Christopher Nolan - Inception - The Shooting Script

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Inception
The Dark Knight
Memento
Inception
Detailing the results of Nolan’s efforts,
includes key storyboard sequences, full-color concept art, and an appendix on the workings of the mysterious Pasiv Device that Cobb and his fellow extractors use to initiate the dream-share. An exclusive exploration of a highly original concept,
is the record of a writer-director at the height of his craft.

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INT. WORKSHOP — DAY

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.

INT. WORKSHOP — NIGHT

Ariadne comes into the darkened main space. Cobb is lying on one of the chairs, asleep. Plugged into the mechanism. Ariadne stands over him. Watching.

She opens the case, PULLS one of the tubes, sits, checking the dials as she injects the needle cap into her arm, and we—

CUT TO:

INT. CAGE STYLE ELEVATOR — DAY

Ariadne ascends. She looks at the buttons. Spots the “B.” The elevator STOPS. She looks through the grill at—

INT. YOUNG GIRL’S BEDROOM — DAY

Ariadne pulls back the grill and walks across the room, considering the dusty furnishings. At the window is a doll’s house, front slightly ajar. Ariadne opens it. Inside is a SAFE. She tries it. LOCKED. A NOISE STARTLES her — she turns, looking through a doorway into another room…

INT. LIVING ROOM — CONTINUOUS

Ariadne looks into the room to see Cobb and Mal talking, arguing. A private moment. Mal brushes at Cobb’s hair, trying to convince him. We hear snatches of conversation—

MAL

You remember when you asked me to marry you?

COBB

Of course…

MAL

You said you had a dream…

COBB

That we’d grow old together.

MAL

And we can. You know how to find me… you know what you have to do.

Cobb is shaking his head, gently. Mal looks into Cobb’s eyes-gentle, loving… Mal SPOTS Ariadne spying on them.

FREEZES, staring, hostile. Cobb turns, sees Ariadne, moves towards her, leaving Mal.

COBB

You shouldn’t be in here.

Cobb guides her back into the elevator.

ARIADNE

I wanted to know what “tests” you need to do on your own every night.

INT. CAGE STYLE ELEVATOR — DAY

Cobb shuts the CAGE DOOR. Ariadne hits a button. The elevator RISES. Through the GRILL Ariadne can see a BEACH stretching off into the distance. The elevator stops. Mal sits on the sand. Beside her, the two children are crouched, away from us, building a SANDCASTLE.

ARIADNE

Why do you do this to yourself?

COBB

This is the only way I can still dream.

ARIADNE

Is it so important to dream?

Cobb stares at his family.

COBB

In my dreams… we’re still together.

The kids, WITHOUT TURNING AROUND, jump up and RUN AWAY.

INT. CAGE STYLE ELEVATOR — CONTINUOUS

The elevator descends.

ARIADNE

But these aren’t just dreams, are they? They’re memories. You said never to use memories.

COBB

And I shouldn’t.

ARIADNE

You’re keeping her alive.

COBB

No.

ARIADNE

You can’t let her go.

COBB

No. These are moments I regret. Moments I turned into dreams so I could change them.

Ariadne’s fingers move across the buttons — stop at the “B."

ARIADNE

What’ve you got buried down there that you regret?

Cobb pushes her hand away. Hits the third floor button.

COBB

There’s only one thing I need you to understand about me…

INT. KITCHEN, COBB AND MAL’S HOUSE — MOMENTS LATER

Ariadne follows Cobb into the kitchen. A THIN MAN is there, standing by the table. He holds a FOLDED PIECE OF PAPER.

ARIADNE

This is your house?

COBB

Mine and Mal’s.

ARIADNE

Where is she?

COBB

She’d already died.

The Thin Man offers Cobb the piece of paper. A CHILD’S SHOUT — Cobb TURNS. Ariadne follows his gaze to the garden. A small blonde boy faces away from them, crouched on his haunches to look at something on the ground.

COBB

It’s James. My boy. He’s found something. Maybe a worm.

A slightly older girl RUNS into view.

COBB

And there’s Philippa.

She crouches beside the boy. Their FACES ARE AWAY FROM US. They point and discuss whatever is on the ground.

COBB

I thought about calling out, so they’d turn and smile those incredible smiles… but I’m out of time—

The Thin Man thrusts the paper into Cobb’s hand.

THIN MAN

Right now. Or never, Cobb.

Cobb nods, turns from the window—

COBB

Then I panic that I’ll always wish I’d seen them turn, that I can’t waste this chance…

Cobb TURNS BACK to call out — but the children RACE OFF…

COBB

But the moment’s passed. And whatever I do, the dream’s always the same… When I’m about to call… they run.

Cobb watches them run off, calling for grandma, FACES UNSEEN.

COBB

If I’m going to see their faces again — I’ve got to get back here in the real world…

Behind him, Ariadne SLAMS the grill shut. Cobb TURNS.

INT. CAGE STYLE ELEVATOR — CONTINUOUS

Ariadne hits the BASEMENT button. The elevator starts to DESCEND. ariadne STARES, fascinated as glimpses of floors slip past: Mal’s childhood bedroom, a thundering wall of freight train… The elevator STOPS. Through the grill Ariadne sees a HOTEL SUITE. She pulls open the grill, steps cautiously out into—

INT. ELEGANT HOTEL SUITE — CONTINUOUS (NOW NIGHT)

DISHEVELED bedclothes, UPENDED room service table, STRAWBERRIES across the floor. A STRUGGLE. Ariadne steps forwards — SMASH — she looks down to see that she has kicked over a CHAMPAGNE FLUTE. Ariadne feels a draught. The CURTAIN BILLOWS.

MAL (O.S.)

What are you doing here?

Ariadne TURNS. Mal is there.

ARIADNE

My name is—

MAL

I know who you are. What are you doing here?

ARIADNE

I don’t know. Trying to understand.

MAL

How could you understand? Do you know what it is to be a lover? To be half of a whole?

ARIADNE

No.

Mal moves slowly towards Ariadne…

MAL

I’ll tell you a riddle. You’re waiting for a train. A train that will take you far away. You know where you hope this train will take you, but you don’t know for sure…

Mal glides around Ariadne, looking her over.

MAL

But… it 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…

INT. CAGE STYLE ELEVATOR — CONTINUOUS

Cobb PULLS Ariadne into the elevator — Mal THROWS herself towards Ariadne — Cobb SLAMS the GRILL — Mal SMASHES against it AGAIN and AGAIN like a WILD ANIMAL — Ariadne FLINCHES—

MAL

You PROMISED! YOU SAID WE’D BE TOGETHER!—

COBB

We can. We will. But I need you to stay here for now—

MAL

YOU SAID WE’D GROW OLD TOGETHER!—

Cobb pushes a button and the elevator starts to rise.

COBB

I’ll come back. I need you to stay here on your own for now. Just while I do this job. Then we can be together—

MAL

WE’LL BE TOGETHER — YOU PROMISED!—

Mal THROWS herself against the grill, and we—

CUT TO:

INT. WORKSHOP — NIGHT

Ariadne watches Cobb sleeping. His eyes gradually flicker open. He sees her watching him.

ARIADNE

You think you can just build a prison of memories to lock her in? You think that’s going to contain her?

The LIGHTS COME ON: Saito and Arthur stand in the doorway.

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