diff --git "a/scripts/Inception.txt" "b/scripts/Inception.txt" new file mode 100644--- /dev/null +++ "b/scripts/Inception.txt" @@ -0,0 +1,8801 @@ + 1. + + + + 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. + + +1 INT. ELEGANT DINING ROOM - JAPANESE CASTLE - LATER 1 + + 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. + + +2 INT. SAME - MOMENTS LATER 2 + 2. + + + 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 this is. + + 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.) + What's the most resilient parasite? + + CUT TO: + + +3 INT. SAME ELEGANT DINING ROOM - NIGHT - YEARS EARLIER 3 + + 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- + 3. + + + 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 idea. + +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 idea? + Fully formed, understood? That + sticks -- + (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 + 4. + + + Because I am the most skilled + extractor. I know how to search + your mind and find your secrets. I + know the tricks, and I can teach + them to your subconscious so that + even when you're asleep, your guard + is never down. + + 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: + + +4 INT. FILTHY BATHROOM - DAY - FEELS LIKE DIFFERENT TIME 4 + + 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. + 5. + + + 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: + + +5 INT. BULLET TRAIN COMPARTMENT - DAY - FEELS LIKE DIFFERENT 5 + 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: + + +6 INT. FILTHY BATHROOM - CONTINUOUS 6 + + Another EXPLOSION- Nash CHECKS the sleeping Cobb and we -- + + CUT TO: + + +7 EXT. ROOFTOP TERRACES - JAPANESE CASTLE - NIGHT 7 + 6. + + +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 knows. He's playing with us. + + 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 she doing here, Cobb? + +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. + 7. + + + MAL + So what? + + +8 INT. BEDROOM SUITE, JAPANESE CASTLE - MOMENTS LATER 8 + + 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. + 8. + + + 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. + + +9 EXT. JAPANESE CASTLE WALL - CONTINUOUS 9 + + Cobb RAPPELS down the wall, darting past windows. He stops + at a particular one. Gets out a glass cutter. + + Suddenly he starts DROPPING. + + +10 INT. BEDROOM SUITE, JAPANESE CASTLE - CONTINUOUS 10 + + The EMPTY CHAIR SLIDES across the floor, WEDGES under the + window. + + +11 EXT. JAPANESE CASTLE WALL - CONTINUOUS 11 + + Cobb JOLTS to a stop 15 ft. lower. He looks up at the + bedroom window. Shakes his head. Starts climbing back. + + +12 INT. KITCHEN - JAPANESE CASTLE - MOMENTS LATER 12 + + 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. + + +13 INT. HALL - JAPANESE CASTLE - CONTINUOUS 13 + + 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. + + +14 INT. DINING ROOM - JAPANESE CASTLE - CONTINUOUS 14 + 9. + + +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 she tell you, or have you known + all along? + + 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 + 10. + + + 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 + your mind, aren't we, Arthur? + + 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: + + +15 INT. FILTHY BATHROOM - DAY 15 + + 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: + + +16 INT. JAPANESE CASTLE CORRIDOR - NIGHT 16 + 11. + + + Cobb LURCHES towards the stairs, as all around him the + building BUCKS and HEAVES. + + +17 INT. DINING ROOM - JAPANESE CASTLE - CONTINUOUS 17 + + 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. + + +18 EXT. GRAND STAIRCASE - JAPANESE CASTLE - CONTINUOUS 18 + + Cobb runs up the stairs, pulling out the SECOND ENVELOPE. + + +19 INT. DINING ROOM, JAPANESE CASTLE - CONTINUOUS 19 + + 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. + + +20 INT. GRAND STAIRCASE - JAPANESE CASTLE - CONTINUOUS 20 + + As Cobb runs up the stairs he reads the TYPEWRITTEN SHEETS + from his envelope, and we -- + + CUT TO: + + +21 INT. DILAPIDATED HOTEL ROOM - DAY 21 + + 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! + + +22 INT. FILTHY BATHROOM - CONTINUOUS 22 + 12. + + + Nash turns to Cobb. Raises his hand and SMACKS him across + the face, and we -- + + CUT TO: + + +23 INT. GRAND STAIRCASE - JAPANESE CASTLE - NIGHT 23 + + Cobb is SMASHED sideways off his feet. + + +24 INT. DINING ROOM - JAPANESE CASTLE - NIGHT 24 + + The CEILING CRACKS above Saito, he looks up as a TON of + STONE floods down, CRUSHING HIM and we -- + + CUT TO: + + +25 INT. DILAPIDATED HOTEL ROOM - DAY 25 + + Saito's eyes FLICKER OPEN. AWAKE. + + +26 INT. FILTHY BATHROOM - CONTINUOUS 26 + + Nash SMACKS Cobb again. + + NASH + He won't wake! + + +27 INT. DILAPIDATED HOTEL ROOM - CONTINUOUS 27 + + 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. + + +28 INT. FILTHY BATHROOM - CONTINUOUS 28 + + 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: + 13. + + +29 INT. GRAND STAIRCASE - JAPANESE CASTLE - NIGHT 29 + + 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: + + +30 INT. FILTHY BATHROOM - DAY 30 + + Cobb in SLOW MOTION, hits the WATER, head THRASHING as he + goes under and we -- + + CUT TO: + + +31 INT. GRAND STAIRCASE - JAPANESE CASTLE - NIGHT 31 + + 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 -- + + +32 INT. FILTHY BATHROOM - DAY 32 + + 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. + + +33 INT. DILAPIDATED HOTEL ROOM - MOMENTS LATER 33 + + 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 you find it? + 14. + + + 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: + + +34 INT. BULLET TRAIN COMPARTMENT - DAY 34 + + Todashi slips a pair of HEADPHONES over Nash's ears, then + pulls out an MP3 player and we -- + + CUT TO: + + +35 INT. DILAPIDATED HOTEL ROOM - DAY 35 + + 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. + 15. + + + 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: + + +36 INT. BULLET TRAIN COMPARTMENT - DAY 36 + + 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: + + +37 INT. DILAPIDATED HOTEL ROOM - DAY 37 + + In the distant background, strange MASSIVE low-end MUSICAL + start, sounding like DISTANT HORNS. + + SAITO + So leave me and go. + + COBB + 16. + + + 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 will pull the trigger. Saito BLINKS, looks away in + shame. + + When he NOTICES SOMETHING. And starts LAUGHING. + + 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 wool. + Right now I'm lying on polyester. + + Cobb glares at Nash, and we -- + + CUT TO: + + +38 INT. BULLET TRAIN COMPARTMENT - DAY 38 + + Todashi watches the first of the countdowns hit ZERO. He + looks up at Arthur, STIRRING, and we -- + + CUT TO: + + +39 INT. DILAPIDATED HOTEL ROOM - DAY 39 + 17. + + + 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: + + +40 INT. BULLET TRAIN COMPARTMENT - DAY 40 + + 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: + + +41 INT. DILAPIDATED HOTEL ROOM - DAY 41 + + 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: + + +42 INT. BULLET TRAIN COMPARTMENT - DAY 42 + + Arthur retracts the tubes into the case as he watches the + next countdown hit ZERO, and we -- + + CUT TO: + 18. + + +43 INT. DILAPIDATED HOTEL ROOM - DAY 43 + + 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: + + +44 INT. BULLET TRAIN COMPARTMENT - DAY 44 + + 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 architect -- + + NASH + I didn't know he was going to rub + his damn cheek on it! + 19. + + + 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. + + +45 EXT. JAPANESE COUNTRYSIDE - CONTINUOUS 45 + + The BULLET TRAIN speeds through the lush landscape. + + +46 INT. BULLET TRAIN COMPARTMENT - CONTINUOUS 46 + 20. + + + 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. + + +47 EXT. TOKYO - DUSK 47 + + Moving over the vast city towards a high rise. A HELICOPTER + thumps into frame, heading for a pad on the roof. + + +48 INT. APARTMENT - TOKYO - CONTINUOUS 48 + + 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) + Hi, Daddy! Hi, Dad. + + COBB + Hey, guys. How are you? + + CHILDREN'S VOICES (OVER PHONE) + Good. Okay, I guess. + + Cobb closes his eyes, trying to picture his children: + INSERT CUT: COBB's MEMORY, a LITTLE BLONDE BOY (3), back + towards us, crouches IN A GARDEN, looks at something in the + grass. + + COBB + Who's just okay? Was that James? + + JAMES (OVER PHONE) + Yeah. When are you coming home? + + COBB + I can't. Not for a while. + + INSERT CUT: A LITTLE BLONDE GIRL (5), also FACE UNSEEN, + joins JAMES, CROUCHING BESIDE HIM. + + JAMES (OVER PHONE) + Why? + + COBB + Well, James, like I've told you -- + I'm away because I'm working -- + 21. + + + LITTLE GIRL (OVER PHONE) + Grandma says you're never coming + back. + +Cobb pauses. Takes a breath. + +INSERT CUT: James and Philippa, FACES UNSEEN, lift their +heads from the grass, responding to someone's call, they +RUN AWAY FROM US ACROSS THE GARDEN. + + COBB + Philippa, can you ask Grandma to + pick up the phone -- + + PHILIPPA (OVER PHONE) + She's shaking her head. + +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) + Daddy? + + COBB + Yes? + + JAMES (OVER PHONE) + Is Mommy with you? + +Cobb looks like he just got punched. + +INSERT CUT: COBB'S MEMORY - MAL, WIND BLOWING HER HAIR, +SMILES CALMLY. + + COBB + No. No, we talked about this, + James. Mommy's gone. + + JAMES (OVER PHONE) + Where? + + GRANDMA'S VOICE (OVER PHONE) + Time to go, kids. Say bye, bye. + + COBB + I'll give some presents to Grandpa, + okay? Just be good for -- + 22. + + + 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. + + +49 INT. CORRIDOR - CONTINUOUS 49 + + Cobb and Arthur head towards the elevator. + + ARTHUR + Where will you go? + + COBB + 23. + + + 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. + + +50 EXT. ROOFTOP HELIPAD - NIGHT 50 + + 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. + + +51 INT. HELICOPTER ON PAD - CONTINUOUS 51 + + 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. + 24. + + + 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." + + ARTHUR + (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 + 25. + + + 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. + + +52 EXT. AIRFIELD - MOMENTS LATER 52 + + The helicopter sets down next to a PRIVATE JET. + + +53 INT. HELICOPTER - CONTINUOUS 53 + + 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? + 26. + + + 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. + + +54 INT. PRIVATE JET - LATER 54 + + 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 + 27. + + + 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. + + +55 INT. GREAT HALL - ÉCOLE D'ARCHITECTURE - MORNING 55 + + Cobb, carrying a shopping bag, looks into a lecture hall: + no students, just a RUMPLED PROFESSOR hunched over + paperwork. + + +56 INT. LECTURE HALL - CONTINUOUS 56 + + 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 + 28. + + + 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? + 29. + + + 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 + 30. + + + 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. + + COBB + This job, this last job, is how I + get there. + 31. + + + 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. + + +57 INT. CORRIDOR - LATER 57 + + 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.) + + +58 EXT. ROOFTOP - ÉCOLE D'ARCHITECTURE - MOMENTS LATER 58 + + 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. + 32. + + + 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. + 33. + + + 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. + + +59 EXT. NARROW STREET - PARIS - DAY 59 + + Arthur stops at a warehouse door. Consults a piece of + paper. + + +60 INT. WORKSHOP - CONTINUOUS 60 + + A large, dusty warehouse. The SLIDING DOOR cracks open. + Arthur enters. Looks around, approvingly. + + +61 INT. SAME - LATER 61 + + 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. + + +62 EXT. PARISIAN CAFE - DAY 62 + + 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 awake. While we dream, the + mind performs wonders. + + 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 + flies- + + ARIADNE + I'm discovering it. + 34. + + + COBB + Exactly. Genuine inspiration. + +Cobb leans forwards and draws on the paper table cloth. + + COBB + In a dream your mind continuously + does that -- + +Cobb has drawn a circle made of two arrows. + + COBB + It creates and perceives a world + simultaneously. So well that you + don't feel your brain doing the + creating. That's why we can short- + circuit the process -- + + 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 £111 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 + Our dreams reel real while we're in + them. It's only when we wake up we + realize things were strange, + +Ariadne gestures around them. + 35. + + + ARIADNE + But all the textures of real life, + the stone, the fabric, cars, + people, your mind can't create all + this. + + 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 dreaming. + +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 -- + 36. + + + Ariadne is WIPED FROM HER SEAT BY A MASSIVE BLAST and we -- + + CUT TO: + + +63 INT. WORKSHOP - DAY 63 + + Ariadne JOLTS awake. + + COBB (O.S.) + Because it's never just a dream. + + 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 -- + 37. + + + CUT TO: + + +64 EXT. SAME PARISIAN STREET - DAY 64 + + 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, you are the dreamer, I am the + subject. My subconscious populates + your world. That's one way we get + at a subject's thoughts, his mind + creates the people, so we can + literally talk to his subconscious. + + 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 + 38. + + + 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 feel of + things. Question is, what happens + as you start to mess with physics - + - + +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 feels that someone + else is creating the world. The + more you change things, the quicker + the projections converge on you. + + 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. + 39. + + +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 + subconscious. I don't control it. + +The bridge now spans the Seine. Cobb marvels at it. + + COBB + Arched stone, iron pillars -- it's + -- + +Cobb pauses, thinking. Remembering. + +INSERT CUT: Mal, hair blowing, turns to Cobb, smiling, +laughing. He smiles back. They are on the same bridge. + + COBB + I know this bridge. This place is + real -- + (serious) + You didn't imagine it, you + remembered it -- + + 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 + -- + 40. + + + 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, starinq at Ariadne. +PEOPLE around her stop and look at her, hostile. + + COBB + Look, this isn't about me -- + +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 + 41. + + + Wake me up! + + Ariadne SCREAMS as Mal LUNGES at her with the knife and we + -- + + CUT TO: + + +65 INT. WORKSHOP - DAY 65 + + 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. + 42. + + + ARTHUR + So. A totem. You need something + small, potentially heavy -- + + +66 INT. BATHROOM - WORKSHOP - CONTINUOUS 66 + + Cobb takes out his PEWTER SPINNING TOP, SPINS it on the + marble counter. + + +67 INT. WORKSHOP - CONTINUOUS 67 + + Ariadne looks at Arthur, puzzled. + + ARIADNE + Like a coin? + + ARTHUR + Too common. You need something that + has a weight or movement that only + you know. + + +68 INT. BATHROOM - WORKSHOP - CONTINUOUS 68 + + Cobb STUDIES the spin of the top as it decays, becoming + more and more ECCENTRIC. + + +69 INT. WORKSHOP - CONTINUOUS 69 + + ARIADNE + What's yours? + + Arthur holds out a DIE. + + ARTHUR + A loaded die. + + Ariadne reaches for it. Arthur snatches sit 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 -- + 43. + + +70 INT. BATHROOM - WORKSHOP - CONTINUOUS 70 + + 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. + + +71 INT. WORKSHOP - CONTINUOUS 71 + + 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 open my mind to someone like + that. + + 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 + 44. + + + Necessary risk. + + ARTHUR + There are plenty of other thieves. + + COBB + We don't just need a thief. We need + a forger. + + +72 INT. GAMBLING DEN - MOMBASA - DAY 72 + + 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. + 45. + + + EAMES + Versatile. + + +73 INT. STREET - MOMBASA - CONTINUOUS 73 + + 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. + + +74 EXT. BALCONY OF A COFFEE HOUSE - LATER 74 + + 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 + 46. + + +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 +Yeas 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? + 47. + + + 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 is you! + +Cobb nonchalantly SLIPS over the balcony DROPPING HARD into +the midst of the crowd on the street below. + 48. + + + EAMES + (looks harder) + Oh. No, it isn't. + + +75 EXT. STREET - MOMBASA - CONTINUOUS 75 + + 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 + 49. + + + (jumping in) + What brings you to Mombasa, Mr. + Saito? + + SAITO + I have to protect my investment. + + +76 EXT. COFFEE HOUSE - MOMENTS LATER 76 + + 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. + + +77 INT. WORKSHOP - DAY 77 + + 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: + 50. + + +78 INT. PENROSE STEPS - LATER 78 + + 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. + + ARTHUR + 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. + 51. + + + 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 + 52. + + + What was she like in real life? + + ARTHUR + (quiet) + She was lovely. + + CUT TO: + + +79 EXT. ROOFTOP - OLD TOWN - MOMBASA - DAY 79 + + 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 + inception. The seed of the idea we + plant will grow in this man's mind. + It'll change him. It might even + come to define him. + + 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 + 53. + + + 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. + + +80 EXT. DECREPIT BUILDING - MOMBASA - LATER 80 + + Eames leads Cobb and Saito down uneven steps to a doorway. + + +81 INT. STAIRWELL - CONTINUOUS 81 + + Peeling paint, buzzing flies. They ascend to a dusty, wire, + reinforced glass door which Eames pushes open. + 54. + + +82 INT. PHARMACY - CONTINUOUS 82 + + 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. + 55. + + + 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. If you + could explain to the international + control council what you wanted it + for. + +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. + 56. + + + YUSUF + A powerful sedative. How many team + members? + + 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. + + +83 INT. BACK ROOM - PHARMACY - CONTINUOUS 83 + + 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 + 57. + + + 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 you still dream, Mr. Cobb? + +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 + 58. + + + They come to be woken up -- the + dream has become their reality -- + + The Elderly Bald Man pokes a crooked finger at Cobb's + chest. + + ELDERLY BALD MAN + And who are you to say otherwise? + + Cobb STARES at the Elderly Bald Man. DISTURBED. Cobb turns + to Yusuf. TOSSES him the bottle. + + COBB + Let's see what you can do. + + +84 INT. SAME - MOMENTS LATER 84 + + 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: + + +85 EXT. WASTELAND - DAY 85 + + 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: + + +86 INT. BACK ROOM - PHARMACY - DAY 86 + + Cobb's eyes open. Yusuf is watching him. + + YUSUF + Sharp, no? + + Cobb nods. Gets to his feet, looking around. + + +87 INT. BATHROOM - PHARMACY - CONTINUOUS 87 + + Cobb SPLASHES water on his face, breathing hard. + + INSERT CUT: A CURTAIN BILLOWS. MAL TURNS TO US, HAIR + BLOWING, SMILING. + 59. + + + 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. + + +88 INT. BACK ROOM - WORKSHOP - NIGHT 88 + + 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. + + +89 INT. WORKSHOP - CONTINUOUS 89 + + 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. + 60. + + + 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 you bring Mal in. + +Cobb says nothing. + + ARIADNE + 61. + + + 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. + +INSERT CUT: Mal, wind BLOWING her hair, smiles at Cobb. Now +we see Cobb, SHAKING HIS HEAD, TEARS STREAMING, BEGGING. + + COBB + Thank you. + + ARIADNE + For what? + + COBB + Not asking whether I did. + 62. + + +90 INT. WORKSHOP - DAY 90 + + 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 + 63. + + + 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: + + +91 EXT. NEW YORK STREETS - DAY 91 + + 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. + 64. + + + 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? + 65. + + + SAITO + You fly out to Sydney on Tuesday. + We've arranged for you to spend + several days -- + + +92 INT. ANTEROOM - MAURICE FISCHER'S OFFICE - DAY 92 + + 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 + -- + + +93 INT. MAURICE FISCHER'S INNER OFFICE - CONTINUOUS 93 + + 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 + 66. + + + 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 . + + +94 INT. BATHROOM - DAY 94 + + 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. + + +95 INT. WORKSHOP - CONTINUOUS 95 + + EAMES + 67. + + + 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: + + +96 INT. DESERTED HOTEL LOBBY - DAY 96 + + 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 + 68. + + + Twelve hours and forty-five + minutes-one of the longest flights + in the world. He makes it every two + weeks -- + + +97 EXT. AIRFIELD - DAY 97 + + 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. + + +98 INT. HOTEL LOBBY - DAY 98 + + 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. + 69. + + + COBB + (to Ariadne) + Nice lobby, by the way. + + And we -- + + CUT TO: + + +99 INT. WORKSHOP - DAY 99 + + 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 earthquake. + The dreams are gonna collapse with + the slightest disturbance. + + Yusuf clears his throat. + + YUSUF + Sedation. For sleep stable enough + to create three layers of dreaming + -- + + +100 INT. MAKESHIFT LAB - DAY 100 + + Yusuf depresses a plunger. Arthur is SLEEPING in a chair. + + YUSUF (V.O.) + We will have to combine it with an + extremely powerful sedative -- + + Eames SLAPS Arthur, HARD. Arthur does not stir. + + +101 INT. WORKSHOP - DAY 101 + + 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: + 70. + + + COBB + Buying us more time in each level. + + YUSUF + Brain function in the dream will be + about twenty times normal. + + YUSUF + And when you go into a dream within + that dream the effect is + compounded. + + ARIADNE + How much time? + + YUSUF + Three dreams -- that's ten hours, + times twenty, times twenty, times + twenty -- + + 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 + 71. + + + 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 -- + + +102 INT. MAKESHIFT LAB - DAY 102 + + Cobb, Eames and Yusuf watch Arthur, ASLEEP, in a chair. + + YUSUF (O.S.) + To leave inner ear function + unimpaired -- + + 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. + + +103 INT. WORKSHOP - DAY 103 + + Arthur thinks, nodding slowly. + + YUSUF + That way, however deep the sleep, + the sleeper will still feel falling + -- + + +104 INT. MAKESHIFT LAB - DAY 104 + + Yusuf gleefully LEANS a SLEEPING ARTHUR to one side. + + YUSUF (V.O.) + 72. + + + Or tipping -- + + Arthur goes down with a CRASH, JERKING AWAKE- + + +105 INT. WORKSHOP - DAY 105 + + Arthur thinks this through. + + ARTHUR + Even that won't cut through three + layers of deep sleep. + + COBB + The trick is to devise a kick for + each level, then synchronize them + to get a snap that penetrates all + three layers. + + Arthur looks at Cobb, getting it. + + ARTHUR + We can use the musical countdown to + synchronize the different kicks. + + +106 INT. WORKSHOP - NIGHT 106 + + 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: + + +107 INT. CAGE STYLE ELEVATOR - DAY 107 + + Ariadne ascends. She looks at the buttons. Spots the "B." + The elevator STOPS. She looks through the grill at -- + + +108 INT. YOUNG GIRL'S BEDROOM - DAY 108 + + 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. + 73. + + +109 INT. LIVING ROOM - CONTINUOUS 109 + + 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. + + +110 INT. CAGE STYLE ELEVATOR - DAY 110 + + 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. + 74. + + + 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. + + +111 INT. CAGE STYLE ELEVATOR - CONTINUOUS 111 + + 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 -- + + +112 INT. KITCHEN - COBB AND MAL'S HOUSE - MOMENTS LATER 112 + 75. + + +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. + 76. + + + 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. + + +113 INT. CAGE STYLE ELEVATOR - CONTINUOUS 113 + + 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 -- + + +114 INT. ELEGANT HOTEL SUITE - CONTINUOUS - NOW NIGHT 114 + + 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 + 77. + + + 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 doesn't matter. How can + it not matter to you where that + train will take you? + + 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 here, Dom? + + 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. + + +115 INT. CAGE STYLE ELEVATOR - CONTINUOUS 115 + + 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!- + 78. + + + 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: + + +116 INT. WORKSHOP - NIGHT 116 + + 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. + 79. + + + 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. + + +117 INT. DEPARTURE GATE - SYDNEY - DAY 117 + + 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. + + +118 INT. FIRST CLASS CABIN - 747 - CONTINUOUS 118 + + 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. + 80. + + + 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. + + +119 EXT. RUNWAY - MOMENTS LATER 119 + + The 747 HURTLES down the runway. + + +120 INT. FIRST CLASS CABIN - 747 - MOMENTS LATER 120 + + 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 Maurice Fischer? + 81. + + + 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. + + +121 EXT. 747 - LATER 121 + + The great plane SOARS through a burning cloudscape. + + +122 INT. FIRST CLASS CABIN - 747 - MOMENTS LATER 122 + + 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: + 82. + + +123 INT. SEDAN - DAY 123 + + Cobb DRIVES. Saito and Arthur are in the back. Rain BEATS + down. Cobb pulls over. + + +124 EXT. NEW YORK STREETS - CONTINUOUS 124 + + Yusuf stands on the corner, silver briefcase in hand, + collar turned up against the rain. He reaches for the door. + + +125 INT. SEDAN - CONTINUOUS 125 + + 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. + + +126 INT/EXT. SEDAN ON RAINY NEW YORK STREETS - CONTINUOUS 126 + + 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 -- + 83. + + + 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. + + +127 INT/EXT. CAB ON RAINY NEW YORK STREETS - CONTINUOUS 127 + + 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. + 84. + + + 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. + 85. + + + ARTHUR + Everybody okay? Saito? + + Arthur looks at Saito. Saito's hand is at his belly. + Covered in BLOOD. + + +128 EXT. WAREHOUSE - MOMENTS LATER 128 + + The sedan and cab pull into the side entrance. Eames jumps + out. PULLS the shutter down behind them. + + +129 INT. WAREHOUSE - CONTINUOUS 129 + + 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 trained! + + ARIADNE + How could they be trained? + + ARTHUR + 86. + + + 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 dying! + + 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. + 87. + + + 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? + 88. + + + Cobb says nothing. Saito groans more loudly. + + ARTHUR + Let's just get him upstairs. + + +130 INT. OFFICE - WAREHOUSE - MOMENTS LATER 130 + + 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 + 89. + + + 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. + + +131 INT. BATHROOM - WAREHOUSE - LATER 131 + + Cobb and Arthur, wearing BALACLAVAS, PULL the sack from + Fischer's head. He is chained to the radiator. + 90. + + + 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? + + +132 INT. OFFICE - WAREHOUSE - CONTINUOUS 132 + + 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? + 91. + + + 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. + + +133 INT. BATHROOM - WAREHOUSE - CONTINUOUS 133 + + 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. + + +134 INT. BATHROOM - WAREHOUSE - MOMENTS LATER 134 + 92. + + +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 + 93. + + + After my mother died, I went to him + in my grief. + + FISCHER + 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 eleven, Uncle Peter. + + 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. + + +135 INT. OFFICE - WAREHOUSE - CONTINUOUS 135 + + 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? + 94. + + + COBB + His conscious mind will drop out of + the dream. He'll be trapped in + Limbo for a lifetime -- + + 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 had an + arrangement. You'll have forgotten + this world. Limbo will be your + reality. Lost there so long, you'll + have become an old man -- + + 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 + 95. + + + What truth? + + ARIADNE + The truth that at any minute you + might bring a freight train through + the wall. The truth that Mal is + bursting up through your + subconscious. + + ARIADNE + 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 -- + +INSERT CUT: MAL LIES ON THE SAND, STARING UP AT A CLOUDLESS +SKY, WAVES WASHING OVER HER. + + 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? + 96. + + + INSERT CUT: COBB AND MAL BUILD A SANDCASTLE ON THE BEACH. + + COBB + We built. We created a whole world + for ourselves. + + INSERT CUT: COBB AND MAL WALK THROUGH A DESERTED CITY. + + 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 -- + + INSERT CUT: + + +136 INT. MAL'S CHILDHOOD HOME - DAY 136 + + Mal opens a DOLL'S HOUSE. Inside is a SAFE. She opens it, + it is empty. She pulls out her SPINNING TOP. + + COBB (V.O.) + -- she'd decided to forget that our + world wasn't real. + + Mal places the top inside the safe. LOCKS IT AWAY. + + +137 INT. OFFICE - WAREHOUSE - CONTINUOUS 137 + + 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? + 97. + + + 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 -- + + +138 INT. COBB AND MAL'S KITCHEN - DAY - FLASHBACK 138 + + Cobb is trying to calm Mal, who is hysterical. + + COBB (V.O.) + That to get home we'd have to kill + ourselves. + + +139 INT. WORKSHOP - DAY 139 + + 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 -- + + +140 INT. COBB AND MAL'S KITCHEN - DAY - FLASHBACK 140 + + 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 + 98. + + + (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.) + She was certain. But she loved me + too much to go without me. So she + made a plan -- + + +141 INT. ELEGANT HOTEL CORRIDOR - NIGHT - FLASHBACK 141 + + Cobb walks along, checking door numbers against a key. + + COBB (V.O.) + For our anniversary -- + + +142 INT. ELEGANT HOTEL SUITE - CONTINUOUS - FLASHBACK 142 + + 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. + + +143 EXT. EXTERIOR ATRIUM - CONTINUOUS - FLASHBACK 143 + + 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. + 99. + + + 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 + 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 + 100. + + + 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. + + +144 INT. OFFICE - WAREHOUSE - DAY 144 + + Cobb stares as he remembers. + + COBB + He letter to the authorities + refuted all the claims about her + sanity that she knew I'd make. + + +145 INT. COBB AND MAL'S KITCHEN - DAY - FLASHBACK 145 + + Cobb stands with the Thin Man, who has a piece of paper. + + COBB (V.O.) + She'd had herself declared sane by + three different psychiatrists. + + Cobb hears a SHOUT, turns to the garden. James CROUCHES, + Philippa joins him, examining the ground, FACES UNSEEN. + 101. + + + COBB (V.O.) + It was impossible for me to explain + the nature of her madness -- + + 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 -- + + +146 INT. OFFICE - WAREHOUSE - DAY 146 + + Cobb looks across at Ariadne. + + ARIADNE + Psychiatrists judged her sane? + + COBB + She was sane. She was just lost in + the labyrinth. + + 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 + 102. + + + 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?! + + +147 INT. BATHROOM - WAREHOUSE - CONTINUOUS 147 + + 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 + 103. + + + 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 + First six numbers that come into + your head. Right now. + + FISCHER + I have no idea -- + 104. + + + 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. + + +148 INT. WAREHOUSE - CONTINUOUS 148 + + 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. + 105. + + + 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 + Shall we? + + They climb into the van. + + +149 INT/EXT. VAN ON RAINY STREETS - CONTINUOUS 149 + + 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 + 106. + + + 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 + (to Yusuf) + 107. + + + 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 + Everyone ready? + + Nods all round. + + YUSUF + Sweet dreams -- + + Yusuf hits a button and we -- + + CUT TO: + + +150 INT. HOTEL LOBBY BAR - SUNSET 150 + + 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 + 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. + + +151 INT. HOTEL LOBBY - CONTINUOUS 151 + 108. + + + 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. + + +152 INT. HOTEL LOBBY BAR - CONTINUOUS 152 + + 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 + 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." + + +153 INT. HOTEL LOBBY - CONTINUOUS 153 + + Arthur watches the Sub-security follow the Blonde. + + ARIADNE + And why don't you approve? + 109. + + + 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. + + +154 INT. HOTEL LOBBY BAR - CONTINUOUS 154 + + 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. + + +155 INT. HOTEL LOBBY - CONTINUOUS 155 + + The Blonde hurries up to Saito, emerging from the elevator. + + BLONDE + 110. + + + Mr. Saito, can I have a minute? + + She pushes him back into the elevator, closing the door as + the Sub-security approaches. + + +156 INT. ELEVATOR - CONTINUOUS 156 + + 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 + (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: + + +157 INT/EXT. VAN ON RAINY DOWNTOWN STREETS - DAY 157 + + 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: + + +158 INT. HOTEL LOBBY BAR - NIGHT 158 + 111. + + + 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 + My job is to protect you from any + attempt to access your mind through + your dreams. + + Cobb regains his patter, the patrons lose interest. + + +159 INT. ELEVATOR - CONTINUOUS 159 + + 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. + 112. + + +160 INT. HOTEL LOBBY BAR - CONTINUOUS 160 + + 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 + Trust me. They're coming for you. + + Fischer sizes him up, A CLAP OF THUNDER ECHOES, and we -- + + CUT TO: + + +161 INT/EXT. VAN ON RAINY DOWNTOWN STREETS - DAY 161 + + 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: + + +162 INT. HOTEL LOBBY BAR - SUNSET 162 + + Fischer looks out the windows at sudden, HURRICANE LIKE + RAIN. + + COBB + Strange weather, huh? + + A TREMOR runs through the bar. Cobb looks around. + + COBB + You feel that? + + +163 INT. HOTEL LOBBY - CONTINUOUS 163 + + 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? + 113. + + + 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: + + +164 INT/EXT. VAN ON RAINY STREETS - DAY 164 + + 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: + + +165 INT. HOTEL LOBBY BAR - CONTINUOUS 165 + + 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 + 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 -- + + COBB + (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 + 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? + 114. + + + Fischer stares at Cobb, trying to process this. All around + them, people STARE at Cobb. Several get up as if to + approach. + + COBB + 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: + + +166 INT/EXT. VAN ON RAINY STREETS - DAY 166 + + Yusuf STRAIGHTENS UP the van, RACING down the street, + swerving through traffic and we -- + + CUT TO: + + +167 INT. HOTEL LOBBY BAR - EVENING 167 + + 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. + + +168 INT. HOTEL LOBBY - EVENING 168 + + 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. + + +169 INT. HOTEL LOBBY BATHROOM - CONTINUOUS 169 + 115. + + +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 + 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 + These men were sent to abduct you. + +Cobb pulls out the gun and HANDS it to Fischer. + + COBB + 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. + + COBB + Mr. Fischer, you know all this, you + just have to remember it -- + +Fischer lowers his gun. + 116. + + +170 INT. HOTEL CORRIDOR - CONTINUOUS 170 + + 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. + + +171 INT. HOTEL CORRIDOR - CONTINUOUS 171 + + Arthur leads Ariadne to a particular room: 491. + + +172 INT. ROOM 491 - CONTINUOUS 172 + + 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. + + +173 INT. HOTEL LOBBY BATHROOM - CONTINUOUS 173 + + 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 + 117. + + + 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. + + +174 INT. ROOM 491 - CONTINUOUS 174 + + Arthur hangs up the phone. He is standing on a chair, + attaching the explosives to the ceiling. + + ARIADNE + Do you use a timer? + + ARTHUR + 118. + + + 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. + + +175 INT. HOTEL LOBBY - CONTINUOUS 175 + + 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 -- + 119. + + + SAITO + Why? + + EAMES + How he acts will tell us if + Fischer's starting to suspect his + motives the way we want him to. + + +176 INT. HOTEL CORRIDOR - FIFTH FLOOR - MOMENTS LATER 176 + + 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. + + +177 INT. ROOM 528 - CONTINUOUS 177 + + 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? + 120. + + + 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. + 121. + + + 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. + 122. + + + 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 -- + + +178 EXT. SNOW - COVERED MOUNTAINS - DAY 178 + + CLOSE ON Cobb's face, staring. Fixed. + + ARIADNE (O.S.) + 123. + + + 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. + 124. + + + 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: + + +179 INT. ROOM 528 - NIGHT 179 + + 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 -- + + +180 INT/EXT. VAN ON RAINY DOWNTOWN STREETS - DAY 180 + + 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. + 125. + + +181 INT. HOTEL CORRIDOR - CONTINUOUS 181 + + 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: + + +182 INT/EXT. VAN ON RAINY DOWNTOWN STREETS - DAY 182 + + 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: + + +183 INT. HOTEL CORRIDOR - NIGHT 183 + + 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 + -- + + +184 INT. HOTEL ROOM - CONTINUOUS 184 + + The fight continues all over the spinning room and we -- + + CUT TO: + + +185 INT/EXT. VAN ON RAINY OFF RAMP NEAR BRIDGE - DAY 185 + + 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: + 126. + + +186 INT. HOTEL ROOM - NIGHT 186 + + Arthur and the Security Man DROP to the floor, Arthur on + top. Arthur gets up, heads to the stairwell. + + +187 INT/EXT. VAN ON RAINY STREETS NEAR BRIDGE - DAY 187 + + 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. + + +188 INT. HOTEL STAIRWELL - CONTINUOUS 188 + + 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: + + +189 EXT. SNOW-COVERED MOUNTAINS - DAY 189 + + Eames SKIS down within sight of the hospital complex. He + reaches into his pack and lets off a FLARE. + + +190 EXT. HOSPITAL COMPLEX - CONTINUOUS 190 + + Security Men on the ramparts spot the flare and send + PATROLS out on skis and SNOWMOBILES to investigate. + + +191 EXT. SNOW-COVERED MOUNTAINS - CONTINUOUS 191 + 127. + + + Eames watches them close in, then launches himself down the + mountain, STREAKING across the icy slope, and we -- + + CUT TO: + + +192 INT/EXT. VAN ON RAINY RISING BRIDGE - DAY 192 + + 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: + + +193 INT. HOTEL STAIRWELL - NIGHT 193 + + 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: + + +194 EXT. SNOW-COVERED MOUNTAINS - DAY 194 + + Cobb and Ariadne make their way down towards the complex. + + EAMES (OVER RADIO) + Cobb? Are you hearing that? + + Cobb listens. The wind sounds unusually LOW. + + +195 EXT. FOREST - SNOW-COVERED MOUNTAINS - CONTINUOUS 195 + + Eames is hidden at the base of some trees, whispering as a + patrol passes beneath his position. + 128. + + + EAMES + I noticed it twenty minutes ago, at + first I thought it was just wind -- + + +196 EXT. SNOW-COVERED MOUNTAINS - CONTINUOUS 196 + + Cobb is listening intently. The "wind" changes pitch. + + COBB + No, it's music. Dammit. + + EAMES (OVER RADIO) + What do we do? + + COBB + We move fast. Saito, did you copy? + + +197 EXT. MOUNTAINS - THE OTHER SIDE OF THE COMPLEX - CONTINUOUS 197 + + Saito and Fischer CLIMB down a CLIFF FACE above the + complex. + + SAITO + We're going as fast as we can. + + +198 EXT. SNOW-COVERED MOUNTAINS - CONTINUOUS 198 + + 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. + 129. + + + 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? + + +199 EXT. FOREST - SNOW-COVERED MOUNTAINS - CONTINUOUS 199 + + Eames cannot answer, he SLALOMS through the forest, Sub- + security in hot pursuit, bullets smashing into the trunks. + + +200 EXT. SNOW-COVERED MOUNTAINS - CONTINUOUS 200 + + 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 + 130. + + + 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? + + +201 EXT. CLIFF FACE BEHIND COMPLEX - CONTINUOUS 201 + + Saito is using a hammer to tap in a belay. + + SAITO + Go ahead. + + And we -- + + CUT TO: + + +202 INT/EXT. VAN ON RAINY RAISED BRIDGE - DAY 202 + + 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: + + +203 INT. HOTEL STAIRWAY - NIGHT 203 + + Arthur RUNS UP the stairs, gun in hand, rounds a corner + andIMPOSSIBLY, 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: + + +204 INT/EXT. VAN ON RAINY RAISED BRIDGE - DAY 204 + 131. + + + In SLOW MOTION, the van SMASHES THROUGH THE CONCRETE + BARRIER and we -- + + CUT TO: + + +205 INT. HOTEL CORRIDOR - NIGHT 205 + + Arthur is SPRINTING down the corridor when a TREMENDOUS + CRASH sends him FLYING into the air and we -- + + CUT TO: + + +206 EXT. SNOW-COVERED MOUNTAINS - DAY 206 + + A MASSIVE RUMBLE prompts Cobb to look across the valley. + + +207 EXT. FOREST - SNOW-COVERED MOUNTAINS - CONTINUOUS 207 + + 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. + + +208 EXT. CLIFF FACE BEHIND COMPLEX - CONTINUOUS 208 + + 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: + + +209 INT/EXT. VAN - DAY 209 + + In EXTREME SLOW MOTION, the van emerges from the concrete + balustrade and starts FALLING and we -- + + CUT TO: + + +210 INT. HOTEL CORRIDOR - NIGHT 210 + 132. + + + Arthur is still FLYING through the corridor, NOT LANDING, + GRAVITY HAS DISAPPEARED, he scrambles for a handhold, + GRABBING a sconce and we -- + + CUT TO: + + +211 EXT. SNOW-COVERED MOUNTAINS - DAY 211 + + Cobb watches the avalanche cloud slide past the complex. + + ARIADNE + What was that? + + COBB + The kick. + + EAMES (OVER RADIO) + Cobb? Did we miss it? + + COBB + Yeah, we missed it. + + +212 EXT. FOREST - SNOW-COVERED MOUNTAINS - CONTINUOUS 212 + + Eames is lying on the snow. + + EAMES + What the hell do we do now? + + COBB (OVER RADIO) + Finish the job before the next + kick. + + EAMES + What next kick? + + +213 EXT. SNOW-COVERED MOUNTAINS - CONTINUOUS 213 + + 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. + + +214 EXT. HOSPITAL COMPLEX - CONTINUOUS 214 + 133. + + + 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. + + +215 INT/EXT. VAN - DAY 215 + + In EXTREME SLOW MOTION, the van seems SUSPENDED IN MID-AIR + TEN STORIES ABOVE THE RIVER and we -- + + CUT TO: + + +216 INT. HOTEL CORRIDOR - NIGHT 216 + + 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 drop you? + + He PULLS the charges from the ceiling. Hurrying. And we -- + + CUT TO: + + +217 INT. DUCT SYSTEM - HOSPITAL COMPLEX - CONTINUOUS 217 + + Saito and Fischer hurry through the duct system. Saito is + falling behind, coughing up blood. + + +218 EXT. UPPER TERRACE - HOSPITAL COMPLEX - CONTINUOUS 218 + + 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. + + +219 INT. TOP ROOM - SOUTH TOWER - HOSPITAL COMPLEX - CONTINUOUS 219 + + 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 + 134. + + + 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) + Cobb? Something's wrong? + + +220 EXT. FOREST - SNOW-COVERED MOUNTAINS - CONTINUOUS 220 + + Eames is watching the patrols HEAD BACK towards the + complex. + + EAMES + They're heading your way. Like they + know something. + + +221 INT. TOP ROOM - SOUTH TOWER, HOSPITAL COMPLEX - CONTINUOUS 221 + + Cobb hears this. Concerned. + + COBB + Buy us some time. + 135. + + + EAMES (OVER RADIO) + On my way. + + +222 EXT. FOREST - SNOW-COVERED MOUNTAINS - CONTINUOUS 222 + + Eames TAKES OFF towards the base of the complex. And we -- + + CUT TO: + + +223 INT. ROOM 528 - NIGHT 223 + + 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: + + +224 INT. DUCT SYSTEM - HOSPITAL COMPLEX - DAY 224 + + 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? + + +225 INT. TOP ROOM - SOUTH TOWER - HOSPITAL COMPLEC - CONTINUOUS 225 + + 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. + + +226 INT. DUCT SYSTEM - HOSPITAL COMPLEX - CONTINUOUS 226 + + The SQUELCH from the radio is too loud. Fischer GRABS it + and turns the volume to zero as he starts to remove the + grate. + 136. + + +227 EXT. BASE OF THE HOPISTAL COMPLEX - CONTINUOUS 227 + + Eames is setting MINES along the LOWEST WALL of the + structure. He moves carefully, there is a SHEER DROP below + the wall. + + +228 INT. TOP ROOM - SOUTH TOWER - HOSPITAL COMPLEX - CONTINUOUS 228 + + 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! + + +229 INT. DUCT SYSTEM - HOSPITAL COMPLEX - CONTINUOUS 229 + + Fischer does not see the flashing light on his radio as he + carefully lifts the grate. He motions for Saito to stay. + + +230 INT. TOP ROOM - SOUTH TOWER - HOSPITAL COMPLEX - CONTINUOUS 230 + + 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 know that? + + +231 INT. ANTECHAMBER - CONTINUOUS 231 + + Fischer moves into the antechamber, cautious. + 137. + + + FISCHER + I'm in. + + Fischer turns up the volume- + + ARIADNE (OVER RADIO) + Fischer, look out! + + Mal DROPS gracefully to the floor behind him. + + MAL + Hello. + + +232 INT. TOP ROOM - SOUTH TOWER - HOSPITAL COMPLEX - CONTINUOUS 232 + + Cobb looks at Ariadne. + + ARIADNE + Cobb, she's just a projection. + Fischer -- he's real. + + 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. + + +233 INT. DUCT SYSTEM - HOSPITAL COMPLEX - CONTINUOUS 233 + + Saito STARTS as he hears the shot. He starts edging + forwards, clutching his belly. And we -- + + CUT TO: + + +234 INT. ROOM 528 - NIGHT 234 + + 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: + + +235 INT/EXT. VAN - DAY 235 + 138. + + + In EXTREME SLOW MOTION, the van CREEPS DOWNWARDS, still + high above the river and we -- + + CUT TO: + + +236 INT. HOTEL CORRIDOR - NIGHT 236 + + 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: + + +237 INT. DUCT SYSTEM - HOSPITAL COMPLEX - DAY 237 + + Eames steps over Saito, who looks up at him with DYING + eyes. + + +238 INT. ANTECHAMBER - HOSPITAL CORRIDOR - DAY 238 + + 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 + 139. + + + 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. + + ARIADNE + 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 + 140. + + + 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 -- + + +239 EXT. COAST - LIMBO - DAY 239 + + 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: + + +240 INT. ELEVATOR SHAFT - DAY 240 + 141. + + + 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: + + +241 INT. ANTECHAMBER - DAY 241 + + 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. + + +242 EXT. HOSPITAL COMPLEX - CONTINUOUS 242 + + 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: + + +243 EXT. COAST - LIMBO - DAY 243 + + 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. + 142. + + + 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 -- + 143. + + + Cobb leads Ariadne to the entrance of a glass skyscraper. + + +244 INT. SKYSCRAPER LOBBY - LIMBO - CONTINUOUS 244 + + 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. + + +245 INT. SKYSCRAPER ELEVATOR - LIMBO - CONTINUOUS 245 + + 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. + + +246 INT. PENTHOUSE - LIMBO - CONTINUOUS 246 + + 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) + 144. + + + 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 -- "Your + world is not real." + + Cobb hands Ariadne his gun and moves towards Mal. + + MAL + A simple little thought that + changes everything -- + + Ariadne watches as Cobb sits down beside Mal. And we -- + + CUT TO: + + +247 INT. ELEVATOR SHAFT - NIGHT 247 + + 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: + + +248 INT. PENTHOUSE - LIMBO - DAY 248 + + 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 + 145. + + + 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 us. + + MAL + You're wrong, Dom. You're confused, + our children are here -- + +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: + 146. + + +249 INT. ELEVATOR - NIGHT 249 + + 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: + + +250 INT. HOSPITAL FORTRESS - DAY 250 + + 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. + + +251 INT. DUCT SYSTEM - HOSPITAL COMPLEX - CONTINUOUS 251 + + Saito looks up as he hears a Security Guard climbing + through the duct, he raises his gun, TREMBLING with + weakness. And we -- + + CUT TO: + + +252 INT. KITCHEN - PENTHOUSE - LIMBO - DAY 252 + + 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 -- + 147. + + +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. + + COBB + 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 + 148. + + + 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 -- + +INSERT CUT: Mal opens the doll's house. Takes the spinning +top, lies it down in the safe. LOCKS IT AWAY. + + 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. + +INSERT CUT: Cobb WANDERS the streets of Limbo. + + COBB + Searching for the right place in + her mind -- + +INSERT CUT: Cobb stops outside the VICTORIAN HOUSE, MAL'S +CHILDHOOD HOME, looking up at it. He heads inside. + + COBB + And when I found that place, that + secret place where she had shut + away her knowledge years before, I + broke it open- - + +INSERT CUT: Cobb looks around Mal's childhood bedroom. +Comes to the doll's house. + + COBB + I broke into the deepest recess of + her mind, to give her the simplest + little idea. + +INSERT CUT: Cobb throws open the safe doors. Sitting on the +shelf of the safe is a spinning top. On its side. + + COBB + 149. + + + A truth that she had once known, + but had chosen to forget -- + +INSERT CUT: Cobb picks up the totem. He SPINS it in the +safe. + +IT SPINS AND SPINS WITHOUT END. Cobb CLOSES THE DOOR of the +safe. + + COBB + That her world was not real. + +INSERT CUT: COBB AND MAL ARRIVE AT TRAIN TRACKS CUTTING +THROUGH WASTELAND. + + COBB (V.O.) + That death was a necessary escape. + +They lie on the tracks looking into each other's eyes. Mal +is crying. Cobb takes her hand, reassuring. He starts to +speak. + + 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 looks at him across the railroad tracks. Replies. + + MAL + Because you'll be together. + +The train comes, OBLITERATING the lovers. 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 - + - + +INSERT CUT: Cobb looks around the HOTEL SUITE, confused. He +moves to the CURTAINS. Mal is on the ledge opposite. + + COBB + You'd continue to believe that your + world was not real -- + +Crying, Mal nods. + + MAL + 150. + + + That death was the only escape? + + INSERT CUT: Mal PLUNGES to her death. + + 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: + + +253 INT. ELEVATOR - NIGHT 253 + + Arthur hits "Play" on his music player. Edith Piaf starts + to ring out, Arthur checks his detonator and we -- + + CUT TO: + + +254 INT. ANTECHAMBER - DAY 254 + + 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. + + +255 INT. DUCT SYSTEM - HOSPITAL COMPLEX - CONTINUOUS 255 + + 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. + + +256 INT. ANTECHAMBER - CONTINUOUS 256 + + Eames powers up the defibrillator, puts the paddles on + Fischer's chest, then Pow!- he shocks him, and we -- + 151. + + + CUT TO: + + +257 INT. PENTHOUSE - LIMBO -DAY 257 + + 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: + + +258 INT. ELEVATOR - NIGHT 258 + + Arthur nods his head in time with the music, counting down, + holding the detonator. He starts bracing himself, and we -- + + CUT TO: + + +259 INT. ANTECHAMBER - DAY 259 + + Eames recharges the defibrillator. SHOCKS Fischer again, + and we -- + + CUT TO: + 152. + + +260 EXT. PORCH, PENTHOUSE - LIMBO - DAY 260 + + 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 + 153. + + + 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 roos, AIMS again at Mal. + + Fischer DROPS as the sky LIGHTS UP WITH ELECTRICITY. + Fischer SCREAMS, then GASPS, no longer falling, and we are + -- + + +261 INT. ANTECHAMBER - DAY 261 + + 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. + + +262 INT. STRONGROOM - CONTINUOUS 262 + + 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: + + +263 EXT. PENTHOUSE - LIMBO - DAY 263 + 154. + + + 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: + + +264 INT. ELEVATOR - HOTEL - NIGHT 264 + + Arthur HITS THE DETONATOR. + + +265 INT. ELEVATOR SHAFT - CONTINUOUS 265 + + The CHARGES on the bottom of the elevator EXPLODE, and we + move into EXTREME SLOW MOTION as the flames BALLOON. + + CUT TO: + + +266 INT. STRONGROOM - CONTINUOUS 266 + + 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: + 155. + + +267 INT. ELEVATOR SHAFT - NIGHT 267 + + The elevator car is ROCKETED along its track by the + explosion. + + +268 INT. ELEVATOR - CONTINUOUS 268 + + Arthur is SMASHED against the floor of the car next to the + sleepers who SHUDDER with the force of ACCELERATION and we + -- + + CUT TO: + + +269 INT. ANTECHAMBER - DAY 269 + + Eames WATCHES Fischer- + + EAMES + (to himself) + Come on, come on -- + + +270 INT. STRONGROOM - DAY 270 + + 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. + + +271 EXT. HOSPITAL COMPLEX - CONTINUOUS 271 + + A line of EXPLOSIONS RIPS ALONG THE LOWER WALL, the ENTIRE + BUILDING STARTS TO SLIDE DOWN THE MOUNTAIN. + + +272 EXT. PENTHOUSE - LIMBO - DAY 272 + + 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 + 156. + + + 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 + -- + + +273 INT. ANTECHAMBER - CONTINUOUS 273 + + Ariadne DROPS as the FLOOR COLLAPSES, her eyes SNAP OPEN. + + +274 EXT. PENTHOUSE - LIMBO - DAY 274 + + 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. + 157. + + + INSERT CUT: TWO ELDERLY PEOPLE (MAL AND COBB) WALK THROUGH + LIMBO. ACROSS A WASTELAND. TWO ELDERLY HANDS CLUTCH EACH + OTHER AS THEY LIE DOWN ON THE RAILROAD TRACK. + + COBB + I miss you more than I can bear -- + but we had our time together. And + now I have to let go -- + + She nods, weakly. Cobb holds Mal as her eyes close. DYING + and we -- + + +275 INT. STRONGROOM - CONTINUOUS 275 + + Fischer and his Father's body DROP AWAY. + + +276 INT. ELEVATOR - NIGHT 276 + + Ariadne DROPS inside the ROCKETING ELEVATOR, and as it + SMASHES INTO THE TOP OF THE SHAFT Ariadne SMASHES into -- + + +277 INT/EXT. VAN INTO RIVER - DAY 277 + + 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. + + +278 EXT. RIVER - CONTINUOUS 278 + + Fischer breaks the surface with Browning, who COUGHS and + GASPS. He starts PULLING for the near bank, struggling + through the rain-impacted water. + + +279 INT. VAN - UNDERWATER - CONTINUOUS 279 + + 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. + + +280 EXT. RIVERBANK - MOMENTS LATER 280 + 158. + + + 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. + + +281 EXT. UNDERNEATH BRIDGE IN THE RAIN - MOMENTS LATER 281 + + 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: + + +282 EXT. DAWN - CRASHING SURF 282 + + The waves TOSS a BEARDED MAN onto wet sand. + 159. + + + As the Japanese Security Guard turns him onto his back, we + realize that this is Cobb OLDER. WEARY. TRAVELLED. + + +283 INT. DINING ROOM - CASTLE - DAY 283 + + 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. + 160. + + + 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: + + +284 INT. FIRST CLASS CABIN - 747 - DAY 284 + + 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. + + +285 INT. ARRIVALS - LAX - LATER 285 + + 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. + 161. + + + 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. + + +286 INT. KITCHEN - COBB AND MAL'S HOUSE - DAY 286 + + 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. + \ No newline at end of file