[ OMINOUS MUSIC PLAYS ]
[ WAVES CRASHING ]
[ CHILDREN GIGGLING
IN DISTANCE ]
[ HAPPY CHATTER ]
[ SHRIEKS PLAYFULLY ]
[ SHOUTING IN JAPANESE ]
[ CONVERSING IN JAPANESE ]
[ SWALLOWING WITH DIFFICULTY ]
ARE YOU HERE TO KILL ME?
I KNOW WHAT THIS IS.
I'VE SEEN ONE BEFORE...
[ RATTLING ]
...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?
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.
[ INDISTINCT CONVERSATIONS ]
[ RUMBLING ]
HE KNOWS.
[ OBJECTS RATTLING ]
WHAT'S GOING ON UP THERE?
[ RATTLING CONTINUES ]
[ WATCH TICKING;
TICKING QUICKENS ]
[ INDISTINCT SHOUTING
IN DISTANCE ]
[ EXPLOSIONS IN DISTANCE ]
[ TICKING ]
[ OBJECTS RATTLING ]
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.
YOU KNOW THAT I AM.
BUT I...
I CAN'T
TRUST YOU ANYMORE.
SO WHAT?
LOOKS LIKE
ARTHUR'S TASTE.
ACTUALLY,
THE SUBJECT IS PARTIAL
TO POSTWAR
BRITISH PAINTERS.
PLEASE, HAVE A SEAT.
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.
[ BREATHES DEEPLY ]
COME ON. DAMN IT.
[ GRINDING ]
[ MUFFLED GUNSHOT ]
[ LOCK CLICKS,
HINGES CREAK ]
Saito: TURN AROUND!
Mal: THE GUN, DOM.
[ GRUNTS ]
PLEASE.
[ BREATHING HEAVILY ]
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.
[ GUN COCKS ]
UH, 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...
[ GUNSHOT ]
AAH! UGH!
...PAIN IS IN THE MIND.
AND JUDGING BY THE DECOR,
WE'RE IN YOUR MIND,
AREN'T WE, ARTHUR?
[ MUFFLED GUNSHOT ]
[ GRUNTS ]
WHAT ARE YOU DOING?!
IT'S TOO SOON!
I KNOW.
BUT THE DREAM'S COLLAPSING.
I'M GONNA TRY TO KEEP SAITO
UNDER A LITTLE BIT LONGER.
WE'RE ALMOST THERE.
[ MUFFLED GUNSHOTS ]
[ GRUNTING ]
HE WAS CLOSE.
VERY CLOSE.
[ SCREAMING ]
AAH! STOP HIM!
[ MUFFLED GUNSHOTS ]
AAH!
[ GUNSHOTS ]
[ BEEPING ]
[ GROANING SOFTLY ]
THIS ISN'T GONNA WORK.
WAKE HIM UP.
AAH!
HE WON'T WAKE!
[ PANTING ]
GIVE HIM THE KICK!
WHAT?
DUNK HIM.
[ CREAKING ]
[ DISTORTED,
SLOW-MOTION SOUNDS ]
[ GASPS ]
AAH.
NASH!
[ GRUNTING ]
HE'S OUT.
[ BREATHING HEAVILY ]
[ INDISTINCT SHOUTING ]
YOU CAME PREPARED, HMM?
NOT EVEN MY HEAD OF SECURITY
KNOWS THIS APARTMENT.
HOW DID YOU FIND IT?
IT'S VERY 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.
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.
[ TRAIN RATTLING ]
[ TICKING QUICKENS ]
[ TRAINS WHOOSHING ]
[ BEEPING SLOWLY ]
♪ NON! RIEN DE RIEN... ♪
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!
[ CHUCKLING ]
I HAVE 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.
[ EDIT PIAF'S "NON JE NE
REGRETTE RIEN" PLAYING ]
[ RAPID BEEPING ]
HOW'D IT GO?
NOT GOOD.
DREAM WITHIN A DREAM.
AH, 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.
[ INDISTINCT SHOUTING ]
[ RAPID BEEPING,
MUSIC CONTINUES ]
[ SHOUTING CONTINUES ]
AAH!
[ MUSIC CONTINUES ]
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 DAMN CHEEK ON IT!
THAT'S ENOUGH.
AND YOU. WHAT THE HELL
WAS ALL THAT?
I HAVE IT UNDER CONTROL.
I'D HATE TO SEE YOU
OUT OF CONTROL.
ALL RIGHT,
WE DON'T HAVE TIME FOR THIS.
I'M GETTING OFF AT KYOTO.
WHY? HE'S NOT GONNA CHECK
EVERY COMPARTMENT.
WELL, I DON'T LIKE TRAINS.
LISTEN.
EVERY MAN FOR HIMSELF.
[ RATTLING ]
[ GUN CLICKS ]
[ SETS GUN DOWN ]
[ TELEPHONE RINGS ]
YES, HELLO?
PHILLIPA: Hi, Daddy.
JAMES: Hi, Dad.
HEY, GUYS. HEY.
HOW ARE YOU?
HOW YOU DOIN', HUH?
Good.
Okay, I guess.
OKAY?
[ CHUCKLES ]
WHO'S JUST OKAY?
IS THAT YOU, JAMES?
Yeah.
When are you
coming home, Dad?
[ EXHALES SHARPLY ]
WELL, I CAN'T, SWEETHEART.
I CAN'T.
NOT FOR A WHILE,
REMEMBER?
Why?
LOOK, I...I TOLD YOU.
I'M -- I'M AWAY
BECAUSE I'M WORKING, RIGHT?
Grandma says
you're never coming back.
PHILLIPA, IS THAT YOU?
PUT GRANDMA ON THE PHONE
FOR ME, WILL YOU?
She's shaking her head.
WE'LL JUST HOPE
SHE'S WRONG ABOUT THAT.
Daddy?
YEAH, JAMES?
Is Mommy with you?
JAMES,
WE TALKED ABOUT THIS.
MOMMY'S NOT HERE ANYMORE.
Where?
GRANDMA: That's enough, kids.
Say bye-bye.
LISTEN, I'M -- I'M GONNA SEND
SOME PRESENTS WITH GRANDPA.
ALL RIGHT?
AND YOU BE GOOD.
YOU BE....
[ Click, dial tone ]
[ REPLACES RECEIVER ]
[ KNOCK ON DOOR ]
OUR RIDE'S ON THE ROOF.
RIGHT.
[ DOOR CLOSES ]
[ SIGHS ]
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, ARTHUR?
WHERE'S NASH?
HE HASN'T SHOWN.
YOU WANT TO WAIT?
NO, 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.
[ SIGHS ]
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 BLADES WHIRRING ]
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 TO YOU,
"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.
IT'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.
AND 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 WANT TO 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.
[ BELL 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.
YOU HAVE TO 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 -- YOU WANT ME
TO LET SOMEONE ELSE
FOLLOW YOU
INTO YOUR FANTASY?
THEY DON'T ACTUALLY
COME INTO THE DREAM.
THEY JUST -- 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 IS AS GOOD AS I WAS.
I'VE GOT SOMEBODY BETTER.
Miles: 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 ABOUT THIS 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.
[ PAPER RIPS ]
AGAIN.
STOP.
YOU'RE GONNA HAVE TO DO BETTER
THAN THAT.
THAT'S MORE LIKE IT.
Cobb: THEY SAY
WE ONLY USE A FRACTION
OF OUR BRAIN'S
TRUE POTENTIAL.
NOW, THAT'S
WHEN WE'RE AWAKE.
WHEN WE'RE ASLEEP,
OUR MIND CAN DO
ALMOST ANYTHING.
SUCH AS?
WELL, IMAGINE YOU'RE DESIGNING
A BUILDING, ALL RIGHT?
YOU CONSCIOUSLY CREATE
EACH ASPECT.
BUT SOMETIMES IT FEELS LIKE
IT'S ALMOST CREATING ITSELF,
IF YOU KNOW WHAT I MEAN.
YEAH. YEAH,
LIKE I'M...DISCOVERING IT.
GENUINE INSPIRATION,
RIGHT?
MM-HMM.
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 -- 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...
THINK ABOUT IT, ARIADNE.
HOW DID YOU GET HERE?
WHERE ARE YOU RIGHT NOW?
WE'RE DREAMING?
YOU'RE ACTUALLY
IN THE MIDDLE
OF THE WORKSHOP RIGHT NOW,
SLEEPING.
THIS IS YOUR FIRST LESSON
IN SHARED DREAMING.
STAY CALM.
[ RUMBLING,
CUP AND SAUCER RATTLING ]
[ EXPLOSIONS ]
IF IT'S JUST A DREAM,
THEN WHY ARE YOU PROTEC--
[ "NON JE NE REGRETTE RIEN"
PLAYS ]
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.
THAT'S WHY THE MILITARY
DEVELOPED DREAM SHARING.
IT WAS A TRAINING PROGRAM
FOR SOLDIERS
TO SHOOT AND STAB
AND STRANGLE EACH OTHER
AND THEN WAKE UP.
HOW DID ARCHITECTS
BECOME INVOLVED?
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?
[ BREATHES DEEPLY ]
Cobb: YOU'VE GOT
THE BASIC LAYOUT.
THE BOOKSTORE, THE 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 -- LIKE A BANK VAULT
OR A JAIL.
[ HORN BEEPS ]
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?
[ THUD ]
IT'S SOMETHING,
ISN'T IT?
YES, IT IS.
[ HORN HONKS IN DISTANCE ]
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.
LIKE THEY'RE GONNA
ATTACK US?
NO, NO.
JUST YOU.
THIS IS GREAT,
BUT I'M TELLING YOU,
IF YOU KEEP CHANGING THINGS
LIKE THIS...
GEEZ.
MIND TELLING YOUR SUBCONSCIOUS
TO TAKE IT EASY?
IT'S MY SUBCONSCIOUS.
REMEMBER? I CAN'T CONTROL IT.
[ EXPLOSION, GLASS SHATTERS ]
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.
WELL, YOU GOTTA DRAW FROM
STUFF YOU KNOW, RIGHT?
ONLY USE DETAILS --
A-A STREETLAMP OR A PHONE BOOTH.
NEVER ENTIRE AREAS.
WHY NOT?
'CAUSE 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?
HEY, LISTEN TO ME.
THIS HAS NOTHING TO DO WITH ME,
YOU UNDERSTAND?
IS THAT WHY YOU NEED ME
TO BUILD YOUR DREAMS?
HEY, GET OFF OF HER.
BACK UP. BACK UP!
COBB! COBB!
GET OFF OF HER!
COBB! LET ME GO!
MAL!
LET ME GO!
MAL!
WAKE ME UP!
MAL!
WAKE ME UP!
MAL, NO! NO!
WAKE ME UP!
[ GASPING ]
HEY. HEY.
HEY. LOOK AT ME.
YOU'RE OKAY.
[ GASPING ] WHY --
WHY WOULDN'T I WAKE UP?
[ SIGHS ]
'CAUSE THERE WAS STILL
SOME TIME ON THE CLOCK,
AND YOU CAN'T WAKE UP FROM
WITHIN THE DREAM UNLESS YOU DIE.
SHE'LL NEED A TOTEM.
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.
[ BREATHING HEAVILY ]
YOU NEED A SMALL OBJECT,
POTENTIALLY HEAVY,
SOMETHING YOU CAN HAVE
ON YOU ALL THE TIME
THAT NO ONE ELSE KNOWS.
WHAT, LIKE A COIN?
NO. IT NEEDS TO BE
MORE UNIQUE THAN THAT.
LIKE, THIS IS A...
LOADED DIE.
[ EXHALES SHARPLY ]
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.
[ SIGHS ]
I-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 ]
Cobb: 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
[SCOFFS]
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 BACKYARD.
IT'S A NECESSARY RISK.
WELL, THERE'S PLENTY
OF GOOD THIEVES.
[ SIGHS ]
WE DON'T JUST NEED A THIEF.
WE NEED A FORGER.
[ INDISTINCT CONVERSATIONS ]
YOU CAN RUB THEM TOGETHER
ALL YOU WANT,
THEY'RE NOT GONNA BREED.
YOU NEVER KNOW.
LET ME GET YOU A DRINK.
[ DIE RATTLE ]
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.
'CAUSE ARTHUR KEEPS TELLING ME
IT CAN'T BE DONE.
HMM. ARTHUR.
YOU STILL WORKING WITH
THAT STICK IN THE MUD?
WELL, HE IS GOOD
AT WHAT HE DOES, RIGHT?
OH, HE'S THE BEST.
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.
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 VERY 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.
WELL, YOU SEE,
RIGHT THERE,
YOU HAVE VARIOUS
POLITICAL MOTIVATIONS
AND ANTI-MONOPOLISTIC
SENTIMENTS AND SO FORTH.
BUT ALL OF
THAT STUFF IS...
IT'S REALLY AT THE MERCY
OF YOUR SUBJECT'S
PREJUDICE, YOU SEE?
AND 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, HE 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.
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, HALF AN HOUR?
THEN BACK HERE?
THIS IS THE LAST PLACE
THEY'D SUSPECT.
[ CHUCKLES ] MM.
ALL RIGHT.
FREDDY! FREDDY SIMMONDS.
MY GOD, IT'S YOU,
ISN'T IT?
[ GRUNTS ]
WHO?
NO, IT ISN'T YOU.
YOU'RE NOT DREAMING NOW,
ARE YOU?
[ PEOPLE SHOUTING ]
OHH!
THERE!
[ SPEAKING
NATIVE LANGUAGE ]
CAFÉ. ONE CAFÉ.
[ SPEAKING URGENTLY
IN NATIVE LANGUAGE ]
[ SPEAKING URGENTLY ]
Shh!
[ INDISTINCT SHOUTING ]
[ SPEAKING URGENTLY ]
ONE CAFÉ.
CAFÉ.
[ INDISTINCT SHOUTING ]
[ GUNFIRE ]
[ HORN HONKING ]
OHH!
[ BULLETS RICOCHET ]
[ GRUNTS ]
[ TIRES SCREECH ]
CARE FOR A LIFT, MR. COBB?
WHAT ARE YOU DOING
IN MOMBASA?!
I'M HERE TO PROTECT
MY INVESTMENT.
[ WHISTLES, TAPS CAR ]
AH, SO THIS IS YOUR IDEA
OF LOSING A TAIL, HUH?
DIFFERENT TAIL.
[ ARIADNE CLEARS THROAT SOFTLY ]
COBB SAID YOU'D BE BACK.
YEAH, WELL,
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?
YOU'RE GONNA HAVE TO MASTER
A FEW TRICKS
IF YOU'RE GONNA BUILD
THREE COMPLETE DREAM LEVELS.
EXCUSE ME.
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?
WELL, IT COULD BE ANYTHING
FROM THE FLOOR OF A BUILDING
TO AN ENTIRE CITY.
BUT 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.
[ CHUCKLES ] 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?
WELL, 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...
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.
WHAT FOR?
HERE, I'LL SHOW YOU.
PERHAPS YOU WILL NOT
WANT TO SEE.
AFTER YOU.
Eames: 10...12.
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.
AND DREAM TIME?
WITH THIS COMPOUND?
ABOUT 40 HOURS,
EACH AND EVERY DAY.
WHY DO THEY DO IT?
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?
Elderly man: NO.
THEY COME TO BE WOKEN UP.
THE DREAM HAS BECOME
THEIR REALITY.
WHO ARE YOU
TO SAY OTHERWISE, SIR?
[ CHUCKLES ]
LET'S SEE
WHAT YOU CAN DO.
[ CREAKING ]
YOU KNOW HOW
TO FIND ME.
[ CREAKING ]
YOU KNOW
WHAT YOU HAVE TO DO.
[ GRUNTING ]
[ EXHALES SHARPLY ]
SHARP, NO?
[ BREATHING HEAVILY ]
[ BREATHING RAGGEDLY ]
Saito: ARE YOU ALL RIGHT,
MR. COBB?
YEAH. YEAH.
EVERYTHING'S JUST FINE.
[ EXHALES SHARPLY ]
ROBERT FISCHER,
HEIR TO THE FISCHER MORROW
ENERGY CONGLOMERATE.
WHAT'S YOUR PROBLEM
WITH THIS MR. FISCHER?
THAT'S NOT YOUR CONCERN.
MR. SAITO, THIS [SCOFFS]
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.
[ POUNDS TABLE ]
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.
I'M NOT SMELLING
SETTLEMENT HERE.
TAKE THEM DOWN.
MR. BROWNING,
MAURICE FISCHER'S POLICY
IS ALWAYS ONE
OF AVOIDING LITIGATION.
WELL, SHALL WE VOICE
YOUR CONCERNS
WITH MAURICE DIRECTLY?
I'M NOT SURE
THAT'S NECESSARY.
NO, NO, NO.
I-I THINK WE SHOULD.
HOW IS HE?
I DON'T WANT TO BOTHER HIM
UNNECESSARILY, BUT --
ROBERT, I TOLD YOU
KEEP OUT THE DAMN...
[ CLATTER ]
WAIT, SO DO IT! GET --
Nurse: Shh.
PUT IT THROUGH!
NEVER! NEVER.
HAVEN'T YOU,
THE SAME AS I ASKED.
LEAVE THAT.
[ BREATHING RAGGEDLY ]
Browning: MUST BE A CHERISHED
MEMORY OF HIS.
I PUT IT BESIDE HIS BED.
HE HASN'T EVEN NOTICED.
ROBERT...
[ SIGHS ]
...WE NEED TO TALK
ABOUT A POWER OF ATTORNEY.
I KNOW THIS IS HARD
ON YOU --
NOT NOW, UNCLE PETER.
BUT IT'S IMPERATIVE
THAT WE START TO...
Eames:
THE VULTURES ARE CIRCLING.
AND THE SICKER
MAURICE FISCHER BECOMES,
THE MORE POWERFUL
PETER BROWNING BECOMES.
I'VE HAD AMPLE OPPORTUNITY
TO OBSERVE BROWNING,
ADOPT HIS PHYSICAL 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 --
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.
[ WHIRRING ]
[ RUSTLING ]
WERE YOU GOING UNDER
ON YOUR OWN?
NO, NO, I WAS JUST --
I WAS JUST RUNNING
SOME EXPERIMENTS.
I DIDN'T REALIZE
ANYONE WAS HERE.
YEAH, I WAS JUST -- I WAS
WORKING ON MY TOTEM, ACTUALLY.
HERE.
LET ME TAKE A LOOK.
AH --
SO YOU'RE LEARNING, HUH?
AN ELEGANT SOLUTION
FOR KEEPING TRACK OF REALITY.
WAS IT YOUR IDEA?
NO, IT WAS...
IT WAS MAL'S, ACTUALLY.
THIS....
THIS ONE WAS HERS.
SHE'D 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.
UM, YOU KNOW, ACTUALLY,
I HAVE A QUESTION
ABOUT THIS LAYOUT.
NO, NO, NO. DON'T --
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 A BUSINESS
STRATEGY INTO AN EMOTION?
THAT'S WHAT WE'RE HERE
TO FIGURE OUT, RIGHT?
NOW, ROBERT'S RELATIONSHIP
WITH HIS FATHER
IS STRESSED, TO SAY THE LEAST.
WELL,
CAN WE RUN WITH THAT?
WE COULD SUGGEST TO HIM
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."
OH. 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."
EXACTLY.
Arthur: 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.
GOOD NIGHT.
THE COMPOUND WE'LL BE USING
TO SHARE THE DREAM
CREATES A VERY CLEAR CONNECTION
BETWEEN DREAMERS
WHILST ACTUALLY ACCELERATING
BRAIN FUNCTION.
IN OTHER WORDS, IT GIVES US
MORE TIME ON EACH LEVEL.
BRAIN FUNCTION IN THE DREAM
WILL BE ABOUT 20 TIMES NORMAL.
WHEN YOU ENTER A DREAM
WITHIN THAT DREAM,
THE EFFECT IS COMPOUNDED.
IT'S 3 DREAMS --
THAT'S 10 HOURS TIMES --
I'M SORRY, MATH WAS NEVER
MY STRONG SUBJECT.
H-HOW MUCH TIME IS THAT?
IT'S A WEEK,
THE FIRST LEVEL DOWN,
SIX MONTHS,
THE SECOND LEVEL DOWN,
AND THE THIRD LEVEL...
IT'S 10 YEARS.
WHO WOULD WANT TO BE STUCK
IN A DREAM FOR 10 YEARS?
DEPENDS ON THE DREAM.
SO, ONCE WE'VE MADE THE PLANT,
HOW DO WE GET OUT?
AND I'M HOPING YOU HAVE
SOMETHING MORE ELEGANT IN MIND
THAN SHOOTING ME
IN THE HEAD.
A KICK.
WHAT'S A KICK?
THIS, ARIADNE,
WOULD BE A KICK.
IT'S THAT FEELING OF FALLING
YOU GET THAT JOLTS YOU AWAKE.
IT [SNAPS FINGERS]
SNAPS YOU OUT OF THE DREAM.
ARE WE GONNA FEEL A KICK
WITH THIS KIND OF SEDATION?
Yusuf:
OH, 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
THE MUSICAL COUNTDOWN
TO SYNCHRONIZE
THE DIFFERENT KICKS.
[ "NON JE NE REGRETTE RIEN"
PLAYS ]
Eames: HE HASN'T GOT
ANY SURGERY SCHEDULED.
THERE'S NO DENTAL,
NOTHING.
Cobb: WASN'T HE SUPPOSED
TO HAVE A KNEE OPERATION?
NOTHING. NOTHING THAT THEY'D
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.
NOT IF THERE WERE UNEXPECTED
MAINTENANCE WITH HIS PLANE.
Arthur:
IT WOULD HAVE TO BE A 747.
WHY'S THAT?
BECAUSE ON A 747,
THE PILOT IS UP TOP,
AND THE FIRST-CLASS CABIN
IS IN THE NOSE,
SO NO ONE
WOULD WALK THROUGH.
BUT 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.
[ WHIRRING ]
[ ELEVATOR CLATTERING ]
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.
[ SUSPENSEFUL MUSIC PLAYS ]
YOU SHOULDN'T BE HERE.
[ CAGE RATTLING ]
I JUST WANTED TO SEE
WHAT KIND OF "TESTS"
YOU'RE DOING ON YOUR OWN
EVERY NIGHT.
ALL RIGHT, WELL, 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.
[ GULLS CRYING ]
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 -- 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.
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.
[ CHILDREN SHOUTING PLAYFULLY ]
THAT'S PHILLIPA.
SEE, I THOUGHT
ABOUT CALLING OUT TO THEM,
SO THEY'D TURN AND SMILE
AND I COULD SEE THOSE...
THOSE BEAUTIFUL FACES
OF THEIRS.
BUT...
IT'S ALL TOO LATE.
RIGHT NOW...
OR NEVER, COBB.
THEN I START TO PANIC.
I REALIZE I'M GONNA REGRET
THIS MOMENT,
THAT I NEED TO SEE THEIR FACES
ONE LAST TIME.
Marie: JAMES! PHILLIPA!
COME ON IN!
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...
...TO THE REAL WORLD.
[ CAGE CLATTERS ]
[ BREATHING HEAVILY ]
[ TRAIN RUMBLING ]
[ SIREN WAILS IN DISTANCE ]
[ GLASS CRUNCHES ]
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.
[ GLASS CRUNCHES ]
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 WE'LL BE TOGETHER.
HOW COULD YOU
BRING HER HERE, DOM?
WHAT IS THIS PLACE?
THIS IS THE 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.
[ ELEVATOR STARTS ]
[ SCREAMING ]
[ BREATHING HEAVILY ]
[ FASTENER RIPS ]
[ BREATHES DEEPLY ]
DO YOU THINK
YOU CAN JUST BUILD A PRISON
OF MEMORIES
TO LOCK HER IN?
[ EXHALES ]
DO YOU REALLY THINK THAT
THAT'S GONNA CONTAIN HER?
[ DOOR OPENS ]
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.
RIGHT.
COBB,
I'M COMING WITH YOU.
I PROMISED MILES. NO.
THE TEAM NEEDS SOMEONE
WHO UNDERSTANDS
WHAT YOU'RE
STRUGGLING WITH.
A-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.
[ THUD ]
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, I'M SORRY.
MY BAD.
[ CLEARS THROAT ]
[ TONE SOUNDS ]
EXCUSE ME,
I THINK THIS IS YOURS?
YOU MUST HAVE
DROPPED IT.
WOULD YOU GENTLEMEN
CARE FOR A DRINK?
UH, WATER, PLEASE.
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.
HEY.
TO YOUR FATHER.
MAY HE REST IN PEACE, HUH?
[ OVERHEAD COMPARTMENT CLOSES ]
[ WHIRRING ]
[ HORNS HONKING ]
[ HORN HONKS ]
COULDN'T HAVE PEED
BEFORE YOU WENT UNDER?
SORRY.
BIT TOO MUCH FREE CHAMPAGNE
BEFORE TAKEOFF, EH, YUSUF?
HA HA BLOODY HA.
WELL, WE KNOW HE'S
GONNA BE LOOKING
FOR A TAXI IN
THIS WEATHER.
[ ENGINE REVS ]
[ TIRES SCREECH ]
ASSHOLE!
HEY, MAN,
WHY DON'T YOU TRY --
WALK AWAY.
[ TIRES SQUEALING ]
[ UP-TEMPO MUSIC PLAYING
ON RADIO ]
[ MUSIC STOPS ]
JUST HAVE HIM --
I GOTTA GO.
ALL RIGHT. TAXI!
THANK YOU.
ALL RIGHT, THIRD AND MARKET.
[ GROANS ] SNAPPY.
WHAT ARE YOU DOING?
OH, I'M SORRY.
I THOUGHT IT WAS FREE.
WELL, IT'S NOT.
MAYBE WE COULD SHARE.
YEAH, MAYBE NOT. CAN YOU
PULL OVER AND GET THIS...
[ SIGHS ]
GREAT.
[ CAR DOOR OPENS]
COME ON!
[ CRASHING ]
THERE'S $500 IN THERE,
AND THE WALLET'S
WORTH MORE THAN THAT.
SO YOU MIGHT AT LEAST
DROP ME AT MY STOP.
I'M AFRAID
IT DOESN'T...
[ GUNSHOT ]
BULLET!
[ TIRES SCREECHING ]
[ TIRES SCREECH ]
COVER HIM!
DOWN! DOWN NOW!
WHAT THE HELL
IS GOING ON?!
[ BULLETS RICOCHET ]
Ariadne:
THIS WASN'T IN THE DESIGN.
COBB?
COBB?!
[ TIRES SCREECHING ]
[ TIRES SQUEALING,
GUNFIRE CONTINUES ]
[ TIRES SQUEALING ]
[ BULLETS RICOCHET ]
AAH!
[ TIRES SCREECHING,
GUNFIRE CONTINUES ]
READY?!
[ TIRES SCREECHING ]
ARE YOU ALL RIGHT?!
YEAH, I-I'M OKAY.
I'M OKAY.
FISCHER'S OKAY,
UNLESS HE GETS CARSICK.
SAITO?
GET FISCHER
IN THE BACK ROOM NOW!
GET HIM IN THE BACK ROOM.
MOVE!
[ GRUNTING ]
HAS HE BEEN SHOT?
I-IS HE DYING?
I DON'T KNOW.
JESUS CHRIST.
WHERE WERE YOU?
WHAT HAPPENED TO YOU?
WE WERE BLOCKED
BY A FREIGHT TRAIN.
WHY WOULD YOU PUT
A TRAIN CROSSING
IN THE MIDDLE OF A
DOWNTOWN INTERSECTION?
WELL, I DIDN'T.
WELL WHERE'D
IT COME FROM?
WELL LET ME ASK YOU
A QUESTION!
WHY THE HELL
WERE WE AMBUSHED, HUH?!
THOSE WERE NOT
NORMAL PROJECTIONS!
THEY'D BEEN TRAINED,
FOR GOD'S SAKES!
YOU'RE RIGHT.
HOW COULD HE BE TRAINED?!
FISCHER [SIGHS]
HAD AN EXTRACTOR
TEACH HIS SUBCONSCIOUS
TO DEFEND ITSELF.
SO HIS SUBCONSCIOUS
IS MILITARIZED.
IT SHOULD'VE SHOWN
IN THE RESEARCH. I'M SORRY.
SO WHY THE HELL
DIDN'T IT?
CALM DOWN.
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 THOROUGHLY!
WE ARE NOT PREPARED
FOR THIS TYPE OF VIOLENCE!
WE HAVE DEALT WITH
SUB-SECURITY BEFORE!
WE'LL BE A LITTLE MORE CAREFUL,
AND WE'RE GONNA BE FINE!
THIS WAS NOT A PART OF THE PLAN!
HE'S DYING, FOR GOD'S SAKES!
PUT HIM
OUT OF HIS MISERY.
NO, DON'T DO THAT!
HEY, HEY.
DON'T DO THAT.
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?
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?!
UNCONSTRUCTED
DREAM SPACE.
WELL, WHAT THE HELL
IS DOWN THERE?
JUST RAW,
INFINITE SUBCONSCIOUS.
NOTHING IS DOWN THERE,
EXCEPT FOR WHATEVER MIGHT HAVE
BEEN LEFT BEHIND
BY ANYONE
SHARING THE DREAM
WHO'S BEEN TRAPPED
THERE BEFORE.
WHICH, IN OUR CASE,
IS JUST YOU.
WELL, HOW LONG
COULD WE BE STUCK THERE?
Yusuf: CAN'T EVEN THINK
ABOUT TRYING TO ESCAPE
UNTIL THE SEDATION
HAS EASED.
HOW LONG, YUSUF?
DECADES.
IT COULD BE INFINITE.
I DON'T KNOW. ASK HIM.
HE'S THE ONE
WHO'S BEEN THERE.
Arthur: LET'S JUST
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?
[ BREATHING HEAVILY ]
SOMEONE GOT FIRST AID?
[ GROANING ]
SO, YOU KNEW
ABOUT THESE RISKS,
AND YOU DIDN'T TELL US?
THERE WEREN'T MEANT
TO BE ANY RISKS.
I DIDN'T KNOW WE'D BE DEALING
WITH A LOAD OF GUNFIRE.
YOU HAD NO RIGHT.
THIS WAS THE ONLY WAY
TO GO THREE LAYERS DEEP.
AND YOU.
YOU KNEW ABOUT THIS
AND WENT ALONG WITH IT?
I TRUSTED HIM!
YOU TRUSTED HIM?
WHEN? WHEN HE PROMISED
YOU HALF HIS SHARE?
NO. HIS WHOLE SHARE.
BESIDES, HE SAID
HE'D DONE IT BEFORE.
OH, HE'D DONE IT BEFORE.
WHAT, WITH MAL?
'CAUSE THAT WORKED
SO GOOD?
THAT HAS NOTHING
TO DO WITH IT.
I DID WHAT I HAD TO DO
TO GET BACK TO MY CHILDREN.
SO YOU LED US
INTO A WAR ZONE
WITH NO WAY OUT.
THERE IS A WAY OUT.
ALL RIGHT?
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, BOYS.
FISCHER'S SECURITY
IS SURROUNDING
THIS PLACE AS WE SPEAK.
10 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.
[ BREATHING HEAVILY ]
I'M INSURED AGAINST KIDNAPPING
FOR UP TO 10 MILLION.
THIS SHOULD BE VERY SIMPLE.
SHUT UP!
IT WON'T BE.
IN YOUR FATHER'S OFFICE,
BELOW THE BOOKSHELVES,
IS HIS PERSONAL SAFE.
WE NEED THE COMBINATION.
[ SIGHS ]
I DON'T KNOW ANY SAFE.
THAT DOESN'T MEAN
YOU DON'T KNOW THE COMBINATION.
TELL US WHAT IT IS.
I DON'T KNOW.
[ FOOTSTEPS DEPARTING ]
WE HAVE IT ON GOOD AUTHORITY
YOU DO KNOW.
YEAH? WHOSE AUTHORITY?
$500, THIS COST?
WHAT'S INSIDE IT?
CASH, CARDS, I.D...
AND THIS.
USEFUL?
MAYBE.
Cobb: YOU'RE ON.
YOU'VE GOT AN HOUR.
AN HOUR?
I WAS SUPPOSED TO HAVE ALL NIGHT
TO CRACK THIS.
[ KNOCKING ]
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.
[ SCREAMING CONTINUES ]
[ Softly ]
UNCLE PETER.
JUST --
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.
[ GRUNTS ]
YOU HAVE ONE HOUR!
START TALKING.
[ HANDCUFFS CLICK ]
AHH.
YOU ALL RIGHT?
[ DOOR SLAMS ]
AAH.
YOU OKAY?
[ BREATHING HEAVILY ]
THOSE BASTARDS HAVE HAD AT ME
FOR TWO DAYS.
THEY HAVE SOMEONE WITH ACCESS
TO YOUR FATHER'S OFFICE,
AND 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
THAT WOULD BE ABLE TO OPEN IT.
NO, HE NEVER -- HE NEVER
GAVE ME ANY COMBINATION.
MAYBE HE DID.
MAYBE YOU JUST DIDN'T KNOW
IT WAS THE COMBINATION.
WELL, WHAT, THEN?
I DON'T KNOW.
SOME MEANINGFUL COMBINATION
OF NUMBERS
BASED ON YOUR --
YOUR EXPERIENCES WITH MAURICE.
[ SCOFFS ]
WE DIDN'T HAVE
VERY MANY, UM...
MEANINGFUL EXPERIENCES
TOGETHER.
PERHAPS
AFTER YOUR MOTHER DIED.
[ SIGHS ]
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 DOIN'?
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.
Saito: COBB...
[ PANTING ]
I'LL STILL HONOR
THE ARRANGEMENT.
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.
[ BREATHING RAGGEDLY ]
BREATHE.
THESE PEOPLE
ARE GONNA KILL US
IF WE DON'T GIVE THEM
THE COMBINATION.
THEY JUST
WANT TO 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.
"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."
[ BREATHES DEEPLY ]
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...
WHEN WE WOUND UP ON THE SHORE
OF OUR OWN SUBCONSCIOUS,
WE LOST SIGHT
OF WHAT WAS REAL.
WE CREATED, WE BUILT THE WORLD
FOR OURSELVES.
WE DID THAT FOR YEARS.
WE BUILT OUR OWN WORLD.
HOW LONG
WERE YOU STUCK THERE?
SOMETHING LIKE 50 YEARS.
JESUS.
HOW COULD YOU STAND IT?
IT WASN'T SO BAD AT FIRST,
FEELING LIKE GODS.
THE PROBLEM WAS KNOWING
THAT NONE OF IT WAS REAL.
EVENTUALLY,
IT JUST BECAME IMPOSSIBLE
FOR ME TO LIVE LIKE THAT.
AND WHAT ABOUT FOR HER?
SHE HAD LOCKED
SOMETHING AWAY,
SOMETHING
DEEP INSIDE HER.
A TRUTH THAT SHE HAD
ONCE KNOWN, BUT...
BUT CHOSE TO FORGET.
[ LOCK CLICKS ]
LIMBO BECAME HER REALITY.
WHAT HAPPENED
WHEN YOU WOKE UP?
WELL, TO WAKE UP
FROM THAT
AFTER -- AFTER YEARS,
AFTER DECADES...
TO BECOME OLD SOULS
THROWN BACK INTO YOUTH
LIKE THAT?
I KNEW SOMETHING WAS WRONG
WITH HER.
SHE JUST
WOULDN'T ADMIT IT.
EVENTUALLY,
SHE TOLD ME THE TRUTH.
SHE WAS POSSESSED
BY AN IDEA --
THIS ONE VERY SIMPLE IDEA
THAT CHANGED EVERYTHING.
THAT OUR WORLD
WASN'T REAL.
THAT SHE NEEDED TO WAKE UP
TO COME BACK TO REALITY,
THAT...
IN ORDER
TO GET BACK HOME...
WE HAD TO KILL OURSELVES.
WHAT ABOUT YOUR CHILDREN?
SHE THOUGHT
THEY WERE PROJECTIONS,
THAT OUR REAL CHILDREN
WERE WAITING FOR US
UP THERE SOMEWHERE.
Mal: I'M THEIR MOTHER!
CALM DOWN.
DON'T YOU THINK
I CAN TELL THE DIFFERENCE?
IF THIS IS MY DREAM,
WHY CAN'T I CONTROL THIS?
BECAUSE YOU DON'T KNOW
YOU'RE DREAMING!
SHE WAS CERTAIN THERE WAS
NOTHING I COULD DO,
NO MATTER HOW MUCH
I BEGGED,
NO MATTER HOW MUCH
I PLEADED.
SHE WANTED TO DO IT,
BUT SHE COULD NOT DO IT ALONE.
SHE LOVED ME TOO MUCH,
SO...
SHE CAME UP WITH A PLAN
ON OUR ANNIVERSARY.
[ GLASS CRUNCHES ]
SWEETHEART,
WHAT ARE YOU DOING?
JOIN ME.
JUST -- JUST STEP BACK INSIDE.
ALL RIGHT?
JUST STEP BACK INSIDE NOW.
COME ON.
NO.
I'M GOING TO JUMP,
AND YOU'RE COMING WITH ME.
NO, I'M NOT.
N-NOW, YOU LISTEN TO ME.
IF YOU JUMP, YOU'RE NOT
GONNA WAKE UP, REMEMBER?
YOU'RE GONNA DIE.
NOW, JUST --
JUST STEP BACK INSIDE.
COME ON.
STEP BACK INSIDE
SO WE CAN TALK ABOUT THIS.
WE'VE TALKED ENOUGH.
MAL.
COME OUT ONTO THE LEDGE,
OR I'LL JUMP RIGHT NOW.
OKAY.
WE'RE GONNA TALK ABOUT THIS.
ALL RIGHT?
I'M ASKING YOU
TO TAKE A LEAP OF FAITH.
NO, HONEY.
NO, I CA--
YOU KNOW I CAN'T DO THAT.
TAKE A SECOND,
THINK ABOUT OUR CHILDREN.
THINK ABOUT JAMES.
THINK ABOUT PHILLIPA NOW.
IF I GO WITHOUT YOU,
THEY'LL TAKE THEM AWAY ANYWAY.
WHAT DOES THAT MEAN?
I FILED A LETTER
WITH OUR ATTORNEY,
EXPLAINING HOW I'M FEARFUL
FOR MY SAFETY.
HOW YOU'VE THREATENED
TO KILL ME.
WHY DID YOU DO THIS?
I LOVE YOU, DOM.
WHY DID YOU --
WHY WOULD YOU DO THIS TO ME?
I'VE FREED YOU FROM THE GUILT
OF CHOOSING TO LEAVE THEM.
WE'RE GOING HOME
TO OUR REAL CHILDREN.
OH, NO, NO, NO. MAL,
YOU LISTEN TO ME, ALL RIGHT?
MAL, LOOK AT ME,
PLEASE?!
YOU'RE WAITING
FOR A TRAIN.
MAL, GODDAMN IT,
DON'T DO THIS!
A TRAIN THAT WILL TAKE YOU
FAR AWAY.
JAMES AND PHILLIPA
ARE WAITING FOR US!
YOU KNOW WHERE YOU HOPE
THIS TRAIN WILL TAKE YOU.
THEY'RE WAITING FOR US!
YOU CAN'T KNOW FOR SURE.
MAL, LOOK AT ME!
BUT IT DOESN'T MATTER.
MAL, GODDAMN IT!
BECAUSE YOU'LL BE TOGETHER.
MAL, LISTEN TO ME!
SWEETHEART!
LOOK AT ME!
MAL, NO!!
JESUS CHRIST!
SHE HAD HERSELF
DECLARED SANE
BY THREE DIFFERENT
PSYCHIATRISTS.
IT MADE IT IMPOSSIBLE
FOR ME TO TRY TO EXPLAIN
THE NATURE OF HER MADNESS.
SO, I RAN.
[ CHILDREN SHOUTING PLAYFULLY ]
RIGHT NOW...
OR NEVER, COBB.
Marie: JAMES! PHILLIPA!
COME ON IN! COME ON!
ALL RIGHT, LET'S GO.
Cobb: I LEFT
MY CHILDREN BEHIND,
AND I'VE BEEN TRYING TO BUY
MY WAY BACK EVER SINCE.
YOUR GUILT DEFINES HER.
IT'S WHAT POWERS HER.
BUT YOU ARE NOT RESPONSIBLE
FOR THE IDEA THAT DESTROYED HER.
AND IF WE ARE GONNA SUCCEED
IN THIS...
YOU HAVE
TO FORGIVE YOURSELF...
AND YOU'RE GONNA HAVE
TO CONFRONT HER.
BUT YOU DON'T HAVE
TO DO THAT ALONE.
NO, NO, YOU'RE NOT --
I'M DOING IT
FOR THE OTHERS.
BECAUSE THEY HAVE NO IDEA
THE RISK THEY'VE TAKEN
COMING DOWN HERE
WITH YOU.
WE HAVE TO MOVE.
TIME'S UP.
ALL RIGHT.
I DON'T KNOW ANY COMBINATION.
NOT CONSCIOUSLY, ANYWAY.
HOW ABOUT INSTINCTIVELY,
HUH?
I GOT SOMEBODY STANDING IN
YOUR FATHER'S OFFICE RIGHT NOW
READY TO TAP IN
THE COMBINATION.
GIVE ME
THE FIRST SIX NUMBERS
THAT COME TO YOUR HEAD
RIGHT NOW.
I HAVE NO IDEA.
RIGHT NOW!
I SAID, RIGHT NOW!
RIGHT NOW!
FIVE, TWO, EIGHT...
FOUR, NINE, ONE.
[ SIGHS ] YOU'RE GONNA HAVE
TO DO BETTER THAN THAT.
ALL RIGHT. BAG 'EM.
YOU'RE GOING FOR A RIDE.
Fischer: WE'RE WORTH
MORE TO YOU ALIVE.
YOU HEAR ME?
WHAT'D YOU GET?
[ EXHALES SHARPLY ]
THAT BOY'S RELATIONSHIP
WITH HIS FATHER
IS EVEN WORSE
THAN WE IMAGINED.
THIS HELPS US HOW?
THE STRONGER THE ISSUES,
THE MORE POWERFUL
THE CATHARSIS.
HOW ARE WE GONNA RECONCILE THEM
IF THEY'RE SO ESTRANGED?
WELL, I'M WORKING ON THAT,
AREN'T I?
WORK FASTER.
THE PROJECTIONS
ARE CLOSING IN QUICK.
WE GOTTA BREAK OUT OF HERE
BEFORE WE'RE TOTALLY BOXED IN.
[ GUNFIRE,
BULLETS RICOCHET ]
[ GUNFIRE CONTINUES ]
WE MUSTN'T BE AFRAID TO DREAM
A LITTLE BIGGER, DARLING.
[ GUN COCKS ]
NOW WE NEED TO SHIFT HIS
ANIMOSITY FROM HIS FATHER
TO HIS GODFATHER.
YOU'RE GONNA DESTROY HIS ONE
POSITIVE RELATIONSHIP?
NO, WE REPAIR HIS RELATIONSHIP
WITH HIS FATHER
WHILST EXPOSING
HIS GODFATHER'S TRUE NATURE.
WE SHOULD CHARGE FISCHER
A LOT MORE THAN SAITO
FOR THIS JOB.
Arthur:
WHAT ABOUT HIS SECURITY?
IT'S GONNA GET WORSE
AS WE GO DEEPER.
I THINK WE RUN
WITH MR. CHARLES.
NO.
Eames:
WHO'S MR. CHARLES?
BAD IDEA.
THE SECOND WE GET INTO THAT
HOTEL AND APPROACH FISCHER,
HIS SECURITY
IS GONNA BE ALL OVER US.
WE RUN WITH MR. CHARLES
LIKE WE DID ON THE STEIN JOB.
SO YOU'VE DONE IT BEFORE?
Arthur:
YEAH, AND IT DIDN'T WORK!
THE SUBJECT REALIZED
HE WAS DREAMING,
AND HIS SUBCONSCIOUS
TORE US TO PIECES.
EXCELLENT.
BUT YOU LEARNED A LOT, RIGHT?
I'M GONNA NEED
SOME KIND OF DISTRACTION.
NO PROBLEM.
HOW ABOUT A LOVELY LADY
WHO I'VE USED BEFORE?
LISTEN TO ME. YOU DRIVE
CAREFULLY, ALL RIGHT?
YEAH.
EVERYTHING DOWN THERE
IS GONNA BE UNSTABLE AS HELL.
Arthur:
DON'T JUMP TOO SOON.
WE ONLY GOT ONE SHOT AT
THAT KICK. WE GOTTA MAKE IT.
I'LL PLAY THE MUSIC
TO LET YOU KNOW IT'S COMING.
THE REST IS ON YOU.
YOU READY?
READY!
SWEET DREAMS.
Woman:
AM I BORING YOU?
I WAS TELLING YOU
MY STORY.
I GUESS IT WASN'T
TO YOUR LIKING.
UH...
UM, I HAVE A LOT
ON MY MIND.
THERE GOES MR. CHARLES.
MR. FISCHER, RIGHT?
PLEASURE TO SEE YOU AGAIN.
ROD GREEN FROM MARKETING.
I...HMM.
AND YOU MUST BE?
LEAVING.
IN CASE YOU GET BORED.
SHE MUST'VE BLOWN YOU OFF.
THAT IS,
UNLESS HER PHONE NUMBER
REALLY IS ONLY SIX DIGITS.
FUNNY WAY TO MAKE FRIENDS,
SOMEONE STEALING YOUR WALLET
LIKE THAT.
[ PATS CHEST ]
[ SCOFFS ]
GODDAMN IT. THE WALLET ALONE
IS WORTH AT LEAST FIVE --
ABOUT $500, RIGHT?
LISTEN,
DON'T WORRY ABOUT IT.
MY PEOPLE ARE ALREADY ON IT,
AS WE SPEAK.
WHO OR WHAT
IS MR. CHARLES?
IT'S A GAMBIT
DESIGNED TO TURN FISCHER
AGAINST
HIS OWN SUBCONSCIOUS.
AND WHY
DON'T YOU APPROVE?
BECAUSE IT INVOLVES TELLING
THE MARK THAT HE'S DREAMING,
WHICH INVOLVES ATTRACTING
A LOT OF ATTENTION TO US.
DIDN'T COBB SAY
NEVER TO DO THAT?
MM. SO NOW YOU'VE NOTICED
HOW MUCH TIME
COBB SPENDS DOING THINGS
HE SAYS NEVER TO DO.
[ CHUCKLES ]
MR. SAITO,
CAN I HAVE A MOMENT?
I-I'M SORRY, BUT...
Man: HOLD ON! WAIT!
YOU LOOK A BIT PERKIER.
VERY AMUSING, MR. EAMES.
[ RUMBLING ]
TURBULENCE ON THE PLANE?
NO, IT'S MUCH CLOSER.
THAT'S YUSUF'S DRIVING.
[ TIRES SCREECHING ]
[ GLASSWARE CLINKING ]
UH, I'M SORRY.
WHO DID YOU SAY YOU WERE?
Cobb: ROD GREEN
FROM MARKETING.
BUT THAT'S NOT TRUE AT ALL,
IS IT?
MY NAME IS MR. CHARLES.
YOU REMEMBER ME, DON'T YOU?
I'M THE HEAD OF YOUR SECURITY
DOWN HERE.
GET OUT ON A DIFFERENT FLOOR
AND KEEP MOVING.
DUMP THE WALLET.
SECURITY WILL BE LOOKING
FOR THAT.
OKAY.
WE NEED TO BUY COBB
A LITTLE MORE TIME.
[ COUGHING ]
SECURITY, HUH?
YOU WORK FOR THE HOTEL?
NO, NO.
I SPECIALIZE IN A VERY
SPECIFIC TYPE OF SECURITY.
SUBCONSCIOUS SECURITY.
YOU'RE TALKING
ABOUT DREAMS?
ARE YOU TALKING ABOUT,
UM...
EXTRACTION?
I AM HERE TO PROTECT YOU.
YOU...
[ UTENSIL CLANKS,
INDISTINCT CONVERSATIONS ]
[ CONVERSATIONS HALT ]
MR. FISCHER, I'M HERE TO
PROTECT YOU IN THE EVENT
[ CONVERSATIONS RESUME ]
THAT SOMEONE TRIES TO ACCESS
YOUR MIND THROUGH YOUR DREAMS.
YOU'RE NOT SAFE HERE.
THEY'RE COMING FOR YOU.
[ OBJECT TUMBLING ]
OHH!
[ TIRES SCREECHING ]
STRANGE WEATHER,
ISN'T IT?
[ RUMBLING ]
YOU FEEL THAT?
WHAT'S HAPPENING?
COBB IS DRAWING
FISCHER'S ATTENTION
TO THE STRANGENESS
OF THE DREAM,
WHICH IS MAKING
HIS SUBCONSCIOUS
LOOK FOR THE DREAMER.
FOR ME.
QUICK, GIVE ME A KISS.
THEY'RE STILL
LOOKING AT US.
YEAH,
IT WAS WORTH A SHOT.
WE SHOULD PROBABLY
GET OUT OF HERE.
[ TIRES SCREECHING ]
[ DISTORTED,
SLOW-MOTION SOUNDS ]
[ GLASSWARE CLINKING ]
Cobb: YOU FEEL THAT?
YOU'VE ACTUALLY BEEN TRAINED
FOR THIS, MR. FISCHER.
PAY ATTENTION TO THE STRANGENESS
OF THE WEATHER...
THE SHIFT IN GRAVITY.
NONE OF THIS IS REAL.
YOU'RE IN A DREAM.
NOW, THE EASIEST WAY FOR YOU
TO TEST YOURSELF
IS TO TRY AND REMEMBER
HOW YOU ARRIVED AT THIS HOTEL.
CAN YOU DO THAT?
YEAH, I, I...
NOW, BREATHE, BREATHE.
REMEMBER YOUR TRAINING.
ACCEPT THE FACT
THAT YOU'RE IN A DREAM,
AND I'M HERE
TO PROTECT YOU.
GO ON.
MM-HMM.
YOU'RE NOT REAL?
NO, NO.
I'M A PROJECTION
OF YOUR SUBCONSCIOUS.
I WAS SENT HERE
TO PROTECT YOU
IN THE EVENT
THAT EXTRACTORS
TRIED TO PULL YOU
INTO A DREAM.
AND I BELIEVE THAT'S WHAT'S
GOING ON RIGHT NOW, MR. FISCHER.
[ BREATHES DEEPLY ]
YEAH.
OKAY.
CAN YOU GET ME
OUT OF HERE?
RIGHT AWAY.
FOLLOW ME.
HOLD ON A SECOND!
[ GUNFIRE ]
JESUS CHRIST!
WHAT ARE YOU DOING?!
THESE MEN WERE SENT HERE
TO ABDUCT YOU, ALL RIGHT?
IF YOU WANT MY HELP,
YOU HAVE TO REMAIN CALM.
I NEED YOU TO WORK WITH ME,
MR. FISCHER.
[ BREATHING HEAVILY ]
IF THIS IS A DREAM,
I SHOULD JUST KILL MYSELF
TO WAKE UP, RIGHT?
I WOULDN'T DO THAT
IF I WERE YOU, MR. FISCHER.
I BELIEVE
THEY HAVE YOU SEDATED,
AND IF YOU PULL
THAT TRIGGER...
YOU MAY NOT WAKE UP.
YOU MAY GO
INTO A FURTHER DREAM STATE.
NOW, YOU KNOW
WHAT I'M TALKING ABOUT.
YOU REMEMBER THE TRAINING.
REMEMBER WHAT I SAID
TO YOU.
GIVE ME THE GUN.
[ EXHALES SHARPLY ]
THIS ROOM
SHOULD BE DIRECTLY BELOW 528?
YEAH.
[ BEEPS ]
THINK, MR. FISCHER,
THINK.
[ SIGHS ]
WHAT DO YOU REMEMBER
FROM BEFORE THIS DREAM?
UH...THERE WAS, UM...
THERE WAS A LOT
OF GUNFIRE.
THERE WAS...RAIN.
UNCLE PETER.
OH, MY GOD,
WE'VE BEEN KIDNAPPED.
WHERE WERE THEY
HOLDING YOU?
UH...
THEY HAD US IN THE BACK
OF A VAN.
THAT EXPLAINS
THE GRAVITY SHIFTS.
YOU'RE IN THE BACK OF A VAN
RIGHT NOW. KEEP GOING.
IT HAD SOMETHING TO DO
WITH, UM...
SOMETHING TO DO
WITH A...A SAFE?
GOD, WHY IS IT SO HARD
TO REMEMBER?
IT'S LIKE TRYING TO REMEMBER
A DREAM AFTER YOU'VE WOKEN UP.
LISTEN,
IT TAKES YEARS OF PRACTICE.
YOU AND BROWNING HAVE BEEN
PULLED INTO THIS DREAM
BECAUSE THEY'RE TRYING TO STEAL
SOMETHING FROM YOUR MIND.
I NEED YOU TO FOCUS AND TRY
AND REMEMBER WHAT THAT IS.
WHAT IS IT, MR. FISCHER?
THINK!
OH, A C-COMBINATION.
THEY DEMANDED THE FIRST NUMBERS
TO POP INTO MY HEAD.
THEY'RE TRYING TO EXTRACT A
NUMBER FROM YOUR SUBCONSCIOUS.
IT CAN REPRESENT
ANYTHING.
WE'RE IN A HOTEL
RIGHT NOW.
WE SHOULD TRY HOTEL ROOMS.
WHAT WAS THE NUMBER,
MR. FISCHER?
TRY AND REMEMBER FOR ME.
THIS IS VERY IMPORTANT.
FIVE.
FIVE, TWO...
IT WAS SOMETHING...
IT WAS A LONG NUMBER.
WELL, THAT'S GOOD ENOUGH.
WE CAN START THERE. FIFTH FLOOR.
YEP.
SO DO YOU USE A TIMER?
NO, I HAVE TO JUDGE IT
FOR MYSELF.
WHILE YOU'RE ALL ASLEEP
IN 528,
I WAIT FOR YUSUF'S KICK.
WELL, HOW WILL YOU KNOW?
HIS MUSIC WARNS ME.
AND THEN WHEN THE VAN HITS
THE BARRIER OF THE BRIDGE,
THAT SHOULD BE
UNMISTAKABLE.
SO WE GET A NICE,
SYNCHRONIZED KICK.
IF IT'S TOO SOON,
WE WON'T GET PULLED OUT.
BUT IF IT'S TOO LATE,
I WON'T BE ABLE TO DROP US.
WELL, WHY NOT?
'CAUSE THE VAN
WILL BE IN FREE FALL.
CAN'T DROP YOU
WITHOUT GRAVITY.
RIGHT.
[ ELEVATOR BEEPING ]
[ SIGHS ]
THEY'RE WITH ME.
GO ON.
MR. CHARLES.
DO YOU KNOW WHAT THAT IS,
MR. FISCHER?
YEAH, I-I THINK SO.
YEAH.
THEY WERE TRYING
TO PUT YOU UNDER.
I'M ALREADY UNDER.
UNDER AGAIN.
WHAT DO YOU MEAN,
A DREAM WITHIN A DREAM?
HEY.
I SEE YOU'VE CHANGED.
I'M SORRY?
OH, I'M SORRY.
I M-MISTOOK YOU FOR A FRIEND.
[ CHUCKLES NERVOUSLY ]
WELL, GOOD-LOOKING FELLOW,
I'M SURE.
AH.
NO, NO, NO, NO.
THAT'S FISCHER'S PROJECTION
OF BROWNING.
LET'S FOLLOW HIM
AND SEE HOW HE BEHAVES.
WHY?
BECAUSE HOW HE ACTS
WILL TELL US
IF FISCHER IS STARTING
TO SUSPECT HIS MOTIVES
THE WAY WE WANT HIM TO.
Shh!
UNCLE PETER?
YOU SAID YOU WERE
KIDNAPPED TOGETHER?
WELL, N-NOT EXACTLY.
THEY -- THEY ALREADY HAD HIM.
THEY WERE
TORTURING HIM.
AND YOU SAW THEM
TORTURE HIM?
[ BREATHING HEAVILY ]
THE KIDNAPPERS
ARE WORKING FOR YOU?
OH, ROBERT.
YOU'RE TRYING TO GET
THAT SAFE OPEN?
TO GET
THE ALTERNATE WILL?
FISCHER MORROW HAS BEEN
MY ENTIRE LIFE.
I CAN'T LET YOU
DESTROY IT.
I'M NOT GONNA THROW AWAY
MY INHERITANCE! WHY WOULD I?!
I COULDN'T LET YOU RISE
TO YOUR FATHER'S LAST TAUNT.
WHAT TAUNT?
THE WILL, ROBERT.
THAT WILL?
THAT'S HIS LAST INSULT.
A CHALLENGE FOR YOU TO BUILD
SOMETHING FOR YOURSELF
BY TELLING YOU YOU'RE NOT WORTHY
OF HIS ACCOMPLISHMENTS.
[ BREATHING HEAVILY ]
WHAT, BUT THAT -- THAT HE WAS,
UM, DISAPPOINTED?
HMM?
I'M SORRY.
BUT...
HE'S WRONG.
YOU CAN BUILD A BETTER COMPANY
THAN HE EVER DID.
Cobb: MR. FISCHER?
HE'S LYING.
HOW DO YOU KNOW?
TRUST ME, IT'S WHAT I DO.
HE'S HIDING SOMETHING,
AND WE NEED TO FIND OUT
WHAT THAT IS.
I NEED YOU TO DO
THE SAME THING TO HIM
THAT HE WAS
GOING TO DO TO YOU.
WE'LL ENTER
HIS SUBCONSCIOUS
AND FIND OUT WHAT
HE DOESN'T WANT YOU TO KNOW.
ALL RIGHT.
[ GRUNTS ]
HE'S OUT.
WAIT.
WHOSE SUBCONSCIOUS
ARE WE GOING INTO EXACTLY?
WE'RE GOING
INTO FISCHER'S.
BUT I TOLD HIM
IT WAS BROWNING'S
SO HE'D COME BE A PART
OF OUR TEAM.
HE'S GONNA HELP US BREAK
INTO HIS OWN SUBCONSCIOUS.
Cobb: THAT'S RIGHT.
SECURITY'S GONNA RUN
YOU DOWN HARD.
AND I WILL LEAD THEM
ON A MERRY CHASE.
JUST BE BACK
BEFORE THE KICK.
GO TO SLEEP, MR. EAMES.
Arthur: YOU GOOD?
HEY. YOU READY?
YES, YES.
I'M -- I'M FINE.
I'M -- I'M READY.
Ariadne: COBB?
COBB.
WHAT'S DOWN THERE?
HOPEFULLY, THE TRUTH
WE WANT FISCHER TO LEARN.
I MEAN,
WHAT'S DOWN THERE FOR YOU?
[ TIRES SCREECH, ENGINE REVS ]
[ GUNSHOT ]
OHH!
[ GUNSHOT ]
[ TIRES SCREECHING ]
[ GUN COCKS ]
WHOA!
[ TIRES SCREECHING ]
OHH!
[ TIRES SCREECHING ]
[ SCREAMING ]
[ GUNSHOT ]
[ GUN THUDS ]
[ LAUGHS ]
DID YOU SEE THAT?
Cobb:
EAMES, THIS IS YOUR DREAM.
I NEED YOU TO DRAW THE SECURITY
AWAY FROM THE COMPLEX.
YOU UNDERSTAND?
WHO GUIDES FISCHER IN?
NOT ME.
IF I KNOW THE ROUTE,
EVERYTHING COULD BE COMPROMISED.
I-I DESIGNED THE PLACE.
NO, YOU'RE WITH ME.
I COULD DO IT.
ALL RIGHT. YOU BRIEF HIM
ON THE ROUTE INTO THE COMPLEX.
FISCHER,
YOU'LL BE GOING WITH HIM.
ALL RIGHT.
WHAT ABOUT YOU?
[ COUGHING ]
YOU KEEP THIS LIVE.
I'LL BE LISTENING
IN THE WHOLE TIME.
THE WINDOWS ON THAT UPPER
FLOOR ARE BIG ENOUGH
FOR ME TO COVER YOU FROM
THAT SOUTH TOWER. YOU SEE IT?
YEAH.
YOU'RE NOT COMING IN?
IN ORDER TO FIND OUT
THE TRUTH ABOUT YOUR FATHER,
YOU'RE GONNA NEED TO
BREAK INTO BROWNING'S MIND
ON YOUR OWN.
[ BREATHES DEEPLY ]
COME ON, FISCHER!
[ ALARM BUZZING ]
[ TIRES SQUEALING ]
SOUND THE ALARM!
GO, GO, GO!
MOVE!
GO!
[ GUNFIRE ]
SOD IT!
I HOPE YOU'RE READY.
[ "NON JE NE REGRETTE RIEN"
PLAYS ]
NO, IT'S TOO SOON.
[ FAINT MUSIC PLAYING ]
COBB, DO YOU HEAR THAT?
I first noticed it
about 20 minutes ago.
I THOUGHT IT WAS
THE WIND UP HERE.
YEAH, I HEAR IT.
IT'S MUSIC.
SO, WHAT DO WE DO?
WE MOVE FAST.
YUSUF IS 10 SECONDS
FROM THE JUMP.
WHICH GIVES ARTHUR
THREE MINUTES.
HEY!
THAT'S HIM!
WHICH GIVES US WHAT?
60 MINUTES.
CAN THEY MAKE THAT ROUTE
IN UNDER AN HOUR?
THEY STILL HAVE TO CLIMB DOWN
TO THE MIDDLE TERRACE.
WELL, THEN, THEY NEED A NEW
ROUTE, A MORE DIRECT ROUTE.
[ GUNFIRE ]
[ INDISTINCT SHOUTING ]
IT'S DESIGNED
AS A LABYRINTH.
THERE MUST BE ACCESS ROUTES
THAT CUT THROUGH THE MAZE,
RIGHT?
EAMES?
DID EAMES
ADD ANY FEATURES?
I DON'T THINK
I SHOULD TELL YOU.
IF MAL FINDS OUT, THEN --
WE DON'T HAVE TIME FOR THIS!
DID HE ADD ANYTHING?
HE ADDED AN AIR-DUCT SYSTEM
THAT CAN CUT THROUGH THE MAZE.
GOOD.
EXPLAIN IT TO THEM.
Saito?
GO AHEAD.
[ GUNFIRE ]
AH!
LOOK.
PARADOX.
[ SCREAMING ]
[ GROANS ]
[ BREATHING HEAVILY ]
WHAT WAS THAT?
THE KICK.
COBB! COBB,
DID WE MISS IT?
YEAH, WE MISSED IT.
MAN.
COULDN'T SOMEONE HAVE
DREAMT OF A GODDAMN BEACH?!
HUH?
MM-HMM.
EAMES: What the hell
do we do now?!
WE FINISH THE JOB
before the next kick.
WHAT NEXT KICK?
WHEN THE VAN HITS THE WATER.
Female computerized voice:
IF YOU'D LIKE TO MAKE A CALL,
PLEASE HANG UP AND TRY AGAIN.
IF YOU NEED HELP, HANG UP...
HOW DO I DROP YOU
WITHOUT GRAVITY?
ARTHUR HAS A COUPLE MINUTES,
AND WE HAVE ABOUT 20.
[ COUGHING ]
YOU OKAY?
Man: RUN! TURN AROUND!
MOVE TO BASE!
THERE'S SOMETHING WRONG.
THEY'RE HEADING YOUR WAY
LIKE THEY KNOW SOMETHING.
JUST -- JUST BUY US MORE TIME,
ALL RIGHT? COME ON!
ON MY WAY.
Man: COME ON! MOVE!
[ GUNSHOTS ]
THAT'S THE ANTECHAMBER
OUTSIDE THE STRONG ROOM.
DOES THE STRONG ROOM
HAVE ANY WINDOWS?
NO, I MEAN, IT WOULDN'T BE
VERY STRONG IF IT DID.
WELL, LET'S HOPE FISCHER
LIKES WHAT HE FINDS IN THERE.
ARE THOSE PROJECTIONS JUST
A PART OF HIS SUBCONSCIOUS?
YES.
ARE YOU DESTROYING THOSE PARTS
OF HIS MIND?
NO, NO.
THEY'RE JUST PROJECTIONS.
[ BREATHING HEAVILY ]
WE'RE HERE.
YOU'RE CLEAR, BUT HURRY.
THERE'S AN ENTIRE ARMY
HEADED YOUR WAY.
I'M IN.
THERE HE IS!
THERE'S SOMEONE ELSE
IN THERE.
FISCHER, IT'S A TRAP.
GET OUT!
COME ON.
COME ON, A LITTLE LOWER.
COBB. NO.
SHE -- SHE IS NOT REAL.
HOW DO YOU KNOW THAT?
SHE'S JUST A PROJECTION.
FISCHER.
FISCHER IS REAL!
[ GROANS ]
HELLO.
[ GUNSHOT ]
EAMES! EAMES,
GET TO THE ANTECHAMBER NOW!
WHAT HAPPENED?
MAL KILLED FISCHER.
I COULDN'T SHOOT HER.
LOOK, THERE'S NO USE
IN REVIVING HIM.
HIS MIND'S ALREADY
TRAPPED DOWN THERE.
IT'S ALL OVER.
SO THAT'S IT, THEN?
WE FAILED?
WE'RE DONE. I'M SORRY.
[ SIGHS ]
[ SNIFFS ]
WELL, IT'S NOT ME THAT DOESN'T
GET BACK TO MY FAMILY, IS IT?
IT'S A SHAME.
I REALLY WANTED TO KNOW
WHAT WAS GONNA HAPPEN IN THERE.
I SWEAR WE HAD THIS ONE.
LET'S SET THE CHARGES.
NO, THERE'S STILL ANOTHER WAY.
WE JUST HAVE TO FOLLOW
FISCHER DOWN THERE.
NOT ENOUGH TIME.
NO, BUT THERE WILL BE
ENOUGH TIME DOWN THERE.
AND WE WILL FIND HIM.
OKAY, AS SOON
AS ARTHUR'S MUSIC KICKS IN,
JUST USE THE DEFIBRILLATOR
TO REVIVE HIM.
WE CAN GIVE HIM HIS OWN KICK
DOWN BELOW.
LOOK, YOU GET HIM IN THERE.
AS SOON AS THE MUSIC ENDS,
YOU BLOW UP THE HOSPITAL,
AND WE ALL RIDE THE KICK
BACK UP THE LAYERS.
WELL, IT'S WORTH A SHOT,
IF SAITO CAN HOLD THE GUARDS OFF
WHILE I SET THE CHARGES.
SAITO WILL NEVER MAKE IT,
WILL HE?
[ MUTTERING ]
COBB, COME ON.
WE'VE GOTTA TRY THIS.
GO FOR IT.
BUT IF YOU ARE NOT BACK
BEFORE THE KICK,
I AM GONE
WITH OR WITHOUT YOU.
SHE'S RIGHT.
CAN I TRUST YOU TO DO
WHAT NEEDS TO HAPPEN HERE?
I MEAN, MAL'S GONNA
BE DOWN THERE.
I KNOW WHERE TO FIND HER.
SHE'LL HAVE FISCHER.
HOW DO YOU KNOW?
BECAUSE, SHE WANTS ME
TO COME AFTER HIM.
SHE WANTS ME BACK DOWN THERE
WITH HER.
[ GASPING ]
YOU ALL RIGHT?
THIS IS YOUR WORLD?
IT WAS.
THIS IS WHERE SHE'LL BE.
COME ON.
[ SIGHS ]
[ GROANS LIGHTLY ]
[ GUNFIRE, BULLET RICOCHET ]
SAITO.
I NEED YOU -- I NEED YOU
TO TAKE CARE OF FISCHER
WHILE I GO SET
SOME CHARGES, OKAY?
NO ROOM FOR TOURISTS
ON THESE JOBS.
[ CHUCKLES WEAKLY ]
[ CHUCKLES ]
DON'T BE SILLY.
[ TONE SOUNDS,
BULLETS RICOCHET ]
Ariadne:
YOU BUILT ALL THIS?
THIS IS INCREDIBLE.
WE BUILT FOR YEARS.
THEN WE STARTED IN
ON THE MEMORIES.
THIS WAY.
THIS WAS OUR NEIGHBORHOOD.
PLACES FROM OUR PAST.
THAT WAS
OUR FIRST APARTMENT.
THEN WE MOVED TO THAT BUILDING
RIGHT THERE.
AFTER MAL BECAME PREGNANT,
THAT BECAME OUR HOME.
YOU RECONSTRUCTED
ALL OF THIS FROM MEMORY?
LIKE I TOLD YOU,
WE HAD LOTS OF TIME.
WHAT IS THAT?
THAT'S THE HOUSE
MAL GREW UP IN.
WELL,
WILL SHE BE IN THERE?
NO. COME ON.
WE BOTH WANTED
TO LIVE IN A HOUSE,
BUT WE LOVED THIS TYPE
OF BUILDING.
IN THE REAL WORLD, WE'D HAVE
TO CHOOSE, BUT NOT HERE.
[ GROANS ]
[ BEEP ]
HOW ARE WE GONNA BRING
FISCHER BACK?
WE'RE GONNA HAVE TO COME UP
WITH SOME KIND OF A KICK.
WHAT?
I'M GONNA IMPROVISE.
LISTEN, THERE'S SOMETHING
YOU SHOULD KNOW ABOUT ME.
ABOUT INCEPTION.
[ BULLETS RICOCHET ]
AN IDEA IS LIKE A VIRUS.
RESILIENT.
HIGHLY CONTAGIOUS.
AND THE SMALLEST SEED
OF AN IDEA CAN GROW.
IT CAN GROW TO DEFINE...
OR DESTROY YOU.
THE SMALLEST IDEA,
SUCH AS...
"YOUR WORLD IS NOT REAL."
SIMPLE LITTLE THOUGHT
THAT CHANGES EVERYTHING.
SO CERTAIN OF YOUR WORLD.
OF WHAT'S REAL.
DO YOU THINK HE IS?
OR DO YOU THINK HE'S AS LOST
AS I WAS?
I KNOW WHAT'S REAL, MAL.
NO CREEPING DOUBTS?
NOT FEELING PERSECUTED,
DOM?
CHASED AROUND THE GLOBE
BY ANONYMOUS CORPORATIONS
AND POLICE FORCES?
THE WAY THE PROJECTIONS
PERSECUTE THE DREAMER?
ADMIT IT.
YOU DON'T BELIEVE
IN ONE REALITY ANYMORE.
SO CHOOSE.
CHOOSE TO BE HERE.
CHOOSE ME.
[ GRUNTING, BULLETS RICOCHET ]
AAH!
UNH!
YOU KNOW
WHAT I HAVE TO DO.
I HAVE TO GET BACK
TO OUR CHILDREN
BECAUSE YOU LEFT THEM.
BECAUSE YOU LEFT US.
YOU'RE WRONG.
I'M NOT WRONG.
YOU'RE CONFUSED.
OUR CHILDREN ARE HERE.
AND YOU'D LIKE TO SEE THEIR
FACES AGAIN, WOULDN'T YOU?
YES...
BUT I'M GONNA SEE THEM
UP ABOVE, MAL.
[ GUNFIRE ]
[ BEEP ]
[ COUGHING ]
"UP ABOVE"?
LISTEN TO YOURSELF.
THESE ARE OUR CHILDREN.
WATCH.
JAMES? PHILLIPA?
DON'T DO THIS, MAL.
PLEASE.
THOSE AREN'T MY CHILDREN.
YOU KEEP TELLING
YOURSELF THAT,
BUT YOU DON'T BELIEVE IT.
NO, I KNOW IT.
AND WHAT IF YOU'RE WRONG?
WHAT IF I'M WHAT'S REAL?
YOU KEEP TELLING YOURSELF
WHAT YOU KNOW.
BUT WHAT DO YOU BELIEVE?
WHAT DO YOU FEEL?
GUILT.
I FEEL GUILT, MAL.
AND NO MATTER WHAT I DO,
NO...
NO MATTER
HOW HOPELESS I AM,
NO MATTER HOW CONFUSED,
THAT GUILT
IS ALWAYS THERE,
REMINDING ME
OF THE TRUTH.
WHAT TRUTH?
THAT THE IDEA THAT CAUSED YOU
TO QUESTION YOUR REALITY
CAME FROM ME.
YOU PLANTED THE IDEA
IN MY MIND?
WHAT IS SHE TALKING ABOUT?
THE REASON I KNEW
INCEPTION WAS POSSIBLE
WAS BECAUSE I...
I DID IT TO HER FIRST.
I DID IT TO MY OWN WIFE.
WHY?
WE WERE LOST IN HERE.
I KNEW WE NEEDED TO ESCAPE,
BUT SHE WOULDN'T ACCEPT IT.
SHE HAD LOCKED
SOMETHING AWAY,
SOMETHING...
SOMETHING DEEP INSIDE.
THAT TRUTH
THAT SHE HAD ONCE KNOWN,
BUT CHOSE TO FORGET.
AND SHE COULDN'T
BREAK FREE.
SO I DECIDED
TO SEARCH FOR IT.
I WENT DEEP INTO THE RECESS
OF HER MIND
AND FOUND
THAT SECRET PLACE.
AND I BROKE IN...
AND I PLANTED AN IDEA.
A SIMPLE LITTLE IDEA
THAT WOULD CHANGE EVERYTHING...
[ TOTEM RATTLING ]
...THAT HER WORLD
WASN'T REAL.
THAT DEATH
WAS THE ONLY ESCAPE.
YOU'RE WAITING
FOR A TRAIN.
[ RUMBLING ]
A TRAIN THAT'LL TAKE YOU
FAR AWAY.
YOU KNOW WHERE YOU HOPE
THIS TRAIN WILL TAKE YOU.
BUT YOU CAN'T KNOW
FOR SURE!
[ RUMBLING ]
YET IT DOESN'T MATTER!
NOW, TELL ME WHY!
BECAUSE YOU'LL BE TOGETHER!
BUT I NEVER KNEW
THAT THAT IDEA
WOULD GROW IN HER MIND
LIKE A CANCER,
THAT EVEN
AFTER SHE WOKE....
THAT EVEN AFTER
YOU CAME BACK TO REALITY...
...THAT YOU'D CONTINUE TO
BELIEVE YOUR WORLD WASN'T REAL.
THAT DEATH
WAS THE ONLY ESCAPE.
MAL, NO! JESUS!
YOU INFECTED MY MIND.
I WAS TRYING TO SAVE YOU.
YOU BETRAYED ME.
BUT YOU CAN MAKE AMENDS.
YOU CAN STILL
KEEP YOUR PROMISE.
WE CAN STILL BE TOGETHER,
RIGHT HERE,
IN THE WORLD
WE BUILT TOGETHER.
[ GUNSHOTS ]
[ COUGHING ]
[ BEEP ]
[ GUNFIRE ]
[ GUNFIRE CONTINUES ]
[ GRENADE RATTLES ]
[ EXPLOSION ]
[ GROANS ]
[ "NON JE NE REGRETTE RIEN"
PLAYS ]
[ ELECTRONIC SQUEALING ]
[ EXPLOSION ]
[ GASPING ]
COBB,
WE NEED TO GET FISCHER.
YOU CAN'T HAVE HIM.
IF I STAY HERE,
WILL YOU LET HIM GO?
WHAT ARE YOU
TALKING ABOUT?
FISCHER IS ON THE PORCH.
GO CHECK HE'S ALIVE,
ARIADNE.
COBB, YOU CAN'T DO THIS.
GO CHECK HE'S ALIVE RIGHT NOW.
DO IT.
[ ELECTRIC SHOCK ]
[ GRUNTING ]
HE'S HERE! AND IT'S TIME,
BUT YOU HAVE TO COME NOW!
TAKE FISCHER WITH YOU,
ALL RIGHT?
YOU CAN'T STAY HERE TO BE
WITH HER.
I'M NOT.
SAITO'S DEAD BY NOW.
THAT MEANS
HE'S DOWN HERE SOMEWHERE.
THAT MEANS
I HAVE TO FIND HIM.
[ THUNDER RUMBLES ]
I CAN'T STAY
WITH HER ANYMORE
BECAUSE SHE
DOESN'T EXIST.
I'M THE ONLY THING YOU DO
BELIEVE IN ANYMORE.
[ EXHALES DEEPLY ]
I WISH.
I WISH MORE
THAN ANYTHING, BUT...
I CAN'T IMAGINE YOU
WITH ALL YOUR COMPLEXITY,
ALL YOUR PERFECTION,
ALL YOUR IMPERFECTION.
YOU ALL RIGHT?
YEAH.
LOOK AT YOU.
YOU'RE JUST A SHADE.
YOU'RE JUST A SHADE
OF MY REAL WIFE.
AND YOU WERE THE BEST
THAT I COULD DO, BUT...
I'M SORRY,
YOU'RE JUST NOT GOOD ENOUGH.
DOES THIS FEEL REAL?!
AAH!
[ GUNSHOT ]
WHAT ARE YOU DOING?!
IMPROVISING.
[ GASPING ]
NO, NO! NO!
IN THERE, NOW.
GO. GO, GO, GO.
[ BREATHES DEEPLY ]
[ CLANKS ]
I WAS DIS...
I WAS DIS-- DISA...
I KNOW, DAD.
DISA...
I KNOW YOU WERE DISAPPOINTED
I COULDN'T BE YOU.
NO.
NO, NO, NO.
I WAS DISAPPOINTED...
THAT YOU TRIED.
[ RUMBLING ]
[ CLICKS TONGUE ]
[ SOBBING ]
[ EXPLOSIONS ]
[ OBJECTS RATTLING ]
THAT'S THE KICK, ARIADNE!
YOU HAVE TO GO NOW!
DON'T LOSE YOURSELF!
FIND SAITO AND BRING HIM BACK!
I WILL!
[ DISTORTED,
SLOW-MOTION SOUNDS ]
[ SIGHS ]
[ Straining ] YOU REMEMBER
WHEN YOU ASKED ME TO MARRY YOU?
YES.
YOU SAID YOU DREAMT
THAT WE'D GROW OLD TOGETHER.
BUT WE DID.
WE DID.
YOU DON'T REMEMBER?
I MISS YOU MORE
THAN I CAN BEAR, BUT...
WE HAD OUR TIME
TOGETHER.
AND I HAVE TO
LET YOU GO.
I HAVE TO LET YOU GO.
[ EXHALES SOFTLY ]
[ SMOOCHES ]
[ EXHALES DEEPLY ]
[ GASPING ]
I'M SORRY, ROBERT.
[ GRUNTING ]
YOU KNOW, THE WILL MEANS
THAT DAD WANTED ME
TO BE MY OWN MAN...
NOT JUST TO LIVE FOR HIM.
THAT'S WHAT I'M GONNA DO,
UNCLE PETER.
[ SIGHS ]
WHAT HAPPENED?
COBB STAYED.
WITH MAL?
NO, TO FIND SAITO.
HE'LL BE LOST.
NO, HE'LL BE ALL RIGHT.
Saito:
HAVE YOU COME TO KILL ME?
I'M WAITING FOR SOMEONE.
SOMEONE FROM
A HALF-REMEMBERED DREAM.
COBB?
[ SCOFFS ]
IMPOSSIBLE.
WE WERE YOUNG MEN
TOGETHER.
I'M AN OLD MAN.
FILLED WITH REGRET.
WAITING TO DIE ALONE.
I'VE COME BACK FOR YOU.
TO REMIND YOU...
OF SOMETHING.
SOMETHING YOU ONCE KNEW.
THAT THIS WORLD
IS NOT REAL.
TO CONVINCE ME TO HONOR
OUR ARRANGEMENT?
TO TAKE A LEAP
OF FAITH, YES.
COME BACK...
...SO WE CAN BE YOUNG MEN
TOGETHER AGAIN.
COME BACK WITH ME.
COME BACK.
Flight attendant:
HOT TOWEL, SIR?
WE'LL BE LANDING IN LOS ANGELES
IN ABOUT 20 MINUTES.
DO YOU NEED
IMMIGRATION FORMS?
THANK YOU.
HOT TOWEL, SIR?
UH, NO.
DO YOU NEED
IMMIGRATION FORMS?
[ SIGHS ]
[ EXHALES SHARPLY ]
[ DIALING ]
WELCOME HOME, MR. COBB.
THANK YOU, SIR.
WELCOME.
THIS WAY.
JAMES? PHILLIPA?
LOOK WHO'S HERE.
HEY.
HEY, GUYS!
James: DADDY!
HEY! HOW ARE YOU?
DADDY!
HOW ARE YOU?
LOOK WHAT
I'VE BEEN BUILDING!
WHAT ARE YOU BUILDING?
WE'RE BUILDING A HOUSE
ON THE CLIFF!
ON THE CLIFF?
COME ON,
I WANT YOU TO SHOW ME.
[ TOTEM RATTLING ]
[ OMINOUS MUSIC PLAYS ]
[ "NON, JE NE REGRETTE RIEN"
PLAYS ]
♪ NON, RIEN DE RIEN ♪
♪ NON, JE NE REGRETTE RIEN ♪
♪ NI LE BIEN QU'ON M'A FAIT ♪
♪ NI LE MAL
TOUT ÇA M'EST BIEN ÉGAL ♪
♪ NON, RIEN DE RIEN ♪
♪ NON, JE NE REGRETTE RIEN ♪
♪ CAR MA VIE, CAR MES JOIES ♪
♪ AUJOURD'HUI ♪
[ OMINOUS MUSIC PLAYS ]