Original subtitles

[ OMINOUS MUSIC PLAYS ]

[ WAVES CRASHING ]

[ CHILDREN GIGGLING

IN DISTANCE ]

[ HAPPY CHATTER ]

[ SHRIEKS PLAYFULLY ]

[ SHOUTING IN JAPANESE ]

[ CONVERSING IN JAPANESE ]

[ SWALLOWING WITH DIFFICULTY ]

ARE YOU HERE TO KILL ME?

I KNOW WHAT THIS IS.

I'VE SEEN ONE BEFORE...

[ RATTLING ]

...MANY, MANY YEARS AGO.

IT BELONGED TO A MAN I MET

IN A HALF-REMEMBERED DREAM.

A MAN POSSESSED

OF SOME RADICAL NOTIONS.

Cobb: WHAT IS

THE MOST RESILIENT PARASITE?

A BACTERIA?

A VIRUS?

AN INTESTINAL WORM?

UH...WHAT MR. COBB

IS TRYING TO SAY --

AN IDEA.

RESILIENT.

HIGHLY CONTAGIOUS.

ONCE AN IDEA HAS TAKEN HOLD

OF THE BRAIN,

IT'S ALMOST IMPOSSIBLE

TO ERADICATE.

AN IDEA THAT IS FULLY FORMED,

FULLY UNDERSTOOD --

THAT STICKS.

RIGHT IN THERE SOMEWHERE.

FOR SOMEONE LIKE YOU

TO STEAL?

YES.

IN THE DREAM STATE,

YOUR CONSCIOUS DEFENSES

ARE LOWERED,

AND THAT MAKES YOUR THOUGHTS

VULNERABLE TO THEFT.

IT'S CALLED EXTRACTION.

MR. SAITO,

WE CAN TRAIN YOUR SUBCONSCIOUS

TO DEFEND ITSELF

FROM EVEN

THE MOST SKILLED EXTRACTOR.

HOW CAN YOU DO THAT?

BECAUSE I AM

THE MOST SKILLED EXTRACTOR.

I KNOW HOW TO SEARCH YOUR MIND

AND FIND YOUR SECRETS.

I KNOW THE TRICKS.

AND I CAN TEACH THEM

TO YOU,

SO THAT EVEN

WHEN YOU'RE ASLEEP,

YOUR DEFENSE

IS NEVER DOWN.

LOOK, IF YOU WANT MY HELP,

YOU'RE GONNA HAVE TO BE

COMPLETELY OPEN WITH ME.

I NEED TO KNOW MY WAY

AROUND YOUR THOUGHTS

BETTER THAN YOUR WIFE,

BETTER THAN YOUR THERAPIST,

BETTER THAN ANYONE.

IF THIS IS A DREAM,

AND YOU HAVE A SAFE

FULL OF SECRETS,

I NEED TO KNOW

WHAT'S IN THAT SAFE.

IN ORDER

FOR THIS ALL TO WORK,

YOU NEED TO COMPLETELY

LET ME IN.

ENJOY YOUR EVENING, GENTLEMEN,

AS I CONSIDER

YOUR PROPOSAL.

[ INDISTINCT CONVERSATIONS ]

[ RUMBLING ]

HE KNOWS.

[ OBJECTS RATTLING ]

WHAT'S GOING ON UP THERE?

[ RATTLING CONTINUES ]

[ WATCH TICKING;

TICKING QUICKENS ]

[ INDISTINCT SHOUTING

IN DISTANCE ]

[ EXPLOSIONS IN DISTANCE ]

[ TICKING ]

[ OBJECTS RATTLING ]

SAITO KNOWS.

HE'S PLAYING WITH US.

DOESN'T MATTER.

I CAN GET IT HERE. TRUST ME.

THE INFORMATION

IS IN THE SAFE.

HE LOOKED RIGHT AT IT

WHEN I MENTIONED SECRETS.

WHAT'S SHE DOING HERE?

JUST HEAD BACK

TO THE ROOM.

ALL RIGHT?

I'LL TAKE CARE OF THIS.

OKAY, MAKE SURE YOU DO.

WE'RE HERE TO WORK.

IF I JUMPED...

WOULD I SURVIVE?

WITH A CLEAN DIVE,

PERHAPS.

MAL, WHAT ARE YOU

DOING HERE?

I THOUGHT

YOU MIGHT BE MISSING ME.

YOU KNOW THAT I AM.

BUT I...

I CAN'T

TRUST YOU ANYMORE.

SO WHAT?

LOOKS LIKE

ARTHUR'S TASTE.

ACTUALLY,

THE SUBJECT IS PARTIAL

TO POSTWAR

BRITISH PAINTERS.

PLEASE, HAVE A SEAT.

TELL ME...

DO THE CHILDREN MISS ME?

YOU CAN'T IMAGINE.

WHAT ARE YOU DOING?

JUST GETTING

SOME FRESH AIR.

STAY WHERE YOU ARE, MAL.

[ BREATHES DEEPLY ]

COME ON. DAMN IT.

[ GRINDING ]

[ MUFFLED GUNSHOT ]

[ MUFFLED GUNSHOT ]

[ LOCK CLICKS,

HINGES CREAK ]

Saito: TURN AROUND!

Mal: THE GUN, DOM.

[ GRUNTS ]

PLEASE.

[ BREATHING HEAVILY ]

NOW THE ENVELOPE,

MR. COBB.

DID SHE TELL YOU?

OR HAVE YOU KNOWN ALL ALONG?

THAT YOU'RE HERE

TO STEAL FROM ME

OR THAT WE ARE

ACTUALLY ASLEEP?

I WANT TO KNOW THE NAME

OF YOUR EMPLOYER.

[ GUN COCKS ]

UH, THERE'S NO USE

THREATENING HIM IN A DREAM,

RIGHT, MAL?

THAT DEPENDS

ON WHAT YOU'RE THREATENING.

KILLING HIM

WOULD JUST WAKE HIM UP.

BUT PAIN...

[ GUNSHOT ]

AAH! UGH!

...PAIN IS IN THE MIND.

AND JUDGING BY THE DECOR,

WE'RE IN YOUR MIND,

AREN'T WE, ARTHUR?

[ MUFFLED GUNSHOT ]

[ GRUNTS ]

WHAT ARE YOU DOING?!

IT'S TOO SOON!

I KNOW.

BUT THE DREAM'S COLLAPSING.

I'M GONNA TRY TO KEEP SAITO

UNDER A LITTLE BIT LONGER.

WE'RE ALMOST THERE.

[ MUFFLED GUNSHOTS ]

[ GRUNTING ]

HE WAS CLOSE.

VERY CLOSE.

[ SCREAMING ]

AAH! STOP HIM!

[ MUFFLED GUNSHOTS ]

AAH!

[ GUNSHOTS ]

[ BEEPING ]

[ GROANING SOFTLY ]

THIS ISN'T GONNA WORK.

WAKE HIM UP.

AAH!

HE WON'T WAKE!

[ PANTING ]

GIVE HIM THE KICK!

WHAT?

DUNK HIM.

[ CREAKING ]

[ DISTORTED,

SLOW-MOTION SOUNDS ]

[ GASPS ]

AAH.

NASH!

[ GRUNTING ]

HE'S OUT.

[ BREATHING HEAVILY ]

[ INDISTINCT SHOUTING ]

YOU CAME PREPARED, HMM?

NOT EVEN MY HEAD OF SECURITY

KNOWS THIS APARTMENT.

HOW DID YOU FIND IT?

IT'S VERY DIFFICULT

FOR A MAN OF YOUR POSITION

TO KEEP A LOVE NEST

LIKE THIS SECRET,

PARTICULARLY WHERE THERE'S

A MARRIED WOMAN INVOLVED.

SHE WOULD NEVER.

YET, HERE WE ARE...

WITH A DILEMMA.

THEY'RE GETTING CLOSER.

YOU GOT

WHAT YOU CAME FOR.

WELL, THAT'S NOT TRUE.

YOU LEFT OUT A KEY PIECE

OF INFORMATION, DIDN'T YOU?

YOU HELD SOMETHING BACK,

BECAUSE YOU KNEW

WHAT WE WERE UP TO.

QUESTION IS,

WHY'D YOU LET US IN AT ALL?

AN AUDITION.

AN AUDITION FOR WHAT?

DOESN'T MATTER.

YOU FAILED.

WE EXTRACTED EVERY BIT OF

INFORMATION YOU HAD IN THERE.

BUT YOUR DECEPTION

WAS OBVIOUS.

[ TRAIN RATTLING ]

[ TICKING QUICKENS ]

[ TRAINS WHOOSHING ]

[ BEEPING SLOWLY ]

♪ NON! RIEN DE RIEN... ♪

SO, LEAVE ME AND GO.

YOU DON'T SEEM TO UNDERSTAND,

MR. SAITO.

THAT CORPORATION

THAT HIRED US,

THEY WON'T ACCEPT FAILURE.

WE WON'T LAST TWO DAYS.

COBB?

LOOKS LIKE I'M GONNA HAVE TO

DO THIS A LITTLE MORE SIMPLY.

TELL US WHAT YOU KNOW!

TELL US

WHAT YOU KNOW NOW!

[ CHUCKLING ]

I HAVE ALWAYS HATED

THIS CARPET.

IT'S STAINED AND FRAYED

IN SUCH DISTINCTIVE WAYS.

BUT VERY DEFINITELY

MADE OF WOOL.

RIGHT NOW...

I'M LYING ON POLYESTER.

WHICH MEANS...

I'M NOT LYING ON MY CARPET

IN MY APARTMENT.

YOU HAVE LIVED UP

TO YOUR REPUTATION, MR. COBB.

I'M STILL DREAMING.

[ EDIT PIAF'S "NON JE NE

REGRETTE RIEN" PLAYING ]

[ RAPID BEEPING ]

HOW'D IT GO?

NOT GOOD.

DREAM WITHIN A DREAM.

AH, I'M IMPRESSED.

BUT IN MY DREAM,

YOU PLAY BY MY RULES.

AH, YES, BUT, YOU SEE,

MR. SAITO...

WE'RE NOT IN YOUR DREAM.

WE'RE IN MINE.

[ INDISTINCT SHOUTING ]

[ RAPID BEEPING,

MUSIC CONTINUES ]

[ SHOUTING CONTINUES ]

AAH!

[ MUSIC CONTINUES ]

ASSHOLE. HOW DO YOU

MESS UP THE CARPET?

IT WASN'T MY FAULT.

YOU'RE THE ARCHITECT.

I DIDN'T KNOW HE WAS GONNA

RUB HIS DAMN CHEEK ON IT!

THAT'S ENOUGH.

AND YOU. WHAT THE HELL

WAS ALL THAT?

I HAVE IT UNDER CONTROL.

I'D HATE TO SEE YOU

OUT OF CONTROL.

ALL RIGHT,

WE DON'T HAVE TIME FOR THIS.

I'M GETTING OFF AT KYOTO.

WHY? HE'S NOT GONNA CHECK

EVERY COMPARTMENT.

WELL, I DON'T LIKE TRAINS.

LISTEN.

EVERY MAN FOR HIMSELF.

[ RATTLING ]

[ GUN CLICKS ]

[ SETS GUN DOWN ]

[ TELEPHONE RINGS ]

YES, HELLO?

PHILLIPA: Hi, Daddy.

JAMES: Hi, Dad.

HEY, GUYS. HEY.

HOW ARE YOU?

HOW YOU DOIN', HUH?

Good.

Okay, I guess.

OKAY?

[ CHUCKLES ]

WHO'S JUST OKAY?

IS THAT YOU, JAMES?

Yeah.

When are you

coming home, Dad?

[ EXHALES SHARPLY ]

WELL, I CAN'T, SWEETHEART.

I CAN'T.

NOT FOR A WHILE,

REMEMBER?

Why?

LOOK, I...I TOLD YOU.

I'M -- I'M AWAY

BECAUSE I'M WORKING, RIGHT?

Grandma says

you're never coming back.

PHILLIPA, IS THAT YOU?

PUT GRANDMA ON THE PHONE

FOR ME, WILL YOU?

She's shaking her head.

WE'LL JUST HOPE

SHE'S WRONG ABOUT THAT.

Daddy?

YEAH, JAMES?

Is Mommy with you?

JAMES,

WE TALKED ABOUT THIS.

MOMMY'S NOT HERE ANYMORE.

Where?

GRANDMA: That's enough, kids.

Say bye-bye.

LISTEN, I'M -- I'M GONNA SEND

SOME PRESENTS WITH GRANDPA.

ALL RIGHT?

AND YOU BE GOOD.

YOU BE....

[ Click, dial tone ]

[ REPLACES RECEIVER ]

[ KNOCK ON DOOR ]

OUR RIDE'S ON THE ROOF.

RIGHT.

[ DOOR CLOSES ]

[ SIGHS ]

HEY, ARE YOU OKAY?

YEAH.

YEAH, I'M FINE. WHY?

WELL, DOWN IN THE DREAM,

MAL SHOWING UP.

LOOK, I'M, UH,

SORRY ABOUT YOUR LEG.

WON'T HAPPEN AGAIN.

IT'S GETTING WORSE,

ISN'T IT?

ONE APOLOGY'S ALL YOU'RE

GETTING, ALL RIGHT, ARTHUR?

WHERE'S NASH?

HE HASN'T SHOWN.

YOU WANT TO WAIT?

NO, WE WERE SUPPOSED TO

DELIVER SAITO'S EXPANSION PLANS

TO COBOL ENGINEERING

TWO HOURS AGO.

BY NOW,

THEY KNOW WE FAILED.

IT'S TIME WE DISAPPEAR.

WHERE YOU GONNA GO?

BUENOS AIRES.

I CAN LIE LOW THERE,

MAYBE SNIFF OUT A JOB

WHEN THINGS QUIET DOWN.

YOU?

STATESIDE.

SEND MY REGARDS.

[ SIGHS ]

HE SOLD YOU OUT.

THOUGHT TO COME TO ME

AND BARGAIN FOR HIS LIFE.

SO, I OFFER YOU

THE SATISFACTION.

IT'S NOT THE WAY

I DEAL WITH THINGS.

[ HELICOPTER BLADES WHIRRING ]

WHAT WILL YOU DO

WITH HIM?

NOTHING.

BUT I CAN'T SPEAK

FOR COBOL ENGINEERING.

WHAT DO YOU WANT

FROM US?

INCEPTION.

IS IT POSSIBLE?

OF COURSE NOT.

IF YOU CAN STEAL AN IDEA

FROM SOMEONE'S MIND,

WHY CAN'T YOU

PLANT ONE THERE INSTEAD?

OKAY. HERE'S ME PLANTING

AN IDEA IN YOUR HEAD.

I SAY TO YOU,

"DON'T THINK ABOUT ELEPHANTS."

WHAT ARE YOU

THINKING ABOUT?

ELEPHANTS.

RIGHT.

BUT IT'S NOT YOUR IDEA,

BECAUSE YOU KNOW

I GAVE IT TO YOU.

THE SUBJECT'S MIND

CAN ALWAYS TRACE THE

GENESIS OF THE IDEA.

TRUE INSPIRATION'S

IMPOSSIBLE TO FAKE.

IT'S NOT TRUE.

CAN YOU DO IT?

ARE YOU OFFERING ME

A CHOICE?

BECAUSE I CAN FIND MY OWN WAY

TO SQUARE THINGS WITH COBOL.

THEN YOU DO

HAVE A CHOICE.

AND I CHOOSE

TO LEAVE, SIR.

TELL THE CREW

WHERE YOU WANT TO GO.

HEY, MR. COBB!

HOW WOULD YOU

LIKE TO GO HOME?

TO AMERICA?

TO YOUR CHILDREN?

YOU CAN'T FIX THAT!

NO ONE CAN!

JUST LIKE INCEPTION.

COBB, COME ON.

HOW COMPLEX IS THE IDEA?

SIMPLE ENOUGH.

NO IDEA IS SIMPLE

WHEN YOU NEED TO PLANT IT

IN SOMEBODY ELSE'S MIND.

MY MAIN COMPETITOR IS AN OLD MAN

IN POOR HEALTH.

HIS SON WILL SOON INHERIT

CONTROL OF THE CORPORATION.

I NEED HIM TO DECIDE TO BREAK UP

HIS FATHER'S EMPIRE.

COBB, WE SHOULD WALK AWAY

FROM THIS.

HOLD ON.

IF I WERE TO DO THIS,

IF...I EVEN COULD DO IT,

I'D NEED A GUARANTEE.

HOW DO I KNOW

YOU CAN DELIVER?

YOU DON'T.

BUT I CAN.

SO, DO YOU WANT

TO TAKE A LEAP OF FAITH...

OR BECOME AN OLD MAN,

FILLED WITH REGRET,

WAITING TO DIE ALONE?

ASSEMBLE YOUR TEAM,

MR. COBB.

AND CHOOSE YOUR PEOPLE

MORE WISELY.

LOOK, I KNOW HOW MUCH

YOU WANT TO GO HOME.

THIS CAN'T BE DONE.

YES, IT CAN.

JUST HAVE TO GO DEEP ENOUGH.

YOU DON'T KNOW THAT.

I'VE DONE IT BEFORE.

WHO'D YOU DO IT TO?

WHY ARE WE GOING

TO PARIS?

WE'RE GONNA NEED

A NEW ARCHITECT.

[ BELL TOLLING ]

Cobb: YOU NEVER DID LIKE

YOUR OFFICE, DID YOU?

NO SPACE TO THINK

IN THAT BROOM CUPBOARD.

IS IT SAFE FOR YOU

TO BE HERE?

EXTRADITION BETWEEN FRANCE

AND THE UNITED STATES

IS A BUREAUCRATIC

NIGHTMARE.

YOU KNOW THAT.

I THINK THEY MIGHT

FIND A WAY

TO MAKE IT WORK

IN YOUR CASE.

LOOK, I, UH...

BROUGHT THESE FOR YOU

TO GIVE TO THE KIDS

WHEN YOU HAVE A CHANCE.

IT'LL TAKE MORE THAN

THE OCCASIONAL STUFFED ANIMAL

TO CONVINCE THOSE CHILDREN

THEY STILL HAVE A FATHER.

I'M JUST DOING WHAT I KNOW.

I'M DOING WHAT YOU TAUGHT ME.

I NEVER TAUGHT YOU

TO BE A THIEF.

NO, YOU TAUGHT ME

TO NAVIGATE PEOPLE'S MINDS.

BUT AFTER WHAT HAPPENED,

THERE WEREN'T A WHOLE LOT

OF LEGITIMATE WAYS

FOR ME TO USE THAT SKILL.

WHAT ARE YOU

DOING HERE, DOM?

I THINK

I FOUND A WAY HOME.

IT'S A JOB FOR SOME

VERY, VERY POWERFUL PEOPLE.

PEOPLE WHO I BELIEVE CAN FIX

MY CHARGES PERMANENTLY.

BUT I NEED YOUR HELP.

YOU'RE HERE TO CORRUPT

ONE OF MY BRIGHTEST

AND BEST.

YOU KNOW

WHAT I'M OFFERING.

YOU HAVE TO LET THEM

DECIDE FOR THEMSELVES.

MONEY.

NOT JUST MONEY.

YOU REMEMBER.

IT'S THE CHANCE TO BUILD

CATHEDRALS, ENTIRE CITIES,

THINGS THAT NEVER EXISTED,

THINGS THAT COULDN'T EXIST

IN THE REAL WORLD.

SO, YOU -- YOU WANT ME

TO LET SOMEONE ELSE

FOLLOW YOU

INTO YOUR FANTASY?

THEY DON'T ACTUALLY

COME INTO THE DREAM.

THEY JUST -- THEY JUST

DESIGN THE LEVELS

AND TEACH THEM

TO THE DREAMERS.

THAT'S ALL.

DESIGN IT YOURSELF.

MAL WON'T LET ME.

COME BACK

TO REALITY, DOM.

PLEASE.

"REALITY."

THOSE KIDS,

YOUR GRANDCHILDREN,

THEY'RE WAITING FOR THEIR FATHER

TO COME BACK HOME.

THAT'S THEIR REALITY.

AND THIS JOB, THIS LAST JOB,

THAT'S HOW I GET THERE.

I WOULD NOT BE STANDING HERE

IF I KNEW ANY OTHER WAY.

I NEED AN ARCHITECT

WHO IS AS GOOD AS I WAS.

I'VE GOT SOMEBODY BETTER.

Miles: ARIADNE?

I'D LIKE YOU

TO MEET MR. COBB.

PLEASED TO MEET YOU.

IF YOU HAVE

A FEW MOMENTS,

MR. COBB HAS A JOB OFFER

HE'D LIKE TO DISCUSS WITH YOU.

A WORK PLACEMENT?

NOT EXACTLY.

I HAVE A TEST FOR YOU.

YOU'RE NOT GONNA TELL ME

ANYTHING ABOUT THIS FIRST?

BEFORE I DESCRIBE THE JOB,

I HAVE TO KNOW YOU CAN DO IT.

WHY?

IT'S NOT,

STRICTLY SPEAKING, LEGAL.

YOU HAVE TWO MINUTES

TO DESIGN A MAZE

THAT IT TAKES

ONE MINUTE TO SOLVE.

STOP.

[ PAPER RIPS ]

AGAIN.

STOP.

YOU'RE GONNA HAVE TO DO BETTER

THAN THAT.

THAT'S MORE LIKE IT.

Cobb: THEY SAY

WE ONLY USE A FRACTION

OF OUR BRAIN'S

TRUE POTENTIAL.

NOW, THAT'S

WHEN WE'RE AWAKE.

WHEN WE'RE ASLEEP,

OUR MIND CAN DO

ALMOST ANYTHING.

SUCH AS?

WELL, IMAGINE YOU'RE DESIGNING

A BUILDING, ALL RIGHT?

YOU CONSCIOUSLY CREATE

EACH ASPECT.

BUT SOMETIMES IT FEELS LIKE

IT'S ALMOST CREATING ITSELF,

IF YOU KNOW WHAT I MEAN.

YEAH. YEAH,

LIKE I'M...DISCOVERING IT.

GENUINE INSPIRATION,

RIGHT?

MM-HMM.

NOW, IN A DREAM, OUR MIND

CONTINUOUSLY DOES THIS.

WE CREATE AND PERCEIVE

OUR WORLD SIMULTANEOUSLY.

AND OUR MIND

DOES THIS SO WELL

THAT WE DON'T EVEN KNOW

IT'S HAPPENING.

THAT ALLOWS US TO GET RIGHT

IN THE MIDDLE OF THAT PROCESS.

HOW?

BY TAKING OVER

THE CREATING PART.

NOW, THIS IS

WHERE I NEED YOU.

YOU CREATE THE WORLD

OF THE DREAM.

WE BRING THE SUBJECT

INTO THAT DREAM,

AND THEY FILL IT

WITH THEIR SUBCONSCIOUS.

HOW COULD I EVER

ACQUIRE ENOUGH DETAIL

TO MAKE THEM THINK

THAT IT'S REALITY?

WELL, DREAMS, THEY FEEL REAL

WHILE WE'RE IN THEM, RIGHT?

IT'S ONLY WHEN WE WAKE UP

THAT WE REALIZE SOMETHING

WAS ACTUALLY STRANGE.

LET ME ASK YOU

A QUESTION.

YOU -- YOU NEVER

REALLY REMEMBER

THE BEGINNING OF A DREAM,

DO YOU?

YOU ALWAYS WIND UP RIGHT IN

THE MIDDLE OF WHAT'S GOING ON.

I GUESS, YEAH.

SO, HOW DID WE

END UP HERE?

WELL, WE JUST CAME

FROM THE...

THINK ABOUT IT, ARIADNE.

HOW DID YOU GET HERE?

WHERE ARE YOU RIGHT NOW?

WE'RE DREAMING?

YOU'RE ACTUALLY

IN THE MIDDLE

OF THE WORKSHOP RIGHT NOW,

SLEEPING.

THIS IS YOUR FIRST LESSON

IN SHARED DREAMING.

STAY CALM.

[ RUMBLING,

CUP AND SAUCER RATTLING ]

[ EXPLOSIONS ]

IF IT'S JUST A DREAM,

THEN WHY ARE YOU PROTEC--

[ "NON JE NE REGRETTE RIEN"

PLAYS ]

BECAUSE IT'S NEVER

JUST A DREAM, IS IT?

AND A FACE FULL OF GLASS

HURTS LIKE HELL.

WHEN YOU'RE IN IT,

IT FEELS REAL.

THAT'S WHY THE MILITARY

DEVELOPED DREAM SHARING.

IT WAS A TRAINING PROGRAM

FOR SOLDIERS

TO SHOOT AND STAB

AND STRANGLE EACH OTHER

AND THEN WAKE UP.

HOW DID ARCHITECTS

BECOME INVOLVED?

WELL, SOMEONE HAD TO DESIGN

THE DREAMS, RIGHT?

WHY DON'T YOU GIVE US

ANOTHER FIVE MINUTES?

FIVE MINUTES?!

[ MUSIC STOPS ]

WHAT -- WE WERE TALKING

FOR LIKE AT LEAST AN HOUR.

IN A DREAM, YOUR MIND

FUNCTIONS MORE QUICKLY.

THEREFORE, TIME SEEMS

TO FEEL MORE SLOW.

FIVE MINUTES IN THE

REAL WORLD GIVES YOU

AN HOUR IN THE DREAM.

WHY DON'T YOU SEE

WHAT YOU CAN GET UP TO

IN FIVE MINUTES?

[ BREATHES DEEPLY ]

Cobb: YOU'VE GOT

THE BASIC LAYOUT.

THE BOOKSTORE, THE CAFÉ.

ALMOST EVERYTHING ELSE

IS HERE, TOO.

Ariadne:

WHO ARE THE PEOPLE?

PROJECTIONS

OF MY SUBCONSCIOUS.

YOURS?

YES.

REMEMBER, YOU ARE THE DREAMER.

YOU BUILD THIS WORLD.

I AM THE SUBJECT.

MY MIND POPULATES IT.

YOU CAN LITERALLY TALK

TO MY SUBCONSCIOUS.

THAT'S ONE OF THE WAYS

WE EXTRACT INFORMATION

FROM THE SUBJECT.

HOW ELSE DO YOU DO IT?

BY CREATING

SOMETHING SECURE

LIKE A -- LIKE A BANK VAULT

OR A JAIL.

[ HORN BEEPS ]

THE MIND AUTOMATICALLY

FILLS IT WITH INFORMATION

IT'S TRYING TO PROTECT.

YOU UNDERSTAND?

THEN YOU BREAK IN

AND STEAL IT.

WELL...

I GUESS I THOUGHT

THAT THE DREAM SPACE

WOULD BE ALL

ABOUT THE VISUAL,

BUT IT'S MORE

ABOUT THE FEEL OF IT.

MY QUESTION IS,

WHAT HAPPENS

WHEN YOU START MESSING

WITH THE PHYSICS

OF IT ALL?

[ THUD ]

IT'S SOMETHING,

ISN'T IT?

YES, IT IS.

[ HORN HONKS IN DISTANCE ]

Ariadne: WHY ARE THEY ALL

LOOKING AT ME?

BECAUSE MY

SUBCONSCIOUS FEELS

THAT SOMEONE ELSE

IS CREATING THIS WORLD.

THE MORE

YOU CHANGE THINGS,

THE QUICKER THE PROJECTIONS

START TO CONVERGE ON YOU.

"CONVERGE"?

THEY SENSE THE FOREIGN NATURE

OF THE DREAMER.

THEY ATTACK LIKE WHITE BLOOD

CELLS FIGHTING AN INFECTION.

LIKE THEY'RE GONNA

ATTACK US?

NO, NO.

JUST YOU.

THIS IS GREAT,

BUT I'M TELLING YOU,

IF YOU KEEP CHANGING THINGS

LIKE THIS...

GEEZ.

MIND TELLING YOUR SUBCONSCIOUS

TO TAKE IT EASY?

IT'S MY SUBCONSCIOUS.

REMEMBER? I CAN'T CONTROL IT.

[ EXPLOSION, GLASS SHATTERS ]

VERY IMPRESSIVE.

I KNOW THIS BRIDGE.

THIS PLACE IS REAL, ISN'T IT?

YEAH, I CROSS IT EVERY DAY

TO GET TO THE COLLEGE.

NEVER RE-CREATE PLACES

FROM YOUR MEMORY.

ALWAYS IMAGINE

NEW PLACES.

WELL, YOU GOTTA DRAW FROM

STUFF YOU KNOW, RIGHT?

ONLY USE DETAILS --

A-A STREETLAMP OR A PHONE BOOTH.

NEVER ENTIRE AREAS.

WHY NOT?

'CAUSE BUILDING A DREAM

FROM YOUR MEMORY

IS THE EASIEST WAY

TO LOSE YOUR GRASP

ON WHAT'S REAL

AND WHAT IS A DREAM.

IS THAT WHAT HAPPENED

TO YOU?

HEY, LISTEN TO ME.

THIS HAS NOTHING TO DO WITH ME,

YOU UNDERSTAND?

IS THAT WHY YOU NEED ME

TO BUILD YOUR DREAMS?

HEY, GET OFF OF HER.

BACK UP. BACK UP!

COBB! COBB!

GET OFF OF HER!

COBB! LET ME GO!

MAL!

LET ME GO!

MAL!

WAKE ME UP!

MAL!

WAKE ME UP!

WAKE ME UP!

MAL, NO! NO!

WAKE ME UP!

WAKE ME UP!

[ GASPING ]

HEY. HEY.

HEY. LOOK AT ME.

YOU'RE OKAY.

YOU'RE OKAY.

[ GASPING ] WHY --

WHY WOULDN'T I WAKE UP?

[ SIGHS ]

'CAUSE THERE WAS STILL

SOME TIME ON THE CLOCK,

AND YOU CAN'T WAKE UP FROM

WITHIN THE DREAM UNLESS YOU DIE.

SHE'LL NEED A TOTEM.

WHAT?!

A TOTEM,

IT'S A SMALL PERSONAL...

THAT'S SOME SUBCONSCIOUS

YOU'VE GOT ON YOU, COBB!

SHE'S A REAL CHARMER!

OH. I SEE

YOU MET MRS. COBB.

SHE'S HIS WIFE?

YEAH.

SO, A TOTEM.

[ BREATHING HEAVILY ]

YOU NEED A SMALL OBJECT,

POTENTIALLY HEAVY,

SOMETHING YOU CAN HAVE

ON YOU ALL THE TIME

THAT NO ONE ELSE KNOWS.

WHAT, LIKE A COIN?

NO. IT NEEDS TO BE

MORE UNIQUE THAN THAT.

LIKE, THIS IS A...

LOADED DIE.

[ EXHALES SHARPLY ]

I CAN'T LET YOU TOUCH IT.

THAT WOULD DEFEAT

THE PURPOSE.

SEE, ONLY I KNOW THE BALANCE

AND THE WEIGHT

OF THIS PARTICULAR

LOADED DIE.

THAT WAY,

WHEN YOU LOOK AT YOUR TOTEM,

YOU KNOW BEYOND A DOUBT

THAT YOU'RE NOT

IN SOMEONE ELSE'S DREAM.

[ SIGHS ]

I-I DON'T KNOW IF YOU CAN'T

SEE WHAT'S GOING ON,

OR IF YOU JUST

DON'T WANT TO,

BUT COBB HAS SOME

SERIOUS PROBLEMS

THAT HE'S TRIED

TO BURY DOWN THERE.

AND I'M NOT ABOUT

TO JUST OPEN MY MIND

TO SOMEONE LIKE THAT.

[ DOOR CLOSES ]

Cobb: SHE'LL BE BACK.

I'VE NEVER SEEN ANYONE PICK

IT UP THAT QUICKLY BEFORE.

REALITY'S NOT GONNA BE ENOUGH

FOR HER NOW,

AND WHEN SHE COMES BACK

[SCOFFS]

WHEN SHE COMES BACK,

YOU'RE GONNA HAVE

HER BUILDING MAZES.

WHERE ARE YOU GONNA BE?

I GOTTA GO VISIT EAMES.

EAMES? NO, HE'S IN MOMBASA.

IT'S COBOL'S BACKYARD.

IT'S A NECESSARY RISK.

WELL, THERE'S PLENTY

OF GOOD THIEVES.

[ SIGHS ]

WE DON'T JUST NEED A THIEF.

WE NEED A FORGER.

[ INDISTINCT CONVERSATIONS ]

YOU CAN RUB THEM TOGETHER

ALL YOU WANT,

THEY'RE NOT GONNA BREED.

YOU NEVER KNOW.

LET ME GET YOU A DRINK.

[ DIE RATTLE ]

YOU'RE BUYING.

YOUR SPELLING

HASN'T IMPROVED.

PISS OFF.

HOW'S YOUR HANDWRITING?

IT'S VERSATILE.

GOOD.

THANK YOU VERY MUCH.

INCEPTION.

NOW, BEFORE YOU BOTHER

TELLING ME IT'S IMPOSSIBLE,

LET ME --

NO, IT'S PERFECTLY POSSIBLE.

IT'S JUST BLOODY DIFFICULT.

INTERESTING.

'CAUSE ARTHUR KEEPS TELLING ME

IT CAN'T BE DONE.

HMM. ARTHUR.

YOU STILL WORKING WITH

THAT STICK IN THE MUD?

WELL, HE IS GOOD

AT WHAT HE DOES, RIGHT?

OH, HE'S THE BEST.

HE HAS NO IMAGINATION.

NOT LIKE YOU.

LISTEN, IF YOU'RE GONNA

PERFORM INCEPTION,

YOU NEED IMAGINATION.

LET ME ASK YOU SOMETHING.

HAVE YOU DONE IT BEFORE?

WE TRIED IT.

WE GOT THE IDEA IN PLACE,

BUT IT DIDN'T TAKE.

YOU DIDN'T PLANT IT

DEEP ENOUGH?

NO, IT'S NOT

JUST ABOUT DEPTH.

YOU NEED THE SIMPLEST

VERSION OF THE IDEA

IN ORDER FOR IT

TO GROW NATURALLY

IN YOUR SUBJECT'S MIND.

IT'S A VERY SUBTLE ART.

SO, WHAT IS THIS IDEA

THAT YOU NEED TO PLANT?

WE NEED THE HEIR

OF A MAJOR CORPORATION

TO DISSOLVE

HIS FATHER'S EMPIRE.

WELL, YOU SEE,

RIGHT THERE,

YOU HAVE VARIOUS

POLITICAL MOTIVATIONS

AND ANTI-MONOPOLISTIC

SENTIMENTS AND SO FORTH.

BUT ALL OF

THAT STUFF IS...

IT'S REALLY AT THE MERCY

OF YOUR SUBJECT'S

PREJUDICE, YOU SEE?

AND WHAT YOU HAVE TO DO

IS START AT

THE ABSOLUTE BASIC.

WHICH IS WHAT?

THE RELATIONSHIP

WITH THE FATHER.

DO YOU HAVE A CHEMIST?

NO, NOT YET.

RIGHT. OKAY, WELL,

THERE'S A MAN HERE. YUSUF.

HE, UH, HE FORMULATES HIS

OWN VERSIONS OF THE COMPOUNDS.

WHY DON'T YOU

TAKE ME THERE?

ONCE YOU'VE LOST YOUR TAIL.

THE MAN AT THE BAR.

COBOL ENGINEERING.

THAT PRICE ON MY HEAD --

WAS THAT DEAD OR ALIVE?

DON'T REMEMBER. LET'S SEE

IF HE STARTS SHOOTING.

RUN INTERFERENCE.

I'LL MEET YOU DOWNSTAIRS IN

THE BAR IN, SAY, HALF AN HOUR?

THEN BACK HERE?

THIS IS THE LAST PLACE

THEY'D SUSPECT.

[ CHUCKLES ] MM.

ALL RIGHT.

FREDDY! FREDDY SIMMONDS.

MY GOD, IT'S YOU,

ISN'T IT?

[ GRUNTS ]

WHO?

NO, IT ISN'T YOU.

YOU'RE NOT DREAMING NOW,

ARE YOU?

[ PEOPLE SHOUTING ]

OHH!

THERE!

[ SPEAKING

NATIVE LANGUAGE ]

CAFÉ. ONE CAFÉ.

[ SPEAKING URGENTLY

IN NATIVE LANGUAGE ]

[ SPEAKING URGENTLY ]

Shh!

[ INDISTINCT SHOUTING ]

[ SPEAKING URGENTLY ]

ONE CAFÉ.

CAFÉ.

[ INDISTINCT SHOUTING ]

[ GUNFIRE ]

[ HORN HONKING ]

OHH!

[ BULLETS RICOCHET ]

[ GRUNTS ]

[ TIRES SCREECH ]

[ TIRES SCREECH ]

CARE FOR A LIFT, MR. COBB?

WHAT ARE YOU DOING

IN MOMBASA?!

I'M HERE TO PROTECT

MY INVESTMENT.

[ WHISTLES, TAPS CAR ]

AH, SO THIS IS YOUR IDEA

OF LOSING A TAIL, HUH?

DIFFERENT TAIL.

[ ARIADNE CLEARS THROAT SOFTLY ]

COBB SAID YOU'D BE BACK.

YEAH, WELL,

I TRIED NOT TO COME, BUT...

BUT THERE'S NOTHING

QUITE LIKE IT.

IT'S JUST...

...PURE CREATION.

SHALL WE TAKE A LOOK AT SOME

PARADOXICAL ARCHITECTURE?

YOU'RE GONNA HAVE TO MASTER

A FEW TRICKS

IF YOU'RE GONNA BUILD

THREE COMPLETE DREAM LEVELS.

EXCUSE ME.

WHAT KIND OF TRICKS?

IN A DREAM,

YOU CAN CHEAT ARCHITECTURE

INTO IMPOSSIBLE SHAPES.

THAT LETS YOU CREATE

CLOSED LOOPS,

LIKE THE PENROSE STEPS.

THE INFINITE STAIRCASE.

SEE?

PARADOX.

SO, A CLOSED LOOP

LIKE THAT

WILL HELP YOU DISGUISE

THE BOUNDARIES

OF THE DREAM YOU CREATE.

BUT HOW BIG DO THESE LEVELS

HAVE TO BE?

WELL, IT COULD BE ANYTHING

FROM THE FLOOR OF A BUILDING

TO AN ENTIRE CITY.

BUT THEY HAVE TO BE

COMPLICATED ENOUGH

THAT WE CAN HIDE

FROM THE PROJECTIONS.

A MAZE.

RIGHT, A MAZE.

AND THE BETTER

THE MAZE...

THEN THE LONGER WE HAVE

BEFORE THE PROJECTIONS CATCH US?

EXACTLY.

MY SUBCONSCIOUS

SEEMS POLITE ENOUGH.

[ CHUCKLES ] YOU WAIT.

THEY'LL TURN UGLY.

NO ONE LIKES TO FEEL

SOMEONE ELSE

MESSING AROUND

IN THEIR MIND.

COBB CAN'T BUILD ANYMORE,

CAN HE?

WELL, I DON'T KNOW

IF HE CAN'T, BUT HE WON'T.

HE THINKS IT'S SAFER

IF HE DOESN'T KNOW THE LAYOUTS.

WHY?

HE WON'T TELL ME.

BUT I THINK IT'S MAL.

HIS EX-WIFE?

NO, NOT HIS EX.

THEY'RE STILL TOGETHER?

NO...

SHE'S DEAD.

WHAT YOU SEE IN THERE

IS JUST HIS PROJECTION OF HER.

WHAT WAS SHE LIKE

IN REAL LIFE?

SHE WAS LOVELY.

Yusuf:

YOU ARE SEEKING A CHEMIST?

Cobb: YES.

TO FORMULATE COMPOUNDS

FOR A JOB?

AND TO GO INTO THE FIELD

WITH US.

NO, I RARELY GO INTO THE FIELD,

MR. COBB.

WELL, WE'D NEED YOU THERE

TO TAILOR COMPOUNDS

SPECIFIC TO OUR NEEDS.

WHICH ARE?

GREAT DEPTH.

A DREAM WITHIN A DREAM.

TWO LEVELS.

THREE.

NOT POSSIBLE.

THAT MANY DREAMS WITHIN DREAMS

IS TOO UNSTABLE.

IT IS POSSIBLE.

YOU JUST HAVE TO ADD

A SEDATIVE.

A POWERFUL SEDATIVE.

HOW MANY TEAM MEMBERS?

FIVE.

Saito: SIX.

THE ONLY WAY TO KNOW

YOU'VE DONE THE JOB

IS IF I GO IN WITH YOU.

THERE'S NO ROOM FOR TOURISTS

ON A JOB LIKE THIS, MR. SAITO.

THIS TIME, IT SEEMS THERE IS.

THIS, I THINK,

IS A GOOD PLACE TO START.

I USE IT EVERY DAY.

WHAT FOR?

HERE, I'LL SHOW YOU.

PERHAPS YOU WILL NOT

WANT TO SEE.

AFTER YOU.

Eames: 10...12.

ALL CONNECTED.

BLOODY HELL.

THEY COME EVERY DAY

TO SHARE THE DREAM.

YOU SEE?

VERY STABLE.

HOW LONG

DO THEY DREAM FOR?

Yusuf: THREE, FOUR HOURS,

EACH DAY.

AND DREAM TIME?

WITH THIS COMPOUND?

ABOUT 40 HOURS,

EACH AND EVERY DAY.

WHY DO THEY DO IT?

TELL HIM, MR. COBB.

AFTER A WHILE, IT BECOMES

THE ONLY WAY YOU CAN DREAM.

DO YOU STILL DREAM,

MR. COBB?

THEY COME HERE EVERY DAY

TO SLEEP?

Elderly man: NO.

THEY COME TO BE WOKEN UP.

THE DREAM HAS BECOME

THEIR REALITY.

WHO ARE YOU

TO SAY OTHERWISE, SIR?

[ CHUCKLES ]

LET'S SEE

WHAT YOU CAN DO.

[ CREAKING ]

YOU KNOW HOW

TO FIND ME.

[ CREAKING ]

YOU KNOW

WHAT YOU HAVE TO DO.

[ GRUNTING ]

[ EXHALES SHARPLY ]

SHARP, NO?

[ BREATHING HEAVILY ]

[ BREATHING RAGGEDLY ]

Saito: ARE YOU ALL RIGHT,

MR. COBB?

YEAH. YEAH.

EVERYTHING'S JUST FINE.

[ EXHALES SHARPLY ]

ROBERT FISCHER,

HEIR TO THE FISCHER MORROW

ENERGY CONGLOMERATE.

WHAT'S YOUR PROBLEM

WITH THIS MR. FISCHER?

THAT'S NOT YOUR CONCERN.

MR. SAITO, THIS [SCOFFS]

THIS ISN'T YOUR TYPICAL

CORPORATE ESPIONAGE.

YOU ASKED ME

FOR INCEPTION.

I DO HOPE YOU UNDERSTAND

THE GRAVITY OF THAT REQUEST.

NOW, THE SEED THAT WE PLANT

IN THIS MAN'S MIND

WILL GROW INTO AN IDEA.

THIS IDEA WILL DEFINE HIM.

IT MAY COME TO CHANGE...

WELL, IT MAY COME TO CHANGE

EVERYTHING ABOUT HIM.

WE'RE THE LAST COMPANY

STANDING

BETWEEN THEM

AND TOTAL ENERGY DOMINANCE.

AND WE CAN

NO LONGER COMPETE.

SOON, THEY'LL CONTROL THE ENERGY

SUPPLY OF HALF THE WORLD.

IN EFFECT,

THEY BECOME A NEW SUPERPOWER.

[ POUNDS TABLE ]

THE WORLD NEEDS ROBERT FISCHER

TO CHANGE HIS MIND.

Eames:

THAT'S WHERE WE COME IN.

HOW IS ROBERT FISCHER'S

RELATIONSHIP WITH HIS FATHER?

RUMOR IS THE RELATIONSHIP

IS QUITE COMPLICATED.

WELL, WE CAN'T WORK BASED

SOLELY ON RUMOR, CAN WE?

CAN YOU GET ME ACCESS

TO THIS MAN HERE?

BROWNING.

FISCHER SENIOR'S

RIGHT-HAND MAN...

FISCHER JUNIOR'S GODFATHER.

IT SHOULD BE POSSIBLE,

IF YOU CAN GET

THE RIGHT REFERENCES.

REFERENCES ARE SOMETHING OF

A SPECIALTY FOR ME, MR. SAITO.

I'M NOT SMELLING

SETTLEMENT HERE.

TAKE THEM DOWN.

MR. BROWNING,

MAURICE FISCHER'S POLICY

IS ALWAYS ONE

OF AVOIDING LITIGATION.

WELL, SHALL WE VOICE

YOUR CONCERNS

WITH MAURICE DIRECTLY?

I'M NOT SURE

THAT'S NECESSARY.

NO, NO, NO.

I-I THINK WE SHOULD.

HOW IS HE?

I DON'T WANT TO BOTHER HIM

UNNECESSARILY, BUT --

ROBERT, I TOLD YOU

KEEP OUT THE DAMN...

[ CLATTER ]

WAIT, SO DO IT! GET --

Nurse: Shh.

PUT IT THROUGH!

NEVER! NEVER.

HAVEN'T YOU,

THE SAME AS I ASKED.

LEAVE THAT.

[ BREATHING RAGGEDLY ]

Browning: MUST BE A CHERISHED

MEMORY OF HIS.

I PUT IT BESIDE HIS BED.

HE HASN'T EVEN NOTICED.

ROBERT...

[ SIGHS ]

...WE NEED TO TALK

ABOUT A POWER OF ATTORNEY.

I KNOW THIS IS HARD

ON YOU --

NOT NOW, UNCLE PETER.

BUT IT'S IMPERATIVE

THAT WE START TO...

Eames:

THE VULTURES ARE CIRCLING.

AND THE SICKER

MAURICE FISCHER BECOMES,

THE MORE POWERFUL

PETER BROWNING BECOMES.

I'VE HAD AMPLE OPPORTUNITY

TO OBSERVE BROWNING,

ADOPT HIS PHYSICAL PRESENCE,

STUDY HIS MANNERISMS,

AND SO ON AND SO FORTH.

SO NOW IN THE FIRST LAYER

OF THE DREAM,

I CAN IMPERSONATE BROWNING

AND SUGGEST CONCEPTS

TO FISCHER'S CONSCIOUS MIND.

THEN, WHEN WE TAKE HIM

A LEVEL DEEPER,

HIS OWN PROJECTION

OF BROWNING SHOULD --

SHOULD FEED THAT

RIGHT BACK TO HIM.

SO HE GIVES HIMSELF

THE IDEA.

PRECISELY.

THAT'S THE ONLY WAY

IT WILL STICK.

IT HAS TO SEEM

SELF-GENERATED.

EAMES...

I AM IMPRESSED.

YOUR CONDESCENSION, AS ALWAYS,

IS MUCH APPRECIATED,

ARTHUR, THANK YOU.

[ WHIRRING ]

[ RUSTLING ]

WERE YOU GOING UNDER

ON YOUR OWN?

NO, NO, I WAS JUST --

I WAS JUST RUNNING

SOME EXPERIMENTS.

I DIDN'T REALIZE

ANYONE WAS HERE.

YEAH, I WAS JUST -- I WAS

WORKING ON MY TOTEM, ACTUALLY.

HERE.

LET ME TAKE A LOOK.

AH --

SO YOU'RE LEARNING, HUH?

AN ELEGANT SOLUTION

FOR KEEPING TRACK OF REALITY.

WAS IT YOUR IDEA?

NO, IT WAS...

IT WAS MAL'S, ACTUALLY.

THIS....

THIS ONE WAS HERS.

SHE'D SPIN IT

IN THE DREAM,

AND IT WOULD

NEVER TOPPLE.

JUST...

SPIN AND SPIN.

ARTHUR TOLD ME

SHE PASSED AWAY.

HOW ARE THE MAZES

COMING ALONG?

EACH LEVEL

RELATES TO THE PART

OF THE SUBJECT'S

SUBCONSCIOUS

THAT WE ARE TRYING

TO ACCESS.

SO, I'M MAKING THE BOTTOM

LEVEL A HOSPITAL

SO FISCHER

WILL BRING HIS FATHER.

UM, YOU KNOW, ACTUALLY,

I HAVE A QUESTION

ABOUT THIS LAYOUT.

NO, NO, NO. DON'T --

DON'T SHOW ME SPECIFICS.

ONLY THE DREAMER

SHOULD KNOW THE LAYOUT.

WHY IS THAT

SO IMPORTANT?

IN CASE ONE OF US

BRINGS IN OUR PROJECTIONS.

WE DON'T WANT THEM KNOWING

THE DETAILS OF THE MAZE.

YOU MEAN

IN CASE YOU BRING MAL IN.

YOU CAN'T KEEP HER OUT,

CAN YOU?

RIGHT.

YOU CAN'T BUILD BECAUSE,

IF YOU KNOW THE MAZE,

THEN SHE KNOWS IT.

WELL, SHE'D SABOTAGE

THE WHOLE OPERATION.

COBB, DO THE OTHERS KNOW?

NO. NO, THEY DON'T.

YOU'VE GOTTA WARN THEM

IF THIS IS GETTING WORSE.

NO ONE SAID

IT'S GETTING WORSE.

I NEED TO GET HOME.

THAT'S ALL I CARE ABOUT

RIGHT NOW.

WHY CAN'T YOU GO HOME?

BECAUSE THEY THINK

I KILLED HER.

THANK YOU.

FOR WHAT?

FOR NOT ASKING

WHETHER I DID.

"I WILL SPLIT UP

MY FATHER'S EMPIRE."

NOW, THIS IS

OBVIOUSLY AN IDEA

THAT ROBERT HIMSELF

WOULD CHOOSE TO REJECT.

WHICH IS WHY WE NEED TO PLANT IT

DEEP IN HIS SUBCONSCIOUS.

THE SUBCONSCIOUS IS MOTIVATED

BY EMOTION, RIGHT?

NOT REASON.

WE NEED TO FIND A WAY

TO TRANSLATE THIS

INTO AN EMOTIONAL CONCEPT.

HOW DO YOU TRANSLATE A BUSINESS

STRATEGY INTO AN EMOTION?

THAT'S WHAT WE'RE HERE

TO FIGURE OUT, RIGHT?

NOW, ROBERT'S RELATIONSHIP

WITH HIS FATHER

IS STRESSED, TO SAY THE LEAST.

WELL,

CAN WE RUN WITH THAT?

WE COULD SUGGEST TO HIM

BREAKING UP

HIS FATHER'S COMPANY

AS A "SCREW YOU"

TO THE OLD MAN.

NO, BECAUSE I THINK

POSITIVE EMOTION

TRUMPS NEGATIVE EMOTION

EVERY TIME.

WE ALL YEARN

FOR RECONCILIATION,

FOR CATHARSIS.

WE NEED ROBERT FISCHER

TO HAVE A POSITIVE

EMOTIONAL REACTION TO ALL THIS.

ALL RIGHT,

WELL, TRY THIS.

UM, "MY FATHER ACCEPTS THAT

I WANT TO CREATE FOR MYSELF,

NOT FOLLOW

IN HIS FOOTSTEPS."

THAT MIGHT WORK.

"MIGHT"?

WE'RE GONNA NEED TO DO

A LITTLE BETTER THAN "MIGHT."

OH. THANK YOU FOR

YOUR CONTRIBUTION, ARTHUR.

FORGIVE ME FOR WANTING

A LITTLE SPECIFICITY, EAMES.

SPECIFICITY?

INCEPTION'S

NOT ABOUT BEING SPECIFIC.

WHEN WE GET INSIDE HIS MIND,

WE'RE GONNA HAVE TO WORK

WITH WHAT WE FIND.

Eames:

ON THE TOP LEVEL,

WE OPEN UP HIS RELATIONSHIP

WITH HIS FATHER,

AND SAY, "I WILL NOT FOLLOW

IN MY FATHER'S FOOTSTEPS."

THEN THE NEXT LEVEL DOWN,

WE FEED HIM,

"I WILL CREATE SOMETHING

FOR MYSELF."

THEN, BY THE TIME

WE HIT THE BOTTOM LEVEL,

WE BRING OUT THE BIG GUNS.

"MY FATHER DOESN'T WANT ME

TO BE HIM."

EXACTLY.

Arthur: THREE LAYERS DOWN,

THE DREAMS ARE GONNA COLLAPSE

WITH THE SLIGHTEST DISTURBANCE.

SEDATION.

FOR SLEEP STABLE ENOUGH

TO CREATE THREE LAYERS

OF DREAMING,

WE'LL HAVE TO COMBINE IT

WITH AN EXTREMELY

POWERFUL SEDATIVE.

GOOD NIGHT.

THE COMPOUND WE'LL BE USING

TO SHARE THE DREAM

CREATES A VERY CLEAR CONNECTION

BETWEEN DREAMERS

WHILST ACTUALLY ACCELERATING

BRAIN FUNCTION.

IN OTHER WORDS, IT GIVES US

MORE TIME ON EACH LEVEL.

BRAIN FUNCTION IN THE DREAM

WILL BE ABOUT 20 TIMES NORMAL.

WHEN YOU ENTER A DREAM

WITHIN THAT DREAM,

THE EFFECT IS COMPOUNDED.

IT'S 3 DREAMS --

THAT'S 10 HOURS TIMES --

I'M SORRY, MATH WAS NEVER

MY STRONG SUBJECT.

H-HOW MUCH TIME IS THAT?

IT'S A WEEK,

THE FIRST LEVEL DOWN,

SIX MONTHS,

THE SECOND LEVEL DOWN,

AND THE THIRD LEVEL...

IT'S 10 YEARS.

WHO WOULD WANT TO BE STUCK

IN A DREAM FOR 10 YEARS?

DEPENDS ON THE DREAM.

SO, ONCE WE'VE MADE THE PLANT,

HOW DO WE GET OUT?

AND I'M HOPING YOU HAVE

SOMETHING MORE ELEGANT IN MIND

THAN SHOOTING ME

IN THE HEAD.

A KICK.

WHAT'S A KICK?

THIS, ARIADNE,

WOULD BE A KICK.

IT'S THAT FEELING OF FALLING

YOU GET THAT JOLTS YOU AWAKE.

IT [SNAPS FINGERS]

SNAPS YOU OUT OF THE DREAM.

ARE WE GONNA FEEL A KICK

WITH THIS KIND OF SEDATION?

Yusuf:

OH, THAT'S THE CLEVER PART.

I CUSTOMIZED THE SEDATIVE

TO LEAVE INNER EAR FUNCTION

UNIMPAIRED.

THAT WAY,

HOWEVER DEEP THE SLEEP,

THE SLEEPER

STILL FEELS FALLING.

OR TIPPING.

THE TRICK IS

TO SYNCHRONIZE A KICK

THAT CAN PENETRATE

ALL THREE LEVELS.

WE COULD USE

THE MUSICAL COUNTDOWN

TO SYNCHRONIZE

THE DIFFERENT KICKS.

[ "NON JE NE REGRETTE RIEN"

PLAYS ]

Eames: HE HASN'T GOT

ANY SURGERY SCHEDULED.

THERE'S NO DENTAL,

NOTHING.

Cobb: WASN'T HE SUPPOSED

TO HAVE A KNEE OPERATION?

NOTHING. NOTHING THAT THEY'D

PUT HIM UNDER FOR, ANYWAY.

AND WE NEED -- WE NEED

AT LEAST A GOOD 10 HOURS.

SYDNEY TO LOS ANGELES.

ONE OF THE LONGEST FLIGHTS

IN THE WORLD.

HE MAKES IT EVERY TWO WEEKS.

HE MUST BE

FLYING PRIVATE, THEN.

NOT IF THERE WERE UNEXPECTED

MAINTENANCE WITH HIS PLANE.

Arthur:

IT WOULD HAVE TO BE A 747.

WHY'S THAT?

BECAUSE ON A 747,

THE PILOT IS UP TOP,

AND THE FIRST-CLASS CABIN

IS IN THE NOSE,

SO NO ONE

WOULD WALK THROUGH.

BUT YOU'D HAVE TO BUY OUT

THE ENTIRE CABIN

AND THE FIRST-CLASS

FLIGHT ATTENDANT.

I BOUGHT THE AIRLINE.

IT SEEMED NEATER.

WELL, LOOKS LIKE

WE HAVE OUR 10 HOURS.

ARIADNE?

TERRIFIC WORK,

BY THE WAY.

[ WHIRRING ]

[ ELEVATOR CLATTERING ]

Mal:

YOU KNOW HOW TO FIND ME.

YOU KNOW

WHAT YOU HAVE TO DO.

YOU REMEMBER WHEN YOU ASKED ME

TO MARRY YOU?

OF COURSE I DO.

YOU SAID YOU HAD A DREAM.

THAT WE'D GROW OLD

TOGETHER.

AND WE CAN.

[ SUSPENSEFUL MUSIC PLAYS ]

YOU SHOULDN'T BE HERE.

[ CAGE RATTLING ]

I JUST WANTED TO SEE

WHAT KIND OF "TESTS"

YOU'RE DOING ON YOUR OWN

EVERY NIGHT.

ALL RIGHT, WELL, THIS

HAS NOTHING TO DO WITH YOU.

THIS HAS EVERYTHING

TO DO WITH ME.

YOU'VE ASKED ME TO SHARE DREAMS

WITH YOU.

NOT THESE.

THESE ARE MY DREAMS.

[ GULLS CRYING ]

WHY DO YOU DO THIS

TO YOURSELF?

IT'S THE ONLY WAY

I CAN STILL DREAM.

WHY IS IT SO IMPORTANT

TO DREAM?

IN MY DREAMS,

WE'RE STILL TOGETHER.

THESE AREN'T JUST DREAMS.

THESE ARE MEMORIES.

AND -- AND YOU SAID

NEVER TO USE MEMORIES.

I KNOW I DID.

YOU'RE TRYING

TO KEEP HER ALIVE.

YOU CAN'T LET HER GO.

YOU DON'T UNDERSTAND.

THESE ARE MOMENTS

I REGRET.

THEY'RE MEMORIES

THAT I HAVE TO CHANGE.

WELL, WHAT'S DOWN THERE

THAT YOU REGRET?

LISTEN,

THERE'S ONLY ONE THING

YOU NEED TO UNDERSTAND

ABOUT ME.

THIS IS YOUR HOUSE?

MINE AND MAL'S, YES.

WHERE IS SHE?

SHE'S ALREADY GONE.

THAT'S MY SON, JAMES.

HE'S DIGGING FOR SOMETHING,

MAYBE A WORM.

[ CHILDREN SHOUTING PLAYFULLY ]

THAT'S PHILLIPA.

SEE, I THOUGHT

ABOUT CALLING OUT TO THEM,

SO THEY'D TURN AND SMILE

AND I COULD SEE THOSE...

THOSE BEAUTIFUL FACES

OF THEIRS.

BUT...

IT'S ALL TOO LATE.

RIGHT NOW...

OR NEVER, COBB.

THEN I START TO PANIC.

I REALIZE I'M GONNA REGRET

THIS MOMENT,

THAT I NEED TO SEE THEIR FACES

ONE LAST TIME.

Marie: JAMES! PHILLIPA!

COME ON IN!

BUT THE MOMENT'S PAST.

AND WHATEVER I DO,

I CAN'T CHANGE THIS MOMENT.

AS I'M ABOUT TO CALL OUT

TO THEM...

THEY RUN AWAY.

IF I'M EVER GONNA SEE

THEIR FACES AGAIN,

I'VE GOTTA

GET BACK HOME...

...TO THE REAL WORLD.

[ CAGE CLATTERS ]

[ BREATHING HEAVILY ]

[ TRAIN RUMBLING ]

[ SIREN WAILS IN DISTANCE ]

[ GLASS CRUNCHES ]

WHAT ARE YOU DOING HERE?

MY NAME IS --

I KNOW WHO YOU ARE.

WHAT ARE YOU DOING HERE?

I'M JUST TRYING

TO UNDERSTAND.

HOW COULD YOU

UNDERSTAND?

DO YOU KNOW WHAT IT IS

TO BE A LOVER?

TO BE HALF OF A WHOLE?

NO.

I'LL TELL YOU A RIDDLE.

YOU'RE WAITING

FOR A TRAIN,

A TRAIN THAT WILL TAKE YOU

FAR AWAY.

[ GLASS CRUNCHES ]

YOU KNOW WHERE YOU HOPE

THIS TRAIN WILL TAKE YOU,

BUT YOU DON'T KNOW

FOR SURE.

BUT IT DOESN'T MATTER.

HOW CAN IT

NOT MATTER TO YOU

WHERE THAT TRAIN

WILL TAKE YOU?

Cobb:

BECAUSE WE'LL BE TOGETHER.

HOW COULD YOU

BRING HER HERE, DOM?

WHAT IS THIS PLACE?

THIS IS THE HOTEL SUITE

WHERE WE USED TO SPEND

OUR ANNIVERSARY.

WHAT HAPPENED HERE?

YOU PROMISED!

YOU PROMISED

WE'D BE TOGETHER!

PLEASE, I NEED YOU TO STAY HERE

JUST FOR NOW!

YOU SAID

WE'D BE TOGETHER!

YOU SAID WE'D

GROW OLD TOGETHER!

I'LL COME BACK FOR YOU.

I PROMISE.

[ ELEVATOR STARTS ]

[ SCREAMING ]

[ BREATHING HEAVILY ]

[ FASTENER RIPS ]

[ BREATHES DEEPLY ]

DO YOU THINK

YOU CAN JUST BUILD A PRISON

OF MEMORIES

TO LOCK HER IN?

[ EXHALES ]

DO YOU REALLY THINK THAT

THAT'S GONNA CONTAIN HER?

[ DOOR OPENS ]

Saito: IT'S TIME.

MAURICE FISCHER JUST DIED

IN SYDNEY.

WHEN'S THE FUNERAL?

THURSDAY.

IN LOS ANGELES.

ROBERT SHOULD

ACCOMPANY THE BODY

NO LATER THAN TUESDAY.

WE SHOULD MOVE.

RIGHT.

COBB,

I'M COMING WITH YOU.

I PROMISED MILES. NO.

THE TEAM NEEDS SOMEONE

WHO UNDERSTANDS

WHAT YOU'RE

STRUGGLING WITH.

A-AND IT DOESN'T

HAVE TO BE ME,

BUT THEN YOU HAVE TO SHOW

ARTHUR WHAT I JUST SAW.

GET US ANOTHER SEAT

ON THE PLANE.

[ THUD ]

Cobb:

IF I GET ON THIS PLANE

AND YOU DON'T HONOR

OUR AGREEMENT...

WHEN WE LAND, I GO TO JAIL

FOR THE REST OF MY LIFE.

COMPLETE THE JOB EN ROUTE,

I MAKE ONE PHONE CALL

FROM THE PLANE,

YOU HAVE NO TROUBLE

GETTING THROUGH IMMIGRATION.

I'M SORRY.

OH, YEAH, I'M SORRY.

MY BAD.

[ CLEARS THROAT ]

[ TONE SOUNDS ]

EXCUSE ME,

I THINK THIS IS YOURS?

YOU MUST HAVE

DROPPED IT.

WOULD YOU GENTLEMEN

CARE FOR A DRINK?

UH, WATER, PLEASE.

UM, SAME, PLEASE.

UM...

THANK YOU.

YOU KNOW,

I COULDN'T HELP BUT NOTICE,

BUT YOU WOULDN'T HAPPEN

TO BE RELATED TO...

THE MAURICE FISCHER,

WOULD YOU?

YES, HE, UM...

HE WAS MY FATHER.

WELL, HE WAS

A VERY INSPIRING FIGURE.

I'M SORRY FOR YOUR LOSS.

HERE YOU GO.

THANK YOU.

HEY.

TO YOUR FATHER.

MAY HE REST IN PEACE, HUH?

[ OVERHEAD COMPARTMENT CLOSES ]

[ WHIRRING ]

[ HORNS HONKING ]

[ HORN HONKS ]

COULDN'T HAVE PEED

BEFORE YOU WENT UNDER?

SORRY.

BIT TOO MUCH FREE CHAMPAGNE

BEFORE TAKEOFF, EH, YUSUF?

HA HA BLOODY HA.

WELL, WE KNOW HE'S

GONNA BE LOOKING

FOR A TAXI IN

THIS WEATHER.

[ ENGINE REVS ]

[ TIRES SCREECH ]

ASSHOLE!

HEY, MAN,

WHY DON'T YOU TRY --

WALK AWAY.

[ TIRES SQUEALING ]

[ UP-TEMPO MUSIC PLAYING

ON RADIO ]

[ MUSIC STOPS ]

JUST HAVE HIM --

I GOTTA GO.

ALL RIGHT. TAXI!

THANK YOU.

ALL RIGHT, THIRD AND MARKET.

[ GROANS ] SNAPPY.

WHAT ARE YOU DOING?

OH, I'M SORRY.

I THOUGHT IT WAS FREE.

WELL, IT'S NOT.

MAYBE WE COULD SHARE.

YEAH, MAYBE NOT. CAN YOU

PULL OVER AND GET THIS...

[ SIGHS ]

GREAT.

[ CAR DOOR OPENS]

COME ON!

[ CRASHING ]

THERE'S $500 IN THERE,

AND THE WALLET'S

WORTH MORE THAN THAT.

SO YOU MIGHT AT LEAST

DROP ME AT MY STOP.

I'M AFRAID

IT DOESN'T...

[ GUNSHOT ]

BULLET!

[ TIRES SCREECHING ]

[ TIRES SCREECH ]

COVER HIM!

DOWN! DOWN NOW!

WHAT THE HELL

IS GOING ON?!

[ BULLETS RICOCHET ]

Ariadne:

THIS WASN'T IN THE DESIGN.

COBB?

COBB?!

[ TIRES SCREECHING ]

[ TIRES SQUEALING,

GUNFIRE CONTINUES ]

[ TIRES SQUEALING ]

[ BULLETS RICOCHET ]

AAH!

[ TIRES SCREECHING,

GUNFIRE CONTINUES ]

READY?!

[ TIRES SCREECHING ]

ARE YOU ALL RIGHT?!

YEAH, I-I'M OKAY.

I'M OKAY.

FISCHER'S OKAY,

UNLESS HE GETS CARSICK.

SAITO?

GET FISCHER

IN THE BACK ROOM NOW!

GET HIM IN THE BACK ROOM.

MOVE!

[ GRUNTING ]

HAS HE BEEN SHOT?

I-IS HE DYING?

I DON'T KNOW.

JESUS CHRIST.

WHERE WERE YOU?

WHAT HAPPENED TO YOU?

WE WERE BLOCKED

BY A FREIGHT TRAIN.

WHY WOULD YOU PUT

A TRAIN CROSSING

IN THE MIDDLE OF A

DOWNTOWN INTERSECTION?

WELL, I DIDN'T.

WELL WHERE'D

IT COME FROM?

WELL LET ME ASK YOU

A QUESTION!

WHY THE HELL

WERE WE AMBUSHED, HUH?!

THOSE WERE NOT

NORMAL PROJECTIONS!

THEY'D BEEN TRAINED,

FOR GOD'S SAKES!

YOU'RE RIGHT.

HOW COULD HE BE TRAINED?!

FISCHER [SIGHS]

HAD AN EXTRACTOR

TEACH HIS SUBCONSCIOUS

TO DEFEND ITSELF.

SO HIS SUBCONSCIOUS

IS MILITARIZED.

IT SHOULD'VE SHOWN

IN THE RESEARCH. I'M SORRY.

SO WHY THE HELL

DIDN'T IT?

CALM DOWN.

DON'T TELL ME

TO CALM DOWN!

THIS WAS YOUR JOB,

GODDAMN IT!

THIS WAS

YOUR RESPONSIBILITY!

YOU WERE MEANT TO CHECK

FISCHER'S BACKGROUND THOROUGHLY!

WE ARE NOT PREPARED

FOR THIS TYPE OF VIOLENCE!

WE HAVE DEALT WITH

SUB-SECURITY BEFORE!

WE'LL BE A LITTLE MORE CAREFUL,

AND WE'RE GONNA BE FINE!

THIS WAS NOT A PART OF THE PLAN!

HE'S DYING, FOR GOD'S SAKES!

PUT HIM

OUT OF HIS MISERY.

NO, DON'T DO THAT!

HEY, HEY.

DON'T DO THAT.

HE'S IN AGONY.

I'M WAKING HIM UP.

NO.

IT WON'T WAKE HIM UP.

WHAT DO YOU MEAN,

IT WON'T WAKE HIM UP?

IT WON'T WAKE HIM UP.

WHEN WE DIE IN A

DREAM, WE WAKE UP.

NOT FROM THIS.

WE'RE TOO HEAVILY SEDATED

TO WAKE UP THAT WAY.

RIGHT. SO, WHAT HAPPENS

WHEN WE DIE?

WE DROP INTO LIMBO.

ARE YOU SERIOUS?

LIMBO?!

UNCONSTRUCTED

DREAM SPACE.

WELL, WHAT THE HELL

IS DOWN THERE?

JUST RAW,

INFINITE SUBCONSCIOUS.

NOTHING IS DOWN THERE,

EXCEPT FOR WHATEVER MIGHT HAVE

BEEN LEFT BEHIND

BY ANYONE

SHARING THE DREAM

WHO'S BEEN TRAPPED

THERE BEFORE.

WHICH, IN OUR CASE,

IS JUST YOU.

WELL, HOW LONG

COULD WE BE STUCK THERE?

Yusuf: CAN'T EVEN THINK

ABOUT TRYING TO ESCAPE

UNTIL THE SEDATION

HAS EASED.

HOW LONG, YUSUF?

DECADES.

IT COULD BE INFINITE.

I DON'T KNOW. ASK HIM.

HE'S THE ONE

WHO'S BEEN THERE.

Arthur: LET'S JUST

GET HIM UPSTAIRS.

[ GROANING ]

GREAT.

THANK YOU.

SO, NOW WE'RE TRAPPED

IN FISCHER'S MIND,

BATTLING HIS OWN

PRIVATE ARMY.

AND IF WE GET KILLED,

WE'LL BE LOST IN LIMBO

TILL OUR BRAINS TURN

TO SCRAMBLED EGG, HMM?

[ BREATHING HEAVILY ]

SOMEONE GOT FIRST AID?

[ GROANING ]

SO, YOU KNEW

ABOUT THESE RISKS,

AND YOU DIDN'T TELL US?

THERE WEREN'T MEANT

TO BE ANY RISKS.

I DIDN'T KNOW WE'D BE DEALING

WITH A LOAD OF GUNFIRE.

YOU HAD NO RIGHT.

THIS WAS THE ONLY WAY

TO GO THREE LAYERS DEEP.

AND YOU.

YOU KNEW ABOUT THIS

AND WENT ALONG WITH IT?

I TRUSTED HIM!

YOU TRUSTED HIM?

WHEN? WHEN HE PROMISED

YOU HALF HIS SHARE?

NO. HIS WHOLE SHARE.

BESIDES, HE SAID

HE'D DONE IT BEFORE.

OH, HE'D DONE IT BEFORE.

WHAT, WITH MAL?

'CAUSE THAT WORKED

SO GOOD?

THAT HAS NOTHING

TO DO WITH IT.

I DID WHAT I HAD TO DO

TO GET BACK TO MY CHILDREN.

SO YOU LED US

INTO A WAR ZONE

WITH NO WAY OUT.

THERE IS A WAY OUT.

ALL RIGHT?

WE CONTINUE ON

WITH THE JOB,

AND WE DO IT

AS FAST AS POSSIBLE,

AND WE GET OUT USING THE KICK,

JUST LIKE BEFORE.

FORGET IT. WE GO ANY DEEPER,

WE JUST RAISE THE STAKES.

I AM SITTING THIS ONE OUT

ON THIS LEVEL, BOYS.

FISCHER'S SECURITY

IS SURROUNDING

THIS PLACE AS WE SPEAK.

10 HOURS OF FLIGHT TIME

IS A WEEK AT THIS LEVEL.

THAT MEANS EACH AND EVERY ONE

OF US WILL BE KILLED.

THAT I CAN GUARANTEE YOU.

WE HAVE NO OTHER CHOICE

BUT TO CONTINUE ON

AND DO IT

AS FAST AS POSSIBLE.

DOWNWARDS IS

THE ONLY WAY FORWARDS.

GET READY.

YOU, COME ON.

LET'S GO SHAKE HIM UP.

[ BREATHING HEAVILY ]

I'M INSURED AGAINST KIDNAPPING

FOR UP TO 10 MILLION.

THIS SHOULD BE VERY SIMPLE.

SHUT UP!

IT WON'T BE.

IN YOUR FATHER'S OFFICE,

BELOW THE BOOKSHELVES,

IS HIS PERSONAL SAFE.

WE NEED THE COMBINATION.

[ SIGHS ]

I DON'T KNOW ANY SAFE.

THAT DOESN'T MEAN

YOU DON'T KNOW THE COMBINATION.

TELL US WHAT IT IS.

I DON'T KNOW.

[ FOOTSTEPS DEPARTING ]

WE HAVE IT ON GOOD AUTHORITY

YOU DO KNOW.

YEAH? WHOSE AUTHORITY?

$500, THIS COST?

WHAT'S INSIDE IT?

CASH, CARDS, I.D...

AND THIS.

USEFUL?

MAYBE.

Cobb: YOU'RE ON.

YOU'VE GOT AN HOUR.

AN HOUR?

I WAS SUPPOSED TO HAVE ALL NIGHT

TO CRACK THIS.

[ KNOCKING ]

AND SAITO WASN'T SUPPOSED

TO BE SHOT IN THE CHEST.

YOU'VE GOT ONE HOUR.

NOW, GET US SOMETHING

USEFUL, PLEASE.

[ SCREAMING ]

WHAT'S THAT?

GOOD AUTHORITY.

[ SCREAMING CONTINUES ]

[ Softly ]

UNCLE PETER.

JUST --

JUST MAKE THEM STOP.

THE COMBINATION.

I DON'T KNOW IT.

WHY DOES BROWNING

SAY YOU DO?

I DON'T KNOW.

JUST LET ME TALK TO HIM,

AND I'LL FIND OUT.

[ GRUNTS ]

YOU HAVE ONE HOUR!

START TALKING.

[ HANDCUFFS CLICK ]

AHH.

YOU ALL RIGHT?

[ DOOR SLAMS ]

AAH.

YOU OKAY?

[ BREATHING HEAVILY ]

THOSE BASTARDS HAVE HAD AT ME

FOR TWO DAYS.

THEY HAVE SOMEONE WITH ACCESS

TO YOUR FATHER'S OFFICE,

AND THEY'RE TRYING

TO OPEN HIS SAFE.

YEAH.

THEY THOUGHT I'D KNOW

THE COMBINATION,

BUT I DON'T KNOW IT.

YEAH, WELL,

NEITHER DO I, SO...

WHAT?

MAURICE TOLD ME

THAT WHEN HE PASSED,

YOU WERE THE ONLY ONE

THAT WOULD BE ABLE TO OPEN IT.

NO, HE NEVER -- HE NEVER

GAVE ME ANY COMBINATION.

MAYBE HE DID.

MAYBE YOU JUST DIDN'T KNOW

IT WAS THE COMBINATION.

WELL, WHAT, THEN?

I DON'T KNOW.

SOME MEANINGFUL COMBINATION

OF NUMBERS

BASED ON YOUR --

YOUR EXPERIENCES WITH MAURICE.

[ SCOFFS ]

WE DIDN'T HAVE

VERY MANY, UM...

MEANINGFUL EXPERIENCES

TOGETHER.

PERHAPS

AFTER YOUR MOTHER DIED.

[ SIGHS ]

AFTER MY MOTHER DIED,

YOU KNOW WHAT HE TOLD ME?

"ROBERT,

THERE'S REALLY...

NOTHING TO BE SAID."

OH, WELL,

HE WAS BAD WITH EMOTION.

I WAS 11, UNCLE PETER.

HOW'S HE DOIN'?

HE'S IN A LOT OF PAIN.

WHEN WE GET DOWN

TO THE LOWER LEVELS,

THE PAIN WILL BE

LESS INTENSE.

AND IF HE DIES?

WORST-CASE SCENARIO?

WHEN HE WAKES UP,

HIS MIND IS COMPLETELY GONE.

Saito: COBB...

[ PANTING ]

I'LL STILL HONOR

THE ARRANGEMENT.

I APPRECIATE THAT, SAITO.

BUT WHEN YOU WAKE UP,

YOU WON'T EVEN REMEMBER

THAT WE HAD AN ARRANGEMENT.

LIMBO IS GONNA BECOME

YOUR REALITY.

YOU'RE GONNA BE LOST

DOWN THERE SO LONG

THAT YOU'RE GONNA

BECOME AN OLD MAN.

FILLED WITH REGRET?

WAITING TO DIE ALONE.

NO.

I'LL COME BACK.

AND WE'LL BE YOUNG MEN

TOGETHER AGAIN.

[ BREATHING RAGGEDLY ]

BREATHE.

THESE PEOPLE

ARE GONNA KILL US

IF WE DON'T GIVE THEM

THE COMBINATION.

THEY JUST

WANT TO RANSOM US.

I HEARD THEM.

THEY'RE GONNA LOCK US

IN THAT VAN,

AND THEN DRIVE IT

INTO THE RIVER.

ALL RIGHT.

WHAT IS IN THE SAFE?

SOMETHING FOR YOU.

MAURICE ALWAYS SAID

IT WAS HIS MOST PRECIOUS GIFT

TO YOU --

A WILL.

MAURICE'S WILL

IS WITH PORT AND DUNN.

THAT'S AN ALTERNATE.

THIS WOULD SUPERSEDE THE OTHER

IF YOU WANT IT TO.

IT SPLITS UP THE COMPONENT

BUSINESSES OF FISCHER MORROW.

IT'D BE THE END OF THE ENTIRE

EMPIRE AS WE KNOW IT.

DESTROYING

MY WHOLE INHERITANCE.

WHY WOULD HE SUGGEST

SUCH A THING?

I JUST DON'T KNOW.

HE LOVED YOU, ROBERT.

IN HIS OWN WAY.

"IN HIS OWN WAY"?

AT THE END...

HE CALLED ME IN

TO HIS DEATHBED.

HE COULD BARELY SPEAK.

BUT HE TOOK THE TROUBLE

TO TELL ME ONE LAST THING.

HE PULLED ME CLOSE.

AND I COULD ONLY

MAKE OUT...

ONE WORD.

"DISAPPOINTED."

[ BREATHES DEEPLY ]

WHEN WERE YOU IN LIMBO?

YOU MIGHT HAVE THE REST

OF THE TEAM CONVINCED

TO CARRY ON

WITH THIS JOB,

BUT THEY DON'T KNOW

THE TRUTH.

TRUTH? WHAT TRUTH?

THE TRUTH THAT,

AT ANY MINUTE,

YOU MIGHT BRING A FREIGHT TRAIN

THROUGH THE WALL.

THE TRUTH THAT MAL IS BURSTING

THROUGH YOUR SUBCONSCIOUS.

AND THE TRUTH THAT,

AS WE GO DEEPER INTO FISCHER,

WE'RE ALSO GOING DEEPER

INTO YOU.

AND...I'M NOT SURE

WE'RE GONNA LIKE WHAT WE FIND.

WE WERE WORKING TOGETHER.

WE WERE EXPLORING THE CONCEPT

OF A DREAM WITHIN A DREAM.

I KEPT PUSHING THINGS.

I WANTED TO GO DEEPER

AND DEEPER.

I WANTED TO GO...FURTHER.

I JUST DIDN'T UNDERSTAND

THE CONCEPT

THAT HOURS COULD TURN

INTO YEARS DOWN THERE,

THAT WE COULD GET TRAPPED

SO DEEP THAT WHEN WE...

WHEN WE WOUND UP ON THE SHORE

OF OUR OWN SUBCONSCIOUS,

WE LOST SIGHT

OF WHAT WAS REAL.

WE CREATED, WE BUILT THE WORLD

FOR OURSELVES.

WE DID THAT FOR YEARS.

WE BUILT OUR OWN WORLD.

HOW LONG

WERE YOU STUCK THERE?

SOMETHING LIKE 50 YEARS.

JESUS.

HOW COULD YOU STAND IT?

IT WASN'T SO BAD AT FIRST,

FEELING LIKE GODS.

THE PROBLEM WAS KNOWING

THAT NONE OF IT WAS REAL.

EVENTUALLY,

IT JUST BECAME IMPOSSIBLE

FOR ME TO LIVE LIKE THAT.

AND WHAT ABOUT FOR HER?

SHE HAD LOCKED

SOMETHING AWAY,

SOMETHING

DEEP INSIDE HER.

A TRUTH THAT SHE HAD

ONCE KNOWN, BUT...

BUT CHOSE TO FORGET.

[ LOCK CLICKS ]

LIMBO BECAME HER REALITY.

WHAT HAPPENED

WHEN YOU WOKE UP?

WELL, TO WAKE UP

FROM THAT

AFTER -- AFTER YEARS,

AFTER DECADES...

TO BECOME OLD SOULS

THROWN BACK INTO YOUTH

LIKE THAT?

I KNEW SOMETHING WAS WRONG

WITH HER.

SHE JUST

WOULDN'T ADMIT IT.

EVENTUALLY,

SHE TOLD ME THE TRUTH.

SHE WAS POSSESSED

BY AN IDEA --

THIS ONE VERY SIMPLE IDEA

THAT CHANGED EVERYTHING.

THAT OUR WORLD

WASN'T REAL.

THAT SHE NEEDED TO WAKE UP

TO COME BACK TO REALITY,

THAT...

IN ORDER

TO GET BACK HOME...

WE HAD TO KILL OURSELVES.

WHAT ABOUT YOUR CHILDREN?

SHE THOUGHT

THEY WERE PROJECTIONS,

THAT OUR REAL CHILDREN

WERE WAITING FOR US

UP THERE SOMEWHERE.

Mal: I'M THEIR MOTHER!

CALM DOWN.

DON'T YOU THINK

I CAN TELL THE DIFFERENCE?

IF THIS IS MY DREAM,

WHY CAN'T I CONTROL THIS?

BECAUSE YOU DON'T KNOW

YOU'RE DREAMING!

SHE WAS CERTAIN THERE WAS

NOTHING I COULD DO,

NO MATTER HOW MUCH

I BEGGED,

NO MATTER HOW MUCH

I PLEADED.

SHE WANTED TO DO IT,

BUT SHE COULD NOT DO IT ALONE.

SHE LOVED ME TOO MUCH,

SO...

SHE CAME UP WITH A PLAN

ON OUR ANNIVERSARY.

[ GLASS CRUNCHES ]

SWEETHEART,

WHAT ARE YOU DOING?

JOIN ME.

JUST -- JUST STEP BACK INSIDE.

ALL RIGHT?

JUST STEP BACK INSIDE NOW.

COME ON.

NO.

I'M GOING TO JUMP,

AND YOU'RE COMING WITH ME.

NO, I'M NOT.

N-NOW, YOU LISTEN TO ME.

IF YOU JUMP, YOU'RE NOT

GONNA WAKE UP, REMEMBER?

YOU'RE GONNA DIE.

NOW, JUST --

JUST STEP BACK INSIDE.

COME ON.

STEP BACK INSIDE

SO WE CAN TALK ABOUT THIS.

WE'VE TALKED ENOUGH.

MAL.

COME OUT ONTO THE LEDGE,

OR I'LL JUMP RIGHT NOW.

OKAY.

WE'RE GONNA TALK ABOUT THIS.

ALL RIGHT?

I'M ASKING YOU

TO TAKE A LEAP OF FAITH.

NO, HONEY.

NO, I CA--

YOU KNOW I CAN'T DO THAT.

TAKE A SECOND,

THINK ABOUT OUR CHILDREN.

THINK ABOUT JAMES.

THINK ABOUT PHILLIPA NOW.

IF I GO WITHOUT YOU,

THEY'LL TAKE THEM AWAY ANYWAY.

WHAT DOES THAT MEAN?

I FILED A LETTER

WITH OUR ATTORNEY,

EXPLAINING HOW I'M FEARFUL

FOR MY SAFETY.

HOW YOU'VE THREATENED

TO KILL ME.

WHY DID YOU DO THIS?

I LOVE YOU, DOM.

WHY DID YOU --

WHY WOULD YOU DO THIS TO ME?

I'VE FREED YOU FROM THE GUILT

OF CHOOSING TO LEAVE THEM.

WE'RE GOING HOME

TO OUR REAL CHILDREN.

OH, NO, NO, NO. MAL,

YOU LISTEN TO ME, ALL RIGHT?

MAL, LOOK AT ME,

PLEASE?!

YOU'RE WAITING

FOR A TRAIN.

MAL, GODDAMN IT,

DON'T DO THIS!

A TRAIN THAT WILL TAKE YOU

FAR AWAY.

JAMES AND PHILLIPA

ARE WAITING FOR US!

YOU KNOW WHERE YOU HOPE

THIS TRAIN WILL TAKE YOU.

THEY'RE WAITING FOR US!

YOU CAN'T KNOW FOR SURE.

MAL, LOOK AT ME!

BUT IT DOESN'T MATTER.

MAL, GODDAMN IT!

BECAUSE YOU'LL BE TOGETHER.

MAL, LISTEN TO ME!

SWEETHEART!

LOOK AT ME!

MAL, NO!!

JESUS CHRIST!

SHE HAD HERSELF

DECLARED SANE

BY THREE DIFFERENT

PSYCHIATRISTS.

IT MADE IT IMPOSSIBLE

FOR ME TO TRY TO EXPLAIN

THE NATURE OF HER MADNESS.

SO, I RAN.

[ CHILDREN SHOUTING PLAYFULLY ]

RIGHT NOW...

OR NEVER, COBB.

Marie: JAMES! PHILLIPA!

COME ON IN! COME ON!

ALL RIGHT, LET'S GO.

Cobb: I LEFT

MY CHILDREN BEHIND,

AND I'VE BEEN TRYING TO BUY

MY WAY BACK EVER SINCE.

YOUR GUILT DEFINES HER.

IT'S WHAT POWERS HER.

BUT YOU ARE NOT RESPONSIBLE

FOR THE IDEA THAT DESTROYED HER.

AND IF WE ARE GONNA SUCCEED

IN THIS...

YOU HAVE

TO FORGIVE YOURSELF...

AND YOU'RE GONNA HAVE

TO CONFRONT HER.

BUT YOU DON'T HAVE

TO DO THAT ALONE.

NO, NO, YOU'RE NOT --

I'M DOING IT

FOR THE OTHERS.

BECAUSE THEY HAVE NO IDEA

THE RISK THEY'VE TAKEN

COMING DOWN HERE

WITH YOU.

WE HAVE TO MOVE.

TIME'S UP.

ALL RIGHT.

I DON'T KNOW ANY COMBINATION.

NOT CONSCIOUSLY, ANYWAY.

HOW ABOUT INSTINCTIVELY,

HUH?

I GOT SOMEBODY STANDING IN

YOUR FATHER'S OFFICE RIGHT NOW

READY TO TAP IN

THE COMBINATION.

GIVE ME

THE FIRST SIX NUMBERS

THAT COME TO YOUR HEAD

RIGHT NOW.

I HAVE NO IDEA.

RIGHT NOW!

I SAID, RIGHT NOW!

RIGHT NOW!

FIVE, TWO, EIGHT...

FOUR, NINE, ONE.

[ SIGHS ] YOU'RE GONNA HAVE

TO DO BETTER THAN THAT.

ALL RIGHT. BAG 'EM.

YOU'RE GOING FOR A RIDE.

Fischer: WE'RE WORTH

MORE TO YOU ALIVE.

YOU HEAR ME?

WHAT'D YOU GET?

[ EXHALES SHARPLY ]

THAT BOY'S RELATIONSHIP

WITH HIS FATHER

IS EVEN WORSE

THAN WE IMAGINED.

THIS HELPS US HOW?

THE STRONGER THE ISSUES,

THE MORE POWERFUL

THE CATHARSIS.

HOW ARE WE GONNA RECONCILE THEM

IF THEY'RE SO ESTRANGED?

WELL, I'M WORKING ON THAT,

AREN'T I?

WORK FASTER.

THE PROJECTIONS

ARE CLOSING IN QUICK.

WE GOTTA BREAK OUT OF HERE

BEFORE WE'RE TOTALLY BOXED IN.

[ GUNFIRE,

BULLETS RICOCHET ]

[ GUNFIRE CONTINUES ]

WE MUSTN'T BE AFRAID TO DREAM

A LITTLE BIGGER, DARLING.

[ GUN COCKS ]

NOW WE NEED TO SHIFT HIS

ANIMOSITY FROM HIS FATHER

TO HIS GODFATHER.

YOU'RE GONNA DESTROY HIS ONE

POSITIVE RELATIONSHIP?

NO, WE REPAIR HIS RELATIONSHIP

WITH HIS FATHER

WHILST EXPOSING

HIS GODFATHER'S TRUE NATURE.

WE SHOULD CHARGE FISCHER

A LOT MORE THAN SAITO

FOR THIS JOB.

Arthur:

WHAT ABOUT HIS SECURITY?

IT'S GONNA GET WORSE

AS WE GO DEEPER.

I THINK WE RUN

WITH MR. CHARLES.

NO.

Eames:

WHO'S MR. CHARLES?

BAD IDEA.

THE SECOND WE GET INTO THAT

HOTEL AND APPROACH FISCHER,

HIS SECURITY

IS GONNA BE ALL OVER US.

WE RUN WITH MR. CHARLES

LIKE WE DID ON THE STEIN JOB.

SO YOU'VE DONE IT BEFORE?

Arthur:

YEAH, AND IT DIDN'T WORK!

THE SUBJECT REALIZED

HE WAS DREAMING,

AND HIS SUBCONSCIOUS

TORE US TO PIECES.

EXCELLENT.

BUT YOU LEARNED A LOT, RIGHT?

I'M GONNA NEED

SOME KIND OF DISTRACTION.

NO PROBLEM.

HOW ABOUT A LOVELY LADY

WHO I'VE USED BEFORE?

LISTEN TO ME. YOU DRIVE

CAREFULLY, ALL RIGHT?

YEAH.

EVERYTHING DOWN THERE

IS GONNA BE UNSTABLE AS HELL.

Arthur:

DON'T JUMP TOO SOON.

WE ONLY GOT ONE SHOT AT

THAT KICK. WE GOTTA MAKE IT.

I'LL PLAY THE MUSIC

TO LET YOU KNOW IT'S COMING.

THE REST IS ON YOU.

YOU READY?

READY!

SWEET DREAMS.

Woman:

AM I BORING YOU?

I WAS TELLING YOU

MY STORY.

I GUESS IT WASN'T

TO YOUR LIKING.

UH...

UM, I HAVE A LOT

ON MY MIND.

THERE GOES MR. CHARLES.

MR. FISCHER, RIGHT?

PLEASURE TO SEE YOU AGAIN.

ROD GREEN FROM MARKETING.

I...HMM.

AND YOU MUST BE?

LEAVING.

IN CASE YOU GET BORED.

SHE MUST'VE BLOWN YOU OFF.

THAT IS,

UNLESS HER PHONE NUMBER

REALLY IS ONLY SIX DIGITS.

FUNNY WAY TO MAKE FRIENDS,

SOMEONE STEALING YOUR WALLET

LIKE THAT.

[ PATS CHEST ]

[ SCOFFS ]

GODDAMN IT. THE WALLET ALONE

IS WORTH AT LEAST FIVE --

ABOUT $500, RIGHT?

LISTEN,

DON'T WORRY ABOUT IT.

MY PEOPLE ARE ALREADY ON IT,

AS WE SPEAK.

WHO OR WHAT

IS MR. CHARLES?

IT'S A GAMBIT

DESIGNED TO TURN FISCHER

AGAINST

HIS OWN SUBCONSCIOUS.

AND WHY

DON'T YOU APPROVE?

BECAUSE IT INVOLVES TELLING

THE MARK THAT HE'S DREAMING,

WHICH INVOLVES ATTRACTING

A LOT OF ATTENTION TO US.

DIDN'T COBB SAY

NEVER TO DO THAT?

MM. SO NOW YOU'VE NOTICED

HOW MUCH TIME

COBB SPENDS DOING THINGS

HE SAYS NEVER TO DO.

[ CHUCKLES ]

MR. SAITO,

CAN I HAVE A MOMENT?

I-I'M SORRY, BUT...

Man: HOLD ON! WAIT!

YOU LOOK A BIT PERKIER.

VERY AMUSING, MR. EAMES.

[ RUMBLING ]

TURBULENCE ON THE PLANE?

NO, IT'S MUCH CLOSER.

THAT'S YUSUF'S DRIVING.

[ TIRES SCREECHING ]

[ GLASSWARE CLINKING ]

UH, I'M SORRY.

WHO DID YOU SAY YOU WERE?

Cobb: ROD GREEN

FROM MARKETING.

BUT THAT'S NOT TRUE AT ALL,

IS IT?

MY NAME IS MR. CHARLES.

YOU REMEMBER ME, DON'T YOU?

I'M THE HEAD OF YOUR SECURITY

DOWN HERE.

GET OUT ON A DIFFERENT FLOOR

AND KEEP MOVING.

DUMP THE WALLET.

SECURITY WILL BE LOOKING

FOR THAT.

OKAY.

WE NEED TO BUY COBB

A LITTLE MORE TIME.

[ COUGHING ]

SECURITY, HUH?

YOU WORK FOR THE HOTEL?

NO, NO.

I SPECIALIZE IN A VERY

SPECIFIC TYPE OF SECURITY.

SUBCONSCIOUS SECURITY.

YOU'RE TALKING

ABOUT DREAMS?

ARE YOU TALKING ABOUT,

UM...

EXTRACTION?

I AM HERE TO PROTECT YOU.

YOU...

[ UTENSIL CLANKS,

INDISTINCT CONVERSATIONS ]

[ CONVERSATIONS HALT ]

MR. FISCHER, I'M HERE TO

PROTECT YOU IN THE EVENT

[ CONVERSATIONS RESUME ]

THAT SOMEONE TRIES TO ACCESS

YOUR MIND THROUGH YOUR DREAMS.

YOU'RE NOT SAFE HERE.

THEY'RE COMING FOR YOU.

[ OBJECT TUMBLING ]

OHH!

[ TIRES SCREECHING ]

STRANGE WEATHER,

ISN'T IT?

[ RUMBLING ]

YOU FEEL THAT?

WHAT'S HAPPENING?

COBB IS DRAWING

FISCHER'S ATTENTION

TO THE STRANGENESS

OF THE DREAM,

WHICH IS MAKING

HIS SUBCONSCIOUS

LOOK FOR THE DREAMER.

FOR ME.

QUICK, GIVE ME A KISS.

THEY'RE STILL

LOOKING AT US.

YEAH,

IT WAS WORTH A SHOT.

WE SHOULD PROBABLY

GET OUT OF HERE.

[ TIRES SCREECHING ]

[ DISTORTED,

SLOW-MOTION SOUNDS ]

[ GLASSWARE CLINKING ]

Cobb: YOU FEEL THAT?

YOU'VE ACTUALLY BEEN TRAINED

FOR THIS, MR. FISCHER.

PAY ATTENTION TO THE STRANGENESS

OF THE WEATHER...

THE SHIFT IN GRAVITY.

NONE OF THIS IS REAL.

YOU'RE IN A DREAM.

NOW, THE EASIEST WAY FOR YOU

TO TEST YOURSELF

IS TO TRY AND REMEMBER

HOW YOU ARRIVED AT THIS HOTEL.

CAN YOU DO THAT?

YEAH, I, I...

NOW, BREATHE, BREATHE.

REMEMBER YOUR TRAINING.

ACCEPT THE FACT

THAT YOU'RE IN A DREAM,

AND I'M HERE

TO PROTECT YOU.

GO ON.

MM-HMM.

YOU'RE NOT REAL?

NO, NO.

I'M A PROJECTION

OF YOUR SUBCONSCIOUS.

I WAS SENT HERE

TO PROTECT YOU

IN THE EVENT

THAT EXTRACTORS

TRIED TO PULL YOU

INTO A DREAM.

AND I BELIEVE THAT'S WHAT'S

GOING ON RIGHT NOW, MR. FISCHER.

[ BREATHES DEEPLY ]

YEAH.

OKAY.

OKAY.

CAN YOU GET ME

OUT OF HERE?

RIGHT AWAY.

FOLLOW ME.

HOLD ON A SECOND!

[ GUNFIRE ]

JESUS CHRIST!

WHAT ARE YOU DOING?!

THESE MEN WERE SENT HERE

TO ABDUCT YOU, ALL RIGHT?

IF YOU WANT MY HELP,

YOU HAVE TO REMAIN CALM.

I NEED YOU TO WORK WITH ME,

MR. FISCHER.

[ BREATHING HEAVILY ]

IF THIS IS A DREAM,

I SHOULD JUST KILL MYSELF

TO WAKE UP, RIGHT?

I WOULDN'T DO THAT

IF I WERE YOU, MR. FISCHER.

I BELIEVE

THEY HAVE YOU SEDATED,

AND IF YOU PULL

THAT TRIGGER...

YOU MAY NOT WAKE UP.

YOU MAY GO

INTO A FURTHER DREAM STATE.

NOW, YOU KNOW

WHAT I'M TALKING ABOUT.

YOU REMEMBER THE TRAINING.

REMEMBER WHAT I SAID

TO YOU.

GIVE ME THE GUN.

[ EXHALES SHARPLY ]

THIS ROOM

SHOULD BE DIRECTLY BELOW 528?

YEAH.

[ BEEPS ]

THINK, MR. FISCHER,

THINK.

[ SIGHS ]

WHAT DO YOU REMEMBER

FROM BEFORE THIS DREAM?

UH...THERE WAS, UM...

THERE WAS A LOT

OF GUNFIRE.

THERE WAS...RAIN.

UNCLE PETER.

OH, MY GOD,

WE'VE BEEN KIDNAPPED.

WHERE WERE THEY

HOLDING YOU?

UH...

THEY HAD US IN THE BACK

OF A VAN.

THAT EXPLAINS

THE GRAVITY SHIFTS.

YOU'RE IN THE BACK OF A VAN

RIGHT NOW. KEEP GOING.

IT HAD SOMETHING TO DO

WITH, UM...

SOMETHING TO DO

WITH A...A SAFE?

GOD, WHY IS IT SO HARD

TO REMEMBER?

IT'S LIKE TRYING TO REMEMBER

A DREAM AFTER YOU'VE WOKEN UP.

LISTEN,

IT TAKES YEARS OF PRACTICE.

YOU AND BROWNING HAVE BEEN

PULLED INTO THIS DREAM

BECAUSE THEY'RE TRYING TO STEAL

SOMETHING FROM YOUR MIND.

I NEED YOU TO FOCUS AND TRY

AND REMEMBER WHAT THAT IS.

WHAT IS IT, MR. FISCHER?

THINK!

OH, A C-COMBINATION.

THEY DEMANDED THE FIRST NUMBERS

TO POP INTO MY HEAD.

THEY'RE TRYING TO EXTRACT A

NUMBER FROM YOUR SUBCONSCIOUS.

IT CAN REPRESENT

ANYTHING.

WE'RE IN A HOTEL

RIGHT NOW.

WE SHOULD TRY HOTEL ROOMS.

WHAT WAS THE NUMBER,

MR. FISCHER?

TRY AND REMEMBER FOR ME.

THIS IS VERY IMPORTANT.

FIVE.

FIVE, TWO...

IT WAS SOMETHING...

IT WAS A LONG NUMBER.

WELL, THAT'S GOOD ENOUGH.

WE CAN START THERE. FIFTH FLOOR.

YEP.

SO DO YOU USE A TIMER?

NO, I HAVE TO JUDGE IT

FOR MYSELF.

WHILE YOU'RE ALL ASLEEP

IN 528,

I WAIT FOR YUSUF'S KICK.

WELL, HOW WILL YOU KNOW?

HIS MUSIC WARNS ME.

AND THEN WHEN THE VAN HITS

THE BARRIER OF THE BRIDGE,

THAT SHOULD BE

UNMISTAKABLE.

SO WE GET A NICE,

SYNCHRONIZED KICK.

IF IT'S TOO SOON,

WE WON'T GET PULLED OUT.

BUT IF IT'S TOO LATE,

I WON'T BE ABLE TO DROP US.

WELL, WHY NOT?

'CAUSE THE VAN

WILL BE IN FREE FALL.

CAN'T DROP YOU

WITHOUT GRAVITY.

RIGHT.

[ ELEVATOR BEEPING ]

[ SIGHS ]

THEY'RE WITH ME.

GO ON.

MR. CHARLES.

DO YOU KNOW WHAT THAT IS,

MR. FISCHER?

YEAH, I-I THINK SO.

YEAH.

THEY WERE TRYING

TO PUT YOU UNDER.

I'M ALREADY UNDER.

UNDER AGAIN.

WHAT DO YOU MEAN,

A DREAM WITHIN A DREAM?

HEY.

I SEE YOU'VE CHANGED.

I'M SORRY?

OH, I'M SORRY.

I M-MISTOOK YOU FOR A FRIEND.

[ CHUCKLES NERVOUSLY ]

WELL, GOOD-LOOKING FELLOW,

I'M SURE.

AH.

NO, NO, NO, NO.

THAT'S FISCHER'S PROJECTION

OF BROWNING.

LET'S FOLLOW HIM

AND SEE HOW HE BEHAVES.

WHY?

BECAUSE HOW HE ACTS

WILL TELL US

IF FISCHER IS STARTING

TO SUSPECT HIS MOTIVES

THE WAY WE WANT HIM TO.

Shh!

UNCLE PETER?

YOU SAID YOU WERE

KIDNAPPED TOGETHER?

WELL, N-NOT EXACTLY.

THEY -- THEY ALREADY HAD HIM.

THEY WERE

TORTURING HIM.

AND YOU SAW THEM

TORTURE HIM?

[ BREATHING HEAVILY ]

THE KIDNAPPERS

ARE WORKING FOR YOU?

OH, ROBERT.

YOU'RE TRYING TO GET

THAT SAFE OPEN?

TO GET

THE ALTERNATE WILL?

FISCHER MORROW HAS BEEN

MY ENTIRE LIFE.

I CAN'T LET YOU

DESTROY IT.

I'M NOT GONNA THROW AWAY

MY INHERITANCE! WHY WOULD I?!

I COULDN'T LET YOU RISE

TO YOUR FATHER'S LAST TAUNT.

WHAT TAUNT?

THE WILL, ROBERT.

THAT WILL?

THAT'S HIS LAST INSULT.

A CHALLENGE FOR YOU TO BUILD

SOMETHING FOR YOURSELF

BY TELLING YOU YOU'RE NOT WORTHY

OF HIS ACCOMPLISHMENTS.

[ BREATHING HEAVILY ]

WHAT, BUT THAT -- THAT HE WAS,

UM, DISAPPOINTED?

HMM?

I'M SORRY.

BUT...

HE'S WRONG.

YOU CAN BUILD A BETTER COMPANY

THAN HE EVER DID.

Cobb: MR. FISCHER?

HE'S LYING.

HOW DO YOU KNOW?

TRUST ME, IT'S WHAT I DO.

HE'S HIDING SOMETHING,

AND WE NEED TO FIND OUT

WHAT THAT IS.

I NEED YOU TO DO

THE SAME THING TO HIM

THAT HE WAS

GOING TO DO TO YOU.

WE'LL ENTER

HIS SUBCONSCIOUS

AND FIND OUT WHAT

HE DOESN'T WANT YOU TO KNOW.

ALL RIGHT.

[ GRUNTS ]

HE'S OUT.

WAIT.

WHOSE SUBCONSCIOUS

ARE WE GOING INTO EXACTLY?

WE'RE GOING

INTO FISCHER'S.

BUT I TOLD HIM

IT WAS BROWNING'S

SO HE'D COME BE A PART

OF OUR TEAM.

HE'S GONNA HELP US BREAK

INTO HIS OWN SUBCONSCIOUS.

Cobb: THAT'S RIGHT.

SECURITY'S GONNA RUN

YOU DOWN HARD.

AND I WILL LEAD THEM

ON A MERRY CHASE.

JUST BE BACK

BEFORE THE KICK.

GO TO SLEEP, MR. EAMES.

Arthur: YOU GOOD?

HEY. YOU READY?

YES, YES.

I'M -- I'M FINE.

I'M -- I'M READY.

Ariadne: COBB?

COBB.

WHAT'S DOWN THERE?

HOPEFULLY, THE TRUTH

WE WANT FISCHER TO LEARN.

I MEAN,

WHAT'S DOWN THERE FOR YOU?

[ TIRES SCREECH, ENGINE REVS ]

[ GUNSHOT ]

OHH!

[ GUNSHOT ]

[ TIRES SCREECHING ]

[ GUN COCKS ]

WHOA!

[ TIRES SCREECHING ]

OHH!

[ TIRES SCREECHING ]

[ SCREAMING ]

[ SCREAMING ]

[ GUNSHOT ]

[ GUN THUDS ]

[ LAUGHS ]

DID YOU SEE THAT?

Cobb:

EAMES, THIS IS YOUR DREAM.

I NEED YOU TO DRAW THE SECURITY

AWAY FROM THE COMPLEX.

YOU UNDERSTAND?

WHO GUIDES FISCHER IN?

NOT ME.

IF I KNOW THE ROUTE,

EVERYTHING COULD BE COMPROMISED.

I-I DESIGNED THE PLACE.

NO, YOU'RE WITH ME.

I COULD DO IT.

ALL RIGHT. YOU BRIEF HIM

ON THE ROUTE INTO THE COMPLEX.

FISCHER,

YOU'LL BE GOING WITH HIM.

ALL RIGHT.

WHAT ABOUT YOU?

[ COUGHING ]

YOU KEEP THIS LIVE.

I'LL BE LISTENING

IN THE WHOLE TIME.

THE WINDOWS ON THAT UPPER

FLOOR ARE BIG ENOUGH

FOR ME TO COVER YOU FROM

THAT SOUTH TOWER. YOU SEE IT?

YEAH.

YOU'RE NOT COMING IN?

IN ORDER TO FIND OUT

THE TRUTH ABOUT YOUR FATHER,

YOU'RE GONNA NEED TO

BREAK INTO BROWNING'S MIND

ON YOUR OWN.

[ BREATHES DEEPLY ]

COME ON, FISCHER!

[ ALARM BUZZING ]

[ TIRES SQUEALING ]

SOUND THE ALARM!

SOUND THE ALARM!

GO, GO, GO!

MOVE!

GO!

[ GUNFIRE ]

SOD IT!

I HOPE YOU'RE READY.

[ "NON JE NE REGRETTE RIEN"

PLAYS ]

NO, IT'S TOO SOON.

[ FAINT MUSIC PLAYING ]

COBB, DO YOU HEAR THAT?

I first noticed it

about 20 minutes ago.

I THOUGHT IT WAS

THE WIND UP HERE.

YEAH, I HEAR IT.

IT'S MUSIC.

SO, WHAT DO WE DO?

WE MOVE FAST.

YUSUF IS 10 SECONDS

FROM THE JUMP.

WHICH GIVES ARTHUR

THREE MINUTES.

HEY!

THAT'S HIM!

WHICH GIVES US WHAT?

60 MINUTES.

CAN THEY MAKE THAT ROUTE

IN UNDER AN HOUR?

THEY STILL HAVE TO CLIMB DOWN

TO THE MIDDLE TERRACE.

WELL, THEN, THEY NEED A NEW

ROUTE, A MORE DIRECT ROUTE.

[ GUNFIRE ]

[ INDISTINCT SHOUTING ]

IT'S DESIGNED

AS A LABYRINTH.

THERE MUST BE ACCESS ROUTES

THAT CUT THROUGH THE MAZE,

RIGHT?

EAMES?

DID EAMES

ADD ANY FEATURES?

I DON'T THINK

I SHOULD TELL YOU.

IF MAL FINDS OUT, THEN --

WE DON'T HAVE TIME FOR THIS!

DID HE ADD ANYTHING?

HE ADDED AN AIR-DUCT SYSTEM

THAT CAN CUT THROUGH THE MAZE.

GOOD.

EXPLAIN IT TO THEM.

Saito?

GO AHEAD.

[ GUNFIRE ]

AH!

LOOK.

PARADOX.

[ SCREAMING ]

[ GROANS ]

[ BREATHING HEAVILY ]

WHAT WAS THAT?

THE KICK.

COBB! COBB,

DID WE MISS IT?

YEAH, WE MISSED IT.

MAN.

COULDN'T SOMEONE HAVE

DREAMT OF A GODDAMN BEACH?!

HUH?

MM-HMM.

EAMES: What the hell

do we do now?!

WE FINISH THE JOB

before the next kick.

WHAT NEXT KICK?

WHEN THE VAN HITS THE WATER.

Female computerized voice:

IF YOU'D LIKE TO MAKE A CALL,

PLEASE HANG UP AND TRY AGAIN.

IF YOU NEED HELP, HANG UP...

HOW DO I DROP YOU

WITHOUT GRAVITY?

ARTHUR HAS A COUPLE MINUTES,

AND WE HAVE ABOUT 20.

[ COUGHING ]

[ COUGHING ]

YOU OKAY?

Man: RUN! TURN AROUND!

MOVE TO BASE!

MOVE TO BASE!

THERE'S SOMETHING WRONG.

THEY'RE HEADING YOUR WAY

LIKE THEY KNOW SOMETHING.

JUST -- JUST BUY US MORE TIME,

ALL RIGHT? COME ON!

ON MY WAY.

Man: COME ON! MOVE!

[ GUNSHOTS ]

THAT'S THE ANTECHAMBER

OUTSIDE THE STRONG ROOM.

DOES THE STRONG ROOM

HAVE ANY WINDOWS?

NO, I MEAN, IT WOULDN'T BE

VERY STRONG IF IT DID.

WELL, LET'S HOPE FISCHER

LIKES WHAT HE FINDS IN THERE.

ARE THOSE PROJECTIONS JUST

A PART OF HIS SUBCONSCIOUS?

YES.

ARE YOU DESTROYING THOSE PARTS

OF HIS MIND?

NO, NO.

THEY'RE JUST PROJECTIONS.

[ BREATHING HEAVILY ]

WE'RE HERE.

YOU'RE CLEAR, BUT HURRY.

THERE'S AN ENTIRE ARMY

HEADED YOUR WAY.

I'M IN.

THERE HE IS!

THERE'S SOMEONE ELSE

IN THERE.

FISCHER, IT'S A TRAP.

GET OUT!

COME ON.

COME ON, A LITTLE LOWER.

COBB. NO.

SHE -- SHE IS NOT REAL.

HOW DO YOU KNOW THAT?

SHE'S JUST A PROJECTION.

FISCHER.

FISCHER IS REAL!

[ GROANS ]

HELLO.

[ GUNSHOT ]

EAMES! EAMES,

GET TO THE ANTECHAMBER NOW!

WHAT HAPPENED?

MAL KILLED FISCHER.

I COULDN'T SHOOT HER.

LOOK, THERE'S NO USE

IN REVIVING HIM.

HIS MIND'S ALREADY

TRAPPED DOWN THERE.

IT'S ALL OVER.

SO THAT'S IT, THEN?

WE FAILED?

WE'RE DONE. I'M SORRY.

[ SIGHS ]

[ SNIFFS ]

WELL, IT'S NOT ME THAT DOESN'T

GET BACK TO MY FAMILY, IS IT?

IT'S A SHAME.

I REALLY WANTED TO KNOW

WHAT WAS GONNA HAPPEN IN THERE.

I SWEAR WE HAD THIS ONE.

LET'S SET THE CHARGES.

NO, THERE'S STILL ANOTHER WAY.

WE JUST HAVE TO FOLLOW

FISCHER DOWN THERE.

NOT ENOUGH TIME.

NO, BUT THERE WILL BE

ENOUGH TIME DOWN THERE.

AND WE WILL FIND HIM.

OKAY, AS SOON

AS ARTHUR'S MUSIC KICKS IN,

JUST USE THE DEFIBRILLATOR

TO REVIVE HIM.

WE CAN GIVE HIM HIS OWN KICK

DOWN BELOW.

LOOK, YOU GET HIM IN THERE.

AS SOON AS THE MUSIC ENDS,

YOU BLOW UP THE HOSPITAL,

AND WE ALL RIDE THE KICK

BACK UP THE LAYERS.

WELL, IT'S WORTH A SHOT,

IF SAITO CAN HOLD THE GUARDS OFF

WHILE I SET THE CHARGES.

SAITO WILL NEVER MAKE IT,

WILL HE?

[ MUTTERING ]

COBB, COME ON.

WE'VE GOTTA TRY THIS.

GO FOR IT.

BUT IF YOU ARE NOT BACK

BEFORE THE KICK,

I AM GONE

WITH OR WITHOUT YOU.

SHE'S RIGHT.

SHE'S RIGHT.

CAN I TRUST YOU TO DO

WHAT NEEDS TO HAPPEN HERE?

I MEAN, MAL'S GONNA

BE DOWN THERE.

I KNOW WHERE TO FIND HER.

SHE'LL HAVE FISCHER.

HOW DO YOU KNOW?

BECAUSE, SHE WANTS ME

TO COME AFTER HIM.

SHE WANTS ME BACK DOWN THERE

WITH HER.

[ GASPING ]

YOU ALL RIGHT?

THIS IS YOUR WORLD?

IT WAS.

THIS IS WHERE SHE'LL BE.

COME ON.

[ SIGHS ]

[ GROANS LIGHTLY ]

[ GUNFIRE, BULLET RICOCHET ]

SAITO.

SAITO.

I NEED YOU -- I NEED YOU

TO TAKE CARE OF FISCHER

WHILE I GO SET

SOME CHARGES, OKAY?

NO ROOM FOR TOURISTS

ON THESE JOBS.

[ CHUCKLES WEAKLY ]

[ CHUCKLES ]

DON'T BE SILLY.

[ TONE SOUNDS,

BULLETS RICOCHET ]

Ariadne:

YOU BUILT ALL THIS?

THIS IS INCREDIBLE.

WE BUILT FOR YEARS.

THEN WE STARTED IN

ON THE MEMORIES.

THIS WAY.

THIS WAS OUR NEIGHBORHOOD.

PLACES FROM OUR PAST.

THAT WAS

OUR FIRST APARTMENT.

THEN WE MOVED TO THAT BUILDING

RIGHT THERE.

AFTER MAL BECAME PREGNANT,

THAT BECAME OUR HOME.

YOU RECONSTRUCTED

ALL OF THIS FROM MEMORY?

LIKE I TOLD YOU,

WE HAD LOTS OF TIME.

WHAT IS THAT?

THAT'S THE HOUSE

MAL GREW UP IN.

WELL,

WILL SHE BE IN THERE?

NO. COME ON.

WE BOTH WANTED

TO LIVE IN A HOUSE,

BUT WE LOVED THIS TYPE

OF BUILDING.

IN THE REAL WORLD, WE'D HAVE

TO CHOOSE, BUT NOT HERE.

[ GROANS ]

[ BEEP ]

HOW ARE WE GONNA BRING

FISCHER BACK?

WE'RE GONNA HAVE TO COME UP

WITH SOME KIND OF A KICK.

WHAT?

I'M GONNA IMPROVISE.

LISTEN, THERE'S SOMETHING

YOU SHOULD KNOW ABOUT ME.

ABOUT INCEPTION.

[ BULLETS RICOCHET ]

AN IDEA IS LIKE A VIRUS.

RESILIENT.

HIGHLY CONTAGIOUS.

AND THE SMALLEST SEED

OF AN IDEA CAN GROW.

IT CAN GROW TO DEFINE...

OR DESTROY YOU.

THE SMALLEST IDEA,

SUCH AS...

"YOUR WORLD IS NOT REAL."

SIMPLE LITTLE THOUGHT

THAT CHANGES EVERYTHING.

SO CERTAIN OF YOUR WORLD.

OF WHAT'S REAL.

DO YOU THINK HE IS?

OR DO YOU THINK HE'S AS LOST

AS I WAS?

I KNOW WHAT'S REAL, MAL.

NO CREEPING DOUBTS?

NOT FEELING PERSECUTED,

DOM?

CHASED AROUND THE GLOBE

BY ANONYMOUS CORPORATIONS

AND POLICE FORCES?

THE WAY THE PROJECTIONS

PERSECUTE THE DREAMER?

ADMIT IT.

YOU DON'T BELIEVE

IN ONE REALITY ANYMORE.

SO CHOOSE.

CHOOSE TO BE HERE.

CHOOSE ME.

[ GRUNTING, BULLETS RICOCHET ]

AAH!

UNH!

YOU KNOW

WHAT I HAVE TO DO.

I HAVE TO GET BACK

TO OUR CHILDREN

BECAUSE YOU LEFT THEM.

BECAUSE YOU LEFT US.

YOU'RE WRONG.

I'M NOT WRONG.

YOU'RE CONFUSED.

OUR CHILDREN ARE HERE.

AND YOU'D LIKE TO SEE THEIR

FACES AGAIN, WOULDN'T YOU?

YES...

BUT I'M GONNA SEE THEM

UP ABOVE, MAL.

[ GUNFIRE ]

[ BEEP ]

[ COUGHING ]

"UP ABOVE"?

LISTEN TO YOURSELF.

THESE ARE OUR CHILDREN.

WATCH.

JAMES? PHILLIPA?

DON'T DO THIS, MAL.

PLEASE.

THOSE AREN'T MY CHILDREN.

YOU KEEP TELLING

YOURSELF THAT,

BUT YOU DON'T BELIEVE IT.

NO, I KNOW IT.

AND WHAT IF YOU'RE WRONG?

WHAT IF I'M WHAT'S REAL?

YOU KEEP TELLING YOURSELF

WHAT YOU KNOW.

BUT WHAT DO YOU BELIEVE?

WHAT DO YOU FEEL?

GUILT.

I FEEL GUILT, MAL.

AND NO MATTER WHAT I DO,

NO...

NO MATTER

HOW HOPELESS I AM,

NO MATTER HOW CONFUSED,

THAT GUILT

IS ALWAYS THERE,

REMINDING ME

OF THE TRUTH.

WHAT TRUTH?

THAT THE IDEA THAT CAUSED YOU

TO QUESTION YOUR REALITY

CAME FROM ME.

YOU PLANTED THE IDEA

IN MY MIND?

WHAT IS SHE TALKING ABOUT?

THE REASON I KNEW

INCEPTION WAS POSSIBLE

WAS BECAUSE I...

I DID IT TO HER FIRST.

I DID IT TO MY OWN WIFE.

WHY?

WE WERE LOST IN HERE.

I KNEW WE NEEDED TO ESCAPE,

BUT SHE WOULDN'T ACCEPT IT.

SHE HAD LOCKED

SOMETHING AWAY,

SOMETHING...

SOMETHING DEEP INSIDE.

THAT TRUTH

THAT SHE HAD ONCE KNOWN,

BUT CHOSE TO FORGET.

AND SHE COULDN'T

BREAK FREE.

SO I DECIDED

TO SEARCH FOR IT.

I WENT DEEP INTO THE RECESS

OF HER MIND

AND FOUND

THAT SECRET PLACE.

AND I BROKE IN...

AND I PLANTED AN IDEA.

A SIMPLE LITTLE IDEA

THAT WOULD CHANGE EVERYTHING...

[ TOTEM RATTLING ]

...THAT HER WORLD

WASN'T REAL.

THAT DEATH

WAS THE ONLY ESCAPE.

YOU'RE WAITING

FOR A TRAIN.

[ RUMBLING ]

A TRAIN THAT'LL TAKE YOU

FAR AWAY.

YOU KNOW WHERE YOU HOPE

THIS TRAIN WILL TAKE YOU.

BUT YOU CAN'T KNOW

FOR SURE!

[ RUMBLING ]

YET IT DOESN'T MATTER!

NOW, TELL ME WHY!

BECAUSE YOU'LL BE TOGETHER!

BUT I NEVER KNEW

THAT THAT IDEA

WOULD GROW IN HER MIND

LIKE A CANCER,

THAT EVEN

AFTER SHE WOKE....

THAT EVEN AFTER

YOU CAME BACK TO REALITY...

...THAT YOU'D CONTINUE TO

BELIEVE YOUR WORLD WASN'T REAL.

THAT DEATH

WAS THE ONLY ESCAPE.

MAL, NO! JESUS!

YOU INFECTED MY MIND.

I WAS TRYING TO SAVE YOU.

YOU BETRAYED ME.

BUT YOU CAN MAKE AMENDS.

YOU CAN STILL

KEEP YOUR PROMISE.

WE CAN STILL BE TOGETHER,

RIGHT HERE,

IN THE WORLD

WE BUILT TOGETHER.

[ GUNSHOTS ]

[ COUGHING ]

[ BEEP ]

[ GUNFIRE ]

[ GUNFIRE CONTINUES ]

[ GRENADE RATTLES ]

[ EXPLOSION ]

[ GROANS ]

[ "NON JE NE REGRETTE RIEN"

PLAYS ]

[ ELECTRONIC SQUEALING ]

[ EXPLOSION ]

[ GASPING ]

COBB,

WE NEED TO GET FISCHER.

YOU CAN'T HAVE HIM.

IF I STAY HERE,

WILL YOU LET HIM GO?

WHAT ARE YOU

TALKING ABOUT?

FISCHER IS ON THE PORCH.

GO CHECK HE'S ALIVE,

ARIADNE.

COBB, YOU CAN'T DO THIS.

GO CHECK HE'S ALIVE RIGHT NOW.

DO IT.

[ ELECTRIC SHOCK ]

[ GRUNTING ]

HE'S HERE! AND IT'S TIME,

BUT YOU HAVE TO COME NOW!

TAKE FISCHER WITH YOU,

ALL RIGHT?

YOU CAN'T STAY HERE TO BE

WITH HER.

I'M NOT.

SAITO'S DEAD BY NOW.

THAT MEANS

HE'S DOWN HERE SOMEWHERE.

THAT MEANS

I HAVE TO FIND HIM.

[ THUNDER RUMBLES ]

I CAN'T STAY

WITH HER ANYMORE

BECAUSE SHE

DOESN'T EXIST.

I'M THE ONLY THING YOU DO

BELIEVE IN ANYMORE.

[ EXHALES DEEPLY ]

I WISH.

I WISH MORE

THAN ANYTHING, BUT...

I CAN'T IMAGINE YOU

WITH ALL YOUR COMPLEXITY,

ALL YOUR PERFECTION,

ALL YOUR IMPERFECTION.

YOU ALL RIGHT?

YEAH.

LOOK AT YOU.

YOU'RE JUST A SHADE.

YOU'RE JUST A SHADE

OF MY REAL WIFE.

AND YOU WERE THE BEST

THAT I COULD DO, BUT...

I'M SORRY,

YOU'RE JUST NOT GOOD ENOUGH.

DOES THIS FEEL REAL?!

AAH!

[ GUNSHOT ]

WHAT ARE YOU DOING?!

IMPROVISING.

[ GASPING ]

NO, NO! NO!

IN THERE, NOW.

GO. GO, GO, GO.

[ BREATHES DEEPLY ]

[ CLANKS ]

I WAS DIS...

I WAS DIS-- DISA...

I KNOW, DAD.

DISA...

I KNOW YOU WERE DISAPPOINTED

I COULDN'T BE YOU.

NO.

NO, NO, NO.

I WAS DISAPPOINTED...

THAT YOU TRIED.

[ RUMBLING ]

[ CLICKS TONGUE ]

[ SOBBING ]

[ EXPLOSIONS ]

[ OBJECTS RATTLING ]

THAT'S THE KICK, ARIADNE!

YOU HAVE TO GO NOW!

DON'T LOSE YOURSELF!

FIND SAITO AND BRING HIM BACK!

I WILL!

[ DISTORTED,

SLOW-MOTION SOUNDS ]

[ SIGHS ]

[ Straining ] YOU REMEMBER

WHEN YOU ASKED ME TO MARRY YOU?

YES.

YOU SAID YOU DREAMT

THAT WE'D GROW OLD TOGETHER.

BUT WE DID.

WE DID.

YOU DON'T REMEMBER?

I MISS YOU MORE

THAN I CAN BEAR, BUT...

WE HAD OUR TIME

TOGETHER.

AND I HAVE TO

LET YOU GO.

I HAVE TO LET YOU GO.

[ EXHALES SOFTLY ]

[ SMOOCHES ]

[ EXHALES DEEPLY ]

[ GASPING ]

I'M SORRY, ROBERT.

[ GRUNTING ]

YOU KNOW, THE WILL MEANS

THAT DAD WANTED ME

TO BE MY OWN MAN...

NOT JUST TO LIVE FOR HIM.

THAT'S WHAT I'M GONNA DO,

UNCLE PETER.

[ SIGHS ]

WHAT HAPPENED?

COBB STAYED.

WITH MAL?

NO, TO FIND SAITO.

HE'LL BE LOST.

NO, HE'LL BE ALL RIGHT.

Saito:

HAVE YOU COME TO KILL ME?

I'M WAITING FOR SOMEONE.

SOMEONE FROM

A HALF-REMEMBERED DREAM.

COBB?

[ SCOFFS ]

IMPOSSIBLE.

WE WERE YOUNG MEN

TOGETHER.

I'M AN OLD MAN.

FILLED WITH REGRET.

WAITING TO DIE ALONE.

I'VE COME BACK FOR YOU.

TO REMIND YOU...

OF SOMETHING.

SOMETHING YOU ONCE KNEW.

THAT THIS WORLD

IS NOT REAL.

TO CONVINCE ME TO HONOR

OUR ARRANGEMENT?

TO TAKE A LEAP

OF FAITH, YES.

COME BACK...

...SO WE CAN BE YOUNG MEN

TOGETHER AGAIN.

COME BACK WITH ME.

COME BACK.

Flight attendant:

HOT TOWEL, SIR?

WE'LL BE LANDING IN LOS ANGELES

IN ABOUT 20 MINUTES.

DO YOU NEED

IMMIGRATION FORMS?

THANK YOU.

HOT TOWEL, SIR?

UH, NO.

DO YOU NEED

IMMIGRATION FORMS?

[ SIGHS ]

[ EXHALES SHARPLY ]

[ DIALING ]

WELCOME HOME, MR. COBB.

THANK YOU, SIR.

WELCOME.

THIS WAY.

JAMES? PHILLIPA?

LOOK WHO'S HERE.

HEY.

HEY, GUYS!

James: DADDY!

HEY! HOW ARE YOU?

DADDY!

HOW ARE YOU?

LOOK WHAT

I'VE BEEN BUILDING!

WHAT ARE YOU BUILDING?

WE'RE BUILDING A HOUSE

ON THE CLIFF!

ON THE CLIFF?

COME ON,

I WANT YOU TO SHOW ME.

[ TOTEM RATTLING ]

[ OMINOUS MUSIC PLAYS ]

[ "NON, JE NE REGRETTE RIEN"

PLAYS ]

♪ NON, RIEN DE RIEN ♪

♪ NON, JE NE REGRETTE RIEN ♪

♪ NI LE BIEN QU'ON M'A FAIT ♪

♪ NI LE MAL

TOUT ÇA M'EST BIEN ÉGAL ♪

♪ NON, RIEN DE RIEN ♪

♪ NON, JE NE REGRETTE RIEN ♪

♪ CAR MA VIE, CAR MES JOIES ♪

♪ AUJOURD'HUI ♪

[ OMINOUS MUSIC PLAYS ]