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:
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—
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.
EXT. TOKYO — DUSK
Moving over the vast city towards a high rise. A HELICOPTER thumps into frame, heading for a pad on the roof.
INT. APARTMENT, TOKYO — CONTINUOUS
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…
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