Inception

en
00:00:55 [CHILDREN LAUGHING]
00:01:12 [PHILLIPA SCREAMS]
00:01:25 [SPEAKING IN JAPANESE]
00:01:33 ATTENDANT [IN JAPANESE]:
00:02:09 Are you here to kill me?
00:02:20 I know what this is.
00:02:23 I've seen one before.
00:02:30 It belonged to a man I met
00:02:37 A man possessed
00:02:46 COBB:
00:02:49 A bacteria? A virus?
00:02:53 An intestinal worm?
00:02:55 ARTHUR:
00:02:56 What Mr. Cobb is trying to say...
00:02:58 An idea.
00:03:00 Resilient. Highly contagious.
00:03:03 Once an idea has taken hold of the brain,
00:03:08 An idea that is fully formed,
00:03:12 Right in there somewhere.
00:03:13 For someone like you to steal?
00:03:15 Yes. In the dream state,
00:03:18 ...and that makes your thoughts
00:03:21 It's called extraction.
00:03:22 Mr. Saito, we can train
00:03:26 ...from even the most skilled extractor.
00:03:29 How can you do that?
00:03:30 Because I am the most skilled extractor.
00:03:33 I know how to search your mind
00:03:37 And I can teach them to you,
00:03:40 ...your defense is never down.
00:03:43 Look, if you want my help, you're gonna
00:03:47 I need to know my way around
00:03:51 ...better than your therapist,
00:03:53 If this is a dream,
00:03:56 ...I need to know what's in that safe.
00:03:59 In order for this all to work,
00:04:05 Enjoy your evening, gentlemen,
00:04:12 He knows.
00:04:13 [RUMBLING]
00:04:16 What's going on up there?
00:04:26 [MEN SHOUTING]
00:04:27 [MACHINE HISSING]
00:04:39 [EXPLOSION]
00:05:05 [RUMBLING]
00:05:12 Saito knows. He's playing with us.
00:05:15 Doesn't matter. I can get it here.
00:05:17 The information is in the safe.
00:05:19 He looked right at it
00:05:23 What's she doing here?
00:05:27 Just head back to the room.
00:05:30 Okay, make sure you do.
00:05:40 If I jumped, would I survive?
00:05:47 With a clean dive, perhaps.
00:05:50 Mal, what are you doing here?
00:05:52 I thought you might be missing me.
00:05:54 COBB:
00:05:57 But I can't trust you anymore.
00:06:00 So what?
00:06:03 MAL:
00:06:05 Actually, the subject is partial
00:06:11 Please, have a seat.
00:06:20 MAL:
00:06:22 ...do the children miss me?
00:06:28 You can't imagine.
00:06:34 What are you doing?
00:06:35 Just getting some fresh air.
00:06:37 Stay where you are, Mal.
00:06:48 [GRUNTS]
00:06:52 Goddamn it.
00:07:04 [SOFT SCREECHING]
00:07:13 [SILENCED GUNSHOT]
00:07:14 [GUARD GRUNTS]
00:07:24 [SILENCED GUNSHOT
00:07:56 SAITO:
00:07:58 The gun, Dom.
00:08:08 Please.
00:08:21 Now the envelope, Mr. Cobb.
00:08:24 Did she tell you?
00:08:28 That you're here to steal from me,
00:08:37 I want to know the name
00:08:41 Ah, there's no use threatening him
00:08:46 That depends
00:08:49 Killing him would just wake him up.
00:08:52 But pain...
00:08:55 [SCREAMS]
00:08:57 Pain is in the mind.
00:09:00 And judging by the decor,
00:09:07 [GRUNTS]
00:09:15 - What are you doing? It's too soon.
00:09:18 I'm gonna try to keep Saito under
00:09:22 [SILENCED GUNFIRE]
00:09:36 He was close. Very close.
00:09:43 [SCREAMS]
00:09:53 [YELLS]
00:09:54 Stop him!
00:10:01 [GUNFIRE]
00:10:10 [GRUNTS]
00:10:18 [HISSING]
00:10:20 [SAITO GROANS]
00:10:22 This isn't gonna work. Wake him up.
00:10:37 [GRUNTS]
00:10:45 He won't wake.
00:10:51 - Give him the kick.
00:10:53 Dunk him.
00:10:54 [GUN COCKS]
00:11:01 [WOOD GROANING]
00:11:30 [SAITO GRUNTING]
00:11:39 COBB:
00:11:42 [SHOUTING IN FOREIGN LANGUAGE]
00:11:45 You came prepared, hmm?
00:11:47 Not even my head of security knows
00:11:52 It's difficult for a man of your position
00:11:56 ...particularly where there's
00:11:59 - She would never...
00:12:02 - With a dilemma.
00:12:04 - You got what you came for.
00:12:07 You left out a key piece of information,
00:12:10 You held something back
00:12:13 - Question is, why'd you let us in at all?
00:12:17 - An audition for what?
00:12:20 We extracted every bit of information
00:12:23 But your deception was obvious.
00:12:32 [MACHINE HISSING]
00:12:56 [EDITH PIAF'S
00:13:03 [SONG ECHOING]
00:13:06 - So leave me and go.
00:13:11 That corporation that hired us,
00:13:15 We won't last two days.
00:13:20 Cobb?
00:13:21 Looks like I'm gonna have to do this
00:13:24 Tell us what you know!
00:13:29 [LAUGHING]
00:13:31 SAITO:
00:13:35 It's stained and frayed
00:13:40 But very definitely made of wool.
00:13:44 Right now...
00:13:47 ...l'm lying on polyester.
00:13:53 Which means I'm not lying
00:13:59 You have lived up to your reputation,
00:14:03 I'm still dreaming.
00:14:07 [ALARM BEEPING]
00:14:12 - How'd it go?
00:14:19 Dream within a dream, huh?
00:14:24 But in my dream, you play by my rules.
00:14:28 Ah, yes, but you see, Mr. Saito...
00:14:30 We're not in your dream.
00:14:32 We're in mine.
00:14:34 [MEN SHOUTING]
00:14:36 [ALARM BEEPING FASTER]
00:14:41 [NASH YELLS]
00:14:43 Asshole.
00:14:46 - It wasn't my fault.
00:14:48 I didn't know
00:14:50 That's enough.
00:14:53 You. What the hell was all that?
00:14:55 - I have it under control.
00:14:58 We don't have time for this.
00:15:02 ARTHUR:
00:15:04 Yeah, well, I don't like trains.
00:15:05 Listen. Every man for himself.
00:16:17 [PHONE RINGS]
00:16:23 Yes, hello?
00:16:24 PHILLIPA: Hi, Daddy.
00:16:27 Hey, guys. Hey. How are you?
00:16:31 PHILLIPA: Good.
00:16:33 Okay? Who's just okay?
00:16:37 JAMES:
00:16:42 Well, I can't, sweetheart. I can't.
00:16:47 JAMES:
00:16:48 Look, I told you, I'm away
00:16:54 PHILLIPA:
00:16:58 COBB:
00:17:01 Put Grandma on the phone for me,
00:17:03 PHILLIPA:
00:17:07 Well, just hope she's wrong about that.
00:17:10 JAMES:
00:17:12 Yeah, James?
00:17:13 JAMES:
00:17:18 James, we talked about this.
00:17:21 Mommy's not here anymore.
00:17:25 JAMES:
00:17:28 WOMAN:
00:17:30 Listen, I'm gonna send some presents
00:17:34 And you be good, you be...
00:17:35 [DIAL TONE]
00:17:42 [KNOCKING ON DOOR]
00:17:45 - Our ride's on the roof.
00:17:55 Hey, are you okay?
00:17:56 Yeah. Yeah, I'm fine. Why?
00:17:58 Well, down in the dream,
00:18:00 Look, I'm, uh, sorry about your leg.
00:18:04 - It's getting worse, isn't it?
00:18:08 - Where's Nash?
00:18:10 We were supposed to deliver
00:18:13 ...to Cobol Engineering two hours ago.
00:18:15 By now, they know we failed.
00:18:19 - Where you gonna go?
00:18:21 I can lie low there, maybe sniff out
00:18:26 Stateside.
00:18:27 Send my regards.
00:18:35 He sold you out. Thought to come
00:18:41 So I offer you the satisfaction.
00:18:47 It's not the way I deal with things.
00:18:52 [HELICOPTER STARTING]
00:19:01 - What will you do with him?
00:19:05 But I can't speak for Cobol Engineering.
00:19:22 - What do you want from us?
00:19:26 - Is it possible?
00:19:29 If you can steal an idea
00:19:31 ...why can't you plant one there instead?
00:19:33 Okay, here's me planting
00:19:35 I say, "Don't think about elephants."
00:19:39 Elephants.
00:19:40 Right. But it's not your idea,
00:19:43 The subject's mind can always trace
00:19:47 - True inspiration's impossible to fake.
00:19:52 - Can you do it?
00:19:56 Because I can find my own way
00:19:58 Then you do have a choice.
00:20:01 Then I choose to leave, sir.
00:20:07 Tell the crew where you want to go.
00:20:14 Hey, Mr. Cobb.
00:20:19 How would you like to go home?
00:20:21 To America. To your children.
00:20:25 You can't fix that. No one can.
00:20:29 - Just like inception.
00:20:36 - How complex is the idea?
00:20:39 No idea is simple when you need
00:20:43 My main competitor is
00:20:46 His son will soon inherit control
00:20:51 I need him to decide to break up
00:20:55 - Cobb, we should walk away from this.
00:21:00 If I were to do this,
00:21:03 ...l'd need a guarantee.
00:21:06 - How do I know you can deliver?
00:21:09 But I can.
00:21:11 So do you want to take a leap of faith...
00:21:16 ...or become an old man,
00:21:20 ...waiting to die alone?
00:21:26 Assemble your team, Mr. Cobb.
00:21:39 Look, I know how much
00:21:43 This can't be done.
00:21:45 Yes, it can.
00:21:49 You don't know that.
00:21:51 I've done it before.
00:21:54 Who'd you do it to?
00:22:01 Why are we going to Paris?
00:22:04 We're gonna need a new architect.
00:22:07 [BELLS TOLLING]
00:22:23 COBB:
00:22:27 No space to think
00:22:32 Is it safe for you to be here?
00:22:35 Extradition between France
00:22:38 ...is a bureaucratic nightmare,
00:22:40 I think they might find a way
00:22:43 Look, I, uh, brought these for you to give
00:22:48 It'll take more than
00:22:51 ...to convince those children
00:22:54 I'm just doing what I know.
00:22:57 I never taught you to be a thief.
00:22:58 No, you taught me to navigate
00:23:01 But after what happened...
00:23:02 ...there weren't a whole lot of legitimate
00:23:11 What are you doing here, Dom?
00:23:15 I think I found a way home.
00:23:17 It's a job
00:23:21 People who I believe can fix
00:23:26 But I need your help.
00:23:28 You're here to corrupt
00:23:32 You know what I'm offering.
00:23:35 - Money.
00:23:36 You remember.
00:23:38 It's the chance to build cathedrals,
00:23:41 ...things that never existed...
00:23:43 ...things that couldn't exist
00:23:47 So you want me to let someone else
00:23:52 They don't actually come into the dream.
00:23:54 They just design the levels
00:23:57 Design it yourself.
00:24:01 Mal won't let me.
00:24:09 Come back to reality, Dom.
00:24:13 - Please.
00:24:15 Those kids, your grandchildren...
00:24:18 ...they're waiting for their father to come
00:24:22 And this job, this last job,
00:24:26 I would not be standing here
00:24:33 I need an architect
00:24:40 I've got somebody better.
00:24:42 Ariadne?
00:24:46 I'd like you to meet Mr. Cobb.
00:24:49 Pleased to meet you.
00:24:50 If you have a few moments, Mr. Cobb has
00:24:55 A work placement?
00:24:56 Not exactly.
00:24:58 I have a test for you.
00:25:00 You're not gonna tell me anything first?
00:25:02 Before I describe the job,
00:25:05 - Why?
00:25:11 You have two minutes to design a maze
00:25:18 Stop.
00:25:21 Again.
00:25:25 Stop.
00:25:29 You're gonna have to do better than that.
00:25:44 That's more like it.
00:26:06 COBB: They say we only use a fraction
00:26:09 Now, that's when we're awake.
00:26:11 When we're asleep,
00:26:14 Such as?
00:26:15 Imagine you're designing a building.
00:26:19 But sometimes, it feels like it's almost
00:26:23 Yeah, like I'm discovering it.
00:26:25 Genuine inspiration, right?
00:26:28 Now, in a dream,
00:26:31 We create and perceive
00:26:36 And our mind does this so well
00:26:40 That allows us to get right
00:26:43 - How?
00:26:45 Now, this is where I need you.
00:26:47 You create the world of the dream.
00:26:49 We bring the subject into that dream,
00:26:55 How could I ever acquire enough detail
00:27:00 Well, dreams, they feel real
00:27:03 It's only when we wake up that we realize
00:27:09 Let me ask you a question.
00:27:10 You never really remember
00:27:14 You always wind up
00:27:17 I guess, yeah.
00:27:18 So how did we end up here?
00:27:20 Well, we just came from the, uh...
00:27:22 Think about it, Ariadne.
00:27:26 Where are you right now?
00:27:32 We're dreaming?
00:27:33 You're in the middle
00:27:36 This is your first lesson
00:27:39 [CUP RATTLING]
00:27:40 [RUMBLING]
00:28:16 If it's just a dream,
00:28:18 ["NON, JE NE REGRETTE RIEN" PLAYING]
00:28:20 COBB:
00:28:22 And a face full of glass hurts like hell.
00:28:25 ARTHUR: That's why the military
00:28:27 It was a training program for soldiers
00:28:31 ...and then wake up.
00:28:33 ARIADNE:
00:28:35 COBB: Well, someone had to design
00:28:39 Why don't you give us
00:28:42 Five minutes? What...? We were talking
00:28:46 In a dream, your mind
00:28:48 ...therefore time seems
00:28:51 Five minutes in the real world
00:28:55 Why don't you see what you
00:29:01 [MACHINE HISSING]
00:29:04 COBB: You've got the basic layout.
00:29:08 Almost everything else is here too.
00:29:09 ARIADNE: Who are the people?
00:29:13 - Yours?
00:29:14 Remember, you are the dreamer.
00:29:17 I am the subject. My mind populates it.
00:29:19 You can literally talk
00:29:21 That's one of the ways we extract
00:29:25 How else do you do it?
00:29:26 By creating something secure,
00:29:30 The mind automatically fills it
00:29:34 - You understand?
00:29:37 Well...
00:29:38 I guess I thought that the dream space
00:29:43 ...but it's more about the feel of it.
00:29:45 My question is what happens when you
00:29:51 [RUMBLING THEN METAL GROANING]
00:30:31 It's something, isn't it?
00:30:33 Yes, it is.
00:30:59 ARIADNE:
00:31:00 Because my subconscious feels that
00:31:04 The more you change things, the quicker
00:31:08 Converge?
00:31:10 They sense the foreign nature
00:31:12 They attack, like white blood cells
00:31:15 - What, they're gonna attack us?
00:31:18 Just you.
00:31:21 [METAL CREAKING]
00:31:24 This is great, but I'm telling you,
00:31:31 Jeez, mind telling your subconscious
00:31:34 It's my subconscious.
00:32:31 Very impressive.
00:32:44 I know this bridge.
00:32:48 Yeah, I cross it every day
00:32:50 Never re-create places from your memory.
00:32:54 You draw from stuff you know, right?
00:32:56 Only use details. A streetlamp
00:33:00 - Why not?
00:33:02 ...is the easiest way to lose your grasp
00:33:06 - Is that what happened to you?
00:33:08 This has nothing to do
00:33:10 That why you need me
00:33:13 Hey, get off of her. Back up. Back up.
00:33:15 - Cobb! Cobb!
00:33:17 - Let me go! Let me go!
00:33:20 - Mal!
00:33:22 - Wake me up! Wake me up!
00:33:24 - Mal, no! No!
00:33:25 [GASPING]
00:33:27 Hey, hey, hey. Look at me.
00:33:31 - Hey.
00:33:35 There was still time on the clock.
00:33:36 You can't wake up from
00:33:39 - She'll need a totem.
00:33:41 A totem, it's a small personal...
00:33:42 That's some subconscious
00:33:45 - She's a real charmer.
00:33:47 - I see you met Mrs. Cobb.
00:33:50 Yeah. So a totem. You need
00:33:54 Something you can have on you
00:33:57 ARIADNE: Like a coin?
00:33:58 It needs to be more unique than that.
00:34:04 No, I can't let you touch it.
00:34:07 See, only I know the balance and
00:34:11 That way,
00:34:13 ...you know beyond a doubt that
00:34:20 I don't know if you can't see what's
00:34:24 ...but Cobb has some serious problems
00:34:28 And I'm not about to just open my mind
00:34:37 [DOOR CLOSES]
00:34:38 She'll be back. I've never seen anyone
00:34:42 Reality's not gonna be enough for her now,
00:34:47 When she comes back,
00:34:50 - Where are you gonna be?
00:34:52 Eames? No, he's in Mombasa.
00:34:55 It's a necessary risk.
00:34:57 - Well, there's plenty of good thieves.
00:35:02 We need a forger.
00:35:11 Rub them together all you want,
00:35:15 You never know.
00:35:16 COBB:
00:35:21 You're buying.
00:35:29 - Your spelling hasn't improved.
00:35:31 How's your handwriting?
00:35:33 - It's versatile.
00:35:35 Thank you very much.
00:35:37 Inception.
00:35:39 Now, before you bother telling me
00:35:42 No, it's perfectly possible.
00:35:45 Interesting. Because Arthur keeps
00:35:49 Hmm. Arthur. You still working
00:35:52 He is good at what he does, right?
00:35:54 Oh, he's the best,
00:35:56 Not like you.
00:35:57 Listen, if you're gonna perform inception,
00:36:00 Let me ask you something.
00:36:04 We tried it. Uh, we got the idea in place,
00:36:08 - You didn't plant it deep enough?
00:36:11 You need the simplest version
00:36:14 ...in order for it to grow naturally
00:36:17 So, what is this idea
00:36:20 We need the heir of a major corporation
00:36:25 Right there you have
00:36:27 ...and anti-monopolistic sentiments
00:36:29 But all of that stuff, it's, um...
00:36:31 It's really at the mercy of your
00:36:34 What you have to do is
00:36:37 Which is what?
00:36:39 The relationship with the father.
00:36:43 - Do you have a chemist?
00:36:45 Right. Okay, well,
00:36:48 He, uh, formulates his own versions
00:36:52 Why don't you take me there?
00:36:53 Once you've lost your tail.
00:36:57 COBB:
00:36:58 That price on my head,
00:37:01 Don't remember.
00:37:03 Run interference. I'll meet you downstairs
00:37:07 - Back here?
00:37:09 [CHUCKLES]
00:37:12 All right.
00:37:14 Freddy. Freddy Simmonds.
00:37:16 My God, it's you, isn't it?
00:37:19 [GRUNTS]
00:37:21 No, it isn't you.
00:37:22 Not dreaming now, are you?
00:37:24 [GRUNTS THEN PEOPLE SHOUTING]
00:37:26 MAN:
00:37:43 There!
00:38:03 [WAITER SPEAKING
00:38:05 One café.
00:38:11 Shh.
00:38:14 [WAITER SHOUTING]
00:38:18 One café.
00:38:20 One café.
00:38:23 [MEN SHOUTING]
00:38:41 [HORN HONKS]
00:38:56 [GRUNTING]
00:39:11 [TIRES SCREECH]
00:39:16 Care for a lift, Mr. Cobb?
00:39:19 - What are you doing in Mombasa?
00:39:24 [WHISTLE]
00:39:26 Ah. So this is your idea
00:39:29 Different tail.
00:39:33 [ARIADNE CLEARS THROAT]
00:39:39 Cobb said you'd be back.
00:39:42 - I tried not to come, but...
00:39:45 It's just...
00:39:49 ...pure creation.
00:39:50 Shall we take a look
00:39:53 ARTHUR: You're gonna have to master
00:39:55 ...if you're gonna build three complete
00:39:59 ARIADNE:
00:40:00 In a dream, you can cheat architecture
00:40:04 That lets you create closed loops,
00:40:08 The infinite staircase.
00:40:13 See?
00:40:19 Paradox.
00:40:20 So a closed loop like that...
00:40:22 ...will help you disguise the boundaries
00:40:25 But how big do these levels have to be?
00:40:27 It could be anything from
00:40:31 They have to be complicated enough
00:40:34 - A maze?
00:40:36 And the better the maze...
00:40:37 Then the longer we have
00:40:40 Exactly.
00:40:42 - My subconscious seems polite enough.
00:40:47 No one likes to feel someone else
00:40:49 Cobb can't build anymore, can he?
00:40:53 I don't know if he can't, but he won't.
00:40:55 He thinks it's safer
00:40:57 Why?
00:40:59 He won't tell me. But I think it's Mal.
00:41:01 - His ex-wife?
00:41:04 - They're still together?
00:41:08 No, she's dead.
00:41:12 What you see in there
00:41:18 What was she like in real life?
00:41:20 She was lovely.
00:41:25 YUSUF: You are seeking a chemist?
00:41:28 To formulate compounds for a job?
00:41:31 And to go into the field with us.
00:41:33 No, I rarely go into the field, Mr. Cobb.
00:41:35 Well, we'd need you there to tailor
00:41:39 - Which are?
00:41:41 A dream within a dream? Two levels?
00:41:47 Three.
00:41:48 Not possible. That many dreams
00:41:52 It is possible.
00:41:56 A powerful sedative.
00:42:01 - How many team members?
00:42:03 SAITO:
00:42:06 The only way to know you've done the job
00:42:10 There's no room for tourists
00:42:13 This time, it seems there is.
00:42:17 This, I think, is a good place to start.
00:42:20 COBB: What for?
00:42:27 Perhaps you will not want to see.
00:42:32 After you.
00:42:33 [MACHINE HISSING]
00:42:43 EAMES:
00:42:46 They come every day to share the dream.
00:42:50 You see? Very stable.
00:42:59 - How long do they dream for?
00:43:03 In dream time?
00:43:04 With this compound? About 40 hours,
00:43:08 - Why do they do it?
00:43:13 After a while, it becomes
00:43:16 Do you still dream, Mr. Cobb?
00:43:18 - They come here every day to sleep?
00:43:23 They come to be woken up.
00:43:27 The dream has become their reality.
00:43:31 Who are you to say otherwise, sir?
00:43:36 Let's see what you can do.
00:43:45 [METAL GROANING]
00:43:49 You know how to find me.
00:43:53 You know what you have to do.
00:44:00 Sharp, no?
00:44:17 SAITO:
00:44:20 Yeah, yeah. Everything's just fine.
00:44:32 Robert Fischer, heir to the Fischer Morrow
00:44:36 COBB:
00:44:38 That's not your concern.
00:44:40 Mr. Saito, this isn't your typical
00:44:45 You asked me for inception.
00:44:46 I do hope you understand
00:44:50 Now, the seed that we plant
00:44:54 This idea will define him.
00:44:56 It may come to change...
00:44:58 Well, it may come to change
00:45:01 We're the last company standing
00:45:05 And we can no longer compete.
00:45:07 Soon, they'll control the energy supply
00:45:11 In effect, they become
00:45:15 The world needs Robert Fischer
00:45:18 EAMES:
00:45:20 How is Robert Fischer's relationship
00:45:23 Rumor is the relationship
00:45:26 Well, we can't work based
00:45:29 Can you get me access to this man here?
00:45:32 Fischer Senior's right-hand man.
00:45:37 It should be possible,
00:45:40 References are something
00:45:45 BROWNING: I'm not smelling
00:45:48 LAWYER:
00:45:50 ...Maurice Fischer's policy
00:45:56 Well, shall we voice your concerns
00:46:01 Not sure that's necessary.
00:46:02 No, no, no. I think we should.
00:46:26 BROWNING:
00:46:29 I don't want to bother him
00:46:32 MAURICE: Robert, I told you keep out
00:46:37 NURSE: Mr. Fischer.
00:46:41 Never, never.
00:46:46 Leave that.
00:46:51 Here.
00:46:55 BROWNING:
00:46:58 I put it beside his bed.
00:47:03 Robert...
00:47:07 ...we need to talk about
00:47:09 - I know this is hard, but it's imperative...
00:47:17 EAMES:
00:47:19 And the sicker Maurice Fischer becomes,
00:47:23 I've had ample opportunity
00:47:26 ...and adopt his physical presence, study
00:47:31 So now in the first layer of the dream,
00:47:35 And suggest concepts
00:47:38 Then, when we take him
00:47:40 ...his own projection of Browning
00:47:44 So he gives himself the idea.
00:47:46 Precisely. That's the only way it will stick.
00:47:51 Eames, I am impressed.
00:47:54 Your condescension, as always,
00:48:10 [DOOR OPENS]
00:48:19 Were you going under on your own?
00:48:21 No, no, I was just, uh, running
00:48:25 I didn't realize anyone was here, so...
00:48:27 Yeah, I was just...
00:48:30 Here, let me take a look.
00:48:33 So you're learning, huh?
00:48:35 An elegant solution
00:48:39 - Was it your idea?
00:48:41 It was Mal's, actually. This...
00:48:44 This one was hers. She would spin it
00:48:48 Just spin and spin.
00:48:53 Arthur told me she passed away.
00:48:56 How are the mazes coming along?
00:48:59 Each level relates to the part
00:49:02 ...that we are trying to access.
00:49:03 So I'm making the bottom level a hospital,
00:49:09 You know, l... Actually, I have a question
00:49:12 No, no, no. Don't show me specifics.
00:49:17 Why is that so important?
00:49:18 In case one of us brings in
00:49:21 We don't want them knowing
00:49:24 You mean in case you bring Mal in.
00:49:27 You can't keep her out, can you?
00:49:30 - Right.
00:49:32 ...because if you know the maze,
00:49:35 Well, she'd sabotage
00:49:38 - Cobb, do the others know?
00:49:41 You've gotta warn them
00:49:43 No one said it's getting worse.
00:49:46 I need to get home.
00:49:50 Why can't you go home?
00:49:56 Because they think I killed her.
00:50:01 - Thank you.
00:50:03 For not asking whether I did.
00:50:06 "I will split up my father's empire."
00:50:08 Now, this is obviously an idea that
00:50:12 ...which is why we need to plant it deep
00:50:15 The subconscious is motivated
00:50:19 We need to find a way to translate this
00:50:23 How do you translate business strategy
00:50:26 That's what we're here to figure out.
00:50:29 ...is stressed, to say the least.
00:50:32 We suggest breaking up his father's
00:50:36 No, because I think positive emotion
00:50:40 We all yearn for reconciliation,
00:50:44 We need Robert Fischer to have
00:50:48 All right, well, try this. Um...
00:50:50 "My father accepts that I want to create
00:50:55 That might work.
00:50:56 Might? We're gonna need to do
00:51:00 Thank you for your contribution, Arthur.
00:51:02 Forgive me for wanting
00:51:05 Specificity?
00:51:06 Inception's not about being specific.
00:51:08 When we get inside his mind, we're
00:51:13 EAMES: On the top level, we open up
00:51:16 ...and say, "I will not follow
00:51:20 Then the next level down, we feed him,
00:51:25 Then, by the time we hit the bottom level,
00:51:28 - "My father doesn't want me to be him."
00:51:31 [MACHINE HISSING]
00:51:32 Three layers down, the dreams are gonna
00:51:36 Sedation.
00:51:37 For sleep stable enough to create
00:51:40 ...we'll have to combine it with
00:51:45 [MACHINE HISSING]
00:51:56 Good night.
00:51:57 YUSUF: The compound we'll be using
00:52:00 ...creates a clear connection
00:52:02 ...whilst accelerating brain function.
00:52:06 Brain function in the dream will be
00:52:10 And when you enter a dream within
00:52:13 It's three dreams,
00:52:16 Math was never my strong subject.
00:52:19 It's a week, the first level down.
00:52:22 Six months the second level down,
00:52:25 That's 10 years.
00:52:29 Who'd wanna be stuck
00:52:32 Depends on the dream.
00:52:33 So once we've made the plant,
00:52:35 I'm hoping you have something more
00:52:39 - A kick.
00:52:42 EAMES:
00:52:47 It's that feeling of falling you get
00:52:50 - Snaps you out of the dream.
00:52:53 YUSUF:
00:52:54 I customized the sedative to leave
00:52:58 That way, however deep the sleep,
00:53:03 Or tipping.
00:53:06 The trick is to synchronize a kick
00:53:10 We could use a musical countdown
00:53:14 ["NON, JE NE REGRETTE RIEN" PLAYING]
00:53:22 EAMES: He hasn't got any surgery
00:53:26 COBB: Wasn't he supposed to have
00:53:28 Nothing. Nothing that they'll
00:53:31 We need at least a good 10 hours.
00:53:33 Sydney to Los Angeles.
00:53:36 One of the longest flights in the world.
00:53:40 He must be flying private, then.
00:53:43 SAITO: Not if there were unexpected
00:53:46 ARTHUR: It would have to be a 747.
00:53:49 On a 747, the pilot's up top...
00:53:50 ...the first-class cabin's in the nose,
00:53:54 You'd have to buy out the entire cabin
00:53:57 I bought the airline.
00:54:01 It seemed neater.
00:54:04 Well, looks like we have our 10 hours.
00:54:07 Ariadne? Terrific work, by the way.
00:54:13 [MACHINE HISSING]
00:54:59 MAL:
00:55:02 You know what you have to do.
00:55:07 You remember when you asked me
00:55:12 Of course I do.
00:55:15 You said you had a dream.
00:55:20 That we'd grow old together.
00:55:25 And we can.
00:55:33 COBB:
00:55:39 Just wanted to see what kind of tests
00:55:42 - This has nothing to do with you.
00:55:46 - You've asked me to share dreams with you.
00:56:02 ARIADNE:
00:56:05 It's the only way I can still dream.
00:56:10 Why is it so important to dream?
00:56:13 In my dreams, we're still together.
00:56:29 These aren't just dreams.
00:56:33 These are memories.
00:56:36 I know I did.
00:56:38 You're trying to keep her alive.
00:56:42 You don't understand.
00:56:46 They're memories that I have to change.
00:56:49 Well, what's down there that you regret?
00:56:52 Listen, there's only one thing
00:57:04 ARIADNE:
00:57:06 Mine and Mal's, yes.
00:57:09 Where is she?
00:57:11 She's already gone.
00:57:18 That's my son, James.
00:57:20 He's digging for something,
00:57:23 [JAMES GIGGLING]
00:57:24 That's Phillipa.
00:57:26 I thought about calling out to them...
00:57:28 ...so they'd turn and smile
00:57:31 ...those beautiful faces of theirs,
00:57:37 MAN:
00:57:44 COBB:
00:57:46 I realize I'm gonna regret this moment...
00:57:49 ...that I need to see their faces
00:57:52 WOMAN:
00:57:55 COBB:
00:57:59 And whatever I do,
00:58:03 As I'm about to call out to them...
00:58:06 ...they run away.
00:58:10 If I'm ever gonna see their faces again,
00:58:14 The real world.
00:58:22 [TRAIN APPROACHING]
00:58:45 [SIREN WAILING IN THE DISTANCE]
00:58:58 What are you doing here?
00:59:00 My name is...
00:59:01 I know who you are.
00:59:13 I'm just trying to understand.
00:59:15 How could you understand?
00:59:19 Do you know what it is to be a lover?
00:59:23 To be half of a whole?
00:59:26 No.
00:59:29 I'll tell you a riddle.
00:59:33 You're waiting for a train.
00:59:36 A train that will take you far away.
00:59:40 You know where you hope
00:59:44 ...but you don't know for sure.
00:59:47 But it doesn't matter.
00:59:50 How can it not matter to you
00:59:53 COBB:
00:59:56 MAL: How could you bring her here, Dom?
01:00:00 This is a hotel suite where we
01:00:03 What happened here?
01:00:06 You promised!
01:00:09 Please, I need you to stay here
01:00:12 You said we'd be together!
01:00:15 I'll come back for you. I promise.
01:00:18 [YELLING]
01:00:36 Do you think you can just build
01:00:42 Do you really think that
01:00:45 SAITO:
01:00:48 Maurice Fischer just died in Sydney.
01:00:50 - When's the funeral?
01:00:52 Robert should accompany the body
01:00:56 All right.
01:00:58 - Cobb, I'm coming with you.
01:01:01 The team needs someone who
01:01:07 And it doesn't have to be me...
01:01:09 ...but then you have to show Arthur
01:01:18 Get us another seat on the plane.
01:01:24 COBB: If I get on this plane
01:01:27 ...when we land,
01:01:32 Complete the job en route...
01:01:34 ...I make one phone call from the plane...
01:01:37 ...you have no trouble
01:01:53 - I'm sorry.
01:01:56 Thank you.
01:02:31 Excuse me, I think this is yours?
01:02:35 FLIGHT ATTENDANT:
01:02:37 Oh. Water, please.
01:02:38 Oh, um, same, please.
01:02:41 Um...
01:02:43 Thank you.
01:02:45 You know, I couldn't help but notice...
01:02:47 ...but you wouldn't happen to be related
01:02:50 Yes, he, um...
01:02:53 He was my father.
01:02:55 Well, he was a very inspiring figure.
01:03:02 - Here you go.
01:03:04 COBB:
01:03:06 To your father.
01:03:08 May he rest in peace, huh?
01:04:02 [MACHINE HISSING]
01:04:14 [HORN HONKS]
01:04:19 - Couldn't have peed before you went under?
01:04:21 Bit too much free champagne
01:04:23 Ha, ha, bloody ha.
01:04:25 We know he's gonna be looking for a taxi
01:04:39 - Asshole! Hey, man, why don't you try...?
01:04:56 [MAN SINGING IN FOREIGN LANGUAGE
01:04:58 [TURNS OFF RADIO]
01:04:59 Just have him ca... I gotta go.
01:05:01 All right. Taxi. Thank you.
01:05:06 All right, Third and Market. Snappy.
01:05:09 - What are you doing?
01:05:12 - It's not.
01:05:14 Maybe not.
01:05:19 Great.
01:05:26 Come on.
01:05:38 There's $500 in there.
01:05:41 You might at least
01:05:43 I'm afraid that it doesn't...
01:05:44 [GUNFIRE THEN EAMES GRUNTS]
01:05:47 [TIRES SCREECHING]
01:05:54 - Cover him!
01:05:56 What the hell is going on?
01:06:01 ARIADNE:
01:06:04 Cobb?
01:06:06 Cobb?
01:06:12 [GUNFIRE]
01:06:51 [YELLS]
01:06:58 Get him!
01:07:06 Are you all right?
01:07:07 Yeah, I'm okay. I'm okay.
01:07:10 Fischer's okay, unless he gets carsick.
01:07:12 Saito?
01:07:32 COBB:
01:07:34 - Get him in the back room. Move.
01:07:37 COBB:
01:07:39 ARTHUR: I don't know.
01:07:41 ARTHUR: What happened to you?
01:07:44 Why put a train
01:07:46 - I didn't.
01:07:47 Why the hell were we ambushed?
01:07:49 Those were not normal projections.
01:07:54 - How could he be trained?
01:07:56 ...teach his subconscious to defend itself,
01:08:00 It should've shown in the research.
01:08:02 COBB: Why the hell didn't it?
01:08:04 COBB:
01:08:05 This was your job, goddamn it!
01:08:08 You were meant to check
01:08:11 - We are not prepared for this!
01:08:14 We'll be more careful
01:08:16 This was not a part of the plan!
01:08:18 Put him out his misery.
01:08:20 - No, don't do that! Don't do that.
01:08:23 He's in agony. I'm waking him up.
01:08:25 No. It won't wake him up.
01:08:27 What do you mean, it won't wake him up?
01:08:31 Not from this.
01:08:32 We're too heavily sedated
01:08:35 Right. So, what happens when we die?
01:08:37 - We drop into limbo.
01:08:39 - Limbo?
01:08:42 ARIADNE: What the hell is down there?
01:08:45 Nothing is down there, except for
01:08:49 ...by anyone sharing the dream
01:08:52 Which, in our case, is just you.
01:08:54 - How long could we be stuck?
01:08:57 ...trying to escape until the sedation...
01:08:59 Decades. It could be infinite.
01:09:03 ARTHUR:
01:09:04 [GROANING]
01:09:05 Great.
01:09:08 Thank you.
01:09:10 So now we're trapped in Fischer's mind,
01:09:13 And if we get killed...
01:09:15 ...we'll be lost in limbo till our brains
01:09:25 ARTHUR:
01:09:29 - You knew these risks and didn't tell us?
01:09:33 - I didn't know we'd be dealing with gunfire.
01:09:36 This was the only way
01:09:39 You knew about this
01:09:41 I trusted him.
01:09:42 When? When he promised you
01:09:44 No. His whole share.
01:09:47 What, with Mal?
01:09:50 That has nothing to do with it.
01:09:53 You led us into a war zone
01:09:55 There is a way out. We continue on with
01:10:00 ...and we get out using the kick,
01:10:02 Forget it. We go any deeper,
01:10:05 I am sitting this one out on this level.
01:10:07 COBB: Fischer's security
01:10:09 Ten hours of flight time
01:10:12 That means each and every one of us
01:10:16 We have no other choice but to continue on
01:10:22 Downwards is the only way forwards.
01:10:26 Get ready.
01:10:27 You, come on. Let's go shake him up.
01:10:34 I'm insured against kidnapping
01:10:37 - This should be very simple.
01:10:40 ARTHUR: In your father's office,
01:10:43 ...is his personal safe.
01:10:45 [SIGHS]
01:10:46 I don't know any safe.
01:10:48 COBB: That doesn't mean
01:10:52 Tell us what it is.
01:10:54 I don't know.
01:11:01 We have it on good authority
01:11:03 Yeah? Whose authority?
01:11:07 - Five hundred dollars, this cost.
01:11:11 Cash, cards, ID. And this.
01:11:20 Useful?
01:11:22 Maybe.
01:11:23 You're on. You've got an hour.
01:11:26 An hour?
01:11:28 I was supposed to have all night
01:11:30 And Saito wasn't supposed
01:11:33 You've got one hour,
01:11:37 [SCREAMING]
01:11:39 - What's that?
01:11:46 Uncle Peter.
01:11:48 Just make them stop.
01:11:50 - The combination.
01:11:53 - Why does Browning say you do?
01:11:56 Just let me talk to him
01:12:01 You have one hour. Start talking.
01:12:05 FISCHER:
01:12:07 [GROANING]
01:12:08 You okay?
01:12:13 Those bastards have had at me
01:12:18 They have someone with access
01:12:20 - They're trying to open his safe.
01:12:22 They thought I'd know the combination,
01:12:25 - Yeah, well, neither do I, so...
01:12:29 Maurice told me that when he passed,
01:12:32 No, he never gave me any combination.
01:12:36 Maybe he did. I mean, maybe you
01:12:40 Well, what, then?
01:12:41 I don't know, some meaningful
01:12:44 ...based on your experiences
01:12:50 We didn't have very many, uh,
01:12:54 Perhaps after your mother died.
01:12:58 After my mother died,
01:13:03 "Robert,
01:13:08 Oh, well, he was bad with emotion.
01:13:10 I was 11, Uncle Peter.
01:13:14 - How's he doing?
01:13:17 When we get down to the lower levels,
01:13:21 And if he dies?
01:13:23 Worst-case scenario?
01:13:25 When he wakes up,
01:13:28 Cobb, I'll still honor the arrangement.
01:13:32 COBB:
01:13:34 But when you wake up, you won't even
01:13:38 Limbo is gonna become your reality.
01:13:40 You're gonna be lost down there so long
01:13:45 Filled with regret?
01:13:47 Waiting to die alone.
01:13:49 No.
01:13:51 I'll come back.
01:13:53 And we'll be young men together again.
01:14:02 Breathe.
01:14:03 These people are gonna kill us
01:14:06 - They just wanna ransom us.
01:14:08 They're gonna lock us in that van,
01:14:13 All right. What is in the safe?
01:14:15 Something for you.
01:14:17 Maurice always said
01:14:22 - A will.
01:14:25 That's an alternate.
01:14:26 This would supersede the other
01:14:29 It splits up the component businesses
01:14:32 It'd be the end of the entire empire
01:14:36 Destroying my whole inheritance?
01:14:40 - Why would he suggest such a thing?
01:14:46 He loved you, Robert.
01:14:48 In his own way.
01:14:50 FISCHER:
01:14:53 At the end...
01:14:56 ...he called me in to his deathbed.
01:14:59 He could barely speak.
01:15:02 But he took the trouble
01:15:08 He pulled me close.
01:15:13 And I could only make out...
01:15:16 ...one word.
01:15:21 "Disappointed."
01:15:27 [SIGHS]
01:15:28 When were you in limbo?
01:15:31 You might have the rest of the team
01:15:35 - But they don't know the truth.
01:15:37 The truth that, at any minute, you might
01:15:42 The truth that Mal is bursting
01:15:46 And the truth that,
01:15:49 ...we're also going deeper into you.
01:15:51 And I'm not sure
01:15:58 We were working together.
01:16:00 We were exploring the concept
01:16:04 I kept pushing things.
01:16:05 I wanted to go deeper and deeper.
01:16:10 I just didn't understand the concept that
01:16:15 ...that we could get trapped so deep...
01:16:18 ...that when we wound up on the shore
01:16:22 ...we lost sight of what was real.
01:16:31 We created.
01:16:35 We did that for years.
01:16:38 We built our own world.
01:16:41 How long were you stuck there?
01:16:44 Something like 50 years.
01:16:50 Jesus.
01:16:53 How could you stand it?
01:16:55 It wasn't so bad at first,
01:16:58 The problem was knowing
01:17:01 Eventually, it just became impossible
01:17:05 And what about for her?
01:17:10 She had locked something away,
01:17:16 A truth that she had once known,
01:17:24 Limbo became her reality.
01:17:28 What happened when you woke up?
01:17:30 Well, to wake up from that
01:17:35 ...to become old souls thrown back
01:17:40 I knew something was wrong with her.
01:17:45 Eventually, she told me the truth.
01:17:48 She was possessed by an idea.
01:17:51 This one very simple idea
01:17:58 That our world wasn't real.
01:18:02 That she needed to wake up
01:18:06 ...that in order to get back home...
01:18:10 ...we had to kill ourselves.
01:18:19 - What about your children?
01:18:22 ...that our real children were waiting
01:18:25 MAL: I'm their mother!
01:18:27 I can tell the difference.
01:18:29 If this is my dream,
01:18:31 You don't know you're dreaming!
01:18:33 COBB: She was certain
01:18:35 ...no matter how much I begged,
01:18:42 She wanted to do it,
01:18:45 She loved me too much, so she came up
01:19:18 - Sweetheart, what are you doing?
01:19:21 Just... Just step back inside. All right?
01:19:25 No. I'm going to jump,
01:19:30 No, I'm not.
01:19:32 Now, you listen to me.
01:19:35 If you jump, you're not gonna wake up,
01:19:39 Now, just step back inside.
01:19:41 Come on. Step back inside
01:19:44 We've talked enough.
01:19:48 - Mal.
01:19:50 ...or I'll jump right now.
01:19:57 We're gonna talk about this.
01:19:59 All right?
01:20:01 - I'm asking you to take a leap of faith.
01:20:07 No, I can't. You know I can't do that.
01:20:10 Take a second, think about our children.
01:20:13 Think about James.
01:20:15 Think about Phillipa, now.
01:20:17 If I go without you,
01:20:20 - What does that mean?
01:20:24 ...explaining how I'm fearful
01:20:30 How you've threatened to kill me.
01:20:35 - Why did you do this?
01:20:37 Why did...? Why would you do this to me?
01:20:39 I've freed you from the guilt
01:20:42 We're going home to our real children.
01:20:46 Oh, no, no, no, Mal, you listen to me,
01:20:49 You're waiting for a train.
01:20:51 - Mal, goddamn it, don't do this!
01:20:55 James and Phillipa are waiting for you!
01:20:57 You know where you hope this train
01:21:01 - Mal, look at me!
01:21:03 - Mal, goddamn it! Mal, listen to me!
01:21:07 Sweetheart! Look at me! Mal, no!
01:21:11 Jesus Christ!
01:21:16 She had herself declared sane
01:21:20 It made it impossible for me to try
01:21:24 So I ran.
01:21:25 [CHILDREN GIGGLING]
01:21:27 MAN:
01:21:36 WOMAN:
01:21:41 All right, let's go.
01:21:42 I left my children behind and I've been
01:21:47 Your guilt defines her.
01:21:51 But you are not responsible
01:21:55 And if we are gonna succeed in this...
01:21:58 ...you have to forgive yourself,
01:22:03 But you don't have to do that alone.
01:22:05 - No, you're not...
01:22:08 Because they have no idea the risk
01:22:18 We have to move.
01:22:20 Time's up.
01:22:21 All right. I don't know any combination.
01:22:24 - Not consciously, anyway.
01:22:28 I got somebody in your father's office
01:22:32 Give me the first six numbers
01:22:35 - I have no idea.
01:22:37 I said, right now! Right now!
01:22:40 Five, two, eight, four, nine, one.
01:22:47 You'll have to do better than that.
01:22:49 All right. Bag them.
01:22:57 FISCHER: We're worth more to you alive.
01:23:07 What'd you get?
01:23:08 Relationship with his father
01:23:11 This helps us how?
01:23:12 The stronger the issues,
01:23:17 - How are we gonna reconcile them?
01:23:20 Work faster.
01:23:24 We gotta break out of here
01:24:02 Damn it.
01:24:04 You mustn't be afraid to dream
01:24:23 We need to shift his animosity
01:24:26 - Destroy his one positive relationship?
01:24:31 ...whilst exposing his godfather's
01:24:33 We should charge Fischer a lot more
01:24:36 His security is gonna
01:24:39 - I think we run with Mr. Charles.
01:24:42 EAMES: Who's Mr. Charles?
01:24:43 The second we get into that hotel
01:24:47 We run with Mr. Charles
01:24:49 - You've done it before?
01:24:52 The subject realized he was dreaming
01:24:56 Excellent. But you learned a lot, right?
01:24:58 - I need some kind of distraction.
01:25:00 How about a lovely lady
01:25:02 Listen to me.
01:25:05 Everything down there is
01:25:12 Don't jump too soon. We only got
01:25:15 I'll play the music to let you know
01:25:19 - You ready?
01:25:22 Sweet dreams.
01:25:23 WOMAN:
01:25:26 I was telling you my story.
01:25:31 Um, I have a lot on my mind.
01:25:35 There goes Mr. Charles.
01:25:42 Mr. Fischer, right?
01:25:44 Pleasure to see you again.
01:25:48 Hmm.
01:25:49 - And you must be?
01:25:55 In case you get bored.
01:26:02 Must've blown you off.
01:26:03 That is, unless her phone number
01:26:08 Funny way to make friends,
01:26:15 [SCOFFS]
01:26:17 Goddamn it. The wallet alone
01:26:19 About $500, right?
01:26:20 Don't worry about it.
01:26:23 Who or what is Mr. Charles?
01:26:26 It's a gambit designed to turn Fischer
01:26:29 ARIADNE:
01:26:31 It involves telling the mark
01:26:33 ...which involves attracting
01:26:35 - Didn't Cobb say never to do that?
01:26:39 So now you've noticed how much time...
01:26:40 ...Cobb spends doing things
01:26:45 Mr. Saito, can I have a moment?
01:26:47 - I'm sorry, but...
01:26:51 You look a bit perkier.
01:26:52 Very amusing, Mr. Eames.
01:26:59 [RUMBLING]
01:27:01 Turbulence on the plane?
01:27:02 No, it's much closer.
01:27:04 That's Yusuf's driving.
01:27:07 [TIRES SCREECHING]
01:27:12 [GLASSES CLINKING]
01:27:14 Um, I'm sorry.
01:27:17 COBB:
01:27:19 But that's not true at all, is it?
01:27:23 My name is Mr. Charles.
01:27:26 I'm the head of your security down here.
01:27:30 Get out on a different floor,
01:27:32 Dump the wallet.
01:27:34 - Okay.
01:27:40 [COUGHING]
01:27:41 Security, huh?
01:27:45 - You work for the hotel?
01:27:48 I specialize in a very specific type
01:27:53 Subconscious security.
01:27:55 You're talking about dreams?
01:27:57 Are you talking about, um, extraction?
01:28:01 I am here to protect you.
01:28:02 [GLASS SHATTERS]
01:28:04 [PEOPLE CHATTERING]
01:28:13 [CHATTERING STOPS]
01:28:16 Mr. Fischer, I'm here
01:28:18 ...that someone tries to access
01:28:22 You're not safe here.
01:28:25 They're coming for you.
01:28:39 [YELLS]
01:28:45 Strange weather, isn't it?
01:28:52 You feel that?
01:28:55 What's happening?
01:28:57 Cobb's drawing Fischer's attention
01:29:00 ...which is making his subconscious
01:29:03 For me. Quick, give me a kiss.
01:29:11 - They're still looking at us.
01:29:16 We should probably get out of here.
01:29:22 [GUNFIRE]
01:29:33 COBB: You feel that? You've actually
01:29:37 Pay attention to the strangeness
01:29:41 None of this is real. You're in a dream.
01:29:49 Now, the easiest way
01:29:51 ...is to try and remember how you arrived
01:29:56 Yeah, I...
01:29:58 COBB: No, breathe, breathe.
01:30:02 Accept the fact that you're in a dream,
01:30:08 Mm-hm.
01:30:12 - You're not real?
01:30:14 No. I'm a projection
01:30:17 I was sent here to protect you
01:30:19 ...that extractors
01:30:23 And I believe that's what's
01:30:27 Yeah.
01:30:28 Okay.
01:30:30 Okay.
01:30:34 Can you get me out of here?
01:30:37 Right away. Follow me.
01:30:54 Hold on a second.
01:31:00 Jesus Christ! What are you doing?
01:31:02 These men were sent here
01:31:05 If you want my help,
01:31:09 I need you to work with me, Mr. Fischer.
01:31:23 If this is a dream, I should just
01:31:27 I wouldn't do that if I were you,
01:31:29 I believe they have you sedated,
01:31:33 ...you may not wake up.
01:31:35 You may go into a further dream state.
01:31:42 You remember the training.
01:31:44 Remember what I said to you.
01:31:47 Give me the gun.
01:32:00 - This room should be directly below 528?
01:32:04 [SAFE BEEPS]
01:32:12 Think, Mr. Fischer, think.
01:32:13 What do you remember
01:32:17 There was, um, a lot of gunfire.
01:32:20 There was rain.
01:32:23 Uncle Peter.
01:32:25 - Oh, my God, we've been kidnapped.
01:32:32 - They had us in the back of a van.
01:32:35 You're in the back of a van.
01:32:38 It had something to do with, um...
01:32:41 Something to do with a safe.
01:32:44 God, why is it so hard to remember?
01:32:46 It's like trying to remember a dream
01:32:49 Listen, it takes years of practice.
01:32:51 You and Browning have been pulled
01:32:53 ...because they're trying to steal
01:32:56 I need you to focus and try
01:33:00 What is it, Mr. Fischer? Think!
01:33:02 A combination. They demanded
01:33:06 They're trying to extract a number
01:33:08 It can represent anything.
01:33:13 We should try hotel rooms.
01:33:16 Try and remember for me.
01:33:19 Five.
01:33:22 Five, two... It was something,
01:33:24 That's good. We can start there.
01:33:27 Yep.
01:33:28 - So do you use a timer?
01:33:32 While you're all asleep in 528,
01:33:35 - Well, how will you know?
01:33:38 And then when the van hits the barrier
01:33:42 So we get a nice synchronized kick.
01:33:45 If it's too soon,
01:33:48 But if it's too late,
01:33:51 - Well, why not?
01:33:56 - Can't drop you without gravity.
01:34:04 They're with me. Go on.
01:34:31 Mr. Charles.
01:34:32 - Do you know what that is, Mr. Fischer?
01:34:35 They were trying to put you under.
01:34:37 - I'm already under.
01:34:40 What do you mean,
01:34:43 Hey. I see you've changed.
01:34:45 I'm sorry?
01:34:48 Oh, I'm sorry.
01:34:52 Oh.
01:34:53 Good-looking fellow, I'm sure.
01:34:56 No, no, no. That's Fischer's
01:34:59 Let's follow him
01:35:01 - Why?
01:35:03 ...if Fischer is starting to suspect
01:35:07 Shh.
01:35:08 [DOOR OPENS]
01:35:12 - Uncle Peter.
01:35:15 Well, not exactly. They already had him.
01:35:19 And you saw them torture him?
01:35:28 The kidnappers are working for you?
01:35:30 Robert.
01:35:32 You're trying to get that safe open?
01:35:36 Fischer Morrow has been my entire life.
01:35:41 I'm not gonna throw away
01:35:43 I couldn't let you rise
01:35:48 - What taunt?
01:35:51 That's his last insult.
01:35:53 A challenge for you to build something
01:35:57 ...by telling you you're not worthy
01:36:07 - What, but that he was, um, disappointed?
01:36:13 But he's wrong.
01:36:17 You can build a better company
01:36:20 Mr. Fischer? He's lying.
01:36:23 - How do you know?
01:36:25 He's hiding something,
01:36:29 I need you to do the same thing to him
01:36:35 We'll enter his subconscious and find out
01:36:40 All right.
01:36:42 [MACHINE HISSING]
01:36:48 COBB: He's out.
01:36:49 Whose subconscious are
01:36:51 We're going into Fischer's.
01:36:53 I told him it was Browning's
01:36:56 He's gonna help us break
01:36:58 COBB:
01:37:00 Security's gonna run you down hard.
01:37:02 And I will lead them on a merry chase.
01:37:05 - Just be back before the kick.
01:37:13 ARTHUR:
01:37:17 Hey. You ready?
01:37:19 Yes, yes. I'm fine. I'm ready.
01:37:35 ARIADNE:
01:37:37 Cobb? What's down there?
01:37:43 Hopefully, the truth
01:37:46 I mean, what's down there for you?
01:37:55 [SHOTGUN COCKS]
01:37:58 [GUNFIRE THEN YUSUF YELLS]
01:38:10 [ELEVATOR DINGS]
01:38:22 [YUSUF YELLS]
01:38:33 [BOTH GRUNTING]
01:38:59 [METAL GROANING]
01:39:01 [SECURITY GUARD SCREAMING]
01:39:11 [YELLING]
01:40:15 [GUNSHOT]
01:40:23 [LAUGHS]
01:40:24 Did you see that?
01:40:44 COBB:
01:40:46 I need you to draw the security away
01:40:50 - Who guides Fischer in?
01:40:52 If I know the route,
01:40:54 - I designed the place.
01:40:57 SAITO:
01:40:59 All right. Brief him on the route
01:41:01 - Fischer, you'll be going with him.
01:41:06 You keep this live.
01:41:09 The windows on that upper floor are big
01:41:13 FISCHER:
01:41:15 In order to find out the truth
01:41:17 ...you're gonna need to break into
01:41:21 SAITO:
01:41:27 [BUZZER SOUNDING]
01:42:18 - Sound the alarm! Sound the alarm!
01:42:21 Move!
01:42:24 Go!
01:42:31 [GUNFIRE]
01:42:41 YUSUF:
01:42:53 I hope you're ready.
01:42:55 ["NON, JE NE REGRETTE RIEN" PLAYING]
01:43:01 [SONG ECHOING]
01:43:03 No, it's too soon.
01:43:08 [SONG ECHOING]
01:43:12 Cobb, do you hear that?
01:43:13 I first noticed it about 20 minutes ago,
01:43:17 Yeah, I hear it. It's music.
01:43:20 So, what do we do?
01:43:21 We move fast.
01:43:28 Yusuf's 10 seconds from the jump.
01:43:32 Which gives Arthur three minutes.
01:43:36 - Hey!
01:43:38 - Which gives us what?
01:43:40 - Can they make that route in an hour?
01:43:44 Then they need a new route,
01:43:50 [SHOUTS INDISTINCTLY]
01:43:58 It's designed as a labyrinth.
01:44:00 There must be access routes
01:44:02 Eames?
01:44:08 [GUNFIRE]
01:44:27 Did Eames add any features?
01:44:28 I don't think I should tell you.
01:44:30 We don't have time for this.
01:44:33 He added an air-duct system...
01:44:34 ...that can cut through the maze.
01:45:05 [SECURITY GUARD GRUNTS]
01:45:12 Paradox.
01:45:13 [SCREAMS THEN THUDS]
01:46:18 [BOTH GASPING]
01:46:23 ARIADNE: What was that?
01:46:26 Cobb! Cobb, did we miss it?
01:46:28 Yeah, we missed it.
01:46:30 FISCHER:
01:46:31 Couldn't someone have dreamt up
01:46:36 Uh-huh.
01:46:38 EAMES [OVER RADIO]:
01:46:40 We finish the job before the next kick.
01:46:42 - What next kick?
01:47:07 WOMAN [ON RECORDING]: Lfyou'd like to
01:47:10 If you need help, hang up...
01:47:13 How do I drop you without gravity?
01:47:18 Arthur has a couple minutes,
01:47:42 [SAITO COUGHING]
01:47:44 You okay?
01:47:51 SOLDIER: Run! Turn around!
01:47:55 Go, go, go!
01:47:58 There's something wrong.
01:48:00 They're heading your way,
01:48:03 Just buy us more time, all right?
01:48:06 - Come on!
01:48:08 SOLDIER:
01:48:23 [SILENCED GUNSHOT]
01:48:36 [BOTH GRUNTING]
01:49:33 All right.
01:49:40 [SILENCED GUNSHOT]
01:49:47 Okay. That's the antechamber
01:49:50 - Does the strong room have windows?
01:49:54 Let's hope Fischer likes
01:49:58 - Are those projections his subconscious?
01:50:01 - Are you destroying parts of his mind?
01:50:18 [COUGHS]
01:50:24 [SAITO COUGHING]
01:50:31 - We're here.
01:50:33 There's an entire army headed your way.
01:51:01 [WHISPERS]
01:51:03 [STATIC OVER RADIO]
01:51:05 [TURNS RADIO OFF]
01:51:08 SOLDIER:
01:51:52 - There's someone in there.
01:51:56 Come on. Come on, a little lower.
01:52:04 ARIADNE:
01:52:06 No, she is not real.
01:52:09 How do you know that?
01:52:10 She is just a projection.
01:52:17 [GRUNTS]
01:52:18 Hello.
01:52:24 ARIADNE: Eames!
01:53:11 EAMES: What happened?
01:53:16 I couldn't shoot her.
01:53:19 There's no use in reviving him.
01:53:23 It's all over.
01:53:26 So that's it, then? We failed?
01:53:28 We're done. I'm sorry.
01:53:34 It's not me that doesn't get back
01:53:37 Shame. I wanted to know what was
01:53:41 Let's set the charges.
01:53:45 No, there's still another way.
01:53:48 - We have to follow Fischer down there.
01:53:51 No, but there will be enough time
01:53:55 And we will find him.
01:53:57 Okay, as soon as Arthur's music kicks in,
01:54:01 We can give him his own kick
01:54:05 Look, you get him in there.
01:54:07 As soon as the music ends,
01:54:10 ...and we all ride the kick
01:54:14 It's worth a shot, if Saito can hold
01:54:19 Saito will never make it, will he?
01:54:23 - Cobb, come on. We've gotta try this.
01:54:25 If you are not back before the kick,
01:54:28 She's right. She's right.
01:54:36 Can I trust you to do
01:54:38 Mal's gonna be down there.
01:54:40 I know where to find her.
01:54:42 - How do you know?
01:54:46 She wants me back down there with her.
01:55:15 All right?
01:55:24 - This is your world?
01:55:27 And this is where she'll be.
01:55:30 Come on.
01:56:14 [GUNFIRE]
01:56:18 Saito. Saito.
01:56:21 I need you to take care of Fischer
01:56:25 No room for tourists on these jobs.
01:56:31 Don't be silly.
01:57:05 ARIADNE:
01:57:07 We built for years.
01:57:10 Then we started in on the memories.
01:57:19 This way.
01:58:02 COBB:
01:58:05 Places from our past.
01:58:07 That was our first apartment.
01:58:09 Then we moved to that building
01:58:11 After Mal became pregnant,
01:58:14 You reconstructed all of this
01:58:17 Like I told you, we had lots of time.
01:58:20 ARIADNE:
01:58:23 That's the house Mal grew up in.
01:58:25 - Well, will she be in there?
01:58:27 Come on.
01:58:29 We both wanted to live in a house,
01:58:32 In the real world,
01:58:40 [GRUNTS]
01:58:43 [GUNFIRE]
01:58:46 [GRUNTS]
01:58:58 [BEEPS]
01:59:09 [BEEPS]
01:59:14 [BEEPS]
01:59:16 How are we gonna bring Fischer back?
01:59:18 We're gonna have to come up
01:59:21 What?
01:59:23 I'm gonna improvise.
01:59:24 Listen, there's something you should
01:59:30 [BOTH GRUNTING]
01:59:32 [GUNFIRE]
01:59:42 An idea is like a virus. Resilient.
01:59:47 Highly contagious.
01:59:48 And the smallest seed
01:59:53 It can grow to define...
01:59:56 ...or destroy you.
02:00:01 MAL:
02:00:04 "Your world is not real."
02:00:07 Simple little thought
02:00:12 So certain of your world. Of what's real.
02:00:16 Do you think he is?
02:00:20 Or do you think he's as lost as I was?
02:00:24 COBB:
02:00:27 No creeping doubts?
02:00:30 Not feeling persecuted, Dom?
02:00:33 Chased around the globe...
02:00:35 ...by anonymous corporations
02:00:38 ...the way the projections
02:00:42 Admit it.
02:00:45 You don't believe in one reality anymore.
02:00:48 So choose.
02:00:49 Choose to be here. Choose me.
02:01:15 [COUGHS]
02:01:20 You know what I have to do.
02:01:21 I have to get back to our children
02:01:25 Because you left us.
02:01:27 - You're wrong.
02:01:29 You're confused.
02:01:32 Our children are here.
02:01:35 And you'd like to see their faces again,
02:01:38 Yes, but I'm gonna see them
02:01:41 [GUNFIRE]
02:01:46 [BEEPS]
02:01:51 [FOOTSTEPS APPROACHING]
02:01:53 [SAITO COUGHING]
02:01:55 Up above?
02:01:58 Listen to yourself.
02:02:02 Watch.
02:02:04 James? Phillipa?
02:02:06 Don't do this, Mal. Please.
02:02:08 You keep telling yourself that,
02:02:11 - No, I know it.
02:02:13 What if I'm what's real?
02:02:17 You keep telling yourself what you know.
02:02:21 But what do you believe?
02:02:24 What do you feel?
02:02:27 Guilt.
02:02:30 I feel guilt, Mal.
02:02:32 And no matter what I do,
02:02:37 ...no matter how confused,
02:02:41 ...reminding me of the truth.
02:02:44 What truth?
02:02:48 That the idea that caused you to question
02:02:56 You planted the idea in my mind?
02:03:01 What is she talking about?
02:03:03 The reason I knew inception was possible
02:03:10 - I did it to my own wife.
02:03:13 We were lost in here.
02:03:16 I knew we needed to escape,
02:03:24 She had locked something away,
02:03:30 A truth that she had once known,
02:03:35 And she couldn't break free.
02:03:40 So I decided to search for it.
02:03:43 I went deep into the recess of her mind
02:03:48 And I broke in...
02:03:51 ...and I planted an idea.
02:03:54 A simple little idea
02:04:03 That her world wasn't real.
02:04:18 That death was the only escape.
02:04:29 You're waiting for a train.
02:04:31 [METAL GROANING]
02:04:33 A train that'll take you far away.
02:04:37 You know where you hope
02:04:41 ...but you can't know for sure.
02:04:44 Yet it doesn't matter.
02:04:47 - Now, tell me why!
02:04:54 COBB: But I never knew that that idea
02:04:59 ...that even after she woke...
02:05:04 That even after
02:05:09 ...that you'd continue to believe
02:05:15 That death was the only escape.
02:05:18 Mal, no! Jesus!
02:05:20 - You infected my mind.
02:05:24 You betrayed me.
02:05:27 But you can make amends.
02:05:30 We can still be together, right here...
02:05:34 ...in the world we built together.
02:05:42 [COUGHING]
02:05:52 [BEEPS]
02:05:53 [GUNFIRE]
02:06:12 [GRUNTS]
02:06:31 ["NON, JE NE REGRETTE RIEN" PLAYING]
02:06:42 [SONG ECHOING]
02:06:49 [DEFIBRILLATOR CHARGING]
02:06:54 [THUNDER CRASHING]
02:06:57 Cobb, we need to get Fischer.
02:07:00 You can't have him.
02:07:02 - Lf I stay here, will you let him go?
02:07:10 Fischer is on the porch.
02:07:13 - Go check he's alive, Ariadne.
02:07:16 Go check he's alive right now. Do it.
02:07:32 [ARIADNE GRUNTING]
02:07:34 He's here! And it's time,
02:07:37 COBB: You take Fischer with you, all right?
02:07:43 I'm not. Saito's dead by now.
02:07:46 That means he's down here somewhere.
02:07:52 I can't stay with her anymore,
02:07:55 I'm the only thing
02:07:59 No.
02:08:01 I wish.
02:08:04 I wish more than anything, but...
02:08:08 ...I can't imagine you
02:08:11 ...all your perfection,
02:08:14 - You all right?
02:08:15 Look at you.
02:08:19 You're just a shade.
02:08:24 And you were the best
02:08:27 ...l'm sorry, you're just not good enough.
02:08:30 Does this feel real?
02:08:32 [GUNSHOT]
02:08:34 - What are you doing?
02:08:41 [GASPING]
02:08:45 No, no, no!
02:08:48 In there, now. Go, go, go.
02:09:35 I was dis...
02:09:39 I was dis... Disa...
02:09:42 - I know, Dad.
02:09:50 I know you were disappointed...
02:09:53 ...I couldn't be you.
02:09:55 No.
02:09:57 No, no, no.
02:09:59 I was disappointed...
02:10:03 ...that you tried.
02:10:22 [BEEPING]
02:10:28 What?
02:10:39 Come on, come on.
02:11:11 Dad?
02:11:14 [SOBBING]
02:11:51 That's the kick, Ariadne!
02:12:07 Don't lose yourself!
02:12:10 I will!
02:12:52 You remember when you asked me
02:12:55 Yes.
02:12:56 You said you dreamt
02:13:02 But we did.
02:13:05 We did. You don't remember?
02:13:12 I miss you more than I can bear...
02:13:18 ...but we had our time together.
02:13:21 And I have to let you go.
02:13:25 I have to let you go.
02:14:18 I'm sorry, Robert.
02:14:41 [ARTHUR YELLS]
02:14:47 You know, the will means that Dad
02:14:52 ...not just to live for him.
02:14:56 That's what I'm gonna do, Uncle Peter.
02:15:08 What happened?
02:15:10 - Cobb stayed.
02:15:11 No, to find Saito.
02:15:15 He'll be lost.
02:15:19 No, he'll be all right.
02:15:37 SAITO:
02:15:43 I'm waiting for someone.
02:15:50 COBB:
02:15:56 Cobb?
02:15:58 [SCOFFS]
02:15:59 Impossible.
02:16:01 We were young men together.
02:16:06 I'm an old man.
02:16:09 Filled with regret.
02:16:14 Waiting to die alone.
02:16:20 I've come back for you.
02:16:26 To remind you of something.
02:16:33 Something you once knew.
02:16:38 That this world is not real.
02:16:45 To convince me to honor
02:16:51 To take a leap of faith, yes.
02:16:59 Come back...
02:17:03 ...so we can be
02:17:10 Come back with me.
02:17:16 Come back.
02:17:27 FLIGHT ATTENDANT:
02:17:29 We'll be landing in Los Angeles
02:17:32 Do you need immigration forms?
02:17:36 Thank you.
02:17:38 Hot towel, sir?
02:17:41 - No.
02:18:55 Welcome home, Mr. Cobb.
02:18:58 Thank you, sir.
02:19:43 Welcome.
02:19:45 This way.
02:20:08 MILES:
02:20:15 Look who's here.
02:20:22 Hey.
02:20:24 - Hey, guys! Hey! How are you?
02:20:27 JAMES: Daddy!
02:20:30 Look what I've been building!
02:20:32 - What are you building?
02:20:36 COBB: On the cliff? Come on, I want you
02:20:39 JAMES: Let's go.
02:27:55 [ENGLISH - US - SDH]