ARIADNE
What was it?
COBB
That our world was not real. No matter what I did, no matter what I said, she was convinced that we were still in a dream. That we needed to wake up again…
INT. COBB AND MAL’S KITCHEN — DAY (FLASHBACK)
Cobb is trying to calm Mal, who is hysterical.
COBB (V.O.)
That to get home we’d have to kill ourselves.
INT. WORKSHOP — DAY
Ariadne looks at Cobb, appalled.
ARIADNE
What about your children?
Cobb has to look away.
COBB
She… she believed they weren’t real. That our real children were waiting. Somewhere above…
INT. COBB AND MAL’S KITCHEN — DAY (FLASHBACK)
Mal shakes her head at Cobb as he USHERS the children out of the room, FACES UNSEEN-COBB
Calm down, Mal—
MAL
They’re projections, Dom. Your dreams. I’m their mother—don’t you think I can tell the difference?
Cobb closes the door — turns to her, eyes full of bitter tears.
COBB
If it’s my dream then why can’t I control it? Why can’t I stop this?
MAL
(it’s obvious)
You don’t know you’re dreaming.
COBB
You keep telling me I am—
MAL
And you don’t believe me!
COBB (V.O.)
She was certain. But she loved me too much to go without me. So she made a plan…
INT. ELEGANT HOTEL CORRIDOR — NIGHT (FLASHBACK)
Cobb walks along, checking door numbers against a key.
COBB (V.O.)
For our anniversary…
INT. ELEGANT HOTEL SUITE — CONTINUOUS (FLASHBACK)
Cobb enters the lavish suite. He notices the DISHEVELED BEDCLOTHES. He steps forwards — SMASH — he has tipped over a champagne glass with his foot… dinner for two is SPREAD ACROSS THE FLOOR. He looks at the DEBRIS, confused… next to the broken glass is a SPINNING TOP. He picks it up, studying it, thinking. He feels a draught, looks to the window. The CURTAIN BILLOWS.
EXT. EXTERIOR ATRIUM — CONTINUOUS (FLASHBACK)
Cobb looks out the window: Mal sits on the ledge of the opposite window. HAIR BLOWING. Feet dangling over the dizzyingly high atrium. She smiles.
MAL
Join me.
COBB
Mal, come back inside.
MAL
No. I’m going to jump. And you’re coming with me.
COBB
No, I’m not. This is real — if you jump, you’re not going to wake up, you’re going to die. Let’s go back inside and talk about this, please.
MAL
We’ve talked enough.
She KICKS off a shoe and watches it DROP.
MAL
Come out onto the ledge or I’ll jump right now.
She means it. Cobb swings his legs out, sitting on the ledge opposite is wife. He looks down at the drop.
MAL
I’m asking you to take a leap of faith.
COBB
I can’t do that, Mal. I can’t leave our children.
MAL
If I go without you, they’ll take them away, anyway.
COBB
What do you mean?
MAL
I filed a letter with our attorney. Explaining how I’m fearful for my safety, how you’ve threatened to kill me…
Cobb looks back at the wrecked hotel suite, PANICKING…
MAL (CONT’D)
I love you, Dom. I’ve freed you from the guilt of choosing to leave them. We’re going home to our real children.
COBB
Out children are here, Mal.
Mal CLOSES HER EYES. Cobb looks for some way to reach her…
MAL
You’re waiting for a train…
COBB
NO! MAL, NO, I CAN’T!
MAL
A train that will take you far away…
COBB
DON’T DO THIS!
MAL
You know where you hope this train will take you, you can’t know for sure…
COBB
DON’T!
MAL
But it doesn’t matter…
COBB
NO!
MAL
Because you’ll be together…
Mal SLIPS FORWARD INTO SPACE. Cobb SCREAMS after her. Then tries to bury his face in the wall…
INT. OFFICE, WAREHOUSE — DAY
Cobb stares as he remembers.
COBB
He letter to the authorities refuted all the claims about her sanity that she knew I’d make…
INT. COBB AND MAL’S KITCHEN — DAY (FLASHBACK)
Cobb stands with the Thin Man, who has a piece of paper.
COBB (V.O.)
She’d had herself declared sane by three different psychiatrists.
Cobb hears a SHOUT- turns to the garden. James CROUCHES, Philippa joins him, examining the ground, FACES UNSEEN…
COBB (V.O.) (CONT’D)
It was impossible for me to explain the nature of her madness…
The Thin Man thrusts the paper into Cobb’s hand.
THIN MAN
Right now. Or never, Cobb.
Cobb turns back to the window — about to call out — James and Philippa RUN OFF. Cobb turns from the window. Looks at the paper in his hand. It is an AIRPLANE TICKET.
COBB (V.O.)
So I ran. And I’ve been running ever since, trying to buy my way back to my family…
INT. OFFICE, WAREHOUSE — DAY
Cobb looks across at Ariadne.
ARIADNE
Psychiatrists judged her sane?
COBB
She was sane. She was just lost in the labyrinth.
ARIADNE
Then why should you blame yourself?
COBB
Because we were a family. And we had a life I would do anything to get back to now. But that reality wasn’t enough for me then.
ARIADNE
It might have been your idea to push the limits, Cobb. But you’re not responsible for the idea that destroyed her. The idea that her world wasn’t real… that was her own idea from her own mind.
Cobb says nothing.
ARIADNE (CONT’D)
Your guilt defines her. Powers her. If we’re going to succeed in this, you’re going to have to forgive yourself, and you’re going to have to confront her. But you don’t have to do it alone.
COBB
You don’t have to do this for me—
ARIADNE
I’m doing it for the others. They don’t know the risk they’ve taken coming in here with you.
Cobb looks at the rooftop opposite, sees a SNIPER take up a position. Cobb shakes his head, frustrated.
COBB
We can’t stay here. Arthur?!
INT. BATHROOM, WAREHOUSE — CONTINUOUS
Browning puts his hand on Fischer’s shoulder.