBO) — CONTINUOUS
Cobb leads Ariadne across the gleaming lobby to the
elevators.
COBB
We both wanted a house, but we both
loved skyscrapers. In the real
world we had to choose. Not here.
INT. SKYSCRAPER ELEVATOR (LIMBO) — CONTINUOUS
Cobb pulls out his handgun, and a ziplock bag full of bullets.
ARIADNE
How do we send Fischer back?
COBB
We need some kind of kick.
ARIADNE
What?
COBB
I’ll improvise.
Cobb COCKS his weapon, and the ELEVATOR STOPS. The doors open. Ariadne moves to exit, Cobb stops her.
COBB
There’s something you have to understand about me. About inception. You see, an idea is like a virus…
Cobb leads her out of the lift…
INT. PENTHOUSE (LIMBO) — CONTINUOUS
Cobb and Ariadne step off the lift and into the incongruous interior of a craftsman house. They cautiously move down the corridor towards the back of the house…
COBB
Resilient…
(turns to Ariadne)
Highly contagious, and an idea can grow. The smallest seed of an idea can grow to define or destroy your world…
Cobb is staring into the kitchen. Mal is sitting at the table, back to them, staring out at the porch — the TOWERS of Limbo stretching off behind it.
MAL
The smallest idea, such as…
Cobb hands Ariadne his gun and moves towards Mal.
MAL
A simple little thought that changes
Ariadne watches as Cobb sits down beside Mal. And we—
CUT TO:
INT. ELEVATOR SHAFT — NIGHT
Arthur FLIES back down the shaft to the top of the elevator, SQUEEZES past the car to the bottom and starts to set the MAIN CHARGES ACROSS THE BOTTOM OF THE CAR, and we—
CUT TO:
INT. PENTHOUSE (LIMBO) — DAY
Cobb touches Mal’s arm — she TURNS, angry. It is only now that we see that she holds a CARVING KNIFE. Mal looks at Ariadne.
MAL
So certain of your world. Of what’s real. Do you think he is—
(points at Cobb)
Or do you think he’s as lost as I was?
COBB
I know what’s real.
MAL
What are the distinguishing characteristics of a dream? Mutable laws of physics? Tell that to the quantum physicists. Reappearance of the dead? What about heaven and hell? Persecution of the dreamer, the creator, the messiah? They crucified Christ, didn’t they?
COBB
I know what’s real.
MAL
No creeping doubts? Not feeling persecuted, Dom? Chased around the globe by anonymous corporations and police forces? The way the projections persecute the dreamer?
Mal puts her hand on his face. Pitying.
MAL
Admit it, Dom. You don’t believe in one reality anymore. So choose. Choose your reality like I did. Choose to be here. Choose me.
COBB
(rising anger)
I have chosen, Mal. Our children. I have to get back to them. Because you left them. You left
MAL
You’re wrong, Dom. You’re confused… our children are
A child’s SHOUT draws Cobb — James CROUCHES on the porch, back to us. Philippa joins him, also turned away. Cobb watches, moved. Mal leans in close.
MAL
(whispers)
And you’d like to see their faces again, wouldn’t you, Dom?
COBB
Our real children are waiting for me up above.
And we—
CUT TO:
INT. ELEVATOR — NIGHT
Arthur scrambles to arrange the sleepers on the floor of the car — as his hand comes away from Saito, he sees BLOOD on it. He looks at Saito’s belly — the blood is coming through his shirt. Arthur sticks headphones on sleeping Eames, and we—
CUT TO:
INT. HOSPITAL FORTRESS — DAY
Eames throws a GRENADE, blowing up the security forces trying to ascend the terraces. He DUCKS to the ground to avoid HEAVY FIRE — starts unpacking the charges and setting them along the base of the terraces—
INT. DUCT SYSTEM, HOSPITAL COMPLEX — CONTINUOUS
Saito looks up as he hears a Security Guard climbing through the duct… he raises his gun, TREMBLING with weakness… And we—
CUT TO:
INT. KITCHEN, PENTHOUSE (LIMBO) — DAY
Mal laughs at Cobb.
MAL
(laughs)
Up above? Listen to yourself. You judged me for believing the very same thing.
Mal points at the children—
MAL
These are our children. Watch.
(turns to the kids)
Hey, James! Philippa?!
The children START TO TURN to us — BUT COBB CLOSES HIS EYES.
COBB
They’re not real, Mal. Our real children are waiting for us—
The children run off. Cobb opens his eyes.
MAL
You keep telling yourself that but you don’t believe it—
COBB
I know it—
MAL
And what if you’re wrong? What if I’m what’s real?
Cobb is silent.
MAL
You keep telling yourself what you know… but what do you believe? What do you feel?
Cobb looks at Mal. Struggling.
COBB
Guilt. I feel guilt. And however confused I might get.
(MORE)
COBB (CONT’D)
However lost I might seem… it’s always there. Telling me something. Reminding me of the truth.
MAL
What truth?
COBB
That you were wrong to doubt our world. That the idea that drove you to question your reality was a lie…
MAL
How could you know it was a lie?
COBB
Because it was my lie.
MAL
(realizing)
Because you planted the idea in my mind.
COBB
Because I performed inception on my own wife, then reaped the bitter rewards…
ARIADNE
Why?
COBB
We’d become lost in here. Living in a world of infinite possibilities. A world where we were gods. I realized we needed to escape, but she’d locked away her knowledge of the unreality of this world…
COBB
I couldn’t make Mal understand that we needed to break free. To die. So I started to search our world…
Cobb turns to Mal, but keeps talking to Ariadne…
COBB
Searching for the right place in her mind…
COBB
And when I found that place, that secret place where she had shut away her knowledge years before, I broke it open…
COBB
I broke into the deepest recess of her mind, to give her the simplest little idea.
COBB
A truth that she had once known, but had chosen to forget…
COBB
That her world was not real.
COBB (V.O.)
That death was a necessary escape.
COBB
You’re waiting for a train. A train that will take you far away. You know where you hope this train will take you, but you can’t know for sure. Yet it doesn’t matter…
MAL
Because you’ll be together.
Back in the present— Cobb looks into Mal’s eyes. She is crying.
COBB
I never thought that the idea I’d planted would grow in her mind like a cancer. That even after we woke…
COBB
You’d continue to believe that your world was not real…
Crying, Mal nods—
MAL
That death was the only escape?
MAL
You killed me.
Cobb looks at Mal. Whispers—
COBB
I was trying to save you — I’m sorry.
Mal comes in close to Cobb. Looks him over.
MAL
You infected my mind. You betrayed me. But you can make amends. You can still keep your promise. We can still be together… right here. In our world. The world we built together.
CUT TO:
INT. ELEVATOR — NIGHT
Arthur hits “Play” on his music player — Edith Piaf starts to ring out, Arthur checks his detonator and we—
CUT TO:
INT. ANTECHAMBER — DAY
Eames races back in- in the relative quiet he notices MASSIVE LOW-E MUSICAL TONES. He drops his gun and goes to Fischer’s side…
INT. DUCT SYSTEM, HOSPITAL COMPLEX — CONTINUOUS
Saito musters all his remaining strength as the guard emerges — Saito FIRES, dropping the guard, then COLLAPSES, the gun clattering to the duct floor… Saito is dead.
INT. ANTECHAMBER — CONTINUOUS
Eames powers up the defibrillator, puts the paddles on Fischer’s chest, then Pow! — he shocks him, and we—
CUT TO:
INT. PENTHOUSE (LIMBO) — DAY
LIGHTNING crackles across the sky — Ariadne sees it.
ARIADNE
We need Fischer.
MAL
You can’t have him.
Cobb stares at Mal. Mesmerized.
COBB
If I stay, can she take him back?
ARIADNE
Cobb, what are you saying?
MAL
Fischer’s on the porch.
ARIADNE
Cobb, you can’t do this.
COBB
Go check he’s alive, Ariadne.
Ariadne moves onto the porch, high above the metropolis, and we—
CUT TO:
INT. ELEVATOR — NIGHT
Arthur nods his head in time with the music, counting down, holding the detonator. He starts bracing himself, and we—
CUT TO:
INT. ANTECHAMBER — DAY
Eames recharges the defibrillator. SHOCKS Fischer again, and we—
CUT TO:
EXT. PORCH, PENTHOUSE (LIMBO) — DAY
Ariadne looks up as a LARGE BOLT OF LIGHTNING RIPS across the sky… she looks down to see Fischer, BOUND AND BLOODY, lying below the rail.
ARIADNE
He’s here. And it’s time. But you have to come with us.
Another massive lightning strike flickers across the sky—
ARIADNE
Cobb, I’m not going to let you lose yourself in here! You have to get back to your children!
COBB
Send Fischer, I have to stay—
ARIADNE
You can’t stay here to be with her—
Cobb turns from Mal. Looks at Ariadne.
COBB
I’m not. Saito is dead by now. That means he’s here. I have to stay here and find him.
Ariadne removes Fischer’s gag — pulls him up, onto the rail.
Cobb looks back at Mal.
COBB
I can’t stay here to be with her because she’s not real.
Mal looks at Cobb, furious.
MAL
Not real? I’m the only thing you do believe in anymore. Here — doesn’t this feel real, Dom?
She STABS him in the chest — Cobb WHEEZES — GASPING, looking at Mal—
COBB
I wish you were. But I couldn’t make you real. I’m not capable of imagining you in all your complexity and… perfection. As you really were. You’re the best I can do. And you’re not real.
Mal pulls the knife and moves to STRIKE again—
ARIADNE
No!
A SHOT rings out, Mal GRABS her shoulder — Cobb turns to Ariadne, who is pointing Cobb’s gun.
COBB
What’re you doing?
ARIADNE
Improvising.
She KICKS Fischer off the roof — AIMS again at Mal—
Fischer DROPS as the sky LIGHTS UP WITH ELECTRICITY — Fischer SCREAMS, then GASPS, no longer falling, and we are—
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.
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—
CUT TO:
INT. FIRST CLASS CABIN, 747 — DAY
Ariadne watches Cobb. His eyes are closed.
FLIGHT ATTENDANT (O.S.)
Hot towel, sir?
His EYES FLICKER OPEN. He takes the towel with a nod. Ariadne smiles. Relieved.
FLIGHT ATTENDANT
We’ll be landing in Los Angeles in about twenty minutes. Do you need immigration forms?
Cobb nods. Takes a landing card. Looks around the cabin.
Saito is WATCHING him. Serious. Haunted. Holding Cobb’s gaze, SAITO PICKS UP THE PHONE AND DIALS. Cobb nods thanks…
INT. ARRIVALS, LAX — LATER
Cobb steps forwards to the IMMIGRATION OFFICIAL. Hands him his passport. Nervous. The Official takes a beat, looks Cobb up and down, then WHUMP! — the passport is stamped. As Cobb takes it back, he spots Ariadne at the next counter. She nods at him. He nods back. Then moves off…
As Cobb passes through baggage claim, he exchanges subtle greetings with Eames and Yusuf.
Arthur smiles broadly at Cobb. Cobb brushes past Fischer, who glances back at him as if thinking maybe he should know him, then moves on…
As Cobb emerges into the crowded arrivals hall, he spots Professor Miles, waving at him…
INT. KITCHEN, COBB AND MAL’S HOUSE — DAY
Cobb enters with Miles. Drops his bags. Moves to the table, looking out at the overgrown garden. He reaches into his pocket, takes out his pewter spinning top, lowers it to the table and SPINS IT — a CHILD’S SHOUT makes him look up—
Through the window, James and Philippa have run into view, playing, THEIR FACES TURNED AWAY… Cobb STARES at the back of his children’s heads… Miles moves to the window and KNOCKS on the glass—
James and Philippa TURN- see their Dad. He steps to the window, watching their BRIGHT FACES SHINING as they run towards him…
Behind him, on the table, the spinning top is STILL SPINNING. And we—
FADE OUT.
CREDITS.
END.