Inception
How scenes compare to the Scripts in our Library
Percentile | Before | After | ||
---|---|---|---|---|
Concept | 8.4 | 94 | Suits: 8.3 | Inception: 8.4 |
Overall | 8.5 | 80 | Thor: 8.4 | Inception: 8.5 |
Dialogue | 8.0 | 72 | Silence of the lambs: 7.9 | Inception: 8.0 |
Conflict Level | 8.1 | 71 | glass Onion Knives Out : 8.0 | Inception: 8.1 |
Plot | 8.3 | 71 | Mr Robot: 8.2 | Inception: 8.3 |
Emotional Impact | 7.5 | 56 | Deadpool: 7.4 | Inception: 7.5 |
Characters | 8.2 | 51 | Mr Robot: 8.1 | heathers : 8.2 |
Story Content | Character Development | Scene Elements | Audience Engagement | ||||||||||
---|---|---|---|---|---|---|---|---|---|---|---|---|---|
Scene Number | Full Analysis | Tone | Overall Grade | Concept | Plot | Characters | Character Changes | Conflict | High stakes | Story forward | Emotional Impact | Dialogue | |
1 | Inception | 8 | 9 | 8 | 7 | 0 | 5 | 0 | 0 | 6 | 7 | ||
2 | The Extraction Pitch | 8 | 9 | 8 | 9 | 0 | 7 | 0 | 0 | 6 | 8 | ||
3 | The Heist Begins | 9 | 8 | 9 | 9 | 0 | 9 | 0 | 0 | 7 | 7 | ||
4 | The Heist Goes Wrong | 9 | 8 | 9 | 9 | 0 | 10 | 0 | 0 | 8 | 8 | ||
5 | Audition | 9 | 8 | 9 | 9 | 0 | 9 | 0 | 0 | 7 | 8 | ||
6 | The Dream Heist Part 2 | 8 | 9 | 8 | 8 | 0 | 9 | 0 | 0 | 7 | 7 | ||
7 | Phone Call Home | 8 | 9 | 8 | 7 | 0 | 7 | 0 | 0 | 9 | 8 | ||
8 | Offer and Choice | 9 | 10 | 9 | 8 | 0 | 9 | 0 | 0 | 8 | 8 | ||
9 | Going Deeper | 8 | 9 | 7 | 8 | 0 | 6 | 0 | 0 | 7 | 9 | ||
10 | The Architect's Offer | 10 | 9 | 8 | 9 | 0 | 7 | 0 | 0 | 8 | 10 | ||
11 | The Job Offer | 8 | 9 | 8 | 7 | 0 | 7 | 0 | 0 | 6 | 7 | ||
12 | Shared dreaming lesson | 9 | 8 | 8 | 7 | 0 | 10 | 0 | 0 | 7 | 8 | ||
13 | Exploring Dream Architecture | 8 | 9 | 8 | 7 | 0 | 9 | 0 | 0 | 8 | 8 | ||
14 | The Importance of a Totem | 9 | 8 | 9 | 8 | 0 | 7 | 0 | 0 | 6 | 9 | ||
15 | Showdown at the Gambling Den | 9 | 8 | 9 | 8 | 0 | 7 | 0 | 0 | 6 | 9 | ||
16 | Escape from Mombasa | 9 | 8 | 9 | 8 | 0 | 10 | 0 | 0 | 6 | 9 | ||
17 | Paradoxical Architecture | 8 | 9 | 8 | 8 | 0 | 7 | 0 | 0 | 7 | 7 | ||
18 | Corporate Espionage | 8 | 7 | 8 | 8 | 0 | 6 | 0 | 0 | 7 | 9 | ||
19 | Meeting with Yusuf | 8 | 9 | 8 | 7 | 0 | 7 | 0 | 0 | 6 | 8 | ||
20 | Dreamers' Reality | 9 | 9 | 9 | 9 | 0 | 6 | 0 | 0 | 8 | 9 | ||
21 | Cobb's Secrets | 8 | 7 | 8 | 9 | 0 | 6 | 0 | 0 | 9 | 8 | ||
22 | Planting the Idea | 10 | 9 | 9 | 8 | 0 | 7 | 0 | 0 | 9 | 9 | ||
23 | Power Struggle and Dream Planning | 8 | 9 | 7 | 8 | 0 | 6 | 0 | 0 | 8 | 7 | ||
24 | Planning the Dream Heist | 9 | 8 | 9 | 8 | 0 | 7 | 0 | 0 | 6 | 8 | ||
25 | Dreams and Regrets | 8 | 9 | 8 | 8 | 0 | 6 | 0 | 0 | 9 | 8 | ||
26 | The Promise | 9 | 9 | 10 | 10 | 0 | 10 | 0 | 0 | 10 | 9 | ||
27 | The Inception Job - Part 3 | 9 | 8 | 7 | 9 | 0 | 8 | 0 | 0 | 8 | 8 | ||
28 | Escape in a Cab | 9 | 9 | 9 | 8 | 0 | 10 | 0 | 0 | 7 | 8 | ||
29 | The Plan Goes Wrong | 8 | 9 | 8 | 7 | 0 | 10 | 0 | 0 | 7 | 8 | ||
30 | The Heist | 9 | 8 | 9 | 9 | 0 | 9 | 0 | 0 | 7 | 8 | ||
31 | Finding the Combination | 8 | 7 | 8 | 9 | 0 | 7 | 0 | 0 | 9 | 8 | ||
32 | The Truth About Limbo | 9 | 8 | 9 | 9 | 0 | 8 | 0 | 0 | 10 | 9 | ||
33 | Mal and Cobb's Tragic Love Story | 9 | 8 | 9 | 9 | 0 | 10 | 0 | 0 | 11 | 8 | ||
34 | Confrontation and Revelation | 8 | 9 | 8 | 8 | 0 | 9 | 0 | 0 | 8 | 9 | ||
35 | Planning the Next Step | 9 | 8 | 9 | 8 | 0 | 7 | 0 | 0 | 7 | 9 | ||
36 | Subconscious Security | 8 | 7 | 8 | 9 | 0 | 8 | 0 | 0 | 7 | 7 | ||
37 | Protecting Fischer | 8 | 9 | 8 | 7 | 0 | 10 | 0 | 0 | 6 | 7 | ||
38 | Hotel Escape and Explosive Plan | 9 | 10 | 9 | 8 | 0 | 8 | 0 | 0 | 6 | 8 | ||
39 | Mistaking Browning for Eames | 9 | 8 | 9 | 8 | 0 | 7 | 0 | 0 | 6 | 8 | ||
40 | Breaking into Fischer's Subconscious | 8 | 9 | 8 | 7 | 0 | 9 | 0 | 0 | 8 | 7 | ||
41 | Mission Briefing | 8 | 7 | 8 | 7 | 0 | 9 | 0 | 0 | 6 | 7 | ||
42 | Race Against Time | 8 | 7 | 8 | 7 | 0 | 9 | 0 | 0 | 5 | 6 | ||
43 | The Kick | 8 | 7 | 8 | 8 | 0 | 9 | 0 | 0 | 6 | 7 | ||
44 | The Trap | 9 | 8 | 8 | 9 | 0 | 9 | 0 | 0 | 8 | 7 | ||
45 | The Plan to Save Fischer | 8 | 9 | 7 | 8 | 0 | 9 | 0 | 0 | 6 | 8 | ||
46 | Creating a Failed Utopia | 8 | 9 | 7 | 9 | 0 | 6 | 0 | 0 | 8 | 8 | ||
47 | Choosing Reality | 8 | 9 | 8 | 9 | 0 | 10 | 0 | 0 | 9 | 8 | ||
48 | The Consequence of Cobb's Inception | 7 | 8 | 7 | 8 | 0 | 9 | 0 | 0 | 8 | 7 | ||
49 | Final Showdown | 9 | 8 | 9 | 9 | 0 | 10 | 0 | 0 | 9 | 8 | ||
50 | Final Confrontations | 8 | 9 | 8 | 8 | 0 | 9 | 0 | 0 | 10 | 7 | ||
51 | The End of an Epic Journey | 10 | 9 | 10 | 10 | 0 | 7 | 0 | 0 | 10 | 9 |
Scene 1 - Inception
By
Christopher Nolan
SHOOTING SCRIPT
FADE IN:
DAWN. CRASHING SURF.
The waves TOSS a BEARDED MAN onto wet sand. He lies there.
A CHILD’S SHOUT makes him LIFT his head to see: a LITTLE
BLONDE BOY crouching, back towards us, watching the tide eat
a SANDCASTLE. A LITTLE BLONDE GIRL joins the boy. The Bearded
Man tries to call them, but they RUN OFF, FACES UNSEEN. He
COLLAPSES.
The barrel of a rifle ROLLS the Bearded Man onto his back. A
JAPANESE SECURITY GUARD looks down at him, then calls up the
beach to a colleague leaning against a JEEP. Behind them is a
cliff, and on top of that, a JAPANESE CASTLE.
INT. ELEGANT DINING ROOM, JAPANESE CASTLE - LATER
The Security Guard waits as an ATTENDANT speaks to an ELDERLY
JAPANESE MAN sitting at the dining table, back to us.
ATTENDANT
(in Japanese)
He was delirious. But he asked for
you by name. And...
(to the Security Guard)
Show him.
SECURITY GUARD
(in Japanese)
He was carrying nothing but this...
He puts a HANDGUN on the table. The Elderly Man keeps eating.
SECURITY GUARD
...and this.
The Security Guard places a SMALL PEWTER CONE alongside the
gun. The Elderly Man STOPS eating. Picks up the cone.
ELDERLY JAPANESE MAN
(in Japanese)
Bring him here. And some food.
INT. SAME - MOMENTS LATER
The Elderly Man watches the Bearded Man WOLF down his food.
He SLIDES the handgun down the table towards him.
ELDERLY JAPANESE MAN
(in English)
Are you here to kill me?
The Bearded Man glances up at him, then back to his food.
2.
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:
Ratings
Scene 2 - The Extraction Pitch
The speaker, COBB, is 35, handsome, tailored. A young
Japanese man, SAITO, eats as he listens.
COBB
A bacteria? A virus?
Cobb gestures at their feast with his wine glass-
COBB
An intestinal worm?
Saito’s fork pauses, mid-air. Cobb GRINS. A third man is at
the table- ARTHUR. He jumps in to save the pitch-
ARTHUR
What Mr. Cobb is trying to say-
COBB
An idea.
Saito looks at Cobb, curious.
3.
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
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.
4.
Saito gives this a flicker of a smile. Rises. A BODYGUARD
opens double doors which give onto a LAVISH PARTY.
SAITO
Gentlemen. Enjoy your evening as I
consider your proposal.
They watch Saito leave. Arthur turns to Cobb, worried-
ARTHUR
He knows.
Cobb motions silence. A TREMOR starts, they steady their
glasses, Cobb glances at his watch- THE SECOND HAND IS
FROZEN.
ARTHUR
What’s going on up there?
And we-
CUT TO:
FILTHY BATHROOM - DAY (FEELS LIKE DIFFERENT TIME)
Cobb, ASLEEP, SITTING IN A CHAIR AT THE END OF A STEAMING
BATH. The chair is up on a cabinet- the bottom of the legs
level with the rim of the tub.
A sweating man (40's) watches over Cobb. This is NASH. A
distant EXPLOSION rumbles through the room. Nash moves to the
window, parts the curtains. Outside: a CHAOTIC DEVELOPING-WORLD
CITY- the street filled with RIOTERS- SMASHING, BURNING.
Nash checks Cobb's left wrist: above his watch, tape holds
TWO THIN YELLOW TUBES in place. Nash looks at Cobb's watch-
THE SECOND HAND CRAWLS UNNATURALLY SLOWLY.
Nash follows the tubes to a SILVER BRIEFCASE at Arthur's
feet: ARTHUR IS ASLEEP in an armchair. Tubes connect the
briefcase to Arthur's wrist.
Nash follows another set of tubes from the briefcase to where
they pass under the door to the bedroom. Through the crack of
the door, Nash sees SAITO ASLEEP on the bed, tubes running to
his wrist. BOOM- a closer EXPLOSION, and we-
CUT TO:
INT. BULLET TRAIN COMPARTMENT - DAY (FEELS LIKE DIFFERENT TIME)
Nash, ASLEEP. Head ROCKING AGAINST THE WINDOW as the train
BUMPS OVER A ROUGH PIECE OF TRACK.
5.
A Japanese Man, TODASHI (18) watches Nash nervously. He
checks Nash's wrist: TWO YELLOW TUBES CONNECT NASH WITH THREE
OTHER SLEEPING MEN IN THE COMPARTMENT: COBB, ARTHUR, SAITO.
Todashi checks his watch: THE SECOND HAND TICKS IN REAL TIME.
Another TRAIN PASSES in the opposite direction with a MIGHTY
WHUMP− Todashi's eyes FLY to Nash's sleeping face-
NASH JERKS WITH THE MOVEMENT OF THE TRAIN, and we-
CUT TO:
INT. FILTHY BATHROOM - CONTINUOUS
Another EXPLOSION- Nash CHECKS the sleeping Cobb and we-
CUT TO:
Ratings
Scene 3 - The Heist Begins
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?
6.
COBB
With a clean dive, perhaps. Mal,
why are you here?
She turns to look at him. Amused.
MAL
I thought you might be missing
me...
She smiles. He leans in, mesmerized.
COBB
I am. But I can't trust you
anymore.
She stares up at him, inviting.
MAL
So what?
INT. BEDROOM SUITE, JAPANESE CASTLE - MOMENTS LATER
Mal sips champagne as she studies a painting by Francis
Bacon.
MAL
Looks like Arthur's taste.
Cobb is looking down through the window at the GUARDS
patrolling the castle at ground level.
COBB
Actually, Mr. Saito is partial to
postwar British painters.
He turns to Mal, donning a pair of black leather gloves.
COBB
Would you sit down?
Mal lowers herself gracefully into a leather wingback chair.
Cobb approaches, pulls out a length of BLACK ROPE and kneels
at Mal's feet. She looks down at him.
MAL
Tell me...
Cobb TIES the rope around the CHAIR LEGS.
MAL
Do the children miss me?
Cobb pauses. He lets his gloved fingers lightly touch Mal's
ankle. He looks up at her.
7.
COBB
You can't imagine.
Mal looks away, uncomfortable. Cobb gets to his feet, letting
out the rope as he moves back to the window.
MAL
What're you doing?
Cobb tosses the rope out-
COBB
Getting some air.
He tugs on the rope, testing. The weight of the chair, with
Mal on it, holds.
COBB
Stay seated. Please.
And with that, he JUMPS. Mal considers the open window.
EXT. JAPANESE CASTLE WALL - CONTINUOUS
Cobb RAPPELS down the wall, darting past windows. He stops at
a particular one. Gets out a glass cutter-
Suddenly he starts DROPPING-
INT. BEDROOM SUITE, JAPANESE CASTLE - CONTINUOUS
The EMPTY CHAIR SLIDES across the floor- WEDGES under the
window-
EXT. JAPANESE CASTLE WALL - CONTINUOUS
Cobb JOLTS to a stop 15 ft. lower. He looks up at the bedroom
window. Shakes his head. Starts climbing back.
INT. KITCHEN, JAPANESE CASTLE - MOMENTS LATER
Cobb drops silently from the window into the darkened
kitchen. He pulls a PISTOL from his belt, screwing a SILENCER
onto the barrel as he GLIDES across the room.
INT. HALL, JAPANESE CASTLE-CONTINUOUS
Cobb SLIPS through the shadows towards a GUARD stationed at
the head of a GRAND STAIRCASE...
The Guard HEARS something- TURNS- PEERS into the shadows...
Cobb FLASHES out of the shadows, silenced pistol up, AIMING-
8.
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.
Ratings
Scene 4 - The Heist Goes Wrong
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.
9.
COBB
No point threatening him in a
dream.
MAL
That depends on what you're
threatening. Killing him would just
wake him up... but pain? Pain is in
the mind...
Mal LOWERS the gun and SHOOTS Arthur in the leg- Arthur
drops, SCREAMING- Mal looks at Cobb, cold.
MAL
And, judging by the decor, we're in
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:
INT. FILTHY BATHROOM - DAY
Arthur's EYES OPEN as he WAKES IN THE ARMCHAIR- he GRABS at
the tubes at his wrist, YANKING them free-
NASH
What're you doing?! It's too soon-
FLUID spurts from the tubes as Arthur STRUGGLES with the
SILVER CASE on the bathroom floor.
ARTHUR
I know! We have to reconnect the
loop before they wake up!
Arthur grabs the case and pushes through the door to the
bedroom− following the tubes to where they meet Saito's wrist-
SAITO LIES ON THE BED ASLEEP. Saito STIRS and we-
CUT TO:
INT. JAPANESE CASTLE CORRIDOR - NIGHT
Cobb LURCHES towards the stairs, as all around him the
building BUCKS and HEAVES-
10.
INT. DINING ROOM, JAPANESE CASTLE - CONTINUOUS
Saito and the Guards PANIC. Mal walks calmly through the
destruction, picks up the envelope and turns to Saito.
MAL
He was close. Very close.
EXT. GRAND STAIRCASE, JAPANESE CASTLE - CONTINUOUS
Cobb runs up the stairs, pulling out the SECOND ENVELOPE-
INT. DINING ROOM, JAPANESE CASTLE - CONTINUOUS
Saito RIPS open the envelope, pulls out sheets of paper. He
looks at Mal, PANICKED. He turns to the Guards-
SAITO
Stop him!
Mal, confused, looks at the sheets of paper: THEY ARE BLANK.
Mal smiles, amused.
INT. GRAND STAIRCASE, JAPANESE CASTLE - CONTINUOUS
As Cobb runs up the stairs he reads the TYPEWRITTEN SHEETS
from his envelope, and we-
CUT TO:
INT. DILAPIDATED HOTEL ROOM - DAY
Arthur OPENS the silver case: a COMPLEX MECHANISM of TUBES,
SYRINGES, DOSAGE CONTROLLERS. Arthur's hands fly across the
machine's controls as he glances at Saito's STIRRING face-
ARTHUR
I'm not going to make it! Wake
Cobb!
INT. FILTHY BATHROOM - CONTINUOUS
Nash turns to Cobb. Raises his hand and SMACKS him across the
face, and we-
CUT TO:
INT. GRAND STAIRCASE, JAPANESE CASTLE - NIGHT
Cobb is SMASHED sideways off his feet...
11.
INT. DINING ROOM, JAPANESE CASTLE - NIGHT
The CEILING CRACKS above Saito- he looks up as a TON of STONE
floods down, CRUSHING HIM and we-
CUT TO:
INT. DILAPIDATED HOTEL ROOM - DAY
Saito's eyes FLICKER OPEN. AWAKE.
INT. FILTHY BATHROOM - CONTINUOUS
Nash SMACKS Cobb again-
NASH
He won't wake!
INT. DILAPIDATED HOTEL ROOM-CONTINUOUS
Arthur crouched by Saito, connects the second tube.
ARTHUR
Dunk him!
A CLICK: Arthur looks up to find Saito with a gun to his head
and a finger to his lips, gesturing silence...
INT. FILTHY BATHROOM - CONTINUOUS
Nash puts his hand on Cobb's forehead and PUSHES HIM
BACKWARDS− as Cobb starts to FALL BACKWARDS in the chair we
are in SLOW MOTION, and we-
CUT TO:
Ratings
Scene 5 - Audition
Cobb, full speed, picks himself up, scrambling to read the
last sheet of paper. He stares at it PUZZLED- bullets hit
around him as the Guards race up the stairs and we-
CUT TO:
INT. FILTHY BATHROOM - DAY
Cobb in SLOW MOTION, hits the WATER- head THRASHING as he
goes under- and we-
CUT TO:
INT. GRAND STAIRCASE, JAPANESE CASTLE - NIGHT
Cobb glances up from the paper as WATER EXPLODES IN THROUGH
ALL THE WINDOWS, FLOODING THE ENTIRE HALL-
12.
COBB IS SWAMPED BY WATER, SPUN IN ALL DIRECTIONS AT ONCE- HE
PULLS DEEPER OR FOR THE SURFACE, WE CAN'T TELL...
HE BREAKS THE SURFACE, GASPING FOR AIR IN THE BATHTUB IN THE-
INT. FILTHY BATHROOM - DAY
Cobb’s AWAKE, GULPING AIR, getting his bearings.
Saito SMASHES into the room, KNOCKING Nash down- Cobb
LAUNCHES himself out of the tub, FLYING dripping wet across
the room to SLAM Saito against the door- the gun DROPS,
Cobb's fist CONNECTS with Saito's jaw and the struggle is
over.
INT. DILAPIDATED HOTEL ROOM - MOMENTS LATER
Cobb, wet but composed, sits, turning Saito's gun in his
hand. Nash holds Saito's arms behind him. Outside, the sounds
of RIOTING grow louder.
COBB
You came prepared.
SAITO
I bring the gun because not even my
head of security knows this
apartment. How did you find it?
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?
13.
Arthur looks over at Cobb, worried.
ARTHUR
They're getting closer, Cobb.
CUT TO:
INT. BULLET TRAIN COMPARTMENT - DAY
Todashi slips a pair of HEADPHONES over Nash's ears, then
pulls out an MP3 player and we-
CUT TO:
INT. DILAPIDATED HOTEL ROOM - DAY
Saito's eyes are on the floor.
COBB
You held something back because you
knew what we were up to...
Cobb uses the barrel of the gun to raise Saito's chin.
COBB
So why let us in at all?
Saito smiles, defiant. VIOLENT NOISES echo up the stairway...
SAITO
An audition.
COBB
Audition for what?
SAITO
It doesn't matter. You failed.
COBB
I extracted all the information you
had in there.
SAITO
But your deception was readily
apparent.
And we-
CUT TO:
INT. BULLET TRAIN COMPARTMENT - DAY
Todashi opens the SILVER BRIEFCASE, revealing the complex
mechanism of syringes and controllers- FOUR CONTROLLERS
DISPLAY COUNTDOWNS.
14.
Todashi waits for the first countdown to hit "30," then HITS
PLAY on the MP3 player- He watches Nash's sleeping face as he
RAISES the volume...
Through Nash's headphones: the opening bars of Edith Piaf's
"Non, je ne regrette rien," and we-
CUT TO:
INT. DILAPIDATED HOTEL ROOM - DAY
In the distant background, strange MASSIVE low-end MUSICAL
start, sounding like DISTANT HORNS...
SAITO
So leave me and go.
COBB
You know the corporation who hired
us won't accept failure. We won't
last two days...
The DISTANT, SLOWED-DOWN MUSIC is becoming LOUDER, as are the
SHOUTS coming up the stairs. Arthur looks at his watch, its
SLOW SECOND TICKING MARKS TIME WITH THE MASSIVE MUSIC.
ARTHUR
Come on, Cobb.
COBB
So now I have to do this the old-
fashioned way-
Cobb GRABS SAITO AND PUTS HIS HEAD TO THE FLOOR, gun pressed
into his cheek. Saito looks into Cobb's eyes- sees he 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.
15.
Cobb glares at Nash, and we-
CUT TO:
INT. BULLET TRAIN COMPARTMENT - DAY
Todashi watches the first of the countdowns hit ZERO- He
looks up at Arthur, STIRRING, and we-
CUT TO:
Ratings
Scene 6 - The Dream Heist Part 2
Saito turns from the carpet to look up at Cobb.
SAITO
Which means I'm not lying on my
carpet, in my apartment...
(smiles)
You've lived up to your reputation,
Mr. Cobb... I'm still dreaming.
Cobb looks over to Arthur, but ARTHUR HAS VANISHED, and we-
CUT TO:
INT. BULLET TRAIN COMPARTMENT - DAY
Arthur's eyes flicker open, AWAKE. He RIPS at his tubes.
TODASHI
How'd it go?
ARTHUR
Not good.
Arthur checks the remaining three countdowns, and we-
CUT TO:
INT. DILAPIDATED HOTEL ROOM - DAY
Saito gets to his feet, looking admiringly at Cobb.
SAITO
A dream within a dream-I'm
impressed.
Cobb lowers the gun. Defeated. Glances at his watch. The
music REVERBERATES, the RIOTERS BANG ON THE DOOR, and we-
CUT TO:
16.
INT. BULLET TRAIN COMPARTMENT - DAY
Arthur retracts the tubes into the case as he watches the
next countdown hit ZERO, and we-
CUT TO:
INT. DILAPIDATED HOTEL ROOM - DAY
Another BANG on the door- Saito, confident now, approaches
Cobb. Nash is behind Saito.
SAITO
But in my dream, we really ought to
be playing by my rules...
NASH
Ah, yes, but you see, Mr. Saito-
Saito turns to Nash-
COBB
We're not in your dream-
Saito turns back to Cobb, BUT COBB HAS VANISHED-
NASH
We're in mine.
Saito SPINS back to Nash- the DOOR SMASHES OFF ITS HINGES AS
RIOTERS POUR INTO THE ROOM, SWARMING OVER NASH... BUT NASH IS
GONE. The music DIES. Saito and the rioters stand there in
the SILENCE, the light DWINDLING... and we-
CUT TO:
INT. BULLET TRAIN COMPARTMENT - DAY
Nash’ eyes open, AWAKE.
ARTHUR (O.S.)
Asshole!
Nash BLINKS. Arthur is in his face, furious.
ARTHUR
How could you get the carpet
wrong?!
NASH
It wasn't my fault!
ARTHUR
You're the architect-
17.
NASH
I didn't know he was going to rub
his damn cheek on it!
Cobb pulls Arthur away from Nash.
COBB
Lets go.
ARTHUR
And you-what the hell was all that?
COBB
I had it under control.
ARTHUR
I’d hate to see out of control-
COBB
There's no time for this-I'm
getting off at Kyoto.
ARTHUR
Why? He's not gonna search every
compartment.
COBB
I can't stand trains.
Arthur moves to the briefcase. Turns a dial.
ARTHUR
I can keep him under for one minute-
Arthur hits a button- A PLUNGER DEPRESSES. Cobb RIPS the tape
off Saito's wrist, ROLLS up his tubes. Arthur SLAMS the
silver case shut. Todashi pulls open the door-
COBB
Every man for himself.
Arthur and Nash EXIT, heading in different directions down
the corridor. Cobb hands Todashi a thick roll of CASH, looks
at Saito, who stirs. Cobb moves off.
EXT. JAPANESE COUNTRYSIDE - CONTINUOUS
The BULLET TRAIN speeds through the lush landscape.
INT. BULLET TRAIN COMPARTMENT - CONTINUOUS
Saito WAKES GENTLY. Looks around the compartment, empty but
for Todashi, reading a comic. Saito looks down at his wrist.
Sees a small mark. Rubs it. SMILES.
18.
EXT. TOKYO - DUSK
Moving over the vast city towards a high rise. A HELICOPTER
thumps into frame, heading for a pad on the roof.
Ratings
Scene 7 - Phone Call Home
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...
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...
19.
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-
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.
20.
COBB
Yeah, why?
ARTHUR
Down in the dream... Mal showing up
like that ...
COBB
Yeah. I'm sorry about your leg.
ARTHUR
It's getting worse, isn't it?
COBB
One apology's all you're getting,
Arthur. Now, where's Nash?
ARTHUR
Hasn't shown. Wanna wait?
COBB
(shakes head)
We were supposed to deliver Saito's
expansion plans to Cobol Engineering
two hours ago. By now they know we
failed. Time to disappear.
INT. CORRIDOR - CONTINUOUS
Cobb and Arthur head towards the elevator.
ARTHUR
Where will you go?
COBB
Buenos Aires. I can lie low there.
Maybe sniff out a job when things
quiet down. You?
ARTHUR
Stateside.
COBB
(wistful) )
'Course. Send my regards.
Arthur looks at Cobb. Nods. Sympathetic.
EXT. ROOFTOP HELIPAD - NIGHT
The HELICOPTER sits, ROTORS SPINNING. As Cobb and Arthur
reach the door, it SLIDES OPEN. Cobb steps up into the
leather-padded interior. He freezes.
21.
Ratings
Scene 8 - Offer and Choice
Nash, BEATEN BLOODY, sits on the far side, slumped against
the wine. Beside him: SAITO. He nods politely at Cobb.
SAITO
He sold you out. Thought to come to
me and bargain for his life...
Saito's BODYGUARD offers Cobb a GUN.
SAITO
So I offer you the satisfaction.
COBB
That's not how I deal with things.
SAITO
Would you work with him again?
Cobb shakes his head. Saito's BODYGUARDS PULL Nash from the
chopper. Saito motions Cobb and Arthur to sit. The chopper
RISES. Cobb watches Nash DRAGGED across the pad.
COBB
What will you do to him?
SAITO
Nothing. But I can't speak for your
friends from Cobol Engineering.
Saito looks out at the city slipping by.
COBB
What do you want from us?
SAITO
Inception.
Arthur raises his eyebrows. Cobb is poker-faced.
SAITO
Is it possible?
ARTHUR
Of course not.
SAITO
If you can steal an idea from
someone's mind, why can't you plant
one there instead?
ARTHUR
Okay, here's planting an idea: I
say to you, "Don't think about
elephants."
(MORE)
22.
ARTHUR (CONT'D)
(Saito nods)
What are you thinking about?
SAITO
Elephants.
ARTHUR
Right. But it's not your idea
because you know I gave it to you.
SAITO
You could plant it subconsciously-
ARTHUR
The subject's mind can always trace
the genesis of the idea. True
inspiration is impossible to fake.
COBB
No, it isn't.
SAITO
Can you do it?
COBB
I won't do it.
SAITO
In exchange, I'll give you the
information you were paid to steal.
COBB
Are you giving me a choice? Because
I can find my own way to square
things with Cobol.
SAITO
Then you do have a choice.
COBB
And I choose to leave.
EXT. AIRFIELD - MOMENTS LATER
The helicopter sets down next to a PRIVATE JET.
INT. HELICOPTER - CONTINUOUS
Saito indicates the plane.
SAITO
Tell the crew where you want to go,
they'll file the plan en route.
Cobb and Arthur look at each other. Then move for the door.
23.
SAITO
Mr. Cobb...? There is one other
thing I could offer you.
(Cobb stops)
How would you like to go home? To
America. To your children.
Cobb turns back to Saito.
COBB
You can't fix that. Nobody could.
SAITO
Just like inception.
Cobb considers this. Arthur touches his arm.
ARTHUR
Cobb, come on-
COBB
How complex is the idea?
SAITO
Simple enough.
COBB
No idea's simple when you have to
plant it in someone else's mind.
SAITO
My main competitor is an old man in
poor health. His son will soon
inherit control of the corporation.
I need him to decide to break up
his father's empire. Against his
own self-interest.
ARTHUR
Cobb, we should walk away from
this.
COBB
If I were to do it. If I could do
it... how do I know you can
deliver?
SAITO
You don't. But I can. So do you
want to take a leap of faith, or
become an old man, filled with
regret, waiting to die alone?
Cobb looks at Saito. Barely nods.
24.
SAITO
Assemble your team, Mr. Cobb. And
choose your people more wisely.
Ratings
Scene 9 - Going Deeper
Cobb reclines his seat. Arthur picks at a salad, angry.
ARTHUR
I know how much you want to go home-
COBB
(sharp)
No, you don't.
ARTHUR
But this can't be done.
COBB
It can. You just have to go deep
enough.
ARTHUR
You don't know that!-
COBB
I've done it before.
Arthur is taken aback. Cobb turns to the window.
ARTHUR
Did it work?
COBB
(quiet)
Yes.
ARTHUR
Who did you do it to?
Cobb looks at Arthur. Closed. Arthur shrugs.
ARTHUR
So why are we headed to Paris?
COBB
We're going to need a new
architect.
INT. GREAT HALL, ÉCOLE D'ARCHITECTURE - MORNING
Cobb, carrying a shopping bag, looks into a lecture hall: no
students, just a RUMPLED PROFESSOR hunched over paperwork.
25.
Ratings
Scene 10 - The Architect's Offer
COBB (O.S.)
You never did like your office.
PROFESSOR MILES looks up, squinting. Recognizes Cobb.
MILES
No space to think in that broom
cupboard.
Cobb steps down past the empty wooden rows.
MILES
Is it safe for you to be here?
COBB
Extradition between France and the
U.S. is a bureaucratic nightmare.
MILES
I think they'd find a way to make
it work in your case.
Cobb hand Miles the shopping bag.
COBB
Can you take these back for the
kids?
MILES
It'll take more than the occasional
stuffed animal to convince those
children they still have a father.
COBB
I know. I thought you could talk to
Marie about bringing them on
vacation. Somewhere I could meet-
MILES
Why would she listen to me?
COBB
You were married for twenty years.
MILES
She blames me as much as you.
COBB
Doesn't she understand that my kids
need me?
26.
MILES
Yes, she does. We all do. Go back
and face the music, Dom. Explain
what Mal did.
COBB
Be realistic, Stephen. They'd never
understand− they'd lock me up and
throwaway the key. Or worse.
MILES
You think what you're doing now is
helping your case?
COBB
Lawyers don't pay for themselves.
This is what I have. This is what
you taught me.
MILES
I never taught you to be a thief.
COBB
No, you taught me to navigate other
people's minds. But after what
happened with Mal there weren't a
whole lot of legitimate ways for me
to use that skill.
Miles looks at Cobb.
MILES
Why did you come here, Dom?
Cobb shifts slightly.
COBB
I found a way home. A job. For
powerful people. If I pull it off,
I can get back to my family. But I
need help.
Miles realizes something.
MILES
My God. You're here to corrupt one
of my brightest and best.
COBB
If you have someone good enough,
you have to let them decide for
themselves. You know what I'm
offering-
MILES
Money?
27.
COBB
No, not just money: the chance to
build cathedrals, entire cities-
things that have never existed,
things that couldn't exist in the
real world...
MILES
Everybody dreams, Cobb. Architects
are supposed to make those dreams
real.
COBB
That's not what you used to say.
You told me that in the real world
I'd be building attic conversions
and gas stations. You said that if
I mastered the dream-share I'd have
a whole new way of creating and
showing people my creations. You
told me it would free me.
Miles looks at Cobb, sad.
MILES
And I'm sorry. I was wrong.
COBB
No, you weren't. Your vision was a
vision of pure creativity. It's
where we took it that was wrong.
MILES
And now you want me to let someone
else follow you into fantasy.
COBB
They won't actually come on the
job, they'll just design the levels
and teach them to the dreamers.
MILES
Design them yourself.
COBB
Mal won't let me.
Miles looks at Cobb. Appalled.
MILES
Come back to reality, Dom. Please.
COBB
You want to know what's real,
Stephen? Your grandchildren waiting
for their dad to come back.
(MORE)
28.
COBB (CONT'D)
This job-this last job-is how I get
there.
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.
Ratings
Scene 11 - The Job Offer
Miles and Cobb stand by as STUDENTS file out of a lecture.
MILES
Ariadne...
A young woman carrying books turns. This is ARIADNE.
MILES
I'd like you to meet Mr. Cobb.
She sizes him up with quick eyes. Offers her hand.
ARIADNE
Pleased to meet you.
MILES
If you have a few moments, Mr. Cobb
has a job offer to discuss with
you.
ARIADNE
A work placement?
COBB
(smiles
Not exactly.
EXT. ROOFTOP, ÉCOLE D'ARCHITECTURE - MOMENTS LATER
Ariadne leans against the parapet, overlooking Paris. She
unwraps a sandwich, watching Cobb pull out a pad of GRAPH
PAPER and a PEN. He offers them. She bites her sandwich.
COBB
A test.
29.
ARIADNE
(mouth full)
Aren't you going to tell me
anything?
COBB
Before I describe the job, I have
to know you could do it.
ARIADNE
Why?
COBB
It's not, strictly speaking, legal.
Ariadne raises her eyebrows.
COBB
You have two minutes to draw a maze
that takes me one minute to solve.
Ariadne takes the pad and pen. Cobb looks at his watch.
COBB
Go.
She starts DRAWING LINES on the grid, constructing a maze.
COBB
Stop.
Ariadne hands the pad and pen to Cobb. He glances at the pad,
then, looking her in the eye, TRACES the solution. She is
taken aback. Cobb RIPS off the sheet, hands the pad back.
COBB
Again.
She traces straight lines, CONCENTRATING...
COBB
Stop.
She hands Cobb the pad, a touch pleased. Cobb solves the
puzzle instantly, as before. Her smile falls.
COBB
You'll have to-
She GRABS the pad, frustrated... but this time she FLIPS it
over and starts drawing on the BLANK CARDBOARD of the back.
Cobb watches, surprised. He smiles as he sees that she's
drawing CIRCLES, creating a maze based on concentric rings.
Ariadne hands back the pad, defiant. Cobb takes the pen,
starts the maze. This time he gets stuck. Nods.
30.
COBB
(working the maze)
More like it.
EXT. NARROW STREET, PARIS - DAY
Arthur stops at a warehouse door. Consults a piece of paper.
INT. WORKSHOP - CONTINUOUS
A large, dusty warehouse. The SLIDING DOOR cracks open.
Arthur enters. Looks around, approvingly.
INT. SAME - LATER
Arthur DRAGS LAWN CHAIRS into the middle of the room. He
erects a table. Lays out several SILVER CASES, unpacking
them, laying out lines of tubing, MECHANISMS...
Ratings
Scene 12 - Shared dreaming lesson
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.
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.
31.
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-
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.
32.
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-
Ariadne is WIPED FROM HER SEAT BY A MASSIVE BLAST and we-
CUT TO:
INT. WORKSHOP - DAY
Ariadne JOLTS awake.
COBB (O.S.)
Because it's never just a dream.
Ariadne turns to Cobb's voice. They are both sitting in the
lawn chairs. Arthur watches over them.
33.
COBB
And a face full of glass hurts like
hell, doesn't it? While we're in
it, it's real.
ARTHUR
That's why the military developed
dream sharing-a training program
where soldiers could strangle, stab
and shoot each other, then wake up.
ARIADNE
How did architects get involved?
COBB
Someone had to design the dreams.
(to Arthur)
Let's go another five minutes-
ARIADNE
We were only asleep for five
minutes? We talked for an hour at
least...
COBB
When you dream, your mind functions
more quickly, so time seems to pass
more slowly.
ARTHUR
Five minutes in the real world
gives you an hour in the dream.
COBB
Let's see how much trouble you can
cause in five minutes.
And we-
CUT TO:
Ratings
Scene 13 - Exploring Dream Architecture
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?
34.
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
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.
35.
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.
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...
36.
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-
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?
37.
A passerby GRABS Ariadne's shoulder-
COBB
Leave her alone-
More of the crowd join in, PULLING at Ariadne, holding her
arms open- Cobb PULLS people off- the crowd PUSHES him away-
Cobb sees someone WALKING PURPOSEFULLY through the crowd
towards the helpless, Ariadne- it is Mal. She approaches with
even strides- Ariadne stares at her, uneasy.
ARIADNE
Wake me up, Cobb.
As Mal walks, she pulls out a LARGE KNIFE-
COBB
Mal, no!
ARIADNE
Wake me up!
Ariadne SCREAMS as Mal LUNGES at her with the knife and we-
CUT TO:
Ratings
Scene 14 - The Importance of a Totem
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.
38.
ARIADNE
That's some subconscious you've
got, Cobb.
(calls after him)
She's a real charmer!
ARTHUR
Sounds like you've met Mrs. Cobb.
ARIADNE
(surprised)
She's his wife?
Arthur nods, pulling off Ariadne's tubes.
ARTHUR
So. A totem. You need something
small, potentially heavy...
INT. BATHROOM, WORKSHOP - CONTINUOUS
Cobb takes out his PEWTER SPINNING TOP, SPINS it on the
marble counter...
INT. WORKSHOP - CONTINUOUS
Ariadne looks at Arthur, puzzled.
ARIADNE
Like a coin?
ARTHUR
Too common. You need something that
has a weight or movement that only
you know.
INT. BATHROOM, WORKSHOP - CONTINUOUS
Cobb STUDIES the spin of the top as it decays, becoming more
and more ECCENTRIC...
INT. WORKSHOP - CONTINUOUS
ARIADNE
What’s yours?
Arthur holds out a DIE.
ARTHUR
A loaded die.
Ariadne reaches for it- Arthur snatches sit away-
39.
ARTHUR
I can’t let you handle it. That’s
the point. No one else can know the
weight or balance of it.
ARIADNE
Why?
ARTHUR
So when you examine your totem...
INT. BATHROOM, WORKSHOP - CONTINUOUS
Cobb’s spinning top WOBBLES OVER.
ARTHUR (O.S.)
You know, beyond a doubt, that
you’re not in someone else’s dream.
Cobb GRABS it like a drowning man reaching for a lifeline.
INT. WORKSHOP - CONTINUOUS
Ariadne thinks this over.
ARIADNE
That’s not an issue for me.
ARTHUR
Why not?
ARIADNE
Arthur, maybe you can’t see what’s
going on, maybe you don’t want to.
But Cobb’s got problems he’s tried
to bury down there. I’m not going
to 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?
40.
COBB
I’ve got to talk to Eames.
ARTHUR
Eames? But he’s in Mombasa. Cobol’s
backyard.
COBB
Necessary risk.
ARTHUR
There are plenty of other thieves.
COBB
We don’t just need a thief. We need
a forger.
Ratings
Scene 15 - Showdown at the Gambling Den
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?
41.
Eames takes his money. Smiles at Cobb.
EAMES
Versatile.
INT. STREET, MOMBASA - CONTINUOUS
Eames leads Cobb down the quiet street.
EAMES
Word is, you’re not welcome in
these parts.
COBB
Yeah?
EAMES
There’s a price on your head from
Cobol Engineering. Pretty big one,
actually.
COBB
You wouldn’t sell me out.
Eames looks at Cobb, offended.
EAMES
‘Course I would.
COBB
(smiles)
Not when you hear what I’m selling.
Ratings
Scene 16 - Escape from Mombasa
A ramshackle balcony overlooking a bust street. Eames pours.
COBB
Inception.
Eames’s glass stops halfway to his mouth.
COBB
Don’t bother telling me it’s
impossible.
EAMES
It’s perfectly possible. Just
bloody difficult.
COBB
That’s what I keep saying to
Arthur.
42.
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?
EAMES
The relationship with the father.
(downs drink)
Do you have a chemist?
43.
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.
EAMES
(looks harder)
Oh. No, it isn’t.
EXT. STREET, MOMBASA - CONTINUOUS
Cobb stands up, PUSHES into the crowd- faces PEER at him- he
moves, trying to blend- TURNS- a SECOND BUSINESS MAN is
there.
44.
COBB
(disarming smile)
Yes?
SECOND BUSINESSMAN
We need to-
Cobb HEAD BUTTS the Second Businessman, PUSHES past him-
The First Businessman races out of the bar, sees Cobb's wake,
DIVES after him- Cobb RACES headlong through tight
passageways, WEAVING through or KNOCKING into the locals...
He steps into a dark, crowded cafe, scanning the tables...
the First Businessman enters, spots him. An AFRICAN MAN gets
in Cobb's face, jabbering at him in Swahili- Cobb considers
his options... the First Businessman DRAWS A GUN- Cobb bolts,
steps up on a table and out an open window, SCRAMBLING into
the alley outside...
Cobb LOOKS left, right... CUTS LEFT into a narrow, CROWDED
alley- the alley NARROWS TO A DEAD END. Faces in the CROWD
start to watch Cobb- PEOPLE start to SURROUND him- Cobb looks
back the way he came- the two Businessmen are there, GUNS
DRAWN-
Cobb sees a SMALL GAP between the buildings at the narrow end-
he THROWS himself into it- gets STUCK HALFWAY...
The crowd bears down, GRABBING for him as Cobb struggles to
SQUEEZE HIMSELF through the gap... Cobb's moving INCHES as
his pursuers gain YARDS... the Crowd is upon him... he BURSTS
FREE. TUMBLING onto the next street, ROLLING out of sight.
Cobb Jumps to his feet- in a market square. TWO MORE
BUSINESSMEN move towards him. Cobb BOLTS but a CAR SKIDS UP,
BLOCKS HIS PATH- the door opens- SAITO IS IN THE BACK.
SAITO
Care for a lift, Mr. Cobb?
COBB
(jumping in)
What brings you to Mombasa, Mr.
Saito?
SAITO
I have to protect my investment.
EXT. COFFEE HOUSE - MOMENTS LATER
Eames stands on the pavement. The car pulls up. Cobb beckons
from the rear window. Eames looks at Saito. Back to Cobb.
EAMES
This is your idea of losing a tail?
45.
COBB
(shrugs)
Different tail.
Ratings
Scene 17 - Paradoxical Architecture
Arthur sits at the table, working on a mechanism. A small
COUGH prompts him to look up: Ariadne is there.
ARTHUR
He said you'd be back.
ARIADNE
I tried not to come.
ARTHUR
But there's nothing else quite like
it.
ARIADNE
No paper, no pens... nothing
between you and raw, direct
creation.
Arthur picks up his mechanism.
ARTHUR
Shall we take a look at paradoxical
architecture?
Ariadne nods, takes off her coat and we-
CUT TO:
INT. PENROSE STEPS - LATER
Arthur leads Ariadne down some busy steps in a large glass
and steel ATRIUM in an office complex.
ARTHUR
You're going to have to master a
few tricks if you're going to build
three complete dream levels.
A SECRETARY DROPS some papers as they pass...
ARIADNE
What sort of tricks?
They take a tight turn and continue down the next flight.
ARTHUR
In a dream, you can cheat
architecture into impossible
shapes.
(MORE)
46.
ARTHUR (CONT'D)
That lets you create closed loops,
like the Penrose Steps. The
infinite staircase.
Ariadne FREEZES- THEY ARE IN THE EXACT SPOT THEY STARTED
DESCENDING FROM, next to the Secretary gathering her papers.
Ariadne puzzles at the impossible construction of the stairs.
ARTHUR
See...
Arthur stops her gently- they are on the highest step, with a
LARGE DROP to the next step. Arthur gestures at the drop.
ARTHUR
Paradox. A closed loop like this
helps you disguise the boundaries
of the dream you've created.
ARIADNE
How big do the levels have to be?
ARTHUR
Anything from the floor of a
building, to an entire city. But it
has to be complicated enough for us
to hide from the projections.
ARIADNE
A maze.
ARTHUR
And the better the maze-
ARIADNE
The longer we have before the
projections catch us.
Ariadne looks around. Sees people LOOKING at Arthur.
ARIADNE
My subconscious seems polite
enough.
ARTHUR
You wait, they'll turn ugly. No one
likes to see someone else messing
around in their mind.
ARIADNE
Cobb can't build anymore, can he?
47.
ARTHUR
I don't know if he can't, but he
won't. He thinks it's safer if he
doesn't know the layouts.
ARIADNE
Why?
ARTHUR
He won't tell me. I think it's Mal.
I think she's getting stronger.
ARIADNE
His ex-wife?
ARTHUR
She's not his ex.
ARIADNE
They're still together?
Arthur turns to Ariadne. Gentle.
ARTHUR
No. No, she's dead, Ariadne. What
you see in there is just his
projection of her.
ARIADNE
What was she like in real life?
ARTHUR
(quiet)
She was lovely.
CUT TO:
Ratings
Scene 18 - Corporate Espionage
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.
48.
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
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.
49.
SAITO
It should be possible. If you can
get the right references.
EAMES
References are something of a
specialty for me, Mr. Saito.
EXT. DECREPIT BUILDING, MOMBASA - LATER
Eames leads Cobb and Saito down uneven steps to a doorway.
INT. STAIRWELL - CONTINUOUS
Peeling paint, buzzing flies. They ascend to a dusty,
wire-reinforced glass door which Eames pushes open-
Ratings
Scene 19 - Meeting with Yusuf
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.
50.
COBB
(dubious)
Somnacin?
YUSUF
(proudly)
Yusuf's Somnacin.
Yusuf pulls the stopper, holds it towards Cobb's nose.
COBB
As good as the real thing?
Yusuf WHIPS the bottle away from Cobb, offended.
YUSUF
Better.
Yusuf holds the bottle to the light, marveling.
YUSUF
Binds the dreamers tight. Let's
them dream as one. Makes it real.
Of course, if you'd prefer, you
could use Somnacin brand. 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?
51.
COBB
Three.
YUSUF
Not possible. That many dreams
within dreams would be too
unstable.
COBB
I've done it before. You just have
to add a sedative.
YUSUF
A 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.
52.
Ratings
Scene 20 - Dreamers' Reality
A dark room with ROWS of low COTS. Each with a sleeping
occupant. Tubes connect their wrists. An ELDERLY BALD MAN
watches over them.
EAMES
(counting)
Eighteen, twenty-all connected,
bloody hell.
YUSUF
They come every day. To share the
dream.
Yusuf nods at the Elderly Bald Man, who moves to the nearest
bed. Reaches out to the OCCUPANT. Gives his face a FIRM SLAP.
The sleeper does not even stir.
YUSUF
See? Very stable.
COBB
How long do they dream?
YUSUF
Three, four hours. Every day.
COBB
How long in dream time?
YUSUF
With this compound... about forty
hours. Each and every day.
Saito surveys the room, appalled.
SAITO
Why do they do it?
YUSUF
Tell him, Mr. Cobb.
COBB
After a while...
(looks at Saito)
It becomes the only way you can
dream.
YUSUF
Do you still dream, Mr. Cobb?
Cobb STARES at the sleepers. Uneasy.
EAMES
They come here every day to sleep?
53.
ELDERLY BALD MAN (O.S.)
No.
Cobb turns to the Elderly Bald Man, who looks fondly at his
dreamers.
ELDERLY BALD MAN
They come to be 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.
INT. SAME - MOMENTS LATER
Cobb is lying on an empty cot, asleep. Yusuf stands over him.
As we move in on Cobb's SLEEPING FACE we hear the sound of a
FREIGHT TRAIN, BUILDING, and we-
CUT TO:
EXT. WASTELAND - DAY
CLOSE ON Cobb's face as he lies, EYES CLOSED, cheek pressed
to a METAL RAIL- THE SOUND OF THE TRAIN IS DEAFENING- Cobb is
BREATHING, BREATHING, BREATHING, and we-
CUT TO:
INT. BACK ROOM, PHARMACY - DAY
Cobb's eyes open. Yusuf is watching him.
YUSUF
Sharp, no?
Cobb nods. Gets to his feet, looking around-
INT. BATHROOM, PHARMACY - CONTINUOUS
Cobb SPLASHES water on his face, breathing hard- INSERT CUT:
A CURTAIN BILLOWS. MAL TURNS TO US, HAIR BLOWING, SMILING.
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.
54.
SAITO
Everything alright, Mr. Cobb?
Cobb dries his face with a paper towel. Picks up his top.
COBB
Everything's fine.
INT. BACK ROOM, WORKSHOP - NIGHT
Close on a small BRASS CHESS PIECE. Ariadne tips it over.
Frowning, she picks up a micro drill, peels back the felt on
the bottom and widens a hole in one side of its base. Tests
the TIPPING POINT again. A NOISE makes her look up.
Ratings
Scene 21 - Cobb's Secrets
Ariadne comes into the main space. Someone is there,
unpacking one of the MECHANISMS. Cobb.
ARIADNE
You're back.
Cobb looks up with a start. Caught out.
ARIADNE
Are you going under on your own?
COBB
I just-I need to test some things.
I didn't realize anyone was here.
ARIADNE
Just working on my totem.
Ariadne holds up the chess piece. Cobb reaches for it.
COBB
Let me see-
Ariadne SNAPS it out of his reach. Smiles. Cobb nods.
COBB
You're learning.
ARIADNE
It's an elegant solution to keeping
track of reality. Your invention?
COBB
No. Mal's.
Cobb pulls out his spinning top. Looks at it.
55.
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
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.
56.
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.
Ratings
Scene 22 - Planting the Idea
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.
57.
COBB
An idea Robert Fischer's conscious
mind would never accept. We have to
plant it deep in his subconscious.
ARTHUR
How deep?
COBB
Three levels down.
ARTHUR
A dream within a dream within a
dream? Is that even possible?
COBB
Yes. It is.
COBB
Now, the subconscious motivates
through emotion, not reason, so we
have to translate the idea into an
emotional concept.
ARTHUR
How do you translate a business
strategy into an emotion?
COBB
That's what we have to figure out.
Robert and his father have a tense
relationship. Worse, even, than the
gossip columns have suggested...
EAMES
Do you play on that? Suggest
breaking up his father's company as
a 'screw you' to the old man?
COBB
No. Positive emotion trumps
negative emotion every time. We
yearn for people to be reconciled,
for catharsis. We need positive
emotional logic.
Eames thinks. Paces. Looking back at the board.
EAMES
Try this... "MY FATHER ACCEPTS THAT
I WANT TO CREATE FOR MYSELF, NOT
FOLLOW IN HIS FOOTSTEPS."
COBB
That might work.
58.
ARTHUR
Might? We'll have to do better than
that.
EAMES
Thanks for the contribution,
Arthur.
ARTHUR
Forgive me for wanting a little
specificity, Eames.
COBB
Inception's not about specificity.
When we get inside his head, we're
going to have to work with what we
find.
Arthur shrugs, frustrated. And we-
CUT TO:
EXT. NEW YORK STREETS - DAY
The team are in the middle of a DESERTED intersection.
Ariadne is showing Yusuf aspects of the geography.
EAMES
We could split the idea into
emotional triggers, and use one on
each level.
COBB
How do you mean?
EAMES
On the top level, we open up his
relationship with his father....
Say: "I WILL NOT FOLLOW IN MY
FATHER'S FOOTSTEPS." Next level
down we've accessed his ambition
and self-esteem. We feed him: "I
WILL CREATE SOMETHING MYSELF."
Then, the bottom level, we bring
out the emotional big guns...
COBB
"MY FATHER DOESN'T WANT ME TO BE
HIM."
EAMES
That could do it.
ARTHUR
How do you produce these emotional
triggers?
59.
EAMES
I forge each emotional concept in
the style and manner of Peter
Browning, a key figure in Fischer's
emotional life.
Two AFRICAN PEDESTRIANS wander into view.
ARTHUR
Are those yours?
Eames shakes his head. Cobb turns to Yusuf.
ARTHUR
Yusuf?
YUSUF
Yup. Sorry.
COBB
Suppress them. We don't bring our
own projections into the dream-we
let Fischer's subconscious supply
the people.
EAMES
Saito, when do I get to see
Browning?
SAITO
You fly out to Sydney on Tuesday.
We've arranged for you to spend
several days...
INT. ANTEROOM, MAURICE FISCHER'S OFFICE - DAY
Eames sits in the crowded room. Boxes and files are piled
high. Browning stands by a pair of double doors.
SAITO (V.O.)
...as part of a consulting
litigation team working for
Browning.
BROWNING
I'm not smelling settlement here-we
take them down.
LAWYER
Mr. Browning, Maurice Fischer's
policy is always one of avoiding
litigation-
Browning turns to the lawyer. Calm, but POWERFUL.
60.
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-
Ratings
Scene 23 - Power Struggle and Dream Planning
The office is a MAKESHIFT HOSPITAL ROOM: a BED where the desk
should be. Browning addresses a figure at the window. ROBERT
FISCHER, 30'S, abstracted.
BROWNING
How is he?
Fischer turns to Browning. Motions silence, as he glances at
his FATHER in the bed. Wheezing gently.
BROWNING
I don't want to bother him
unnecessarily but I know he-
FATHER
Robert! I've told you to keep out
the damn!-
MAURICE LASHES OUT, KNOCKING things from his bedside table. A
NURSE calms Maurice as Fischer crouches to retrieve a FRAMED
PHOTOGRAPH. He looks at the photo through the broken glass- a
YOUNG BOY holds a PINWHEEL CLEARLY MADE BY A CHILD (each of
the points is numbered in pen), his FATHER blows on it.
BROWNING
Must be a cherished memory of his-
FISCHER
I put it by his bed. He hasn't even
noticed.
BROWNING
Robert, we have to talk about a
power of attorney. I know this is
hard for you, but it's important
that we start to think about the
future-
FISCHER
Not now, Uncle Peter.
Browning looks at Fischer, considering. Biding his time.
EAMES (V.O.)
The vultures are circling. The
sicker Maurice Fischer becomes, the
stronger Peter Browning becomes...
61.
Eames WATCHES Browning, STUDYING his every move .
INT. BATHROOM - DAY
Eames gestures at a mirror, as if offering to shake hands...
EAMES (V.O.)
I've had time to learn Browning's
physical presence and mannerisms...
In the mirror: BROWNING GESTURES BACK.
INT. WORKSHOP - CONTINUOUS
EAMES
Now, in the dream, I can impersonate
Browning and suggest the concepts to
Fischer's conscious mind...
(draws a diagram)
Then we take Fischer down another
level and his own subconscious
feeds it right back to him.
ARTHUR
(impressed)
So he gives himself the idea.
EAMES
Precisely. That's the only way
to make it stick. It has to seem
self-generated.
ARTHUR
Eames, I'm impressed.
EAMES
Your condescension, as always, is
much appreciated, Arthur.
CUT TO:
INT. DESERTED HOTEL LOBBY - DAY
The team sit on the steps of the large marble lobby,
debating. Ariadne is showing Arthur the lobby.
EAMES
He's not scheduled for surgery, no
dental, nothing.
COBB
I thought he had some knee thing?
EAMES
Nothing they'd put him under for.
Besides, we need a good ten hours.
62.
SAITO
Sydney to Los Angeles.
They turn to Saito.
SAITO
Twelve hours and forty-five
minutes-one of the longest flights
in the world. He makes it every two
weeks...
EXT. AIRFIELD - DAY
Fischer steps out of a black town car and walks across the
tarmac towards a GULF STREAM JET, accompanied by two aides.
COBB (V.O.)
Surely he flies private?
SAITO (V.O.)
Not if there were unexpected
maintenance with his plane.
Fischer is met at the steps by a DISTRAUGHT FLIGHT OFFICER.
INT. HOTEL LOBBY - DAY
Cobb chews this over. Arthur comes over.
ARTHUR
It'd have to be a 747.
COBB
Why?
ARTHUR
On a 747 the pilots are up above,
first class is in the nose so
nobody walks through the cabin.
We'd have to buyout the whole
cabin, and the first class flight
attendant-
SAITO
We bought the airline.
Everyone turns to Saito.
SAITO
It seemed... neater.
COBB
Neater, huh?
(gets to his feet)
Well, now we have ten uninterrupted
hours.
(MORE)
63.
COBB (CONT'D)
(to Ariadne)
Nice lobby, by the way.
And we-
CUT TO:
INT. WORKSHOP - DAY
The group is back in the workshop, deep in discussion.
ARTHUR
My question is how we go down three
layers with enough stability. Three
layers down a little turbulence is
gonna translate into an 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...