Christopher Nolan - Inception - The Shooting Script

ARIADNE

(she points)

That’s the antechamber outside the strongroom.

Cobb looks at the large windows of the antechamber.

COBB

What about the strongroom? Doesn’t it have any windows?

ARIADNE

Wouldn’t be very strong if it did.

(off look)

Look, if you wanted to design it yourself—

COBB

It’s fine. Better hope that we like what Fischer finds in there.

Cobb sets up his sniper rifle. Through the scope he can see three guards on the balcony outside the chamber. Three more inside. Cobb casually picks them off with his rifle. Ariadne watches through binoculars, appalled.

ARIADNE

These projections, they’re part of his subconscious?

COBB

Yeah.

ARIADNE

Are you destroying those parts of his mind?

COBB

No, of course not. They’re just projections.

EAMES (OVER RADIO)

Cobb? Something’s wrong?

EXT. FOREST, SNOW-COVERED MOUNTAINS — CONTINUOUS

Eames is watching the patrols HEAD BACK towards the complex.

EAMES

They’re heading your way. Like they know something.

INT. TOP ROOM, SOUTH TOWER, HOSPITAL COMPLEX — CONTINUOUS

Cobb hears this. Concerned.

COBB

Buy us some time.

EAMES (OVER RADIO)

On my way.

EXT. FOREST, SNOW-COVERED MOUNTAINS — CONTINUOUS

Eames TAKES OFF towards the base of the complex. And we—

CUT TO:

INT. ROOM 528 — NIGHT

Arthur FLOATS into the room. The SLEEPERS are floating, loosely connected by their tubes. Arthur looks at them, MIND RACING. He PULLS Cobb towards Eames, and we—

CUT TO:

INT. DUCT SYSTEM, HOSPITAL COMPLEX — DAY

Saito and Fischer approach the grate covering the exit to the anteroom. Saito SLUMPS to the floor of the duct, pulls out his radio. Fischer looks at him — he is PALE, SHIVERING.

Fischer takes the radio, WHISPERS into it.

FISCHER (into radio)

We’re here. Are we clear to proceed?

INT. TOP ROOM, SOUTH TOWER, HOSPITAL COMPLEC — CONTINUOUS

Cobb SCANS the anteroom through the scope — it looks clear.

COBB

You’re clear, but hurry — there’s an army headed your way…

Ariadne watches the patrols approaching the complex…

INT. DUCT SYSTEM, HOSPITAL COMPLEX — CONTINUOUS

The SQUELCH from the radio is too loud- Fischer GRABS it and turns the volume to zero as he starts to remove the grate…

EXT. BASE OF THE HOPISTAL COMPLEX — CONTINUOUS

Eames is setting MINES along the LOWEST WALL of the structure. He moves carefully-there is a SHEER DROP below the wall…

INT. TOP ROOM, SOUTH TOWER, HOSPITAL COMPLEX — CONTINUOUS

Cobb SPOTS something through his scope. Something above the main windows, glimpsed through the side of the skylight.

COBB

Shit. There’s someone else in there.

Cobb prepares to fire. Ariadne GRABS the radio—

ARIADNE

Fischer, stop! It’s a trap!—

INT. DUCT SYSTEM, HOSPITAL COMPLEX — CONTINUOUS

Fischer does not see the flashing light on his radio as he carefully lifts the grate. He motions for Saito to stay…

INT. TOP ROOM, SOUTH TOWER, HOSPITAL COMPLEX — CONTINUOUS

Cobb TENSES to fire.

COBB

Come on… a little lower… a little—

COBB FREEZES — IT IS MAL IN HIS SIGHTS. Ariadne puts up her binoculars. Spots Mal. Fischer is climbing out of the vent…

ARIADNE

Cobb, that’s not really her—

Cobb turns to her—

COBB

How can you know that?

INT. ANTECHAMBER — CONTINUOUS

Fischer moves into the antechamber, cautious—

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.

INT. TOP ROOM, SOUTH TOWER, HOSPITAL COMPLEX — CONTINUOUS

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.

INT. DUCT SYSTEM, HOSPITAL COMPLEX — CONTINUOUS

Saito STARTS as he hears the shot. He starts edging forwards, clutching his belly. And we—

CUT TO:

INT. ROOM 528 — NIGHT

The sleepers are floating in a rough stack, top-and-tailed. Arthur pulls the bedding from the bed and uses the sheet to bind the sleepers together. And we—

CUT TO:

INT./EXT. VAN — DAY

In EXTREME SLOW MOTION, the van CREEPS DOWNWARDS, still high above the river… and we—

CUT TO:

INT. HOTEL CORRIDOR — NIGHT

Arthur PUSHES the floating stack of sleepers to the elevator. He hits the button — the doors open — he pushes them in — GRABS the charges — climbs through the hatch in the ceiling and we—

CUT TO:

INT. DUCT SYSTEM, HOSPITAL COMPLEX — DAY

Eames steps over Saito, who looks up at him with DYING eyes—

INT. ANTECHAMBER, HOSPITAL CORRIDOR — DAY

Eames jumps out of the vent to find Cobb and Ariadne standing over the bodies of Fischer and Mal.

EAMES

What happened?

ARIADNE

Mal killed Fischer—

COBB

I wouldn’t shoot her.

Eames grabs a defibrillator from the wall and pulls Fischer’s jacket open—

COBB

It won’t do any good—

Eames SHOCKS Fischer’s chest…

COBB

Even if you could revive his body, his mind’s trapped down there. It’s over.

Eames listens for a pulse. Looks up at Cobb.

EAMES

So that it, then? We failed.

COBB

I’m sorry.

EAMES

It’s you who doesn’t get back to your family.

Eames looks down at Fischer. Then over to the double doors.

EAMES

I wanted to know what was going to happen in there. I think we had this one.

ARIADNE

There’s still a way: We follow Fischer down—

They look at her.

EAMES

We’re almost out of time—

ARIADNE

Down there they’ll be enough time. We’ll find him — soon as you hear Arthur’s music start, you use the defibrillator to revive him — we give him his own early kick from below.

(MORE)

ARIADNE (CONT’D)

Get him in there—

(points to doors)

Then, as the music ends you blow the hospital and we all ride the kick back up through the layers.

Eames looks at her, then to Cobb.

EAMES

Okay, Saito can hold them off while I plant the rest of the charges.

COBB

Saito’s not going to last, Eames.

ARIADNE

We have to try!

EAMES

Go for it, but I’m taking the kick whether you’re back or not…

Eames pulls the mechanism from his pack. Offers it to Ariadne. Cobb watches. Silent. Ariadne pulls out the tubes—

ARIADNE

Can I trust you to do what’s needed? Mal’s down there—

COBB

And I can find her. She’ll have Fischer.

ARIADNE

How do you know?

COBB

She wants me to come after him. She wants me back down there with her.

Cobb rolls up his sleeve. Ariadne rolls up her own sleeve. Eames NODS. Cobb and Ariadne lie down. Eames hits the button— WATER. BUBBLES. DROWNING. And we are—

EXT. COAST (LIMBO) — DAY

Ariadne lies in the SURF, STARING up at a CLOUDLESS SKY. A tremendous BOOM prompts her to look around her — URBAN BUILDINGS PILED right down to the water. The buildings are DECAYING, falling into the ocean like a GLACIER calving. Cobb WADES towards her through the shallow water. Ariadne looks up at the crumbling city around them.

ARIADNE

This is your world?

COBB

It was. And this is where she’ll be.