Christopher Nolan - Inception - The Shooting Script

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…

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.

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.

INT. HELICOPTER ON PAD — CONTINUOUS

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)

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.

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.

SAITO

Assemble your team, Mr. Cobb. And choose your people more wisely.

INT. PRIVATE JET — LATER

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.

INT. LECTURE HALL — CONTINUOUS

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?