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  • 1:25 - 1:26
    Hey! Come here!
    We have a man on the shore!
  • 1:26 - 1:28
    I'm on my way.
  • 1:32 - 1:37
    He was hallucinating,
    but he mentioned your name...
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    He only had this with him...
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    And this.
  • 2:09 - 2:12
    Are you here to kill me?
  • 2:20 - 2:23
    I know what this is.
  • 2:23 - 2:28
    I've seen one before.
    Many, many years ago.
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    It belonged to a man I met
    in a half-remembered dream.
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    A man possessed of some radical notions.
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    What is the most resilient parasite?
    Bacteria? A virus?
  • 2:53 - 2:56
    An intestinal worm?
  • 2:56 - 3:00
    What Mr. Cobb is trying to say...
    - An idea.
  • 3:00 - 3:03
    Resilient. Highly contagious.
  • 3:03 - 3:07
    Once an idea has taken hold of the brain,
    it's almost impossible to eradicate.
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    An idea that is fully formed,
    fully understood that sticks.
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    - Right in there somewhere.
    - For someone like you to steal?
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    Yes. In the dream state, your
    conscious defense is lowered
  • 3:18 - 3:22
    and it makes your thoughts vulnerable to theft.
    It's called extraction.
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    Sir Saito, we can train your
    subconscious to defend itself from even
  • 3:26 - 3:30
    - the most skilled extractor.
    - How can I do that?
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    Cause I am the most skilled extractor.
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    I know how to search your
    mind and find your secrets.
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    I know the tricks. And I can teach them
    to you so even when you're asleep
  • 3:40 - 3:43
    your defense is never down.
  • 3:43 - 3:47
    Look, if you want my help, you're gonna
    have to be completely open with me.
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    I need to know my way around
    your thoughts better than your wife
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    better than your therapist,
    better than anyone.
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    If this is a dream and you
    have a safe full of secrets
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    I need to know what's in that safe.
  • 3:59 - 4:03
    In order for this all to work,
    you need to completely let me in.
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    Enjoy your evening, gentlemen.
    But I'll consider your proposal.
  • 4:12 - 4:14
    He knows.
  • 4:16 - 4:19
    What's going on up there?
  • 5:12 - 5:15
    Saito knows.
    He's playing with us.
  • 5:15 - 5:18
    It doesn't matter.
    I can get it here. Trust me.
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    The information is in the safe.
    He looked right at it when I mentioned "secrets".
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    What's she doing here?
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    Just head back to the room, alright.
    I'll take care of this.
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    Okay, make sure you do.
    We're here to work.
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    If I jump, would I survive?
  • 5:47 - 5:51
    A clean dive, perhaps.
    Mal, what are you doing here?
  • 5:51 - 5:54
    I thought you might be missing me.
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    You know that I am.
    But I can't trust you anymore.
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    So what?
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    Looks like Arthur's taste.
  • 6:05 - 6:09
    Actually, the subject is partial
    disposal of British painters.
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    Please, have a seat.
  • 6:20 - 6:24
    Tell me...
    Did the two kids miss me?
  • 6:28 - 6:30
    You can't imagine.
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    - What are you doing?
    - Getting some fresh air.
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    Stay where you are, Mal.
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    Goddamn it.
  • 7:56 - 8:01
    - Turn around.
    - Put the gun down.
  • 8:08 - 8:11
    Please.
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    Now, the envelope Mr. Cobb.
  • 8:24 - 8:28
    Did she tell you?
    Have you known all along?
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    That you're here to steal from me
    or that we are actually asleep?
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    I want to know the
    name of your employer.
  • 8:42 - 8:45
    There's no use in threatening
    within a dream right, Mal ?
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    That depends on what you're threatening.
    Killing him will just wake him up.
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    But pain...
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    Pain is in the mind and judging by
    the decor we're in your mind right, Arthur?
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    - What are you doing? It's too soon!
    - I know. But the dream has collapsed.
  • 9:18 - 9:23
    Just try to keep Saito lie a little bit longer.
    We're almost there.
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    This place.
    The paintings.
  • 9:54 - 9:56
    Stop him!
  • 9:58 - 9:59
    Confidential
  • 10:22 - 10:24
    I think that's gonna work.
    Wake him up!
  • 10:45 - 10:47
    You awake!
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    - Give him the kick!
    - What?
  • 10:53 - 10:55
    Drop him.
  • 11:39 - 11:41
    He's up.
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    You came prepared, hmm?
  • 11:48 - 11:50
    Not even my head of security
    knows this apartment.
  • 11:50 - 11:52
    How did you find it?
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    It's very difficult for a man of your position
    to keep a love nest like this secret
  • 11:56 - 11:58
    particularly when there's a
    married woman involved.
  • 11:58 - 12:01
    - She will never...
    - Yet, here we are.
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    - For the dilemma.
    - They're getting closer.
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    - You got what you need.
    - Well, it's not true.
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    You left out a key piece
    of information, didn't you?
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    You held something back because
    you knew what we were up to.
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    Question is why do
    you let us in at all?
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    - An audition.
    - An audition for what?
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    Doesn't matter.
    You failed.
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    We extracted every bit of
    information you had in there.
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    But your dream approach is obvious.
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    So ...
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    leave me alone.
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    You don't seem to understand, Mr. Saito.
    The operation that hired us...
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    they won't accept failure.
    We won't last two days.
  • 13:20 - 13:21
    Cobb?
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    Looks like I'm gonna have to
    do this a little more simply.
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    Tell us what you know!
    Tell us what you know, now!
  • 13:31 - 13:35
    I've always hated this carpet.
  • 13:35 - 13:44
    It stain and fade in such distinctive ways.
    That way you know it's made of wool.
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    But now...
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    ...a line of polyester.
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    Which means I'm not lying on
    my carpet in my apartment.
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    You have lived after your reputation, Mr. Cobb.
    I'm still dreaming.
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    - Where did he go?
    - We're not getting paid.
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    Dream within a dream, huh.
    I'm impressed.
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    But in my dream,
    you play by my rules.
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    - Yes, but you see Mr. Saito...
    - We're not in your dream.
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    We're in mine.
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    Asshole.
    How did you mess up the carpet?
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    - It wasn't my fault.
    - You're the architect.
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    - I don't know he's gonna rub his damn cheek on it!
    - That's enough.
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    - You, what the hell is all that?
    - I have it under control.
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    I didn't see it under control.
  • 14:58 - 15:02
    We don't have time for this.
    I'm getting off at Kyoto.
  • 15:02 - 15:04
    Why?
    We still have to check every compartment.
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    I don't like trains.
    Listen.
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    Every man for himself.
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    - Yes, hello.
    - Hi, daddy.
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    Hi, dad..
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    Hey guys, hey.
    How are you? How are you doing, huh?
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    Good.
    - Okay, I guess.
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    - Okay? Who's just okay? Is that you, James?
    - Yeah, when are you coming home, dad?
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    Well, I can't sweetheart. I can't.
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    - It's not for a while, remember?
    - Why?
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    I told you, I'm away
    because I'm working, right?
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    Grandma says you're
    never coming back.
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    Phillipa, is that you?
    Put grandma on the phone for me, will you?
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    She's shaking her head.
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    Let's just hope she's wrong about that.
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    - Daddy?
    - Yeah, James ?
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    Is Mommy with you?
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    James, we've talked about this.
    Mommy's not here anymore.
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    Where?
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    That's enough, kids.
    Say bye bye..
  • 17:30 - 17:34
    Listen, I wanna send some
    presents with grandpa, alright?
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    And you be good,, you be...
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    - Our ride's on the roof.
    - Alright.
  • 17:55 - 17:58
    - Are you okay?
    - Yeah, yeah. I'm fine.
  • 17:58 - 18:01
    - Why?
    - Locked down in a dream, Mal showing up.
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    Sorry about your leg,
    it won't happen again.
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    It's getting worse, isn't it?
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    One apology is all
    you're getting huh, Arthur.
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    - Where's Nash ?
    - He hasn't shown. You wanna wait?
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    No, we're supposed to go over Saito's
    expansion plans in Cobol Engineering
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    two hours ago. By now, they know we failed.
    It's time we disappear.
  • 18:18 - 18:21
    - Where would you even go?
    - Buenos Aires.
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    I'll cut my load, I may slip out a
    job when things quiet down.
  • 18:25 - 18:27
    - You?
    - States, sir.
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    Send my regards.
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    He sold the art. Fell off the company
    and bargained for his life.
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    So I offer you the satisfaction.
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    It's not the way I deal with things.
  • 19:01 - 19:04
    - What will you do with him?
    - Nothing.
  • 19:05 - 19:08
    But I can't speak for Cobol Engineering.
  • 19:22 - 19:25
    - What do you want from us?
    - Inception.
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    - Is it possible?
    - Of course not.
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    If you can steal an idea from someone's mind
    why can't you plant one idea instead.
  • 19:33 - 19:36
    Okay, here's me planting an idea in your head.
    I say to you...
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    "Don't think about elephants".
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    - What are you thinking about?
    - Elephants.
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    Right. But it's not your idea
    because you know I gave it to you.
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    The subject's mind can always
    trace the genesis of the idea.
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    - True inspiration's impossible to fake.
    - It's not true.
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    - Can you do it?
    - Are you offering me a choice?
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    Cause I can find my own
    way to square things with Cobol.
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    - You don't need to have a choice.
    - And I choose to leave, sir.
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    Tell the crew where you want to go.
  • 20:14 - 20:16
    Hey, Mr. Cobb!
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    How would you like to go home?
    To America ?
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    - To your children?
    - Can't fix that!
  • 20:27 - 20:30
    - No one can!
    - Just like inception.
  • 20:30 - 20:33
    Cobb, come on.
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    How complex is the idea?
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    - Simple enough.
    - No idea is simple...
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    when you need to plant it
    in somebody else's mind.
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    My main competitor is an
    old man in poor health
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    His son will soon inherit
    control of the corporation.
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    I need him to decide to
    break up his father's empire.
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    - Cobb, we should walk away from this.
    - Hold on.
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    If I were to do this...If I even could do it
    I need a guarantee
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    How do I know you can deliver?
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    You don't
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    But I can.
    So, do you want to take a leap of faith?
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    Or become an old man filled
    with regrets, waiting to die alone?
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    Assemble your team, Mr. Cobb.
    And choose your people more wisely.
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    Look, I know how much
    you wanna go home.
  • 21:43 - 21:46
    - But this can't be done.
    - Yes, it can.
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    - You just have to go deep enough.
    - You don't know that.
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    I've done it before.
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    Who'd you do it to?
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    Are we going to Paris?
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    We're gonna need a new architect.
  • 22:23 - 22:26
    You never did like your office, did you?
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    No space to think in
    that room covered.
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    Is it safe for you to be here?
  • 22:36 - 22:40
    Extradition between France and the United States
    is a bureaucratic nightmare, you know that.
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    I think they might find a way
    to make it work in your case
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    Look, I..brought this for you to give
    to the kids when you have a chance.
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    It will take more than the
    occasional stuffed animal
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    to convince those children
    they still have a father.
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    I'm just doing what I know.
  • 22:55 - 22:59
    - I'm doing what you taught me.
    - I never taught you to be a thief.
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    No, you taught me to navigate people's
    minds but after what happened
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    They wanna hold our legitimate
    ways for me to use that skill.
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    What are you doing here, Dom?
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    I think I found a way home.
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    It's a job for some very very
    powerful people.
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    People who I believe can
    fix my charges permanently..
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    - But I need your help.
    - You're here to corrupt one of my brightest and best.
  • 23:32 - 23:34
    You know what I'm offering.
    You have to let them decide for themselves.
  • 23:35 - 23:39
    - Money.
    - Not just money. You remember. It's...
  • 23:39 - 23:43
    the chance to build cathedrals,
    entire cities, things that never existed.
  • 23:43 - 23:46
    Things that couldn't exist in the real world.
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    So, you want me to let someone
    else follow you into your fantasy.
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    They don't actually come in to the dream.
    They just design the levels...
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    and teach them to the dreamers.
    That's all.
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    Design it yourself.
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    Mal won't let me.
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    Come back to reality, Dom.
    Please.
  • 24:14 - 24:15
    Reality?
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    Those kids, your grandchildren-
    they're waiting for their father to come back home.
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    That's their reality. And this job,
    this last job that's how I get there.
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    I would not be standing here
    if I knew any other way.
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    I need an architect
    who's as good as I was.
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    I got somebody better.
  • 24:42 - 24:46
    Ariadne?
  • 24:46 - 24:49
    I'd like you to meet, Mr. Cobb.
  • 24:49 - 24:51
    - Please to meet you.
    - If you have a few moments...
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    Mr. Cobb has a job offer
    he'd like to discuss with you.
  • 24:55 - 24:58
    - Is the work pretty soon?
    - Not exactly.
  • 24:58 - 25:02
    - I have a test for you.
    - You're not gonna tell me anything about this first?
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    Before I describe the job,
    I have to know you can do it.
  • 25:05 - 25:09
    - Why?
    - It's not, strictly speaking, legal.
  • 25:12 - 25:17
    You have Two minutes to design a maze
    that it takes one minute to solve.
  • 25:18 - 25:20
    Stop.
  • 25:21 - 25:23
    Again.
  • 25:25 - 25:27
    Stop.
  • 25:29 - 25:32
    You have to do better than that.
  • 25:45 - 25:47
    That's more like it.
  • 26:06 - 26:10
    They say we only use a fraction of our brain's true
    potential. Now, that's when we're awake.
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    When we're asleep, the mind
    can do almost anything.
  • 26:14 - 26:17
    - Such as?
    - Well, imagine you're designing a building, right?
  • 26:17 - 26:19
    You consciously create each aspect.
  • 26:19 - 26:23
    But sometimes, it feels like it's almost
    creating itself. If you know what I mean.
  • 26:23 - 26:28
    - Yeah, yeah. Like, uhmm, discovering.
    - Genuine inspiration, right?
  • 26:28 - 26:32
    Now in a dream, our mind
    continuously does this. We...
  • 26:32 - 26:36
    create and perceive our world simultaneously.
  • 26:36 - 26:38
    And our mind does this so well
  • 26:38 - 26:40
    that we don't even know it's happening.
  • 26:40 - 26:43
    That allows us to get right
    into the middle of that process.
  • 26:43 - 26:45
    - How?
    - By taking over the creating part.
  • 26:45 - 26:49
    Now, this is where I need you.
    You create the world of the dream.
  • 26:49 - 26:52
    We bring the subject into that dream.
  • 26:52 - 26:55
    And they feel it's their subconscious.
  • 26:55 - 27:00
    How can I ever acquire enough detail
    to make them think that it's reality.
  • 27:00 - 27:03
    Well, dreams they feel
    real while we're in them, right?
  • 27:04 - 27:08
    It's only when we wake up that we realize
    something was actually strange.
  • 27:09 - 27:14
    Let me ask you a question. You never really
    remember the beginning of a dream, do you?
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    You always wind up right in
    the middle of what's going on.
  • 27:17 - 27:20
    - I guess, yeah.
    - So how did we end up here?
  • 27:20 - 27:24
    - Well, we just came from the...
    - Think about it, Ariadne.
  • 27:24 - 27:28
    How did you get here?
    Where are you right now?
  • 27:32 - 27:36
    - We're dreaming?
    - You're actually in the middle of
    the workshop right now, sleeping.
  • 27:36 - 27:39
    And this is your first lesson in
    shared dreaming, so there you go.
  • 28:16 - 28:19
    If it's just a dream
    then why are you...
  • 28:19 - 28:22
    It's never just a dream, is it?
    When your face is full of glass
  • 28:22 - 28:25
    feels like hell.
    When you're in it, it feels real.
  • 28:25 - 28:28
    It's what the military developed.
    Dream sharing, it was a training program
  • 28:29 - 28:32
    for soldiers to shoot and stab and
    strangle each other and then wake up
  • 28:33 - 28:35
    How did architects think they belong?
  • 28:35 - 28:37
    Well, someone had to
    design the dreams, right?
  • 28:39 - 28:42
    - Why don't you give us another five minutes?
    - Five minutes?
  • 28:44 - 28:46
    We were talking for like at least an hour.
  • 28:46 - 28:49
    In a dream, your mind functions
    more quickly therefore...
  • 28:49 - 28:51
    time seems to feel more slow.
  • 28:52 - 28:54
    Five minutes in the world
    gives you an hour in the dream.
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    Why don't we see what you
    can get up to in five minutes?
  • 29:05 - 29:08
    We got the basic layout.
    Bookstore, cafe.
  • 29:08 - 29:09
    Almost everything else is here to.
  • 29:09 - 29:13
    - Who are the people?
    - Projections of my subconscious.
  • 29:13 - 29:15
    - Yours?
    - Yes. Remember, you are the dreamer.
  • 29:16 - 29:19
    You built this world. I am the
    subject, my mind populates it.
  • 29:19 - 29:22
    You can literally talk
    to my subconscious.
  • 29:22 - 29:24
    That's one of the ways we extract
    information from a subject.
  • 29:24 - 29:27
    - How else do you do it?
    - By creating something secure, like a...
  • 29:28 - 29:30
    like a bank vault or a jail.
  • 29:30 - 29:33
    The mind automatically fills it with
    information it's trying to protect.
  • 29:34 - 29:37
    - Understand?
    - Then you break in and steal it.
  • 29:37 - 29:38
    Well...
  • 29:38 - 29:44
    I guess I thought that the dream space should
    be all about the visual but it's more about the feel of it.
  • 29:45 - 29:49
    My question is, what happens when you
    start messing with the physics of it all?
  • 30:31 - 30:34
    - Something, isn't it?
    - Yes, it is.
  • 30:58 - 31:00
    Why are they all looking at me?
  • 31:00 - 31:04
    Cause my subconscious feels that
    someone else is creating this world.
  • 31:04 - 31:07
    The more you change things,
    the quicker the projections
  • 31:07 - 31:08
    start to converge them.
  • 31:08 - 31:11
    - Converge?
    - It sense the foreign nature of the dreamer.
  • 31:12 - 31:15
    They attack like white blood
    cells fighting an infection.
  • 31:15 - 31:19
    - Are they going to attack us?
    - No. Just you.
  • 31:24 - 31:27
    This is great but I'm telling you,
    if you keep changing things like this...
  • 31:32 - 31:34
    Jesus. Mind telling your
    subconscious to take it easy?
  • 31:35 - 31:37
    It's my subconscious.
    Remember, I can't control it.
  • 32:31 - 32:32
    Very impressive.
  • 32:44 - 32:48
    I know this bridge.
    This place is real, isn't it?
  • 32:48 - 32:50
    Yeah, I cross it everyday
    to get to the college.
  • 32:50 - 32:52
    Never recreate places from your memory.
  • 32:52 - 32:54
    Always imagine new places.
  • 32:54 - 32:56
    Well, you gotta draft from
    stuff you know, right?
  • 32:56 - 32:59
    Only use details.
    A street lamp or a phone booth.
  • 32:59 - 33:01
    - Never entire areas.
    - Why not?
  • 33:01 - 33:04
    Because building a dream from
    your memory is the easiest way
  • 33:04 - 33:06
    to lose your grasp from what's
    real and what is a dream.
  • 33:06 - 33:07
    Is that what happened to you?
  • 33:07 - 33:10
    Listen to me.
    This has nothing to do with me, understand?
  • 33:10 - 33:12
    Is that why you need me
    to build your dreams?
  • 33:12 - 33:15
    Get off of her.
    Back up.
  • 33:15 - 33:17
    - Back up!
    - Cobb!
  • 33:17 - 33:19
    - Get off me!
    - Let me go!
  • 33:19 - 33:20
    - Don't! Mal!
    - Cobb!
  • 33:20 - 33:21
    - Mal!
    - Wake me up!
  • 33:22 - 33:23
    - Mal!
    - Wake me up!
  • 33:23 - 33:25
    - Mal, No! No!
    - Wake me up!
  • 33:25 - 33:26
    Mal, no!
  • 33:27 - 33:30
    Hey, hey, hey, look at me.
    You're okay.
  • 33:30 - 33:34
    - You're okay.
    - Why...why wouldn't I wake up?
  • 33:34 - 33:38
    Cause there were still some time on the
    clock and you can't wake up within a dream
  • 33:38 - 33:39
    unless you die.
  • 33:39 - 33:40
    - Show me the totem.
    - What?
  • 33:41 - 33:45
    - A totem, it's a small, personal...
    - That's some subconscious you got on you, Cobb!
  • 33:45 - 33:49
    - She's a real charmer.
    - Oh I see, you met Mrs. Cobb.
  • 33:49 - 33:51
    - She's his wife.
    - Yeah. So, a totem.
  • 33:52 - 33:56
    You need a small object to potentially have you...
    something you have all the time.
  • 33:56 - 33:57
    that no one else knows.
  • 33:57 - 33:59
    - Like a coin?
    - No. It must be more unique than that.
  • 34:00 - 34:02
    This is a loaded die.
  • 34:04 - 34:07
    I can't let you touch it.
    That would defeat the purpose.
  • 34:07 - 34:11
    Only I, know the balance and the
    weight of this particular loaded die.
  • 34:11 - 34:13
    That way, when you
    look at your totem,
  • 34:13 - 34:16
    You know beyond a doubt
    that you're not in someone else's dream.
  • 34:20 - 34:24
    I don't know if you can't see what's
    going on or if you just don't want to
  • 34:25 - 34:28
    but Cobb has some serious problems
    that he's trying to bury down there.
  • 34:28 - 34:32
    And I'm not about to just open
    my mind to someone like that.
  • 34:38 - 34:42
    She'll be back. I've never seen anyone
    pick it up that quickly before.
  • 34:42 - 34:45
    Reality is not gonna be enough for her now.
    And when she comes back...
  • 34:47 - 34:50
    If she comes back, you're gonna
    have her building mazes.
  • 34:50 - 34:52
    - Where are you gonna be?
    - I gotta go visit Eames.
  • 34:52 - 34:55
    Eames? No, he's in Mombasa.
    It's Cobol's backyard.
  • 34:56 - 34:58
    - It's a necessary risk.
    - There is plenty of good thieves.
  • 34:59 - 35:03
    We don't just need a thief.
    We need a forger.
  • 35:11 - 35:14
    You can rub them together all you want,
    but they're not gonna breed.
  • 35:15 - 35:17
    - You'll never know.
    - Let me get you a drink.
  • 35:21 - 35:22
    You might.
  • 35:29 - 35:31
    - Your spelling hasn't improved.
    - Test me.
  • 35:31 - 35:33
    How's your handwriting?
  • 35:33 - 35:35
    - The best in town.
    - Good.
  • 35:35 - 35:36
    Thank you very much.
  • 35:37 - 35:38
    Inception.
  • 35:38 - 35:42
    Now, before you bother
    telling me it's impossible...
  • 35:42 - 35:45
    No, it's perfectly possible.
    It's just bloody difficult.
  • 35:45 - 35:49
    - Interesting.
    - So Arthur keeps telling me it can't be done.
  • 35:50 - 35:52
    Arthur...
    You still work with that stick and mind?
  • 35:52 - 35:56
    - He's good at what he does, right?
    - Oh, he's the best. He has no imagination.
  • 35:56 - 35:57
    Not like you.
  • 35:57 - 36:00
    Listen, if you're gonna perform
    inception you need imagination.
  • 36:00 - 36:04
    Let me ask you something.
    Have you done it before?
  • 36:04 - 36:08
    We tried it. We got the idea in
    place. But it didn't take.
  • 36:08 - 36:11
    - You didn't plant it deep enough?
    - No, it's not just about depth.
  • 36:11 - 36:15
    You need the simplest version
    of the idea in order for it...
  • 36:15 - 36:17
    to grow naturally in your subjects.
    Mind is a very subtle art.
  • 36:17 - 36:20
    So what is this idea that you need to plant?
  • 36:21 - 36:24
    We need the heir of a major corporation
    to dissolve his father's empire.
  • 36:25 - 36:29
    Well. you see right there, you have various political motivations and anti-manipulistic sentiments to set forth.
  • 36:29 - 36:33
    And with all that stuff, it's really
    at the mercy of your subject's prejudice.
  • 36:34 - 36:37
    And what you have to do is
    start with the absolute basic.
  • 36:37 - 36:41
    - Which is what?
    - The relationship with the father.
  • 36:44 - 36:45
    - Do you have a chemist?
    - No, not yet.
  • 36:45 - 36:52
    Alright, well there is a man here. Yusuf.
    He formulate his own versions of the compounds.
  • 36:52 - 36:55
    - When are you taking me there?
    - Once you lost your tail.
  • 36:55 - 36:58
    - Men at the bar.
    - Cobol Engineering.
  • 36:58 - 37:01
    That price on my head,
    was that dead or alive?
  • 37:01 - 37:03
    I don't remember.
    Let's see if they start shooting.
  • 37:04 - 37:06
    Run interference. I'll meet you downstairs
    in the bar in, say, in half an hour.
  • 37:08 - 37:10
    - Be back here?
    - It's the last place they'd suspect.
  • 37:12 - 37:13
    Alright.
  • 37:15 - 37:18
    Freddy ! Freddy Simmons.
    My God, it's you, isn't it?
  • 37:20 - 37:22
    - Who?
    - No, it isn't.
  • 37:23 - 37:25
    You're not dreaming now, are you?
  • 37:43 - 37:45
    Stay out!
  • 38:03 - 38:06
    No, cafe.
    One cafe.
  • 38:20 - 38:21
    Cafe.
  • 39:17 - 39:18
    Care for a lift, Mr. Cobb?
  • 39:20 - 39:23
    - What are you doing in Mombasa?
    - I need to protect my investments.
  • 39:27 - 39:29
    Ah, so this is your idea
    of losing your tail, huh.
  • 39:29 - 39:30
    Different tail.
  • 39:39 - 39:40
    Cobb said you'd be back.
  • 39:42 - 39:45
    - I tried not to come, but...
    - But there's nothing quite like it.
  • 39:46 - 39:50
    It's just... pure creation.
  • 39:50 - 39:53
    Shall we take a look at some paradoxical architecture?
  • 39:53 - 39:55
    You're gonna have to master a few tricks
  • 39:55 - 39:57
    if you're gonna build three
    complete dream levels.
  • 39:57 - 40:00
    - Excuse me.
    - What kind of tricks?
  • 40:00 - 40:03
    In a dream, you can cheat
    architecture into impossible shapes.
  • 40:04 - 40:08
    That lets you create closed loops.
    Like the Penrose Stairs.
  • 40:08 - 40:10
    Infinite staircase.
  • 40:13 - 40:16
    See?
  • 40:19 - 40:25
    Paradox. So a closed loop like that will help you
    disguise the boundaries of the dream you create.
  • 40:25 - 40:27
    How big do these levels have to be?
  • 40:28 - 40:30
    It could be anything from the
    floor of a building to an entire city.
  • 40:31 - 40:32
    But they have to be complicated enough...
  • 40:33 - 40:34
    that we can hide from the projection.
  • 40:34 - 40:36
    - A maze.
    - Right, a maze.
  • 40:36 - 40:38
    - And the better the maze...
    - Then the longer we have...
  • 40:38 - 40:41
    - ...before the projections catch us?
    - Exactly.
  • 40:42 - 40:44
    My subconscious
    seems quiet enough.
  • 40:44 - 40:45
    You wait till it turns ugly.
  • 40:46 - 40:49
    No one likes to feel someone else
    is messing around with their mind.
  • 40:49 - 40:51
    Cobb can't build anymore, can he?
  • 40:53 - 40:55
    I don't know if he can't,
    but he won't.
  • 40:55 - 40:57
    He thinks it's safer if
    he doesn't know the layouts.
  • 40:58 - 41:00
    - Why?
    - He won't tell me.
  • 41:00 - 41:01
    But I think it's Mal.
  • 41:02 - 41:04
    - His ex-wife?
    - No, not his ex.
  • 41:04 - 41:06
    - They're still together?
    - No, she's...
  • 41:08 - 41:09
    She's dead.
  • 41:11 - 41:14
    What you're seeing there
    is just his projection of her.
  • 41:18 - 41:22
    - What was she like in real life?
    - She's lovely.
  • 41:26 - 41:28
    - You are seeking a chemist?
    - Yes.
  • 41:28 - 41:30
    To formulate compounds for a job?
  • 41:31 - 41:35
    - And to go into the field with us.
    - No, I rarely go into the field, Mr. Cobb.
  • 41:35 - 41:39
    We'd need you there to tell the
    compounds specific to our needs.
  • 41:39 - 41:41
    - Which are?
    - Great depth.
  • 41:41 - 41:44
    A dream within a dream?
    Two levels?
  • 41:47 - 41:48
    Three.
  • 41:48 - 41:52
    Not possible. That many dreams
    within dreams is too unstable.
  • 41:52 - 41:59
    - It is possible you just had to have a sedative.
    - Well, powerful sedative.
  • 42:01 - 42:03
    - How many team members?
    - Five
  • 42:04 - 42:04
    Six.
  • 42:05 - 42:10
    The only way to know you've
    done the job is if I am with you.
  • 42:10 - 42:13
    There's no room for tourists
    on a job like this, Mr. Saito.
  • 42:13 - 42:16
    This time, it seems there is.
  • 42:17 - 42:20
    This, I think, is a good place to start.
    I use it everyday.
  • 42:21 - 42:23
    - What for?
    - Yeah, I'll show you.
  • 42:27 - 42:33
    - Perhaps you will not want to see.
    - After you.
  • 42:42 - 42:46
    Six, ten, twelve.
    All connected, bloody animal.
  • 42:46 - 42:48
    They come everyday to share the dream.
  • 42:51 - 42:53
    You see?
    Very stable.
  • 42:59 - 43:03
    - How long do they dream for?
    - Three, four hours, each day.
  • 43:03 - 43:06
    - And the dream time?
    - With this compound?
  • 43:06 - 43:10
    - About forty hours, each and every day.
    - Why do they do it?
  • 43:10 - 43:11
    Tell him, Mr. Cobb.
  • 43:13 - 43:16
    After a while it becomes the
    only way you can dream.
  • 43:16 - 43:18
    Do you still dream, Mr. Cobb?
  • 43:18 - 43:21
    - They come here everyday to sleep?
    - No.
  • 43:23 - 43:29
    They come to be woken up.
    The dream has become their reality.
  • 43:32 - 43:34
    Who are you to say otherwise, huh?
  • 43:36 - 43:37
    Let's see what you can do.
  • 43:49 - 43:52
    You know how to find me.
  • 43:53 - 43:55
    You know what you have to do.
  • 44:00 - 44:01
    Sharp enough?
  • 44:17 - 44:19
    Are you alright, Mr. Cobb?
  • 44:20 - 44:23
    Yeah, yeah.
    I'm just fine.
  • 44:32 - 44:36
    Robert Fischer, heir to the
    Fischer-Morrow energy conglomerate.
  • 44:36 - 44:38
    What's your problem
    with this Mr. Fischer?
  • 44:38 - 44:40
    That's not your concern.
  • 44:41 - 44:44
    Mr. Saito, this isn't your typical
    corporate espionage.
  • 44:45 - 44:50
    You asked me for inception. I do hope you
    understand the gravity of that request.
  • 44:51 - 44:54
    The seed that we plant in this
    man's mind will grow into an idea.
  • 44:55 - 44:58
    This idea will define him.
    It may come to change...
  • 44:59 - 45:01
    It may come to change
    everything about him.
  • 45:01 - 45:05
    We're the last company standing between
    them and total energy dominance.
  • 45:05 - 45:10
    We can no longer compete.
    Soon, they'll control the energy supply
  • 45:10 - 45:13
    of half the world.
    In effect, they become a new superpower.
  • 45:15 - 45:18
    The world needs Robert Fischer
    to change his mind.
  • 45:18 - 45:23
    That's where we come in.
    How is Robert Fischer's relationship with his father?
  • 45:23 - 45:26
    Rumor is, the relationship
    is quite complicated.
  • 45:27 - 45:29
    But we can't work based
    solely on rumor, can't we?
  • 45:29 - 45:34
    Can you get me access to this man here?
    Browning, Fischer Sr's right hand man.
  • 45:35 - 45:36
    Fischer Jr's godfather.
  • 45:37 - 45:40
    It should be possible.
    If you can get the right references.
  • 45:40 - 45:44
    References are something
    of a specialty for me, Mr. Saito.
  • 45:45 - 45:49
    I'm not smelling settlement here.
    Take them down.
  • 45:49 - 45:53
    Mr. Browning, Maurice Fischer's
    policy is always one of avoiding litigation.
  • 45:57 - 46:01
    Shall we voice your
    concerns with Maurice directly?
  • 46:01 - 46:04
    - Not sure if that's necessary.
    - No, no, no. I think we should.
  • 46:27 - 46:31
    How is he?
    I don't wanna bother him unnecessarily, but...
  • 46:32 - 46:37
    Robert, did I tell you to keep out of town...
    Wait, just do it.
  • 46:37 - 46:38
    No, don't speak, Mr. Fischer.
  • 46:39 - 46:42
    Follow through!
  • 46:42 - 46:46
    Never.
    Never gonna send what I asked.
  • 46:46 - 46:48
    Leave town.
  • 46:51 - 46:52
    Terrible.
  • 46:55 - 46:58
    Must be a cherish memory of his.
  • 46:58 - 47:03
    I put it beside his bed.
    He hasn't even noticed.
  • 47:03 - 47:10
    Robert...we need to talk about the power of attorney.
  • 47:10 - 47:11
    - I know this is hard right now.
    - Not now, Uncle Peter.
  • 47:11 - 47:13
    but it's imperative that we start to...
  • 47:17 - 47:19
    The vultures are circling.
  • 47:19 - 47:22
    The sicker Maurice Fischer becomes,
    the more powerful Peter Browning becomes.
  • 47:23 - 47:26
    I've had ample opportunity
    to observe Browning...
  • 47:26 - 47:31
    adopt his physical presence,
    study his mannerisms, and so on and so forth.
  • 47:31 - 47:34
    Now, in the first layer of the dream,
    I can impersonate Browning.
  • 47:35 - 47:38
    And suggest concepts to
    Fischer's conscious mind.
  • 47:38 - 47:41
    Then, when we take
    him a level deeper his own
  • 47:41 - 47:44
    projection of Browning should,
    should feedback right back to him.
  • 47:44 - 47:47
    - So he gives himself the idea.
    - Precisely.
  • 47:48 - 47:50
    That's the only way it will stick.
    He has to see himself generate it.
  • 47:50 - 47:53
    Eames, I am impress.
  • 47:54 - 47:58
    Your confession, has always as
    much appreciated, Arthur, thank you.
  • 48:19 - 48:21
    Were you going out there on your own?
  • 48:21 - 48:24
    No, no. I was just...
    just running some experiments.
  • 48:25 - 48:27
    I didn't realize anyone was here.
    So...
  • 48:27 - 48:31
    - Yeah, I was just, I was working on my totem actually.
    - Here, let me take a look.
  • 48:33 - 48:35
    So you're learning, huh?
  • 48:35 - 48:38
    An elegant solution for
    keeping track of reality.
  • 48:39 - 48:43
    - Was it your idea?
    - No, it was...it's Mal's, actually.
  • 48:43 - 48:48
    This. This one was hers.
    You spin it in a dream and it would never topple.
  • 48:48 - 48:52
    Just...spin and spin.
  • 48:53 - 48:58
    - Arthur told me she past away.
    - How are the mazes coming on?
  • 48:59 - 49:02
    Each level relates to the part of
    the subject's subconscious that...
  • 49:02 - 49:03
    we are trying to access.
  • 49:04 - 49:09
    So, making the bottom level, hospitals.
    So Fischer will bring his father.
  • 49:09 - 49:12
    Actually I have a question
    about this layout.
  • 49:12 - 49:16
    No, no, no. Don't show me specifics.
    Only the dreamer should know the layout.
  • 49:17 - 49:18
    Why is that so important?
  • 49:19 - 49:21
    In case one of us brings in our projections
  • 49:21 - 49:23
    we don't want them knowing
    the details of the maze.
  • 49:24 - 49:27
    You mean, in case you bring Mal in.
  • 49:27 - 49:31
    - Well, you can't keep her out, can you?
    - Right.
  • 49:31 - 49:35
    You can't build because if you
    know the maze then she knows it.
  • 49:36 - 49:38
    Which should sabotage the whole operation.
  • 49:38 - 49:40
    - Cobb, did the others know?
    - No. No, they don't.
  • 49:41 - 49:43
    You gotta warn them
    if this is getting worse.
  • 49:43 - 49:46
    No one said it's getting worse.
  • 49:46 - 49:49
    I need to get home.
    That's all I care about right now.
  • 49:51 - 49:58
    - Why can't you go home?
    - Because they think I killed her.
  • 50:01 - 50:03
    - Thank you.
    - For what?
  • 50:04 - 50:06
    For not asking whether I did.
  • 50:06 - 50:08
    "I'll split up my father's empire."
  • 50:08 - 50:12
    Now, this is obviously an idea
    that Robert himself will choose to reject.
  • 50:13 - 50:16
    That's why we need to plant
    it deep in the subconscious.
  • 50:16 - 50:20
    Subconscious is motivated by emotion, right?
    Not reason.
  • 50:20 - 50:23
    We need to find a way to translate
    this into an emotional concept.
  • 50:23 - 50:25
    How do you translate a
    business strategy to an emotion?
  • 50:25 - 50:26
    MAURICE AND ROBERT
    TWO GENERATIONS OF FISCHER
    TWO VERY DIFFERENT TYPES OF MANAGEMENT
  • 50:26 - 50:27
    That's what we're here to figure out, right?
  • 50:27 - 50:31
    Now, Robert's relationship with his
    father is stressed, to say the least.
  • 50:31 - 50:32
    I can't remember that.
  • 50:32 - 50:36
    Because suggesting him to break up his
    father's company is a "screw you" to the old man.
  • 50:36 - 50:38
    No, cause I think positive emotion...
  • 50:38 - 50:40
    triumphs negative emotion everytime.
  • 50:40 - 50:43
    We're all hearing for a reconciliation.
    A catharsis.
  • 50:44 - 50:48
    We need Robert Fischer to have a
    positive emotional reaction to all this.
  • 50:48 - 50:50
    Alright, well, try this.
  • 50:50 - 50:55
    "My father accepts that I want to create
    for myself not follow in his footsteps."
  • 50:55 - 50:57
    That might work.
    Might.
  • 50:58 - 51:00
    We're gonna need to do a little
    better than might.
  • 51:00 - 51:02
    Thank you for your contribution, Arthur.
  • 51:02 - 51:05
    Forgive me for wanting a little specificity,
    Eames.
  • 51:05 - 51:08
    - Specificity?
    - Inception is not about being specific.
  • 51:08 - 51:12
    When we get inside his mind, we're gonna
    have to work at what we find.
  • 51:13 - 51:17
    On the top level, we open up
    his relationship with his father.
  • 51:17 - 51:20
    And seed...
    "I will not follow in my father's footsteps".
  • 51:20 - 51:25
    And the next level down, we feed him with:
    "I will create something for myself".
  • 51:26 - 51:28
    By the time we hit the bottom level,
    we bring out the big guns.
  • 51:28 - 51:30
    - "My father doesn't want me to be him".
    - Exactly.
  • 51:32 - 51:36
    With three layers down, the dreams are
    gonna collapse with the slightest disturbance.
  • 51:36 - 51:37
    Sedation.
  • 51:37 - 51:41
    For a sleep stable enough to
    create three layers of dreaming
  • 51:41 - 51:44
    we have to combine with
    an extremely powerful sedative.
  • 51:56 - 51:57
    Good night.
  • 51:58 - 52:00
    The compound that'll be
    used to share the dream
  • 52:00 - 52:01
    creates a very clear
    connection between dreamers
  • 52:02 - 52:04
    plus actually accelerating brain function.
  • 52:04 - 52:07
    In other words, it gives us
    more time on each level.
  • 52:07 - 52:10
    Brain function in the dream
    will be about twenty times normal.
  • 52:10 - 52:13
    When you enter a dream within that dream
    the effect is compounded.
  • 52:13 - 52:17
    - It's three dreams, that's 10 hours, that's twenty...
    - I'm sorry, math is never my strong subject.
  • 52:17 - 52:21
    - How much time is that?
    - It's a week the first level down.
  • 52:21 - 52:25
    Six months the second level
    and the third level...
  • 52:25 - 52:27
    Is ten years.
  • 52:29 - 52:32
    Who would wanna be stuck
    in a dream for ten years?
  • 52:32 - 52:33
    Depends on the dream.
  • 52:33 - 52:36
    So once we've made the plants
    how do we get out?
  • 52:36 - 52:39
    I'm hoping you have something more elegant
    in mind than shooting me in the head.
  • 52:39 - 52:42
    - A kick.
    - What's a kick?
  • 52:42 - 52:46
    This, Ariadne, would be a kick.
  • 52:47 - 52:49
    It's that feeling of falling,
    you get the jolts, you awaken
  • 52:50 - 52:51
    snaps you out of the dream.
  • 52:51 - 52:53
    Are we gonna feel a kick
    with this kind of sedation?
  • 52:53 - 52:55
    Oh, that's the clever part.
  • 52:55 - 52:57
    I've customized it to leave
    any ear function unimpaired.
  • 52:58 - 53:02
    That way, however deep the sleep,
    the sleeper still feels falling.
  • 53:03 - 53:05
    Or tipping.
  • 53:06 - 53:08
    The trick is to synchronize a kick
  • 53:08 - 53:11
    that can penetrate all three levels.
  • 53:11 - 53:14
    We can use a musical content
    to synchronize the different kicks.
  • 53:22 - 53:26
    He doesn't have any surgery scheduled,
    No dental, nothing.
  • 53:26 - 53:28
    Wasn't he suppose to
    have a knee operation?
  • 53:28 - 53:33
    Nothing. Nothing that will put him under for any REM.
    We need...We need at least a good ten hours.
  • 53:33 - 53:35
    Sydney to Los Angeles.
  • 53:36 - 53:40
    One of the longest flights in the world.
    He makes it every two weeks.
  • 53:40 - 53:42
    And he must be flying private.
  • 53:43 - 53:46
    Not if there were unexpected
    maintenance with his plane.
  • 53:46 - 53:49
    - But that should be a 747.
    - Why is that?
  • 53:49 - 53:51
    Cause in a 747 the pilot's up top
  • 53:51 - 53:54
    and the first class cabin is in the nose.
    So no one would walk through.
  • 53:54 - 53:57
    But you'd have to buy out the entire cabin.
    And the first class flight.
  • 53:57 - 54:03
    I bought the airline.
    It seemed little.
  • 54:04 - 54:07
    Well, looks like we have our ten hours.
  • 54:08 - 54:11
    Ariadne?
    Terrific work, by the way.
  • 54:58 - 55:04
    You know how to find me.
    You know what you have to do.
  • 55:07 - 55:11
    Do you remember when
    you ask me to marry you?
  • 55:12 - 55:17
    - Of course I do.
    - You said you had a dream.
  • 55:21 - 55:23
    That will grow old together.
  • 55:25 - 55:27
    And we can.
  • 55:33 - 55:34
    You shouldn't be here.
  • 55:39 - 55:42
    I just want to see what kind of tests
    you're doing here alone every night.
  • 55:42 - 55:46
    - Whatever it was, it has nothing to do with you.
    - It has everything to do with me.
  • 55:46 - 55:51
    - You've asked me to share dreams with you.
    - Not these. These are my dreams.
  • 56:03 - 56:08
    - Why do you do this to yourself?
    - It's the only way I can still dream.
  • 56:10 - 56:15
    - Why is it so important to dream?
    - In my dreams, we're still together.
  • 56:29 - 56:33
    These aren't just dreams.
  • 56:33 - 56:36
    These are memories and you
    said never to use memories.
  • 56:36 - 56:39
    - I know I did.
    - You're trying to keep her alive.
  • 56:40 - 56:44
    - You can't let her go.
    - You don't understand.
  • 56:44 - 56:48
    These are moments that I regret
    and memories that I have to change.
  • 56:50 - 56:52
    Oh, what's down there that you regret?
  • 56:52 - 56:55
    Listen, I do know one thing that you
    need to understand about me.
  • 57:04 - 57:08
    - Is this your house?
    - Mine and Mal's, yes.
  • 57:09 - 57:13
    - Where is she?
    - She's already died.
  • 57:18 - 57:22
    That's my son, James. He's digging
    for something, maybe a worm.
  • 57:24 - 57:26
    That's Phillipa.
  • 57:26 - 57:31
    You see, I thought about calling out to them so
    they'd turn and smile and I can see those
  • 57:31 - 57:36
    those beautiful faces of
    theirs but...it's all too late.
  • 57:37 - 57:39
    Right now, or never, Cobb.
  • 57:44 - 57:49
    Then I start to panic. I realized I
    don't want to regret this moment that...
  • 57:49 - 57:52
    I need to see their faces one last time.
  • 57:52 - 57:54
    James! Phillipa!
    Come on in!
  • 57:55 - 57:58
    But the moment's passed.
  • 57:59 - 58:02
    And whatever I do,
    I can't change this moment.
  • 58:03 - 58:08
    So I'm about to call out
    to them and run away.
  • 58:10 - 58:14
    If I'm ever gonna see their faces again,
    I've gotta get back home.
  • 58:14 - 58:16
    The real world.
  • 58:58 - 59:01
    - What are you doing here?
    - My name is...
  • 59:01 - 59:04
    I know who you are.
    What are you doing here?
  • 59:13 - 59:17
    - I'm just trying to understand.
    - How could you understand?
  • 59:18 - 59:22
    Do you know what it is to be a lover?
  • 59:23 - 59:27
    - To be half in a whole?
    - No.
  • 59:29 - 59:31
    I'll tell you a riddle.
  • 59:33 - 59:39
    You're waiting for a train.
    A train that will take you far away.
  • 59:40 - 59:46
    You know where you hope this train will take you.
    But you don't know for sure.
  • 59:47 - 59:54
    But it doesn't matter. How can it not matter
    to you where the train will take you?
  • 59:54 - 59:56
    Cause we will be together.
  • 59:56 - 59:59
    - How could you bring her here, Dom?
    - What is this place?
  • 60:00 - 60:03
    This is the hotel suite where
    we should spend our anniversary.
  • 60:03 - 60:05
    What happened here?
  • 60:06 - 60:10
    You promised!
    You promised we'll be together!
  • 60:10 - 60:12
    Please, I need you stay here!
    Just for now!
  • 60:12 - 60:15
    You said we'll be together!
    You said we'll grow old together!
  • 60:15 - 60:17
    I'll come back for you.
    Promise.
  • 60:36 - 60:41
    Do you think you can just build a
    prison of memories to lock her in?
  • 60:41 - 60:45
    Do you really think that
    that's gonna contain her?
  • 60:45 - 60:49
    It's time.
    Maurice Fischer just died in Sydney.
  • 60:50 - 60:53
    - When is the funeral?
    - Thursday, in Los Angeles.
  • 60:53 - 60:56
    Robert should accompany the body
    no later than Tuesday. We should move.
  • 60:56 - 60:58
    Right.
  • 60:58 - 61:01
    - Cobb, I'm coming with you.
    - I promised Miles, no.
  • 61:01 - 61:05
    The team needs someone who
    understands what you're struggling with.
  • 61:06 - 61:09
    And it doesn't have to be me.
  • 61:09 - 61:13
    But then you have to show
    Arthur what I just saw.
  • 61:19 - 61:21
    Get us another seat on the plane.
  • 61:24 - 61:28
    If I get on this plane and you
    don't honor our agreement.
  • 61:28 - 61:31
    When we land, I go to jail
    for the rest of my life.
  • 61:31 - 61:36
    Complete the job on board.
    I'll make one phone call from the plane.
  • 61:37 - 61:40
    You will have no trouble
    getting through Immigration.
  • 61:44 - 61:47
    - Yes, it is.
    - Thanks.
  • 61:47 - 61:47
    Yes.
  • 61:47 - 61:49
    - Third seat on the right.
    - Thanks.
  • 61:54 - 61:56
    - I'm sorry.
    - Oh yeah, I'm sorry, my bad.
  • 62:07 - 62:09
    - Welcome aboard, sir. May I take your coat?
    - Thank you.
  • 62:28 - 62:29
    FASTEN SEAT BELTS.
    NO SMOKING.
  • 62:31 - 62:35
    Excuse me, I think this is yours?
    You must've dropped it.
  • 62:35 - 62:37
    - Gentlemen, can I have your drink?
    - Oh, water please.
  • 62:38 - 62:39
    The same, please.
  • 62:43 - 62:45
    Thank you.
  • 62:45 - 62:48
    You know I couldn't help but notice
    but you won't happen to be related to...
  • 62:48 - 62:50
    "The Maurice Fischer", would you?
  • 62:50 - 62:58
    - Yes, he...he was my father.
    - Well he was a very inspiring figure.
  • 62:58 - 63:00
    - I'm sorry for your loss.
    - Sir.
  • 63:02 - 63:04
    - Here you go.
    - Thank you.
  • 63:04 - 63:10
    Hey, to your father.
    May he rest in peace, huh.
  • 64:19 - 64:20
    You couldn't have peed
    before you went on there.
  • 64:20 - 64:21
    Sorry.
  • 64:21 - 64:23
    Pitching much free champagne
    before take off, right, Yusuf?
  • 64:23 - 64:24
    Haha. Bloody hard.
  • 64:24 - 64:27
    Well now, he's gonna be
    looking for a taxi in this weather.
  • 64:40 - 64:43
    - Asshole! Hey man, why don't you try...
    - Walk away.
  • 64:59 - 65:03
    Look, I gotta go. Alright.
    Taxi. Thank you.
  • 65:06 - 65:09
    Alright. Third and Market. Snappy.
  • 65:10 - 65:10
    What are you doing?
  • 65:11 - 65:12
    - Oh sorry, I thought it was free.
    - Well, it's not.
  • 65:13 - 65:14
    - Maybe we could share.
    - Maybe not.
  • 65:15 - 65:16
    Can you pull over and get this...
  • 65:19 - 65:20
    Great.
  • 65:25 - 65:27
    Come on!
  • 65:39 - 65:41
    There's $500 in there and
    the wallet's worth more than that.
  • 65:41 - 65:43
    So you might as well
    drop me at my stop.
  • 65:43 - 65:44
    I'm afraid that this...
  • 65:54 - 65:54
    Cover him!
  • 65:54 - 65:57
    No! No! No!
    What was going on?
  • 66:01 - 66:03
    This wasn't in my design.
  • 66:03 - 66:07
    Cobb?
    Cobb?
  • 66:58 - 66:59
    Get him!
  • 67:06 - 67:09
    - Are you alright?
    - Yeah, I'm okay. I'm okay.
  • 67:10 - 67:12
    Fischer's okay.
    Unless he gets carsick.
  • 67:12 - 67:13
    Saito?
  • 67:32 - 67:33
    Get Fischer in the back room now!
  • 67:35 - 67:37
    - Get him the back room.!
    - What the hell...
  • 67:37 - 67:39
    - Has he been shot? Is he dying?
    - I don't know.
  • 67:39 - 67:40
    Jesus Christ.
  • 67:41 - 67:43
    - Where were you? What happened to you?
    - The girl played a freight train.
  • 67:44 - 67:46
    Why did you put a train crossing
    in the middle of a downtown interstate?
  • 67:46 - 67:47
    - I didn't.
    - Where did it come from?
  • 67:47 - 67:49
    Let me ask you a question!
    Why the hell were you ambushed?
  • 67:50 - 67:52
    Those were not normal projections!
    They've been trained for God's sakes!
  • 67:52 - 67:54
    - You're right.
    - How can they be trained?
  • 67:54 - 67:58
    Fischer had an extractor that
    teaches subconscious to defend itself.
  • 67:58 - 68:00
    So his subconscious is militarized.
  • 68:00 - 68:02
    It should've shown in the research.
    I'm sorry.
  • 68:02 - 68:04
    - So why the hell didn't it?
    - Calm down.
  • 68:04 - 68:07
    Don't tell me to calm down.
    This was your job, goddamn it!
  • 68:07 - 68:11
    This was your responsibility! You were meant to
    check Fischer's background thoroughly!
  • 68:11 - 68:12
    We are not prepared for
    this type of violence!
  • 68:13 - 68:14
    We have dealt with
    self-security before!
  • 68:14 - 68:16
    We'll be a little more careful
    and we're gonna be fine!
  • 68:16 - 68:19
    This was not a part of the plan!
    He's dying for God's sake!
  • 68:19 - 68:20
    - Now, let's put him out of his misery.
    - No, no!
  • 68:20 - 68:22
    - Don't do that!
    - What's the matter, Cobb?
  • 68:22 - 68:24
    - Don't do that
    - He's in agony, I'm waking him up.
  • 68:25 - 68:28
    - No, it won't wake him up.
    - What do you mean, it won't wake him up?
  • 68:28 - 68:31
    - It won't wake him up.
    - When we die in a dream, we wake up.
  • 68:31 - 68:35
    Not from this. We're too heavily
    sedated to wake up that way.
  • 68:35 - 68:38
    - Right, so what happens when we die?
    - We drop in a limbo.
  • 68:38 - 68:40
    - Are you serious?
    - Limbo?
  • 68:40 - 68:43
    - Unconstructed dream space.
    - What the hell is down there?
  • 68:43 - 68:47
    Just raw infinite subconscious.
    Nothing is down there.
  • 68:47 - 68:49
    Except for whatever might have been left
    behind by anyone sharing the dream
  • 68:50 - 68:54
    who has been trapped there before.
    Which in our case, this is you.
  • 68:54 - 68:56
    How long can we be stuck there?
  • 68:56 - 68:58
    I can't even think about trying to
    escape until the sedation is...
  • 68:58 - 69:01
    - How long, Yusuf?
    - Decades, It could be infinite. I don't know.
  • 69:01 - 69:03
    Ask him he's the one who's been there.
  • 69:03 - 69:05
    Just get him upstairs.
  • 69:06 - 69:09
    Great.
    Thank you.
  • 69:10 - 69:14
    So, now we're trapped in Fischer's
    mind battling his own private army...
  • 69:14 - 69:16
    and if we get killed,
    we'll be lost in limbo
  • 69:16 - 69:18
    till our brains turn
    to scrambled egg, hmm?
  • 69:24 - 69:27
    You got first aid?
  • 69:29 - 69:32
    So you knew about this
    risk and you didn't tell us?
  • 69:32 - 69:35
    There weren't meant to be any risk cause
    I didn't know we'd be dealing with a load of gunfire.
  • 69:35 - 69:38
    - You had no right
    - It was the only way to go three layers deep.
  • 69:38 - 69:42
    - And you, you knew about this and went along with it?
    - I trusted him.
  • 69:42 - 69:44
    You trusted him. What?
    Did he promise you half his share?
  • 69:44 - 69:48
    No. His whole share.
    It's like he said, he'd done it before.
  • 69:48 - 69:51
    He'd done it before, what, with Mal?
    Cause that worked so good?
  • 69:51 - 69:53
    It has nothing to do with it. I did what
    I had to do to get back to my children.
  • 69:53 - 69:55
    So you lead us into a
    war zone with no way out.
  • 69:55 - 69:59
    There is a way out. Alright, we continue on with
    the job and we do this as fast as possible.
  • 70:00 - 70:02
    and we get out using the kick.
    Just like before.
  • 70:02 - 70:05
    Forget it, If we go any deeper
    we'll just raise the stakes.
  • 70:05 - 70:07
    I am sitting this one
    out on this level, boys.
  • 70:07 - 70:09
    Fischer's security is surrounding
    this place as we speak.
  • 70:09 - 70:12
    Ten hours of flight time
    is a week at this level.
  • 70:12 - 70:16
    That means each and every one of
    us will be killed. That I can guarantee.
  • 70:16 - 70:20
    We have no other choice but to
    continue on and do it as fast as possible.
  • 70:21 - 70:25
    Downwards is the only way forward.
  • 70:25 - 70:29
    Get ready.
    You, come on let's go shake him up.
  • 70:33 - 70:37
    I'm insured against kidnapping
    for up to ten million.
  • 70:37 - 70:41
    - This should be very simple.
    - Shut up! It won't be.
  • 70:41 - 70:44
    In your father's office, below the
    bookshelf is his personal safe.
  • 70:44 - 70:48
    - We need the combination.
    - I don't know any safe.
  • 70:48 - 70:51
    It doesn't mean you
    don't know the combination.
  • 70:52 - 70:56
    - Tell us what it is.
    - I don't know.
  • 71:01 - 71:04
    We have an old good
    authority you do know.
  • 71:04 - 71:06
    Yeah? Who is this authority?
  • 71:07 - 71:09
    $500, this cost?
  • 71:09 - 71:14
    - What's inside?
    - Cash cards, ID, and this.
  • 71:19 - 71:23
    - Useful?
    - Maybe.
  • 71:23 - 71:27
    - You're on. We've got an hour.
    - An hour?
  • 71:28 - 71:30
    I was supposed to
    have all night to practice.
  • 71:30 - 71:33
    Saito wasn't supposed to
    be shot in the chest.
  • 71:33 - 71:36
    We got one hour, now get
    use something useful, please.
  • 71:39 - 71:42
    - What's that?
    - Good authority.
  • 71:45 - 71:47
    Uncle Peter...
  • 71:47 - 71:48
    No, no.
  • 71:48 - 71:52
    - Just make him stop.
    - The combination.
  • 71:52 - 71:55
    - I don't know it.
    - Why does Browning say you do?
  • 71:55 - 71:59
    I don't know.
    Just let me talk to him and I'll find out.
  • 72:01 - 72:04
    You have one hour.
    Start talking.
  • 72:05 - 72:07
    Are you alright?
  • 72:08 - 72:10
    Are you okay?
  • 72:13 - 72:17
    Those bastards bad
    at me for two days.
  • 72:17 - 72:22
    They have someone with access to your father's
    office and they're trying to open his safe.
  • 72:22 - 72:26
    - Yeah.
    - They said I'd know the combination. But I don't know it.
  • 72:26 - 72:28
    - Yeah, neither do I.
    - What?
  • 72:28 - 72:33
    Maurice told me that when he past,
    you were the only to be able to open it.
  • 72:33 - 72:35
    No, he never gave
    me any combination.
  • 72:35 - 72:40
    Maybe he did, I mean, maybe you just
    didn't know it was a combination.
  • 72:40 - 72:41
    Well, what then?
  • 72:41 - 72:44
    I don't know. Some meaningful
    combination of numbers
  • 72:44 - 72:47
    based on your experiences with Maurice.
  • 72:49 - 72:54
    We didn't have very...
    many meaningful experiences together.
  • 72:54 - 72:56
    Perhaps after your mother died.
  • 72:58 - 73:02
    After my mother died,
    you know what he told me?
  • 73:02 - 73:10
    - "Robert, there's really nothing to be said".
    - Oh well, he was bad with emotion.
  • 73:10 - 73:13
    I was eleven, Uncle Peter.
  • 73:13 - 73:17
    - How is he doing?
    - He's in a lot of pain.
  • 73:18 - 73:21
    When we get down to the lower levels,
    the pain will be less intense.
  • 73:21 - 73:25
    - And if he dies?
    - Worst case scenario?
  • 73:25 - 73:28
    When he wakes up,
    his mind is completely gone.
  • 73:28 - 73:34
    - Cobb, I will still honor the arrangement.
    - I appreciate that, Saito.
  • 73:34 - 73:38
    But when you wake up you won't even
    remember that we had an arrangement.
  • 73:39 - 73:41
    Limbo is gonna become your reality.
  • 73:41 - 73:45
    You're gonna be lost down there so long
    that you're gonna become an old man.
  • 73:45 - 73:50
    - Filled with regret?
    - Waiting to die alone.
  • 73:50 - 73:56
    No, I'll come back.
    And we will be alive together again.
  • 74:02 - 74:03
    Breath.
  • 74:03 - 74:06
    These people are gonna kill us if
    we don't give them the combination.
  • 74:06 - 74:09
    - They just want a ransom.
    - I heard them.
  • 74:09 - 74:13
    They're gonna whack us in that van
    and then drive it into the river.
  • 74:13 - 74:16
    - Alright. What is in the safe?
    - Something for you.
  • 74:16 - 74:21
    Maurice always said it was
    his most precious gift to you.
  • 74:21 - 74:23
    A will.
  • 74:23 - 74:25
    Maurice's Will is with Port and Dunn.
  • 74:25 - 74:29
    That's an alternate. This would
    supercede the other if you wanted to.
  • 74:29 - 74:32
    It splits off the component
    business of Fischer-Morrow
  • 74:32 - 74:35
    And it'd be the end of the
    entire empire as we know it.
  • 74:36 - 74:42
    Destroy my whole inheritance.
    Why would he suggest that, you think?
  • 74:42 - 74:47
    I just don't know.
    He loved you, Robert.
  • 74:49 - 74:52
    - In his own way.
    - In his own way?
  • 74:53 - 74:58
    At the end, he called
    me into his deathbed
  • 74:59 - 75:01
    And he could barely speak.
  • 75:02 - 75:07
    But he took the trouble
    to tell me one last thing.
  • 75:08 - 75:17
    He pulled me closer.
    And I could only make out... one word.
  • 75:20 - 75:23
    "Disappointed".
  • 75:28 - 75:30
    When were you in limbo?
  • 75:31 - 75:35
    You might have the rest of the team
    convinced to carry on with this job
  • 75:35 - 75:36
    but they don't know the truth.
  • 75:36 - 75:37
    Truth? What truth?
  • 75:38 - 75:42
    The truth that at any minute, you might
    bring a freight train through the wall.
  • 75:42 - 75:46
    The truth that Mal is bursting
    through your subconscious.
  • 75:46 - 75:48
    And the truth that as we go
    deeper into Fischer
  • 75:48 - 75:51
    we're also going deeper into you.
  • 75:51 - 75:55
    And I...I'm not sure we're
    gonna like what we find.
  • 75:58 - 76:04
    We were working together. We were exploring
    the concept of a dream within a dream.
  • 76:04 - 76:09
    I kept pushing things. I wanted to go deeper
    and deeper. I wanted to go further.
  • 76:09 - 76:14
    I just didn't understand the concept that
    hours could turn into years down there.
  • 76:15 - 76:18
    That we could get trapped so deep.
    That when we...
  • 76:19 - 76:21
    when wind up on the
    shore of our subconscious
  • 76:21 - 76:24
    we lost side of what was real.
  • 76:30 - 76:34
    We created.
    We built a world for ourselves.
  • 76:35 - 76:40
    We did that for years.
    We built our own world.
  • 76:42 - 76:46
    - How long were you stuck there?
    - Something like fifty years.
  • 76:49 - 76:55
    Jesus.
    How could you stand it?
  • 76:55 - 76:58
    It wasn't so bad at first.
    Feeling like gods.
  • 76:58 - 77:01
    The problem was that I knew
    that none of that was real.
  • 77:01 - 77:05
    Eventually, it has became impossible
    for me to live like that.
  • 77:05 - 77:08
    And what about for her?
  • 77:11 - 77:14
    She has locked something away.
    Something deep inside her.
  • 77:15 - 77:21
    The truth that she once known.
    She chose to forget.
  • 77:24 - 77:26
    Limbo became her reality.
  • 77:28 - 77:30
    What happened when you woke up?
  • 77:30 - 77:34
    Well, to wake up from that after,
    after years, after decades...
  • 77:35 - 77:39
    to become old souls thrown
    back into youth like that....
  • 77:39 - 77:44
    I knew something was wrong with her.
    She just wouldn't admit it.
  • 77:45 - 77:51
    Eventually, she told me the truth.
    She was possessed by an idea.
  • 77:52 - 77:57
    This one, very simple idea
    that changed everything.
  • 77:58 - 78:01
    That our world wasn't real.
  • 78:02 - 78:05
    That she needed to wake up
    to come back to reality, that...
  • 78:05 - 78:12
    in order to get back home...
    We had to kill ourselves.
  • 78:19 - 78:23
    - What about your children?
    - She thought they were projections.
  • 78:23 - 78:25
    That our real children are waiting
    for us out there somewhere.
  • 78:25 - 78:27
    - Look, Cobb! I'm their mother.
    - Calm down.
  • 78:27 - 78:29
    Can't you even tell the difference?
  • 78:29 - 78:31
    If this is my dream, why can't I control this?
  • 78:31 - 78:33
    Because you don't know you're dreaming!
  • 78:33 - 78:37
    She was certain there was nothing
    I could do, no matter how much I begged...
  • 78:37 - 78:39
    no matter how much I pleaded.
  • 78:42 - 78:45
    She wanted to do it.
    But she could not do it alone.
  • 78:45 - 78:51
    She loved me too much so...
    She came up with a plan on our anniversary.
  • 79:18 - 79:21
    - Sweetheart, what are you doing?
    - Join me.
  • 79:21 - 79:25
    Just step back inside, alright?
    Just step back inside now, come on.
  • 79:26 - 79:34
    - No. I'm going to jump and you're coming with me.
    - No, I'm not. But now, you listen to me.
  • 79:35 - 79:38
    If you jump, you're
    not gonna wake up, remember?
  • 79:38 - 79:44
    You're gonna die. Now, just step back inside, come on.
    Step back inside so we can talk about this.
  • 79:44 - 79:47
    We've talked enough.
  • 79:48 - 79:51
    - Mal.
    - Come out unto the ledge or I'll jump right now.
  • 79:51 - 79:53
    Okay.
  • 79:57 - 80:01
    We're gonna talk about this.
    Alright?
  • 80:01 - 80:06
    - I'm asking you to take a leap of faith.
    - No, honey.
  • 80:07 - 80:10
    I can't. You know,
    I can't do that.
  • 80:10 - 80:12
    Take a second and think
    about our children.
  • 80:12 - 80:17
    Think about James.
    Think about Phillipa, now.
  • 80:17 - 80:20
    If I go without you,
    they'll take them away, anyway.
  • 80:20 - 80:22
    What does that mean?
  • 80:22 - 80:24
    I filed a letter with our attorney
  • 80:24 - 80:27
    explaining how I'm fearful for my safety.
  • 80:29 - 80:32
    How you threatened to kill me.
  • 80:34 - 80:37
    - Why did you do that?
    - I love you, Dom.
  • 80:37 - 80:40
    Why did you..why...
    why would you do this to me?
  • 80:40 - 80:42
    I've freed you from the guilt
    of choosing to leave them.
  • 80:42 - 80:46
    We're going home.
    To our real children.
  • 80:46 - 80:50
    No, no, no, no, Mal, You listen to me!
    Alright? Mal, look at me, please.
  • 80:50 - 80:51
    You're waiting for a train.
  • 80:51 - 80:55
    - Mal,goddamn it! Don't do this!
    - A train that will take you far away.
  • 80:55 - 80:59
    - James and Phillipa are waiting for you!
    - You know where you hope this train will take you.
  • 80:59 - 81:01
    - They're waiting for us!
    - But you can't know for sure.
  • 81:01 - 81:04
    - Mal, look at me!
    - But it doesn't matter.
  • 81:04 - 81:07
    - Mal, goddamn it!
    - Because you will be together.
  • 81:07 - 81:13
    Sweetheart, look at me!
    Mal, no! Jesus Christ!
  • 81:16 - 81:20
    She had herself declared sane
    by three different psychiatrists.
  • 81:20 - 81:24
    That made it impossible for me to try to
    explain the nature of her madness.
  • 81:24 - 81:26
    So, I ran...
  • 81:26 - 81:30
    Right now, or never, Cobb.
  • 81:40 - 81:42
    Alright, let's go.
  • 81:42 - 81:46
    I left my children behind and I've been
    trying to buy myself back ever since.
  • 81:46 - 81:50
    Your guilt defines her.
    It's what powers her.
  • 81:50 - 81:54
    But you are not responsible for
    the idea that destroyed her.
  • 81:55 - 81:57
    And if we are gonna succeed in this...
  • 81:58 - 82:03
    you have to forgive yourself.
    You're gonna have to confront her.
  • 82:03 - 82:05
    But you don't have to do that alone.
  • 82:05 - 82:08
    - No, no, you don't...
    - I'm doing it for the others.
  • 82:08 - 82:12
    Because they have no idea of the risk
    they've taken coming down here with you.
  • 82:18 - 82:20
    We have to move.
  • 82:20 - 82:24
    - Time's up.
    - Alright. I don't know any combination.
  • 82:24 - 82:27
    - Not consciously anyway.
    - How about instinctively, huh?
  • 82:27 - 82:30
    I got somebody standing in
    front of his office right now
  • 82:30 - 82:32
    ready to tap in the combination.
  • 82:32 - 82:35
    I need the first six numbers that
    come to your head right now.
  • 82:35 - 82:37
    - I have no idea.
    - Right now!
  • 82:37 - 82:44
    - I said right now! Right now!
    - 5, 2, 8, 4, 9, 1.
  • 82:47 - 82:49
    You'd have to do better than that.
  • 82:49 - 82:54
    Alright. Gag him.
    We're going for a ride.
  • 82:57 - 83:02
    What more do you like?
    To kill me?
  • 83:06 - 83:08
    What did you get?
  • 83:08 - 83:11
    That boy's relationship with his father
    is even worse than we imagined.
  • 83:11 - 83:12
    This helps us how?
  • 83:13 - 83:15
    The stronger the issues,
    the more powerful the catharsis.
  • 83:16 - 83:19
    How are you gonna reconcile
    then pursue his strengths?
  • 83:19 - 83:21
    - Well I'm working on that, don't I?
    - Move fast.
  • 83:21 - 83:23
    Projections are closing in quick.
  • 83:24 - 83:27
    We gotta break out of here
    before we're totally boxed in.
  • 84:02 - 84:03
    Damn it.
  • 84:04 - 84:06
    You mustn't be afraid to
    dream a little bigger, darling.
  • 84:23 - 84:26
    Now, we need to shift his animosity
    from his father to his godfather.
  • 84:26 - 84:28
    We're gonna destroy his
    one positive relationship?
  • 84:28 - 84:30
    No, we'll repair his relationship with his father
  • 84:30 - 84:33
    by exposing his godfather's true nature.
  • 84:33 - 84:37
    We should thrice Fischer's
    loot more than Saito's mission.
  • 84:37 - 84:39
    What about his security?
    It's gonna get worse as we go deeper.
  • 84:39 - 84:42
    - No, I think we're going with Mr. Charles.
    - No.
  • 84:42 - 84:44
    - Who's Mr. Charles?
    - A bad ides.
  • 84:44 - 84:46
    The second we get into that
    hotel and approach Fischer
  • 84:46 - 84:50
    his security will be all over us.
    We run with Mr. Charles like we did on this timed job.
  • 84:50 - 84:52
    - So, you've done it before?
    - Yeah, and it didn't worked.
  • 84:52 - 84:55
    The subject realized that he was dreaming
    and his subconscious tore us to pieces.
  • 84:55 - 84:57
    Excellent.
    But you've learned a lot, right?
  • 84:57 - 84:59
    I need some kind of distraction.
  • 84:59 - 85:02
    No problem. How about a
    lovely lady that I've used before?
  • 85:02 - 85:04
    - Listen to me. You drive carefully, alright?
    - Yeah.
  • 85:04 - 85:07
    getting down there is
    gonna be unstable as hell.
  • 85:11 - 85:15
    Don't jump too soon. We only have one
    shot at that kick you're gonna make.
  • 85:15 - 85:18
    I'll play the music and you'll know
    it's coming, the rest is on you.
  • 85:18 - 85:20
    - Are you ready?
    - Ready!
  • 85:21 - 85:23
    Sweet dreams.
  • 85:23 - 85:24
    Am I boring you?
  • 85:26 - 85:30
    I was telling you my story.
    I guess it wasn't to your liking.
  • 85:32 - 85:33
    I have a lot in my mind.
  • 85:35 - 85:37
    There goes Mr. Charles.
  • 85:42 - 85:44
    Mr. Fischer, right?
  • 85:45 - 85:48
    Pleasure to see you again.
    Rod Green from marketing.
  • 85:49 - 85:51
    - And you must be?
    - Leaving.
  • 85:55 - 85:57
    In case you get bored.
  • 86:02 - 86:03
    She must have blown you off.
  • 86:03 - 86:06
    That is unless her phone
    number really is only six digits.
  • 86:07 - 86:08
    528-491
  • 86:08 - 86:12
    Funny way to make friends,
    someone stealing their wallet like that.
  • 86:16 - 86:18
    Goddamn it.
    The wallet alone is worth at least...
  • 86:19 - 86:20
    $500, right?
  • 86:20 - 86:23
    Listen, don't worry about it.
    My people are already on it as we speak.
  • 86:23 - 86:25
    Who or what is Mr. Charles?
  • 86:25 - 86:29
    It's a gambit designed to turn Fischer
    against his own subconscious.
  • 86:29 - 86:31
    And why don't you approve?
  • 86:31 - 86:33
    Cause it involves telling
    the mark that he's dreaming`
  • 86:33 - 86:35
    which involves attracting
    a lot of attention to us.
  • 86:35 - 86:38
    So Cobb said he couldn't do that?
  • 86:38 - 86:41
    So now you've noticed
    how much time Cobb spends
  • 86:41 - 86:43
    doing things he says never to do.
  • 86:45 - 86:47
    Mr. Saito, may I have a moment?
  • 86:47 - 86:49
    - I'm sorry, but...
    - Wait!
  • 86:50 - 86:54
    - You looked to be "livelier".
    - Very amusing, Mr. Eames.
  • 87:00 - 87:02
    Turbulence on the plane?
  • 87:02 - 87:06
    No, I mean, it's must closer.
    It's Yusuf's driving.
  • 87:14 - 87:18
    - I'm sorry, who did you say you were?
    - Rod Green from marketing.
  • 87:19 - 87:21
    That's not true at all, is it?
  • 87:23 - 87:26
    My name is Mr. Charles.
    You remember me, don't you?
  • 87:26 - 87:29
    I'm the head of your security down here.
  • 87:29 - 87:32
    Get out on a different floor and keep moving.
  • 87:32 - 87:34
    Dump the wallet.
    The security will look for that.
  • 87:35 - 87:38
    - Okay.
    - We need to buy Cobb a lot more time.
  • 87:41 - 87:43
    Security, huh?
  • 87:45 - 87:47
    - You work for the hotel?
    - No, no.
  • 87:48 - 87:54
    I specialize in a very specific type of security.
    Subconscious security.
  • 87:54 - 88:00
    Are you talking about dreams?
    Are you talking about extraction?
  • 88:00 - 88:05
    I am here to protect you.
    Look...
  • 88:09 - 88:12
    Excellent work.
    Now, what is your plan?...
  • 88:16 - 88:18
    Mr. Fischer, I am here to
    protect you in the event
  • 88:18 - 88:22
    that someone tries to access
    your mind through your dreams.
  • 88:22 - 88:27
    You're not safe here.
    They're coming for you.
  • 88:45 - 88:48
    Strange weather, isn't it?
  • 88:52 - 88:55
    You feel that?
  • 88:55 - 88:57
    What's happening?
  • 88:57 - 89:00
    Cobb is drawing Fischer's attention
    to the strangeness of the dream
  • 89:00 - 89:03
    which is making his subconscious
    look for the dreamer.
  • 89:03 - 89:06
    For me.
    Quick, give me a kiss.
  • 89:11 - 89:15
    -They're still looking at us.
    - Yeah, it's worth a shot.
  • 89:15 - 89:17
    We should probably get out of here.
  • 89:33 - 89:37
    Feel that? You've actually been
    trained for this, Mr. Fischer.
  • 89:37 - 89:41
    Pay attention to the strangeness
    of the weather, the shifting gravity.
  • 89:41 - 89:44
    None of this is real.
    You're in a dream.
  • 89:49 - 89:51
    Now, the easiest for you to test yourself...
  • 89:51 - 89:55
    is to try to remember how you arrived at this hotel.
    Can you do that?
  • 89:55 - 89:57
    See, I don't, I...
  • 89:58 - 90:00
    Breath, breath.
    Remember your training.
  • 90:00 - 90:04
    Accept the fact that you're in a dream
    and I'm here to protect you.
  • 90:04 - 90:05
    Go on.
  • 90:11 - 90:14
    - You're not real?
    - No, no.
  • 90:15 - 90:17
    I'm a projection of your subconscious.
  • 90:17 - 90:22
    I was sent here to protect you in the event
    that extractors try to pull you into a dream.
  • 90:22 - 90:26
    And I believe that's what's
    going on right now, Mr. Fischer.
  • 90:26 - 90:31
    Yeah. Okay. Okay.
  • 90:34 - 90:40
    - Can you get me out of here?
    - Right away, follow me.
  • 90:54 - 90:55
    Stay there.
  • 91:00 - 91:02
    Jesus Christ! What are you doing?
  • 91:02 - 91:04
    These men were sent
    here to abduct you, alright.
  • 91:04 - 91:08
    If you want my help,
    you have to remain calm.
  • 91:09 - 91:12
    I need you to work with me, Mr. Fischer.
  • 91:23 - 91:27
    If this is a dream, I should just
    kill myself to wake up, right?
  • 91:27 - 91:29
    I wouldn't do that if I were you, Mr. Fischer.
  • 91:29 - 91:35
    I believe they have you sedated and if you
    pull that trigger, you may not wake up.
  • 91:35 - 91:40
    You may go into a further dream state.
    Now, you know what I'm talking about.
  • 91:41 - 91:44
    You remember the training.
  • 91:44 - 91:48
    Remember what I said to you.
    Give me the gun.
  • 91:59 - 92:01
    This room should be directly below 528?
  • 92:01 - 92:03
    Yeah.
  • 92:11 - 92:17
    Think, Mr. Fischer, think
    what do you remember from before this dream?
  • 92:17 - 92:22
    There was...there was a lot of gunfires.
    And there's....rain.
  • 92:23 - 92:27
    Uncle Peter.
    Oh my God, we've been kidnapped.
  • 92:27 - 92:29
    Where were they holding you?
  • 92:32 - 92:35
    - They had us in the back of a van.
    - That explains the gravity shifts.
  • 92:35 - 92:37
    You're in the back of a van right now.
    Keep going.
  • 92:37 - 92:43
    It had something to do with...
    something to do with a safe
  • 92:44 - 92:46
    God, why is it so hard to remember
  • 92:46 - 92:48
    It's like trying to remember a
    dream after you've woken up.
  • 92:48 - 92:51
    Listen, it takes years of practice.
  • 92:51 - 92:53
    You and Browning has
    been pulled into this dream...
  • 92:53 - 92:56
    because they're trying to
    steal something from your mind.
  • 92:56 - 92:59
    I need you to focus and try
    and remember what that is.
  • 93:00 - 93:01
    What is it, Mr. Fischer?
    Think!
  • 93:01 - 93:03
    A combination.
  • 93:03 - 93:06
    They demanded the first
    numbers to pop into my head.
  • 93:06 - 93:08
    They're trying to extract the
    number from your subconscious.
  • 93:08 - 93:12
    It can represent anything.
    We're in a hotel right now.
  • 93:13 - 93:16
    We should try hotel rooms.
    What was the number, Mr. Fischer?
  • 93:16 - 93:19
    Try and remember for me.
    This is very important.
  • 93:19 - 93:21
    Five.
  • 93:22 - 93:24
    Five, two...
    It was something.. it was a long number.
  • 93:24 - 93:25
    That's good enough.
    We could start there.
  • 93:26 - 93:28
    - Fifth floor.
    - Yup.
  • 93:28 - 93:32
    - So do you use a timer?
    - No, I have to judge it for myself.
  • 93:32 - 93:35
    While you're all asleep in 528,
    I'll wait for Yusuf's kick.
  • 93:36 - 93:38
    - Well, how will you know?
    - His music warns me.
  • 93:38 - 93:41
    And then when the van hits the barrier
    of the bridge, that should be unmistakable.
  • 93:41 - 93:45
    So we get a nice, synchronized kick.
  • 93:45 - 93:47
    If it's too soon, we won't get pulled out.
  • 93:47 - 93:51
    If it's too late...
    I won't be able to drop us.
  • 93:51 - 93:52
    Why not?
  • 93:52 - 93:57
    Cause of the van, that will be in free fall.
    Can't drop you without gravity.
  • 93:57 - 93:59
    Right.
  • 94:04 - 94:07
    They're with me.
    Go on.
  • 94:31 - 94:33
    - Mr. Charles
    - Do you know what that is, Mr. Fischer?
  • 94:33 - 94:37
    - Yeah, I think so, yeah.
    - They were trying to put you under.
  • 94:37 - 94:39
    - I'm already under.
    - Under again.
  • 94:39 - 94:43
    What do you mean?
    A dream within a dream?
  • 94:43 - 94:46
    Hey. I see you've changed.
  • 94:46 - 94:48
    I'm sorry.
  • 94:48 - 94:52
    Oh, I'm sorry.
    I've mistaken you for a friend.
  • 94:53 - 94:56
    Good looking fella, I'm sure.
  • 94:57 - 95:01
    That's Fischer's projection of Browning.
    Let's follow him and see how he behaves.
  • 95:01 - 95:03
    - Why?
    - Because how he acts would tell us...
  • 95:03 - 95:07
    if Fischer is going to suspect his motives,
    the way we wanted to.
  • 95:12 - 95:15
    - Uncle Peter.
    - You said you were kidnapped together?
  • 95:15 - 95:18
    Well, not exactly. They already had him.
    They were torturing him.
  • 95:18 - 95:21
    And you saw them torture him?
  • 95:27 - 95:32
    - The kidnappers are working for you?
    - Robert.
  • 95:32 - 95:36
    You're trying to get that safe open?
    So you get the alternate will?
  • 95:36 - 95:40
    Fischer-Morrow has been my entire life.
    I can't let you destroy it.
  • 95:40 - 95:43
    I'm not gonna throw away my inheritance.
    Why would I?
  • 95:43 - 95:48
    I couldn't let you rise to
    your father's last taunt.
  • 95:48 - 95:51
    - What taunt?
    - The will, Robert, that will.
  • 95:51 - 95:53
    That's his last insult.
  • 95:53 - 95:57
    A challenge for you to
    build something for yourself...
  • 95:57 - 96:02
    by telling you you're not
    worthy of his accomplishments.
  • 96:06 - 96:10
    What, that he was disappointed, hmm?
  • 96:10 - 96:13
    I'm sorry.
  • 96:13 - 96:16
    But...he's wrong.
  • 96:17 - 96:20
    You can build a better
    company than he ever did.
  • 96:20 - 96:22
    Mr. Fischer?
    He's lying!
  • 96:22 - 96:25
    - How do you know?
    - Trust me, it's what I do.
  • 96:25 - 96:28
    He's hiding something and
    we need to find out what that is.
  • 96:29 - 96:33
    I need you to do the same thing to
    him that he was going to do to you.
  • 96:35 - 96:39
    We'll enter his subconscious and find
    out what he doesn't want you to know.
  • 96:40 - 96:43
    Alright.
  • 96:48 - 96:49
    He's out.
  • 96:49 - 96:51
    Wait, whose subconscious
    are we going into exactly?
  • 96:51 - 96:53
    We're going into Fischer's.
  • 96:53 - 96:56
    But I told him it was Browning's
    so he can be a part of our team.
  • 96:56 - 96:58
    He's gonna help us break
    into his own subconscious.
  • 96:58 - 96:59
    That's right.
  • 96:59 - 97:02
    Security's gonna run you down, huh.
  • 97:02 - 97:05
    And I will lead them on a merry chase.
  • 97:05 - 97:07
    Just be back here for the kick.
  • 97:07 - 97:08
    Go to sleep, Mr. Eames.
  • 97:13 - 97:15
    Are you good?
  • 97:18 - 97:22
    - Are you alright?
    - Yes, yes. I'm..I'm fine. I'm ready.
  • 97:35 - 97:40
    Cobb? Cobb?
    What's down there?
  • 97:43 - 97:45
    Hopefully the truth we
    want Fischer to learn.
  • 97:45 - 97:48
    I mean, what's down there for you?
  • 100:23 - 100:26
    Did you see that?
  • 100:44 - 100:46
    Eames, this is your dream.
  • 100:46 - 100:49
    I need you to draw the security away
    from the complex, you understand?
  • 100:49 - 100:51
    - Who will guide Fischer in?
    - Not me.
  • 100:51 - 100:54
    Find all the route,
    everything could be compromised.
  • 100:54 - 100:57
    - I designed the place.
    - No, you're with me.
  • 100:57 - 100:58
    I could do it.
  • 100:58 - 101:01
    Alright, you'll reach on the
    route into the complex.
  • 101:01 - 101:04
    - Fischer, you'll be going with him.
    - Alright.
  • 101:04 - 101:09
    - What about you?
    - Keep this alive. I'll be listening in the whole time.
  • 101:09 - 101:11
    The windows on that upper
    floor are big enough for me...
  • 101:11 - 101:12
    to cover you from that south tower.
    You see it?
  • 101:13 - 101:15
    - Yeah. You're not coming in?
    - In order to find out the truth...
  • 101:16 - 101:19
    about your father, you're gonna need to
    break into Browning's mind on your own.
  • 101:20 - 101:22
    Come, Fischer!
  • 102:17 - 102:21
    Sound the alarm!
    Sound the alarm!
  • 102:21 - 102:22
    Move!
  • 102:25 - 102:26
    Go!
  • 102:40 - 102:43
    So they're shooting me!
  • 102:53 - 102:54
    I hope they're ready.
  • 103:04 - 103:06
    It's too soon.
  • 103:11 - 103:13
    Cobb, do you hear that?
  • 103:13 - 103:16
    First heard it about twenty minutes ago.
    I thought it was the wind up here.
  • 103:17 - 103:19
    Yeah, I hear it.
    It's music.
  • 103:19 - 103:22
    - So what do we do?
    - Move fast.
  • 103:28 - 103:30
    Yusuf's ten seconds for the jump.
  • 103:32 - 103:34
    Which gives Arthur three minutes.
  • 103:35 - 103:38
    Hey!
  • 103:38 - 103:40
    - Which gives us what?
    - Sixty minutes.
  • 103:40 - 103:41
    Can they make that
    route in under an hour?
  • 103:41 - 103:43
    They still have to climb
    down to the middle terrace.
  • 103:43 - 103:46
    Well then, they need a new route.
    A more direct route.
  • 103:58 - 103:59
    It's designed as a labyrinth.
  • 103:59 - 104:02
    There must be access where
    we can cut through the maze, right?
  • 104:02 - 104:04
    Eames?
  • 104:27 - 104:28
    Did Eames add any features?
  • 104:28 - 104:30
    I don't think I should tell you.
    If Mal finds out...
  • 104:30 - 104:32
    We don't have time for this.
    Did he add any?
  • 104:33 - 104:35
    He added an air duct system
    that can cut through the maze.
  • 104:35 - 104:36
    Good. Explain it to them.
  • 104:36 - 104:38
    - Saito?
    - Go ahead.
  • 105:11 - 105:13
    Paradoxical.
  • 106:23 - 106:25
    - What was that?
    - The kick.
  • 106:26 - 106:29
    - Cobb, did we miss it?
    - Yeah, we missed it.
  • 106:29 - 106:34
    Couldn't you instead just have
    dreamt of a goddamn beach?
  • 106:37 - 106:39
    What the hell do we do now?
  • 106:39 - 106:41
    We finish the job before the next kick.
  • 106:42 - 106:44
    - What next kick?
    - When the van hits the water.
  • 107:07 - 107:10
    If wanna make a call,
    please hang up and try again.
  • 107:10 - 107:12
    If you need assistance...
  • 107:12 - 107:15
    How do I drop you without gravity?
  • 107:18 - 107:21
    Arthur has a couple of minutes,
    we have about twenty.
  • 107:44 - 107:46
    Are you okay?
  • 107:50 - 107:53
    Move out!
    To the base!
  • 107:58 - 108:01
    There's something wrong. They're heading
    your way like they know something.
  • 108:03 - 108:06
    Just buy us some more time, alright?
    Come on!
  • 108:06 - 108:08
    On my way.
  • 109:47 - 109:50
    That's the antechamber,
    it's just stronger.
  • 109:50 - 109:51
    Was it stronger if it have any windows?
  • 109:51 - 109:53
    No, I mean it wouldn't
    be very strong if it did.
  • 109:53 - 109:55
    Let's hope Fischer likes
    what he finds in there.
  • 109:57 - 109:59
    Are those projections part
    of his subconscious?
  • 109:59 - 110:01
    Yes.
  • 110:01 - 110:02
    Are you destroying
    those parts of his mind?
  • 110:02 - 110:05
    No, no.
    They're just projections.
  • 110:30 - 110:31
    We're here.
  • 110:31 - 110:34
    You're clear but hurry.
    There's an entire army headed your way.
  • 111:01 - 111:02
    We're in.
  • 111:51 - 111:54
    - There's someone else in there.
    - Fischer, it's a trap, get out!
  • 111:56 - 111:58
    Come on. A little lower.
  • 112:03 - 112:09
    - Cobb. No, she is not real!
    - How do you know that?
  • 112:09 - 112:13
    She is just a projection.
    Fischer...Fischer is real!
  • 112:17 - 112:19
    Hello.
  • 112:24 - 112:27
    Eames! Eames!
    Get to the antechamber now!
  • 113:11 - 113:13
    - What happened?
    - Mal killed Fischer.
  • 113:16 - 113:18
    I couldn't shoot her.
  • 113:18 - 113:20
    But there's no use in reviving him...
  • 113:20 - 113:24
    his mind's already trapped down there.
    It's all over.
  • 113:25 - 113:27
    So that's it?
    Then we failed?
  • 113:27 - 113:30
    We're done.
    I'm sorry.
  • 113:33 - 113:36
    Well, it's not me who's gonna
    get back to my family, is it?
  • 113:37 - 113:39
    It's a shame, I really want to know
    what's gonna happen in there.
  • 113:39 - 113:42
    - I swear we have this one..
    - Let's set the charges.
  • 113:44 - 113:46
    No, there's still another way.
  • 113:47 - 113:49
    We just have to follow
    Fischer down there.
  • 113:49 - 113:50
    We don't have time.
  • 113:51 - 113:54
    No, but there will be enough
    time down there.
  • 113:55 - 113:56
    And we will find him.
  • 113:56 - 114:00
    Okay, as soon as Arthur's music kicks in
    just use the defibrillator to revive him.
  • 114:00 - 114:04
    We can give him his
    own kick down below.
  • 114:04 - 114:06
    Look you get him in there.
  • 114:06 - 114:09
    As soon as the music ends,
    you blow up the hospital.
  • 114:09 - 114:12
    And we all ride the kick
    back up the layers.
  • 114:13 - 114:15
    That's worth a shot.
  • 114:15 - 114:18
    And Saito can hold the guards
    out while I set the charges.
  • 114:18 - 114:20
    Saito, will never make it, will he?
  • 114:21 - 114:24
    Cobb, come on!
    We've got to try.
  • 114:24 - 114:25
    Let's go!
  • 114:25 - 114:28
    Look if we're not that fully kicked,
    I am gonna leave in vain.
  • 114:28 - 114:30
    She's right.
    She's right.
  • 114:35 - 114:37
    Can I trust you to do what's
    gonna happen here?
  • 114:37 - 114:39
    I mean, Mal's gonna
    be down there.
  • 114:39 - 114:41
    I know where to find her.
    She'll have Fischer.
  • 114:41 - 114:43
    How do you know?
  • 114:43 - 114:48
    She wants me to come after her,
    she wants me back down there with her.
  • 115:15 - 115:16
    Are you alright?
  • 115:23 - 115:26
    - This is your world?
    - Was.
  • 115:27 - 115:29
    This is where she'll be.
  • 115:29 - 115:31
    Come on.
  • 116:18 - 116:20
    Saito...
  • 116:20 - 116:24
    I need you...I need you to take care of
    Fischer while I go set some charges, okay?
  • 116:24 - 116:28
    No room for tourists on this jobs.
  • 116:29 - 116:32
    Don't be silly.
  • 117:04 - 117:06
    You built all these?
    This is incredible.
  • 117:06 - 117:08
    We built for years.
  • 117:10 - 117:12
    We started in on the memories.
  • 117:19 - 117:20
    This way.
  • 118:01 - 118:06
    This is our neighbourhood.
    The place is from my past.
  • 118:06 - 118:10
    That was our first apartment and we
    moved to that building right there.
  • 118:11 - 118:13
    After Mal became pregnant,
    that became our home.
  • 118:13 - 118:16
    You reconstructed all
    of these from memory?
  • 118:16 - 118:19
    Like I told you, we have lots of time.
  • 118:19 - 118:20
    What is that?
  • 118:21 - 118:24
    It's the house Mal grew up with.
  • 118:24 - 118:26
    - Will she be in there?
    - No.
  • 118:26 - 118:28
    Come on.
  • 118:28 - 118:31
    We both wanted to live in a house
    but we love this type of building.
  • 118:31 - 118:34
    In the real world, we'd have
    to choose, but not here.
  • 119:15 - 119:17
    How are you gonna bring Fischer back?
  • 119:17 - 119:20
    I'm gonna have to come up
    with some kind of a kick.
  • 119:20 - 119:22
    What?
  • 119:22 - 119:23
    The improvised.
  • 119:23 - 119:28
    Listen, there's something you should know about me. About inception.
  • 119:41 - 119:45
    An idea is like a virus.
    Resilient.
  • 119:46 - 119:47
    Highly contagious.
  • 119:48 - 119:51
    The smallest seed of an idea can grow.
  • 119:51 - 119:57
    It can grown to define or destroy you.
  • 120:00 - 120:06
    The smallest idea such as:
    "Your world is not real".
  • 120:06 - 120:10
    Simple. little thought
    that changes everything.
  • 120:11 - 120:15
    So certain of your world.
    Of what's real?
  • 120:15 - 120:18
    Do you think he is?
  • 120:19 - 120:23
    Why do you think
    he's as lost as I was?
  • 120:23 - 120:26
    I know it's real, Mal.
  • 120:27 - 120:29
    No creeping doubts?
  • 120:30 - 120:33
    Not feeling persecuted, Dom?
  • 120:33 - 120:37
    Chased around the globe by anonymous
    corporations and police forces?
  • 120:37 - 120:40
    The way the projections
    persecute the dreamer?
  • 120:41 - 120:44
    Admit it.
  • 120:44 - 120:47
    You don't believe in one reality anymore.
  • 120:47 - 120:51
    So choose.
    Choose to be here.
  • 120:51 - 120:53
    Choose me.
  • 121:19 - 121:22
    You know what I have to do,
    I have to get back to our children...
  • 121:22 - 121:24
    because you left them.
  • 121:24 - 121:27
    - Because you left us.
    - You're wrong.
  • 121:27 - 121:30
    - Not at all.
    - You're confused.
  • 121:31 - 121:33
    Our children are here.
  • 121:33 - 121:37
    And you'd like to see their
    faces again, wouldn't you?
  • 121:37 - 121:40
    Yes, but I want to see
    them up above, Mal.
  • 121:54 - 121:57
    Up above?
  • 121:57 - 122:03
    Listen to yourself.
    These are our children. Watch.
  • 122:03 - 122:05
    James?
    Phillipa?
  • 122:05 - 122:08
    Don't do this, Mal, please.
    Those aren't my children.
  • 122:08 - 122:10
    You keep telling yourself
    that but you don't believe it.
  • 122:10 - 122:12
    - No, I know it.
    - What if you're wrong?
  • 122:12 - 122:15
    What if I'm what's real?
  • 122:16 - 122:25
    You keep telling yourself what you know.
    But what do you believe? What do you feel?
  • 122:26 - 122:28
    Guilt.
  • 122:28 - 122:32
    I feel guilt, Mal.
  • 122:32 - 122:36
    And no matter what I do,
    no matter how hopeless I am...
  • 122:36 - 122:40
    no matter how confused...
    that guilt is always there.
  • 122:40 - 122:43
    reminding me of the truth.
  • 122:43 - 122:46
    What truth?
  • 122:47 - 122:52
    The idea that caused you to question
    your reality came from me.
  • 122:56 - 122:59
    You planted the idea in my mind?
  • 123:00 - 123:02
    What is she talking about?
  • 123:03 - 123:08
    The reason I knew inception was
    possible was because I did it to her first.
  • 123:09 - 123:12
    - I did it to my own wife.
    - Why?
  • 123:13 - 123:15
    We were lost in here.
  • 123:15 - 123:20
    I knew we needed to escape
    but she wouldn't accept it.
  • 123:23 - 123:29
    She had locked something away,
    something deep inside.
  • 123:29 - 123:34
    The truth that she had once
    known but she chose to forget.
  • 123:34 - 123:36
    She couldn't break free.
  • 123:39 - 123:42
    So I decided to search for it.
  • 123:42 - 123:47
    Going deep into the recess of her mind
    and found that secret place.
  • 123:47 - 123:53
    I broke in and I planted an idea.
  • 123:53 - 123:57
    A simple idea that I knew
    would change everything.
  • 124:02 - 124:05
    That her world wasn't real.
  • 124:17 - 124:20
    That death was the only escape.
  • 124:28 - 124:30
    You're waiting for a train..
  • 124:31 - 124:34
    A train that will take you far away...
  • 124:36 - 124:39
    You know where you hope
    this train will take you.
  • 124:40 - 124:42
    But you can't know for sure!
  • 124:43 - 124:45
    And it doesn't matter!
  • 124:46 - 124:49
    - Now tell me why!
    - Because we'll be together.
  • 124:53 - 124:58
    And I never knew that... that idea
    would grow in her mind like a cancer...
  • 124:58 - 125:02
    that even after she woke.
  • 125:03 - 125:07
    ... that even after yo
    came back to reality
  • 125:08 - 125:12
    that you keep to believe
    your world wasn't real.
  • 125:14 - 125:17
    That death was the only escape.
  • 125:17 - 125:19
    Mal, no!
    Jesus!
  • 125:20 - 125:23
    - You're infecting my mind.
    - I was trying to save you.
  • 125:23 - 125:27
    You betrayed me but you
    can make amends.
  • 125:27 - 125:29
    You can still keep your promise.
  • 125:29 - 125:35
    We can still be together right here.
    In the world we built together.
  • 126:56 - 126:59
    Cobb, we need to get Fischer.
  • 126:59 - 127:01
    You can't have him.
  • 127:01 - 127:04
    If I stay here, will you let him go?
  • 127:04 - 127:06
    What are you talking about?
  • 127:09 - 127:12
    Fischer's on the porch.
  • 127:12 - 127:14
    - Go check if he's alive, Ariadne.
    - Cobb, you can't do this.
  • 127:14 - 127:18
    Go check if he's alive, right now!
    Do it.
  • 127:33 - 127:36
    He's here and it's time
    but you have to come now!
  • 127:36 - 127:40
    - Take Fischer with you, alright?
    - You can't stay here to be with her!
  • 127:42 - 127:45
    I'm not. Saito's dead
    by now that means...
  • 127:45 - 127:49
    he's down here somewhere.
    That means I have to find him.
  • 127:51 - 127:54
    I can't stay with her anymore
    because she doesn't exist.
  • 127:54 - 127:58
    I'm the only thing you
    do believe in anymore.
  • 128:00 - 128:02
    I wish...
  • 128:03 - 128:06
    I wish more than anything, but...
  • 128:07 - 128:09
    ...I can't imagine you
    with all your complexity.
  • 128:09 - 128:12
    All your perfection.
    All your imperfection.
  • 128:13 - 128:15
    Are you alright?
  • 128:15 - 128:17
    Look at you.
  • 128:18 - 128:23
    You're just a shade.
    You're just a shade of my real wife.
  • 128:23 - 128:26
    And you are the best
    that I could do, but...
  • 128:26 - 128:29
    ...I'm sorry, you're just
    not good enough.
  • 128:30 - 128:31
    This will feel real?
  • 128:33 - 128:36
    - What are you doing?
    - Improvise.
  • 128:44 - 128:46
    No, no, no!
  • 128:47 - 128:49
    Get in there, now!
    Go, go, go!
  • 129:35 - 129:38
    Disappointed...
  • 129:40 - 129:41
    Disappointed...
  • 129:41 - 129:44
    I know, Dad.
  • 129:49 - 129:54
    I know you were disappointed.
    I couldn't be you.
  • 129:54 - 129:58
    No, no, no!...
  • 129:58 - 130:06
    I was disappointed that you tried to be like me
  • 130:38 - 130:40
    Come on, come on, come on!
  • 130:49 - 130:51
    LAST WILL AND TESTAMENT
  • 131:04 - 131:06
    Dad?
  • 131:49 - 131:53
    That's the kick, Ariadne!
    You have to go now!
  • 132:05 - 132:09
    Don't lose yourself!
    Find Saito and bring him back!
  • 132:09 - 132:10
    I will!
  • 132:50 - 132:54
    Do you remember when
    you asked me to marry you?
  • 132:54 - 132:55
    Yes.
  • 132:55 - 133:00
    You said you dreamt that
    we'll grow old together.
  • 133:01 - 133:03
    But we did.
  • 133:04 - 133:07
    We did, you don't remember?
  • 133:11 - 133:15
    I'd miss you, more
    than I can bear, but...
  • 133:17 - 133:20
    ... we had our time together.
  • 133:20 - 133:24
    And I have to let you go.
  • 133:24 - 133:27
    I have to let you go.
  • 134:17 - 134:19
    I'm sorry, Robert.
  • 134:46 - 134:50
    You know, the Will means that
    dad wanted me to be my own man.
  • 134:51 - 134:53
    Not just to live for him.
  • 134:54 - 134:57
    That's what I'm gonna do, Uncle Peter.
  • 135:06 - 135:08
    What happened?
  • 135:08 - 135:10
    - Cobb stayed.
    - With Mal?
  • 135:10 - 135:13
    No, to find Saito.
  • 135:14 - 135:17
    He'll be lost.
  • 135:18 - 135:21
    No, he'll be alright.
  • 135:36 - 135:39
    Are you going to kill me?
  • 135:42 - 135:45
    I'm waiting for someone.
  • 135:49 - 135:53
    Someone from a half-remembered dream.
  • 135:54 - 136:00
    Cobb?
    Impossible.
  • 136:00 - 136:04
    We were young men together.
  • 136:04 - 136:08
    I'm an old man...
  • 136:08 - 136:12
    Filled with regret.
  • 136:13 - 136:17
    Waiting to die alone, huh.
  • 136:19 - 136:29
    I've come back for you...
    To remind you of something.
  • 136:31 - 136:35
    Something you once knew.
  • 136:37 - 136:40
    That this world is not real.
  • 136:44 - 136:49
    To convince me to
    honor our arrangement?
  • 136:50 - 136:53
    To take a leap of faith, yes.
  • 136:58 - 137:06
    Come back, so we can be
    young man together again.
  • 137:09 - 137:15
    Come back with me.
    Come back.
  • 137:26 - 137:28
    Hot towel, sir?
  • 137:28 - 137:31
    We'll landing in Los Angeles
    in about twenty minutes.
  • 137:31 - 137:34
    Do you need immigration forms?
  • 137:35 - 137:37
    Thank you.
  • 137:37 - 137:40
    - Hot towel, sir?
    - Oh no.
  • 137:40 - 137:42
    Do you need immigration forms?
  • 138:54 - 138:58
    - Welcome home, Mr. Cobb.
    - Thank you, sir.
  • 139:41 - 139:45
    Welcome home.
    This way.
  • 140:06 - 140:11
    James?
    Phillipa?
  • 140:13 - 140:16
    Look who's here!
  • 140:22 - 140:26
    Hey kids, how are you?
  • 140:26 - 140:29
    - Daddy!
    - How are you?
  • 140:29 - 140:31
    Look what I built, Daddy!
  • 140:31 - 140:35
    - What are you doing there?
    - I built a house made of rocks!
  • 140:35 - 140:37
    - Out of rocks?
    - Come, I want you to see it.
  • 140:37 - 140:40
    Can you make me one?
  • 140:40 - 140:41
    Come on, Daddy!
Title:
Learn about Universal Subtitles
Description:

Learn about the Universal Subtitles project.

more » « less
Video Language:
English
Duration:
01:23

English subtitles

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