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[ 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.

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?

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