Inception.DVDRiP.XviD-ARROW English HI SRT Subtitles - UF (v1.01)
[CHILDREN LAUGHING]
[PHILLIPA SCREAMS]
[SPEAKING IN JAPANESE]
ATTENDANT [IN JAPANESE]:
Are you here to kill me?
I know what this is.
I've seen one before. Many, many years ago.
It belonged to a man I met in a half-remembered dream.
A man possessed of some radical notions.
COBB: What is the most resilient parasite?
A bacteria? A virus?
An intestinal worm?
ARTHUR: Uh...
what Mr. Cobb is trying to say...
An idea.
Resilient. Highly contagious.
Once an idea has taken hold of the brain, it's almost impossible to eradicate.
An idea that is fully formed, fully understood, that sticks.
Right in there somewhere.
For someone like you to steal?
Yes. In the dream state, your conscious defenses are lowered...
...and that makes your thoughts vulnerable to theft.
It's called extraction.
Mr. Saito, we can train your subconscious to defend itself...
...from even the most skilled extractor.
How can you do that?
Because I am the most skilled extractor.
I know how to search your mind and find your secrets. I know the tricks.
And I can teach them to you, so that even when you're asleep...
...your defense is never down.
Look, if you want my help, you're gonna have to be completely open with me.
I need to know my way around your thoughts better than your wife...
...better than your therapist, better than anyone.
If this is a dream, and you have a safe full of secrets...
...I need to know what's in that safe.
In order for this all to work, you need to completely let me in.
Enjoy your evening, gentlemen, as I consider your proposal.
He knows.
[RUMBLING]
What's going on up there?
[MEN SHoUTING]
[MACHINE HISSING]
[EXPLOSION]
[RUMBLING]
Saito knows. He's playing with us.
Doesn't matter. I can get it here. Trust me.
The information is in the safe.
He looked right at it when I mentioned secrets.
What's she doing here?
Just head back to the room. All right? I'll take care of this.
Okay, make sure you do. We're here to work.
If I jumped, would I survive?
With a clean dive, perhaps.
Mal, what are you doing here?
I thought you might be missing me.
COBB: You know that I am.
But I can't trust you anymore.
So what?
MAL: Looks like Arthur's taste.
Actually, the subject is partial to postwar British painters.
Please, have a seat.
MAL: Tell me...
...do the children miss me?
You can't imagine.
What are you doing?
Just getting some fresh air.
Stay where you are, Mal.
[GRUNTS]
Goddamn it.
[SOFT SCREECHING]
[SILENCED GUNSHOT]
[GUARD GRUNTS]
[SILENCED GUNSHOT THEN GUARD GRUNTS]
SAITO: Turn around.
The gun, Dom.
Please.
Now the envelope, Mr. Cobb.
Did she tell you? Or have you known all along?
That you're here to steal from me, or that we are actually asleep?
I want to know the name of your employer.
Ah, there's no use threatening him in a dream, right, Mal?
That depends on what you're threatening.
Killing him would just wake him up.
But pain...
[SCREAMS]
Pain is in the mind.
And judging by the decor, we're in your mind, aren't we, Arthur?
[GRUNTS]
- What are you doing? It's too soon. - But the dream's collapsing.
I'm gonna try to keep Saito under a little bit longer. We're almost there.
[SILENCED GUNFIRE]
He was close. Very close.
[SCREAMS]
[YELLS]
Stop him!
[GUNFIRE]
[GRUNTS]
[HISSING]
[SAITO GROANS]
This isn't gonna work. Wake him up.
[GRUNTS]
He won't wake.
- Give him the kick. NASH: What?
Dunk him.
[GUN COCKS]
[WOOD GROANING]
[SAITO GRUNTING]
COBB: He's out.
[SHOUTING IN FOREIGN LANGUAGE]
You came prepared, hmm?
Not even my head of security knows this apartment. How did you find it?
It's difficult for a man of your position to keep a love nest like this secret...
...particularly where there's a married woman involved.
- She would never... - Yet here we are.
- With a dilemma. - They're getting closer.
- You got what you came for. COBB: Well, that's not true.
You left out a key piece of information, didn't you?
You held something back because you knew what we were up to.
- Question is, why'd you let us in at all? - An audition.
- An audition for what? - Doesn't matter. You failed.
We extracted every bit of information you had in there.
But your deception was obvious.
[MACHINE HISSING]
[EDITH PIAF'S "NON, JE NE REGRETTE RIEN" PLAYING]
[SONG ECHOING]
- So leave me and go. - You don't seem to understand, Mr. Saito.
That corporation that hired us, they won't accept failure.
We won't last two days.
Cobb?
Looks like I'm gonna have to do this a little more simply.
Tell us what you know! Tell us what you know, now!
[LAUGHING]
SAITO: I've always hated this carpet.
It's stained and frayed in such distinctive ways.
But very definitely made of wool.
Right now...
...I'm lying on polyester.
Which means I'm not lying on my carpet, in my apartment.
You have lived up to your reputation, Mr. Cobb.
I'm still dreaming.
[ALARM BEEPING]
- How'd it go? - Not good.
Dream within a dream, huh? I'm impressed.
But in my dream, you play by my rules.
Ah, yes, but you see, Mr. Saito...
we're not in your dream.
We're in mine.
[MEN SHoUTING]
[ALARM BEEPING FASTER]
[NASH YELLS]
Asshole. How do you mess up the carpet?
- It wasn't my fault. - You're the architect.
I didn't know he was gonna rub his cheek on it!
That's enough.
You. What the hell was all that?
- I have it under control. - I'd hate to see you out of control.
We don't have time for this. I'm getting off at Kyoto.
ARTHUR: He's not gonna check every compartment.
Yeah, well, I don't like trains.
Listen. Every man for himself.
[PHONE RINGS]
Yes, hello?
PHILLIPA: Hi, Daddy. JAMES: Hi, Dad.
Hey, guys. Hey. How are you? How you doing, huh?
PHILLIPA: Good. JAMES: Okay, i guess.
Okay? Who's just okay? Is that you, James?
JAMES: Yeah. When are you coming home, Dad?
Well, I can't, sweetheart. I can't. Not for a while, remember?
JAMES: Why?
Look, I told you, I'm away because I'm working, right?
PHILLIPA: Grandma says you're never coming back.
COBB: Phillipa, is that you?
Put Grandma on the phone for me, will you?
PHILLIPA: She's shaking her head.
Well, just hope she's wrong about that.
JAMES: Daddy?
Yeah, James?
JAMES: Is Mommy with you?
James, we talked about this.
Mommy's not here anymore.
JAMES: Where?
WoMAN: That's enough, kids. Say bye-bye.
Listen, I'm gonna send some presents with Grandpa, all right?
And you be good, you be...
[DIAL TONE]
[KNOCKING ON DOOR]
- Our ride's on the roof. - Right.
Hey, are you okay?
Yeah. Yeah, I'm fine. Why?
Well, down in the dream, Mal showing up.
Look, I'm, uh, sorry about your leg. Won't happen again.
- It's getting worse, isn't it? - One apology's all you're getting, all right?
- Where's Nash? - He hasn't shown. You wanna wait?
We were supposed to deliver Saito's expansion plans...
...to Cobol Engineering two hours ago.
By now, they know we failed. It's time we disappear.
- Where you gonna go? - Buenos Aires.
I can lie low there, maybe sniff out a job when things quiet down. You?
Stateside.
Send my regards.
He sold you out. Thought to come to me and bargain for his life.
So I offer you the satisfaction.
It's not the way I deal with things.
[HELICOPTER STARTING]
- What will you do with him? - Nothing.
But I can't speak for Cobol Engineering.
- What do you want from us? - Inception.
- Is it possible? - Of course not.
If you can steal an idea from someone's mind...
...why can't you plant one there instead?
Okay, here's me planting an idea in your head.
I say, "Don't think about elephants." What are you thinking about?
Elephants.
Right. But it's not your idea, because you know I gave it to you.
The subject's mind can always trace the genesis of the idea.
- True inspiration's impossible to fake. - That's not true.
- Can you do it? - Are you offering me a choice?
Because I can find my own way to square things with Cobol.
Then you do have a choice.
Then I choose to leave, sir.
Tell the crew where you want to go.
Hey, Mr. Cobb.
How would you like to go home?
To America. To your children.
You can't fix that. No one can.
- Just like inception. - Cobb, come on.
- How complex is the idea? - Simple enough.
No idea is simple when you need to plant it in somebody else's mind.
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.
- Cobb, we should walk away from this. - Hold on.
If I were to do this, if I even could do it...
...I'd need a guarantee.
- How do I know you can deliver? - 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?
Assemble your team, Mr. Cobb. And choose your people more wisely.
Look, I know how much you wanna go home.
This can't be done.
Yes, it can. Just have to go deep enough.
You don't know that.
I've done it before.
Who'd you do it to?
Why are we going to Paris?
We're gonna need a new architect.
[BELLS TOLLING]
COBB: You never did like your office, did you?
No space to think in that broom cupboard.
Is it safe for you to be here?
Extradition between France and the United States...
...is a bureaucratic nightmare, you know that.
I think they might find a way to make it work in your case.
Look, I, uh, brought these for you to give to the kids when you have a chance.
It'll take more than the occasional stuffed animal...
...to convince those children they still have a father.
I'm just doing what I know. I'm doing what you taught me.
I never taught you to be a thief.
No, you taught me to navigate people's minds.
But after what happened...
...there weren't a whole lot of legitimate ways for me to use that skill.
What are you doing here, Dom?
I think I found a way home.
It's a job for some very, very powerful people.
People who I believe can fix my charges permanently.
But I need your help.
You're here to corrupt one of my brightest and best.
You know what I'm offering. Let them decide for themselves.
- Money. - Not just money.
You remember.
It's the chance to build cathedrals, entire cities...
...things that never existed...
...things that couldn't exist in the real world.
So you want me to let someone else follow you into your fantasy?
They don't actually come into the dream.
They just design the levels and teach them to the dreamers. That's all.
Design it yourself.
Mal won't let me.
Come back to reality, Dom.
- Please. - Reality.
Those kids, your grandchildren...
...they're waiting for their father to come back home. That's their reality.
And this job, this last job, that's how I get there.
I would not be standing here if I knew any other way.
I need an architect who's as good as I was.
I've got somebody better.
Ariadne?
I'd like you to meet Mr. Cobb.
Pleased to meet you.
If you have a few moments, Mr. Cobb has a job offer he'd like to discuss with you.
A work placement?
Not exactly.
I have a test for you.
You're not gonna tell me anything first?
Before I describe the job, I have to know you can do it.
- Why? - It's not, strictly speaking, legal.
You have two minutes to design a maze that it takes one minute to solve.
Stop.
Again.
Stop.
You're gonna have to do better than that.
That's more like it.
COBB: They say we oniy use a fraction of our brain's true potentiai.
Now, that's when we're awake.
When we're asleep, our mind can do almost anything.
Such as?
Imagine you're designing a building. You consciously create each aspect.
But sometimes, it feels like it's almost creating itself, if you know what I mean.
Yeah, like I'm discovering it.
Genuine inspiration, right?
Now, in a dream, our mind continuously does this.
We create and perceive our world simultaneously.
And our mind does this so well that we don't even know it's happening.
That allows us to get right in the middle of that process.
- How? - By taking over the creating part.
Now, this is where I need you.
You create the world of the dream.
We bring the subject into that dream, and they fill it with their subconscious.
How could I ever acquire enough detail to make them think that it's reality?
Well, dreams, they feel real while we're in them, right?
It's only when we wake up that we realize something was actually strange.
Let me ask you a question.
You never really remember the beginning of a dream, do you?
You always wind up right in the middle of what's going on.
I guess, yeah.
So how did we end up here?
Well, we just came from the, uh...
Think about it, Ariadne. How did you get here?
Where are you right now?
We're dreaming?
You're in the middle of the workshop, sleeping.
This is your first lesson in shared dreaming. Stay calm.
[CUP RATTLING]
[RUMBLING]
If it's just a dream, then why are you...?
["NON, JE NE REGRETTE RIEN" PLAYING]
COBB: Because it's never just a dream, is it?
And a face full of glass hurts like hell. When you're in it, it feels real.
ARTHUR: That's why the military developed dream sharing.
It was a training program for soldiers to shoot, stab and strangle each other...
...and then wake up.
ARIADNE: How did architects become involved?
COBB: Well, someone had to design the dreams, right?
Why don't you give us another five minutes?
Five minutes?
[MUSIC STOPS]
What...? We were talking for, like, at least an hour.
In a dream, your mind functions more quickly...
...therefore time seems to feel more slow.
Five minutes in the real world gives you an hour in the dream.
Why don't you see what you can get up to in five minutes?
[MACHINE HISSING]
COBB: You've got the basic layout. Bookstore, café.
Almost everything else is here too.
ARIADNE: Who are the people? - Projections of my subconscious.
- Yours? - Yes.
Remember, you are the dreamer. You build this world.
I am the subject. My mind populates it.
You can literally talk to my subconscious.
That's one of the ways we extract information from the subject.
How else do you do it?
By creating something secure, like a bank vault or a jail.
The mind automatically fills it with information it's trying to protect.
- You understand? - Then you break in and steal it?
Well...
I guess I thought that the dream space would be all about the visual...
...but it's more about the feel of it.
My question is what happens when you start messing with the physics of it all?
[RUMBLING THEN METAL GROANING]
It's something, isn't it?
Yes, it is.
ARIADNE: Why are they all looking at me?
Because my subconscious feels that someone else is creating this world.
The more you change things, the quicker the projections start to converge on you.
Converge?
They sense the foreign nature of the dreamer.
They attack, like white blood cells fighting an infection.
- What, they're gonna attack us? - No, no.
Just you.
[METAL CREAKING]
This is great, but I'm telling you, if you keep changing things like this...
Jeez, mind telling your subconscious to take it easy?
It's my subconscious. Remember? I can't control it.
Very impressive.
I know this bridge. This place is real, isn't it?
Yeah, I cross it every day to get to the college.
Never re-create places from your memory. Always imagine new places.
You draw from stuff you know, right?
Only use details. A streetlamp or a phone booth. Never entire areas.
- Why not? - Building a dream from your memory...
...is the easiest way to lose your grasp on what's real and what is a dream.
- Is that what happened to you? - Listen to me.
This has nothing to do with me, understand?
That why you need me to build your dreams?
Hey, get off of her. Back up. Back up.
- Cobb! Cobb! - Get off of her!
- Let me go! Let me go! - Mal!
- Cobb! Wake me up!
- Wake me up! Wake me up! - No!
- Mal, no! No! - Wake me up!
[GASPING]
Hey, hey, hey. Look at me. You're okay. You're okay.
- Hey. - Why wouldn't I wake up?
There was still time on the clock.
You can't wake up from within the dream unless you die.
- She'll need a totem. ARIADNE: What?
A totem, it's a small personal...
That's some subconscious you've got on you, Cobb!
- She's a real charmer. - Oh.
- I see you met Mrs. Cobb. - She's his wife?
Yeah. So a totem. You need a small object, potentially heavy.
Something you can have on you that no one else knows.
ARIADNE: Like a coin? ARTHUR: No.
It needs to be more unique than that. Like, this is a loaded die.
No, I can't let you touch it. That would defeat the purpose.
See, only I know the balance and the weight of this particular loaded die.
That way, when you look at your totem...
...you know beyond a doubt that you're not in someone else's dream.
I don't know if you can't see what's going on, or if you just don't want to...
...but Cobb has some serious problems that he's tried to bury down there.
And I'm not about to just open my mind to someone like that.
[DOOR CLOSES]
She'll be back. I've never seen anyone pick it up that quickly before.
Reality's not gonna be enough for her now, and when she comes back...
when she comes back, you're gonna have her building mazes.
- Where are you gonna be? - I gotta go visit Eames.
Eames? No, he's in Mombasa. It's Cobol's back yard.
It's a necessary risk.
- Well, there's plenty of good thieves. - We don't just need a thief.
We need a forger.
Rub them together all you want, they're not gonna breed.
You never know.
COBB: I'm gonna get you a drink.
You're buying.
- Your spelling hasn't improved. - Piss off.
How's your handwriting?
- It's versatile. - Good.
Thank you very much.
Inception.
Now, before you bother telling me it's impossible, let me...
No, it's perfectly possible. It's just bloody difficult.
Interesting. Because Arthur keeps telling me it can't be done.
Hmm. Arthur. You still working with that stick in the mud?
He is good at what he does, right?
Oh, he's the best, but he has no imagination.
Not like you.
Listen, if you're gonna perform inception, you need imagination.
Let me ask you something. Have you done it before?
We tried it. Uh, we got the idea in place, but it didn't take.
- You didn't plant it deep enough? - No, it's not just about depth.
You need the simplest version of the idea...
...in order for it to grow naturally in your subject's mind. It's a subtle art.
So, what is this idea that you need to plant?
We need the heir of a major corporation to dissolve his father's empire.
Right there you have various political motivations...
...and anti-monopolistic sentiments and so forth.
But all of that stuff, it's, um...
It's really at the mercy of your subject's prejudice, you see?
What you have to do is start at the absolute basic.
Which is what?
The relationship with the father.
- Do you have a chemist? - No, not yet.
Right. Okay, well, there's a man here, Yusuf.
He, uh, formulates his own versions of the compounds.
Why don't you take me there?
Once you've lost your tail. The man at the bar.
COBB: Cobol Engineering.
That price on my head, was that dead or alive?
Don't remember. Let's see if he starts shooting.
Run interference. I'll meet you downstairs in the bar in, say, uh, half an hour?
- Back here? - This is the last place they'd suspect.
[CHUCKLES]
All right.
Freddy. Freddy Simmonds.
My God, it's you, isn't it?
[GRUNTS]
No, it isn't you.
Not dreaming now, are you?
[GRUNTS THEN PEOPLE SHOUTING]
MAN: Get him!
There!
[WAITER SPEAKING IN FOREIGN LANGUAGE]
One café.
Shh.
[WAITER SHOUTING]
One café.
[MEN SHOUTING]
[HORN HONKS]
[GRUNTING]
[TIRES SCREECH]
Care for a lift, Mr. Cobb?
- What are you doing in Mombasa? - I'm here to protect my investment.
[WHISTLE]
Ah. So this is your idea of losing a tail, huh?
Different tail.
[ARIADNE CLEARS THRoAT]
Cobb said you'd be back.
- I tried not to come, but... - But there's nothing quite like it.
It's just...
...pure creation.
Shall we take a look at some paradoxical architecture?
ARTHUR: You're gonna have to master a few tricks...
...if you're gonna build three complete dream levels. Excuse me.
ARIADNE: What kind of tricks?
In a dream, you can cheat architecture into impossible shapes.
That lets you create closed loops, like the Penrose Steps.
The infinite staircase.
See?
Paradox.
So a closed loop like that...
...will help you disguise the boundaries of the dream you create.
But how big do these levels have to be?
It could be anything from the floor of a building to an entire city.
They have to be complicated enough that we can hide from the projections.
- A maze? - Right, a maze.
And the better the maze...
Then the longer we have before the projections catch us?
Exactly.
- My subconscious seems polite enough. - Ha, ha. You wait, they'll turn ugly.
No one likes to feel someone else messing around in their mind.
Cobb can't build anymore, can he?
I don't know if he can't, but he won't.
He thinks it's safer if he doesn't know the layouts.
Why?
He won't tell me. But I think it's Mal.
- His ex-wife? - No, not his ex.
- They're still together? - No.
No, she's dead.
What you see in there is just his projection of her.
What was she like in real life?
She was lovely.
YUSUF: You are seeking a chemist? COBB: Yes.
To formulate compounds for a job?
And to go into the field with us.
No, I rarely go into the field, Mr. Cobb.
Well, we'd need you there to tailor compounds specific to our needs.
- Which are? - Great depth.
A dream within a dream? Two levels?
Three.
Not possible. That many dreams within dreams is too unstable.
It is possible. You just have to add a sedative.
A powerful sedative.
- How many team members? - Five.
SAITO: Six.
The only way to know you've done the job is if I go in with you.
There's no room for tourists on a job like this, Mr. Saito.
This time, it seems there is.
This, I think, is a good place to start. I use it every day.
COBB: What for? - Here, I'll show you.
Perhaps you will not want to see.
After you.
[MACHINE HISSING]
EAMES: Ten. Twelve. All connected. Bloody hell.
They come every day to share the dream.
You see? Very stable.
- How long do they dream for? YUSUF: Three, four hours, each day.
In dream time?
With this compound? About 4o hours, each and every day.
- Why do they do it? YUSUF: Tell him, Mr. Cobb.
After a while, it becomes the only way you can dream.
Do you still dream, Mr. Cobb?
- They come here every day to sleep? MAN: No.
They come to be woken up.
The dream has become their reality.
Who are you to say otherwise, sir?
Let's see what you can do.
[METAL GROANING]
You know how to find me.
You know what you have to do.
Sharp, no?
SAITO: Are you all right, Mr. Cobb?
Yeah, yeah. Everything's just fine.
Robert Fischer, heir to the Fischer Morrow energy conglomerate.
COBB: What's your problem with this Mr. Fischer?
That's not your concern.
Mr. Saito, this isn't your typical corporate espionage.
You asked me for inception.
I do hope you understand the gravity of that request.
Now, the seed that we plant in this man's mind will grow into an idea.
This idea will define him.
It may come to change...
well, it may come to change everything about him.
We're the last company standing between them and total energy dominance.
And we can no longer compete.
Soon, they'll control the energy supply of half the world.
In effect, they become a new superpower.
The world needs Robert Fischer to change his mind.
EAMES: That's where we come in.
How is Robert Fischer's relationship with his father?
Rumor is the relationship is quite complicated.
Well, we can't work based solely on rumor, can we?
Can you get me access to this man here? Browning.
Fischer Senior's right-hand man. Fischer Junior's godfather.
It should be possible, if you can get the right references.
References are something of a specialty for me, Mr. Saito.
BROWNING: I'm not smelling settlement here. Take them down.
LAWYER: Mr. Browning...
...Maurice Fischer's policy is always one of avoiding litigation.
Well, shall we voice your concerns with Maurice directly?
Not sure that's necessary.
No, no, no. I think we should.
BROWNING: How is he?
I don't want to bother him unnecessarily, but...
MAURICE: Robert, I told you keep out the damn... wait. So do it. Get...
NURSE: Mr. Fischer. MAURICE: Put it through.
Never, never. Never do the same as I asked.
Leave that.
Here.
BROWNING: Must be a cherished memory of his.
I put it beside his bed. He hasn't even noticed.
Robert...
...we need to talk about a power of attorney.
- I know this is hard, but it's imperative... - Not now, Uncle Peter.
EAMES: The vultures are circling.
And the sicker Maurice Fischer becomes, the more powerfui Peter Browning becomes.
I've had ample opportunity to observe Browning...
...and adopt his physicai presence, study his mannerisms, and so on and so forth.
So now in the first layer of the dream, I can impersonate Browning.
And suggest concepts to Fischer's conscious mind.
Then, when we take him a level deeper...
...his own projection of Browning should feed that right back to him.
So he gives himself the idea.
Precisely. That's the only way it will stick. It has to seem self-generated.
Eames, I am impressed.
Your condescension, as always, is much appreciated, Arthur, thank you.
[DOOR OPENS]
Were you going under on your own?
No, no, I was just, uh, running some experiments.
I didn't realize anyone was here, so...
Yeah, I was just... I was working on my totem, actually.
Here, let me take a look.
So you're learning, huh?
An elegant solution for keeping track of reality.
- Was it your idea? - No, it was, uh...
It was Mal's, actually. This...
This one was hers. She would spin it in the dream and it would never topple.
Just spin and spin.
Arthur told me she passed away.
How are the mazes coming along?
Each level relates to the part of the subject's subconscious...
...that we are trying to access.
So I'm making the bottom level a hospital, so Fischer will bring his father.
You know, l... Actually, I have a question about this layout.
No, no, no. Don't show me specifics. Only the dreamer should know the layout.
Why is that so important?
In case one of us brings in our projections.
We don't want them knowing the details of the maze.
You mean in case you bring Mal in.
You can't keep her out, can you?
- Right. - You can't build...
...because if you know the maze, then she knows it.
Well, she'd sabotage the whole operation.
- Cobb, do the others know? - No. No, they don't.
You've gotta warn them if this is getting worse.
No one said it's getting worse.
I need to get home. That's all I care about right now.
Why can't you go home?
Because they think I killed her.
- Thank you. - For what?
For not asking whether I did.
"I will split up my father's empire."
Now, this is obviously an idea that Robert himself would choose to reject...
...which is why we need to plant it deep in his subconscious.
The subconscious is motivated by emotion, right? Not reason.
We need to find a way to translate this into an emotional concept.
How do you translate business strategy into emotion?
That's what we're here to figure out. Robert's relationship with his father...
...is stressed, to say the least. - Can we run with that?
We suggest breaking up his father's company as a "screw you" to the old man.
No, because I think positive emotion trumps negative emotion every time.
We all yearn for reconciliation, for catharsis.
We need Robert Fischer to have a positive emotional reaction to all this.
All right, well, try this. Um...
"My father accepts that I want to create for myself, not follow in his footsteps."
That might work.
Might? We're gonna need to do a little better than "might."
Thank you for your contribution, Arthur.
Forgive me for wanting a little specificity, Eames.
Specificity?
Inception's not about being specific.
When we get inside his mind, we're gonna have to work with what we find.
EAMES: On the top level, we open up his relationship with his father...
...and say, "I will not follow in my father's footsteps."
Then the next level down, we feed him, "I will create something for myself."
Then, by the time we hit the bottom level, we bring out the big guns.
- "My father doesn't want me to be him." EAMES: Exactly.
[MACHINE HISSING]
Three layers down, the dreams are gonna collapse with the slightest disturbance.
Sedation.
For sleep stable enough to create three layers of dreaming...
...we'll have to combine it with an extremely powerful sedative.
[MACHINE HISSING]
Good night.
YUSUF: The compound we'll be using to share the dream...
...creates a clear connection between dreamers...
...whilst accelerating brain function. - In other words, more time on each level.
Brain function in the dream will be about 20 times normal.
And when you enter a dream within that dream, the effect is compounded.
It's three dreams, that's 10 hours times 20...
Math was never my strong subject. How much time is that?
It's a week, the first level down.
Six months the second level down, and the third level...
That's 10 years.
Who'd wanna be stuck in a dream for 10 years?
Depends on the dream.
So once we've made the plant, how do we get out?
I'm hoping you have something more elegant than shooting me in the head.
- A kick. - What's a kick?
EAMES: This, Ariadne, would be a kick.
It's that feeling of falling you get that jolts you awake.
- Snaps you out of the dream. - We gonna feel a kick with this sedation?
YUSUF: That's the clever part.
I customized the sedative to leave inner-ear function unimpaired.
That way, however deep the sleep, the sleeper still feels falling.
Or tipping.
The trick is to synchronize a kick that can penetrate all three levels.
We could use a musical countdown to synchronize the different kicks.
["N0N, JE NE REGRETTE RIEN" PLAYING]
EAMES: He hasn't got any surgery scheduled, no dental, nothing.
COBB: Wasn't he supposed to have a knee operation?
Nothing. Nothing that they'll put him under for, anyway. And we need...
we need at least a good 10 hours.
Sydney to Los Angeles.
One of the longest flights in the world. He makes it every two weeks.
He must be flying private, then.
SAITO: Not if there were unexpected maintenance with his plane.
ARTHUR: It would have to be a 747. - Why's that?
On a 747, the pilot's up top...
...the first-class cabin's in the nose, so no one would walk through.
You'd have to buy out the entire cabin and the first-class flight attendant.
I bought the airline.
It seemed neater.
Well, looks like we have our 10 hours.
Ariadne? Terrific work, by the way.
[MACHINE HISSING]
MAL: You know how to find me.
You know what you have to do.
You remember when you asked me to marry you?
Of course I do.
You said you had a dream.
That we'd grow old together.
And we can.
COBB: You shouldn't be here.
Just wanted to see what kind of tests you're doing on your own every night.
- This has nothing to do with you. - This has everything to do with me.
- You've asked me to share dreams with you. - Not these. These are my dreams.
ARIADNE: Why do you do this to yourself?
It's the only way I can still dream.
Why is it so important to dream?
In my dreams, we're still together.
These aren't just dreams.
These are memories. And you said never to use memories.
I know I did.
You're trying to keep her alive. You can't let her go.
You don't understand. These are moments I regret.
They're memories that I have to change.
Well, what's down there that you regret?
Listen, there's only one thing you need to understand about me.
ARIADNE: This is your house?
Mine and Mal's, yes.
Where is she?
She's already gone.
That's my son, James.
He's digging for something, maybe a worm.
[JAMES GIGGLING]
That's Phillipa.
I thought about calling out to them...
...so they'd turn and smile and I could see...
...those beautiful faces of theirs, but it's all too late.
MAN: Right now or never, Cobb.
COBB: Then I start to panic.
I realize I'm gonna regret this moment...
...that I need to see their faces one last time.
WOMAN: James! Phillipa! Come on in!
COBB: But the moment's past.
And whatever I do, I can't change this moment.
As I'm about to call out to them...
...they run away.
If I'm ever gonna see their faces again, I've gotta get back home.
The real world.
[TRAIN APPROACHING]
[SIREN WAILING IN THE DISTANCE]
What are you doing here?
My name is...
I know who you are. What are you doing here?
I'm just trying to understand.
How could you understand?
Do you know what it is to be a lover?
To be half of a whole?
No.
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.
But it doesn't matter.
How can it not matter to you where that train will take you?
COBB: Because you'll be together.
MAL: How could you bring her here, Dom? - What is this place?
This is a hotel suite where we used to spend our anniversary.
What happened here?
You promised! You promised we'd be together!
Please, I need you to stay here just for now!
You said we'd be together! You said we'd grow old together!
I'll come back for you. I promise.
[YELLING]
Do you think you can just build a prison of memories to lock her in?
Do you really think that that's gonna contain her?
SAITO: It's time.
Maurice Fischer just died in Sydney.
- When's the funeral? - Thursday. In Los Angeles.
Robert should accompany the body no later than Tuesday. We should move.
All right.
- Cobb, I'm coming with you. - I promised Miles. No.
The team needs someone who understands what you're struggling with.
And it doesn't have to be me...
...but then you have to show Arthur what I just saw.
Get us another seat on the plane.
COBB: If I get on this plane and you don't honor our agreement...
...when we land, I go to jail for the rest of my life.
Complete the job en route...
...I make one phone call from the plane...
...you have no trouble getting through Immigration.
- I'm sorry. - Oh, yeah, absolutely.
Thank you.
Excuse me, I think this is yours? You must have dropped it.
FLIGHT ATTENDANT: Would you care for a drink?
Oh. Water, please.
Oh, um, same, please.
Um...
Thank you.
You know, I couldn't help but notice...
...but you wouldn't happen to be related to the Maurice Fischer, would you?
Yes, he, um...
He was my father.
Well, he was a very inspiring figure. I'm sorry for your loss.
- Here you go. - Thank you.
COBB: Hey.
To your father.
May he rest in peace, huh?
[MACHINE HISSING]
[HORN HONKS]
- Couldn't have peed before you went under? - Sorry.
Bit too much free champagne before takeoff?
Ha, ha, bloody ha.
We know he's gonna be looking for a taxi in this weather.
- Asshole! Hey, man, why don't you try...? - Walk away.
[MAN SINGING IN FOREIGN LANGUAGE ON RADIO]
[TURNS OFF RADIO]
Just have him ca... I gotta go.
All right. Taxi. Thank you.
All right, Third and Market. Snappy.
- What are you doing? - Sorry, I thought it was free.
- It's not. - Maybe we could share.
Maybe not. Can you pull over and get this...?
Great.
Come on.
There's $5oo in there. The wallet's worth more than that.
You might at least drop me at my stop.
I'm afraid that it doesn't...
[GUNFIRE THEN EAMES GRUNTS]
[TIRES SCREECHING]
- Cover him! EAMES: Down! Down now!
What the hell is going on?
ARIADNE: This wasn't in the design.
Cobb?
[GUNFIRE]
[YELLS]
Get him!
Are you all right?
Yeah, I'm okay. I'm okay.
Fischer's okay, unless he gets carsick.
Saito?
COBB: Get Fischer in the back room now.
- Get him in the back room. Move. ARTHUR: What the hell happened?
COBB: Has he been shot? Is he dying?
ARTHUR: I don't know. - Jesus Christ.
ARTHUR: What happened to you? - Blocked by a freight train.
Why put a train in a downtown intersection?
- I didn't. ARTHUR: Where'd it come from?
Why the hell were we ambushed?
Those were not normal projections. They'd been trained, for God's sakes.
- How could he be trained? - Fischer's had an extractor...
...teach his subconscious to defend itself, so his subconscious is militarized.
It should've shown in the research.
COBB: Why the hell didn't it? - Calm down.
COBB: Don't tell me to calm down!
This was your job, goddamn it! This was your responsibility!
You were meant to check Fischer's background!
- We are not prepared for this! - We have dealt with sub-security before!
We'll be more careful and we're gonna be fine!
This was not a part of the plan! He's dying.
Put him out his misery.
- No, don't do that! Don't do that. - Cobb, hey, hey.
He's in agony. I'm waking him up.
No. It won't wake him up.
What do you mean, it won't wake him up? When we die in a dream, we wake up.
Not from this.
We're too heavily sedated to wake up that way.
Right. So, what happens when we die?
- We drop into limbo. - Are you serious?
- Limbo? ARTHUR: Unconstructed dream space.
ARIADNE: Well, what the hell is down there? - Just raw, infinite subconscious.
Nothing is down there, except for what might have been left behind...
...by anyone sharing the dream who's been trapped there before.
Which, in our case, is just you.
- How long could we be stuck? YUSUF: Can't even think about...
...trying to escape until the sedation... - How long?
Decades. It could be infinite. Ask him, he's the one who's been there.
ARTHUR: Let's get him upstairs.
[GROANING]
Great.
Thank you.
So now we're trapped in Fischer's mind, battling his own private army.
And if we get killed...
...we'll be lost in limbo till our brains turn to scrambled egg, hmm?
ARTHUR: Someone got first aid?
- You knew these risks and didn't tell us? - There weren't meant to be risks.
- I didn't know we'd be dealing with gunfire. - You had no right.
This was the only way to go three layers deep.
You knew about this and went along with it?
I trusted him.
When? When he promised you half his share?
No. His whole share. Besides, he said he'd done it before.
What, with Mal? Because that worked so good?
That has nothing to do with it. I did what I had to to get to my children.
You led us into a war zone with no way out?
There is a way out. We continue on with the job, and we do it as fast as possible...
...and we get out using the kick, just like before.
Forget it. We go any deeper, we just raise the stakes.
I am sitting this one out on this level.
COBB: Fischer's security is surrounding this place.
Ten hours of flight time is a week at this level.
That means each and every one of us will be killed. That I can guarantee you.
We have no other choice but to continue on and do it as fast as possible.
Downwards is the only way forwards.
Get ready.
You, come on. Let's go shake him up.
I'm insured against kidnapping for up to 10 million.
- This should be very simple. COBB: Shut up! It won't be.
ARTHUR: In your father's office, below the bookshelves...
...is his personal safe. We need the combination.
[SIGHS]
I don't know any safe.
COBB: That doesn't mean you don't know the combination.
Tell us what it is.
I don't know.
We have it on good authority you do know.
Yeah? Whose authority?
- Five hundred dollars, this cost. EAMES: What's inside it?
Cash, cards, ID. And this.
Useful?
Maybe.
You're on. You've got an hour.
An hour?
I was supposed to have all night to crack this.
And Saito wasn't supposed to be shot in the chest.
You've got one hour, now get us something useful, please.
[SCREAMING]
- What's that? - Good authority.
Uncle Peter.
Just make them stop.
- The combination. - I don't know it.
- Why does Browning say you do? - I don't know.
Just let me talk to him and I'll find out.
You have one hour. Start talking.
FISCHER: You all right?
[GROANING]
You okay?
Those bastards have had at me for two days.
They have someone with access to your father's office.
- They're trying to open his safe. - Yeah.
They thought I'd know the combination, but I don't know it.
- Yeah, well, neither do I, so... - what?
Maurice told me that when he passed, you were the only one able to open it.
No, he never gave me any combination.
Maybe he did. I mean, maybe you just didn't know it was a combination.
Well, what, then?
I don't know, some meaningful combination of numbers...
...based on your experiences with Maurice.
We didn't have very many, uh, meaningful experiences together.
Perhaps after your mother died.
After my mother died, you know what he told me?
"Robert, there's really nothing to be said."
Oh, well, he was bad with emotion.
I was 11, Uncle Peter.
- How's he doing? - He's in a lot of pain.
When we get down to the lower levels, the pain will be less intense.
And if he dies?
Worst-case scenario?
When he wakes up, his mind is completely gone.
Cobb, I'll still honor the arrangement.
COBB: I appreciate that, Saito.
But when you wake up, you won't even remember that we had an arrangement.
Limbo is gonna become your reality.
You're gonna be lost down there so long that you're gonna become an old man.
Filled with regret?
Waiting to die alone.
No.
I'll come back.
And we'll be young men together again.
Breathe.
These people are gonna kill us if we don't give them the combination.
- They just wanna ransom us. - I heard them.
They're gonna lock us in that van, and then drive it into the river.
All right. What is in the safe?
Something for you.
Maurice always said it was his most precious gift to you.
- A will. - Maurice's will is with Port and Dunn.
That's an alternate.
This would supersede the other if you want it to.
It splits up the component businesses of Fischer Morrow.
It'd be the end of the entire empire as we know it.
Destroying my whole inheritance?
- Why would he suggest such a thing? - I just don't know.
He loved you, Robert.
In his own way.
FISCHER: In his own way.
At the end...
...he called me in to his deathbed.
He could barely speak.
But he took the trouble to tell me one last thing.
He pulled me close.
And I could only make out...
...one word.
"Disappointed."
[SIGHS]
When were you in limbo?
You might have the rest of the team convinced to carry on with this job.
- But they don't know the truth. - Truth? What truth?
The truth that, at any minute, you might bring a freight train through the wall.
The truth that Mal is bursting through your subconscious.
And the truth that, as we go deeper into Fischer...
...we're also going deeper into you.
And I'm not sure we're gonna like what we find.
We were working together.
We were exploring the concept of a dream within a dream.
I kept pushing things.
I wanted to go deeper and deeper. I wanted to go further.
I just didn't understand the concept that hours could turn into years down there...
...that we could get trapped so deep...
...that when we wound up on the shore of our own subconscious...
...we iost sight of what was reai.
We created. We built the world for ourselves.
We did that for years.
We built our own worid.
How long were you stuck there?
Something like 5o years.
Jesus.
How could you stand it?
It wasn't so bad at first, feeling like gods.