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Scene Map 42
# PG SLUGLINE
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Scene Map
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# PG SLUGLINE
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INT. ELEGANT DINING ROOM, JAPANESE CASTLE - LATER The Security Guard waits as an ATTENDANT speaks to an ELDERLY JAPANESE MAN sitting at the dining table, back to us. ATTENDANT (in Japanese)
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INT. BULLET TRAIN COMPARTMENT - DAY (FEELS LIKE DIFFERENT TIME) Nash, ASLEEP. Head ROCKING AGAINST THE WINDOW as the train BUMPS OVER A ROUGH PIECE OF TRACK. 5. A Japanese Man, TODASHI (18) watches Nash nervously. He
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INT. FILTHY BATHROOM - DAY Arthur's EYES OPEN as he WAKES IN THE ARMCHAIR- he GRABS at the tubes at his wrist, YANKING them free- NASH What're you doing?! It's too soon-
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INT. FILTHY BATHROOM - DAY Cobb in SLOW MOTION, hits the WATER- head THRASHING as he goes under- and we- CUT TO: INT. GRAND STAIRCASE, JAPANESE CASTLE - NIGHT
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INT. BULLET TRAIN COMPARTMENT - DAY Todashi watches the first of the countdowns hit ZERO- He looks up at Arthur, STIRRING, and we- CUT TO: INT. DILAPIDATED HOTEL ROOM-DAY
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EXT. JAPANESE COUNTRYSIDE - CONTINUOUS The BULLET TRAIN speeds through the lush landscape. INT. BULLET TRAIN COMPARTMENT - CONTINUOUS Saito WAKES GENTLY. Looks around the compartment, empty but for Todashi, reading a comic. Saito looks down at his wrist.
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INT. CORRIDOR - CONTINUOUS Cobb and Arthur head towards the elevator. ARTHUR Where will you go? COBB
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EXT. AIRFIELD - MOMENTS LATER The helicopter sets down next to a PRIVATE JET. INT. HELICOPTER - CONTINUOUS Saito indicates the plane. SAITO
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INT. CORRIDOR - LATER Miles and Cobb stand by as STUDENTS file out of a lecture. MILES Ariadne... A young woman carrying books turns. This is ARIADNE.
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INT. WORKSHOP - DAY 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
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INT. WORKSHOP-DAY Ariadne WAKES, BREATHING HARD. Arthur moves to her- ARTHUR It's okay. ARIADNE
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INT. GAMBLING DEN, MOMBASA - DAY Crowded, bustling, smoke-filled. a westerner (40’s), shabby suit, is squeezed in at a dice game. This is EAMES. He FIDDLES with his last two chips. COBB (O.S.)
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EXT. STREET, MOMBASA - CONTINUOUS Cobb stands up, PUSHES into the crowd- faces PEER at him- he moves, trying to blend- TURNS- a SECOND BUSINESS MAN is there. 44.
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EXT. ROOFTOP, OLD TOWN, MOMBASA - DAY Saito deposits a FILE in front of Cobb: PHOTOS, DOCUMENTS. As Cobb runs through them, he passes them to Eames. SAITO Robert Fischer, 32. Heir to the
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INT. BACK ROOM, PHARMACY - CONTINUOUS A dark room with ROWS of low COTS. Each with a sleeping occupant. Tubes connect their wrists. An ELDERLY BALD MAN watches over them. EAMES
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INT. WORKSHOP - DAY Ariadne, Arthur, Yusuf, Eames and Saito sit around the room, looking at FILES. Cobb presides. COBB The mark is Robert Fischer, heir to
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INT. BATHROOM - DAY Eames gestures at a mirror, as if offering to shake hands... EAMES (V.O.) I've had time to learn Browning's physical presence and mannerisms...
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INT. WORKSHOP - DAY The group is back in the workshop, deep in discussion. ARTHUR My question is how we go down three layers with enough stability. Three
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INT. MAKESHIFT LAB - DAY Cobb, Eames and Yusuf watch Arthur, ASLEEP, in a chair. YUSUF (O.S.) To leave inner ear function unimpaired...
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INT. CAGE STYLE ELEVATOR - DAY Cobb shuts the CAGE DOOR. Ariadne hits a button. The elevator RISES. Through the GRILL Ariadne can see a BEACH stretching off into the distance. The elevator stops. Mal sits on the sand. Beside her, the two children are crouched, away from
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INT. CAGE STYLE ELEVATOR - CONTINUOUS Ariadne hits the BASEMENT button. The elevator starts to DESCEND. ariadne STARES, fascinated as glimpses of floors slip past: Mal's childhood bedroom, a thundering wall of freight train... The elevator STOPS. Through the grill
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EXT. 747 - LATER The great plane SOARS through a burning cloudscape. INT. FIRST CLASS CABIN, 747 - MOMENTS LATER Cobb reaches into the overhead for a blanket- lets it fall onto Fischer's head- Fischer doesn't flinch. ASLEEP. Cobb
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EXT. WAREHOUSE - MOMENTS LATER The sedan and cab pull into the side entrance- Eames jumps out− PULLS the shutter down behind them- INT. WAREHOUSE - CONTINUOUS Yusuf and Eames PULL Fischer from the cab, HUSTLING him
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INT. OFFICE, WAREHOUSE - MOMENTS LATER Saito is laid out on an old desk. Arthur examines him. He motions to Ariadne. Eames watches Cobb. ARTHUR Hold this. Firm pressure.
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INT. OFFICE, WAREHOUSE - CONTINUOUS Cobb pulls off his balaclava. Looks down at Saito, who is breathing fast, shallow. COBB How's he doing?
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INT. MAL'S CHILDHOOD HOME - DAY 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
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INT. OFFICE, WAREHOUSE - DAY Cobb stares as he remembers. 92. COBB He letter to the authorities
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INT. BATHROOM, WAREHOUSE - CONTINUOUS Browning puts his hand on Fischer’s shoulder. BROWNING These people are going to kill us if we don’t give them the
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INT. HOTEL LOBBY BAR - SUNSET Fischer nurses a drink. Staring at the ice cracking. BLONDE (O.S.) Am I boring you? Fischer looks up. A beautiful BLONDE is next to him.
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INT. ELEVATOR - CONTINUOUS Eames pulls out Fischer’s wallet, moves to hand it to Saito, then PAUSES, opens it, leafs past the cast to find... The SNAPSHOT: young Robert holding his HOMEMADE PINWHEEL, his father blowing on it. The elevator doors open and Eames steps
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INT./EXT. VAN ON RAINY STREETS - DAY Yusuf STRAIGHTENS UP the van, RACING down the street, swerving through traffic and we- CUT TO: INT. HOTEL LOBBY BAR - EVENING
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EXT. SNOW-COVERED MOUNTAINS - DAY CLOSE ON Cobb’s face, staring. Fixed. ARIADNE (O.S.) Cobb? Cobb? Ariadne is beside him. They stand on a cliff, dressed in
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EXT. FOREST, SNOW-COVERED MOUNTAINS - CONTINUOUS Eames cannot answer- he SLALOMS through the forest, Sub- security in hot pursuit, bullets smashing into the trunks... EXT. SNOW-COVERED MOUNTAINS - CONTINUOUS Cobb turns to Ariadne.
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INT./EXT. VAN - DAY In EXTREME SLOW MOTION, the van emerges from the concrete balustrade and starts FALLING- and we- CUT TO: INT. HOTEL CORRIDOR - NIGHT
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EXT. FOREST, SNOW-COVERED MOUNTAINS - CONTINUOUS Eames is watching the patrols HEAD BACK towards the complex. EAMES They’re heading your way. Like they know something.
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INT. DUCT SYSTEM, HOSPITAL COMPLEX - CONTINUOUS Saito STARTS as he hears the shot. He starts edging forwards, clutching his belly. And we- CUT TO: INT. ROOM 528 - NIGHT
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EXT. COAST (LIMBO) - DAY Ariadne lies in the SURF, STARING up at a CLOUDLESS SKY. A tremendous BOOM prompts her to look around her- URBAN BUILDINGS PILED right down to the water. The buildings are DECAYING, falling into the ocean like a GLACIER calving. Cobb
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INT. SKYSCRAPER LOBBY (LIMBO) - CONTINUOUS Cobb leads Ariadne across the gleaming lobby to the elevators. COBB We both wanted a house, but we both
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INT. ELEVATOR - NIGHT Arthur scrambles to arrange the sleepers on the floor of the car- as his hand comes away from Saito, he sees BLOOD on it. He looks at Saito's belly- the blood is coming through his shirt. Arthur sticks headphones on sleeping Eames, and we-
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INT. ELEVATOR - NIGHT Arthur hits "Play" on his music player- Edith Piaf starts to ring out, Arthur checks his detonator and we- CUT TO: INT. ANTECHAMBER - DAY
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INT. ANTECHAMBER - DAY Eames pulls the defibrillator from Fischer's chest as he COUGHS AWAKE. EAMES Get in there-quick!
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INT. STRONGROOM - CONTINUOUS Fischer and his Father’s body DROP AWAY- INT. ELEVATOR - NIGHT Ariadne DROPS inside the ROCKETING ELEVATOR, and as it SMASHES INTO THE TOP OF THE SHAFT Ariadne SMASHES into-

Inception

A skilled thief who steals secrets through dream-sharing technology is given a chance at redemption if he can successfully plant an idea in a target's mind.

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Overview

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Unique Selling Point

Inception stands out due to its unique concept of dream manipulation and multi-layered storytelling. The screenplay's ability to blend action, emotion, and intellectual stimulation makes it compelling for a wide audience. Its exploration of the subconscious mind and the nature of reality offers a fresh perspective in the sci-fi thriller genre.

AI Verdict & Suggestions

This rating is from a single AI engine based on structure, character, tone, and emotional engagement.

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GPT4
 Highly Recommend
Story Facts

Genres: Thriller, Drama, Action, Sci-Fi, Science Fiction, Mystery

Setting: Contemporary, Various locations including Japan, Mombasa, and a surreal dream world

Themes: Reality vs. Illusion, Guilt and Redemption, The Power of Ideas, Memory and Loss, Teamwork and Trust

Conflict & Stakes: Cobb's struggle to perform inception on Fischer while battling his own guilt and the haunting presence of his deceased wife, Mal, with the stakes being his chance to reunite with his children.

Mood: Tense and introspective, with moments of urgency and emotional depth.

Standout Features:

  • Unique Hook: The concept of shared dreaming and inception, where characters can manipulate the subconscious of others.
  • Major Twist: The revelation that Cobb's deceased wife, Mal, is a projection of his guilt and unresolved feelings, complicating his mission.
  • Distinctive Setting: The juxtaposition of opulent real-world locations with surreal dreamscapes that challenge perceptions of reality.
  • Innovative Ideas: The use of time dilation in dreams, allowing characters to experience years in a matter of minutes in the real world.
  • Genre Blend: A mix of science fiction, action, and psychological thriller elements that cater to diverse audience interests.

Comparable Scripts: Inception, The Matrix, Paprika, Eternal Sunshine of the Spotless Mind, Shutter Island, Westworld, Dark City, The Science of Sleep, Fight Club

Script Level Analysis

Writer Exec

This section delivers a top-level assessment of the screenplay’s strengths and weaknesses — covering overall quality (P/C/R/HR), character development, emotional impact, thematic depth, narrative inconsistencies, and the story’s core philosophical conflict. It helps identify what’s resonating, what needs refinement, and how the script aligns with professional standards.

Screenplay Insights

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Overall Score: 7.80
Story Critique
Big-picture feedback on the story’s clarity, stakes, cohesion, and engagement.
Characters

Explores the depth, clarity, and arc of the main and supporting characters.

Emotional Analysis

Breaks down the emotional journey of the audience across the script.

Goals and Philosophical Conflict
Evaluates character motivations, obstacles, and sources of tension throughout the plot.
Themes
Analysis of the themes of the screenplay and how well they’re expressed.
Logic & Inconsistencies
Highlights any contradictions, plot holes, or logic gaps that may confuse viewers.

Scene Analysis

All of your scenes analyzed individually and compared, so you can zero in on what to improve.

Scene-Level Percentile Chart
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Other Analyses

Writer Exec

This section looks at the extra spark — your story’s voice, style, world, and the moments that really stick. These insights might not change the bones of the script, but they can make it more original, more immersive, and way more memorable. It’s where things get fun, weird, and wonderfully you.

Unique Voice
Assesses the distinctiveness and personality of the writer's voice.
Writer's Craft
Analyzes the writing to help the writer be aware of their skill and improve.
Memorable Lines
Spotlights standout dialogue lines with emotional or thematic power.
Tropes
Highlights common or genre-specific tropes found in the script.
World Building
Evaluates the depth, consistency, and immersion of the story's world.
Correlations
Identifies patterns in scene scores.
Loglines
Presents logline variations based on theme, genre, and hook.