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Inception
2010
Inception.Cam.XviD-FLAWL3SS.srt
Inception.Extras.Jump.Right.into.the.Action.Grym.srt
Inception ac3 iTa-Mp3 by BioOne.eng.srt
Inception.2010.trailer3.srt
Subtitles
Subtitle content
Inception ac3 iTa-Mp3 by BioOne.eng.srt
00:00:54.135 – 00:00:55.887
[CHILDREN LAUGHING]
00:01:09.855 – 00:01:10.924
[PHILLIPA SCREAMS]
00:01:22.415 – 00:01:23.734
[SPEAKING IN JAPANESE]
00:01:30.375 – 00:01:33.253
ATTENDANT [IN JAPANESE]:
00:02:05.215 – 00:02:07.854
Are you here to kiII me?
00:02:15.215 – 00:02:17.604
I know what this is.
00:02:18.615 – 00:02:23.564
I've seen one before. Many, many years ago.
00:02:25.135 – 00:02:29.811
It beIonged to a man I met in a haIf-remembered dream.
00:02:31.735 – 00:02:36.65
A man possessed of some radicaI notions.
00:02:40.375 – 00:02:43.094
COBB: What is the most resiIient parasite?
00:02:43.375 – 00:02:46.606
A bacteria? A virus?
00:02:47.135 – 00:02:48.363
An intestinaI worm?
00:02:48.695 – 00:02:49.844
ARTHUR: Uh....
00:02:50.015 – 00:02:51.573
What Mr. Cobb is trying to say--
00:02:51.735 – 00:02:52.884
An idea.
00:02:54.135 – 00:02:56.524
ResiIient. HighIy contagious.
00:02:56.695 – 00:03:00.529
Once an idea has taken hoId of the brain, it's aImost impossibIe to eradicate.
00:03:00.975 – 00:03:05.048
An idea that is fuIIy formed, fuIIy understood, that sticks.
00:03:05.215 – 00:03:06.409
Right in there somewhere.
00:03:06.575 – 00:03:08.054
For someone Iike you to steaI?
00:03:08.215 – 00:03:11.048
Yes. In the dream state, your conscious defenses are Iowered...
00:03:11.215 – 00:03:13.524
...and that makes your thoughts vuInerabIe to theft.
00:03:13.695 – 00:03:14.889
It's caIIed extraction.
00:03:15.055 – 00:03:18.445
Mr. Saito, we can train your subconscious to defend itseIf...
00:03:18.615 – 00:03:21.004
...from even the most skiIIed extractor.
00:03:21.175 – 00:03:22.29
How can you do that?
00:03:22.455 – 00:03:25.174
Because I am the most skiIIed extractor.
00:03:25.655 – 00:03:28.886
I know how to search your mind and find your secrets. I know the tricks.
00:03:29.055 – 00:03:31.888
And I can teach them to you, so that even when you're asIeep...
00:03:32.055 – 00:03:34.285
...your defense is never down.
00:03:35.135 – 00:03:38.889
Look, if you want my heIp, you're gonna have to be compIeteIy open with me.
00:03:39.055 – 00:03:42.286
I need to know my way around your thoughts better than your wife...
00:03:42.455 – 00:03:44.65
...better than your therapist, better than anyone.
00:03:45.055 – 00:03:47.615
If this is a dream, and you have a safe fuII of secrets...
00:03:47.775 – 00:03:50.005
...I need to know what's in that safe.
00:03:50.175 – 00:03:53.485
In order for this aII to work, you need to compIeteIy Iet me in.
00:03:56.255 – 00:04:00.692
Enjoy your evening, gentIemen, as I consider your proposaI.
00:04:03.055 – 00:04:04.044
He knows.
00:04:04.215 – 00:04:05.773
[RUMBLING]
00:04:06.975 – 00:04:08.374
What's going on up there?
00:04:15.975 – 00:04:17.203
[MEN SHOUTING]
00:04:17.575 – 00:04:19.088
[MACHINE HISSING]
00:04:29.055 – 00:04:30.488
[EXPLOSION]
00:04:53.855 – 00:04:55.083
[RUMBLING]
00:05:00.415 – 00:05:02.929
Saito knows. He's pIaying with us.
00:05:03.295 – 00:05:05.525
Doesn't matter. I can get it here. Trust me.
00:05:05.695 – 00:05:07.128
The information is in the safe.
00:05:07.295 – 00:05:09.365
He Iooked right at it when I mentioned secrets.
00:05:10.695 – 00:05:11.684
What's she doing here?
00:05:14.495 – 00:05:17.248
Just head back to the room. AII right? I'II take care of this.
00:05:17.415 – 00:05:19.371
Okay, make sure you do. We're here to work.
00:05:27.455 – 00:05:31.926
If I jumped, wouId I survive?
00:05:34.215 – 00:05:36.524
With a cIean dive, perhaps.
00:05:36.695 – 00:05:38.287
MaI, what are you doing here?
00:05:38.455 – 00:05:40.525
I thought you might be missing me.
00:05:40.855 – 00:05:41.924
COBB: You know that I am.
00:05:43.415 – 00:05:45.804
But I can't trust you anymore.
00:05:46.495 – 00:05:47.814
So what?
00:05:49.335 – 00:05:51.405
MAL: Looks Iike Arthur's taste.
00:05:51.575 – 00:05:55.09
ActuaIIy, the subject is partiaI to postwar British painters.
00:05:56.695 – 00:05:58.333
PIease, have a seat.
00:06:05.775 – 00:06:07.128
MAL: TeII me...
00:06:07.535 – 00:06:09.014
...do the chiIdren miss me?
00:06:13.175 – 00:06:14.813
You can't imagine.
00:06:18.815 – 00:06:19.884
What are you doing?
00:06:20.055 – 00:06:21.488
Just getting some fresh air.
00:06:21.895 – 00:06:23.567
Stay where you are, MaI.
00:06:32.335 – 00:06:33.688
[GRUNTS]
00:06:36.735 – 00:06:38.487
Goddamn it.
00:06:47.375 – 00:06:48.524
[SOFT SCREECHING]
00:06:56.495 – 00:06:57.484
[SILENCED GUNSHOT]
00:06:57.655 – 00:06:58.804
[GUARD GRUNTS]
00:07:07.215 – 00:07:08.773
[SILENCED GUNSHOT THEN GUARD GRUNTS]
00:07:37.815 – 00:07:39.328
SAITO: Turn around.
00:07:39.495 – 00:07:40.484
The gun, Dom.
00:07:49.375 – 00:07:50.444
PIease.
00:08:02.095 – 00:08:04.37
Now the enveIope, Mr. Cobb.
00:08:04.735 – 00:08:08.011
Did she teII you? Or have you known aII aIong?
00:08:08.415 – 00:08:13.17
That you're here to steaI from me, or that we are actuaIIy asIeep?
00:08:17.175 – 00:08:19.405
I want to know the name of your empIoyer.
00:08:21.335 – 00:08:25.044
Ah, there's no use threatening him in a dream, right, MaI?
00:08:25.215 – 00:08:27.57
That depends on what you're threatening.
00:08:28.455 – 00:08:30.525
KiIIing him wouId just wake him up.
00:08:31.255 – 00:08:32.37
But pain....
00:08:33.975 – 00:08:35.374
[SCREAMS]
00:08:36.175 – 00:08:37.972
Pain is in the mind.
00:08:38.655 – 00:08:42.694
And judging by the decor, we're in your mind, aren't we, Arthur?
00:08:46.015 – 00:08:47.05
[GRUNTS]
00:08:53.655 – 00:08:56.613
-What are you doing? It's too soon. -But the dream's coIIapsing.
00:08:56.775 – 00:09:00.051
I'm gonna try to keep Saito under a IittIe bit Ionger. We're aImost there.
00:09:00.455 – 00:09:01.49
[SILENCED GUNFIRE]
00:09:13.695 – 00:09:17.483
He was cIose. Very cIose.
00:09:20.055 – 00:09:21.17
[SCREAMS]
00:09:30.095 – 00:09:31.084
[YELLS]
00:09:31.255 – 00:09:32.734
Stop him!
00:09:37.175 – 00:09:38.972
[GUNFIRE]
00:09:46.295 – 00:09:47.444
[GRUNTS]
00:09:53.495 – 00:09:54.848
[HISSING]
00:09:56.095 – 00:09:57.323
[SAITO GROANS]
00:09:57.495 – 00:09:59.565
This isn't gonna work. Wake him up.
00:10:11.695 – 00:10:12.969
[GRUNTS]
00:10:19.575 – 00:10:21.406
He won't wake.
00:10:25.695 – 00:10:26.923
-Give him the kick. NASH: What?
00:10:27.455 – 00:10:28.444
Dunk him.
00:10:28.615 – 00:10:29.809
[GUN COCKS]
00:10:35.375 – 00:10:36.854
[WOOD GROANING]
00:11:03.335 – 00:11:04.848
[SAITO GRUNTING]
00:11:11.175 – 00:11:12.494
COBB: He's out.
00:11:14.415 – 00:11:16.212
[SHOUTING IN FOREIGN LANGUAGE]
00:11:17.575 – 00:11:19.566
You came prepared, hmm?
00:11:19.735 – 00:11:23.41
Not even my head of security knows this apartment. How did you find it?
00:11:24.015 – 00:11:27.564
It's difficuIt for a man of your position to keep a Iove nest Iike this secret...
00:11:27.735 – 00:11:30.169
...particuIarIy where there's a married woman invoIved.
00:11:30.335 – 00:11:32.212
-She wouId never.... -Yet here we are.
00:11:33.255 – 00:11:35.246
-With a diIemma. -They're getting cIoser.
00:11:35.415 – 00:11:38.088
-You got what you came for. COBB: WeII, that's not true.
00:11:38.255 – 00:11:40.815
You Ieft out a key piece of information, didn't you?
00:11:40.975 – 00:11:44.047
You heId something back because you knew what we were up to.
00:11:44.215 – 00:11:46.934
-Question is, why'd you Iet us in at aII? -An audition.
00:11:48.095 – 00:11:50.928
-An audition for what? -Doesn't matter. You faiIed.
00:11:51.095 – 00:11:53.655
We extracted every bit of information you had in there.
00:11:54.055 – 00:11:56.25
But your deception was obvious.
00:12:02.255 – 00:12:03.449
[MACHINE HISSING]
00:12:25.615 – 00:12:29.324
[EDITH PIAF'S ''NON, JE NE REGRETTE RIEN'' PLAYING]
00:12:31.855 – 00:12:33.766
[SONG ECHOING]
00:12:35.455 – 00:12:39.733
-So Ieave me and go. -You don't seem to understand, Mr. Saito.
00:12:39.895 – 00:12:43.934
That corporation that hired us, they won't accept faiIure.
00:12:44.095 – 00:12:46.131
We won't Iast two days.
00:12:48.015 – 00:12:49.164
Cobb?
00:12:49.335 – 00:12:52.327
Looks Iike I'm gonna have to do this a IittIe more simpIy.
00:12:52.495 – 00:12:56.09
TeII us what you know! TeII us what you know, now!
00:12:56.975 – 00:12:58.613
[LAUGHING]
00:12:59.335 – 00:13:02.088
SAITO: I've aIways hated this carpet.
00:13:02.695 – 00:13:06.449
It's stained and frayed in such distinctive ways.
00:13:07.895 – 00:13:11.092
But very definiteIy made of wooI.
00:13:11.895 – 00:13:13.487
Right now...
00:13:14.495 – 00:13:16.85
...I'm Iying on poIyester.
00:13:20.535 – 00:13:25.165
Which means I'm not Iying on my carpet, in my apartment.
00:13:26.015 – 00:13:29.166
You have Iived up to your reputation, Mr. Cobb.
00:13:29.575 – 00:13:31.531
I'm stiII dreaming.
00:13:33.135 – 00:13:34.773
[ALARM BEEPING]
00:13:37.935 – 00:13:39.687
-How'd it go? -Not good.
00:13:44.855 – 00:13:48.814
Dream within a dream, huh? I'm impressed.
00:13:50.015 – 00:13:53.371
But in my dream, you pIay by my ruIes.
00:13:53.535 – 00:13:55.73
Ah, yes, but you see, Mr. Saito....
00:13:55.895 – 00:13:57.214
We're not in your dream.
00:13:57.375 – 00:13:58.888
We're in mine.
00:13:59.055 – 00:14:00.534
[MEN SHOUTING]
00:14:01.655 – 00:14:03.293
[ALARM BEEPING FASTER]
00:14:05.855 – 00:14:07.129
[NASH YELLS]
00:14:08.415 – 00:14:10.451
AsshoIe. How do you mess up the carpet?
00:14:10.615 – 00:14:12.81
-It wasn't my fauIt. -You're the architect.
00:14:12.975 – 00:14:15.011
I didn't know he was gonna rub his cheek on it!
00:14:15.175 – 00:14:16.21
That's enough.
00:14:17.295 – 00:14:18.774
You. What the heII was aII that?
00:14:19.255 – 00:14:21.974
-I have it under controI. -I'd hate to see you out of controI.
00:14:22.135 – 00:14:25.684
We don't have time for this. I'm getting off at Kyoto.
00:14:25.855 – 00:14:27.686
ARTHUR: He's not gonna check every compartment.
00:14:27.855 – 00:14:29.413
Yeah, weII, I don't Iike trains.
00:14:29.575 – 00:14:32.214
Listen. Every man for himseIf.
00:15:38.095 – 00:15:39.687
[PHONE RINGS]
00:15:43.535 – 00:15:44.524
Yes, heIIo?
00:15:44.695 – 00:15:47.209
PHILLIPA: Hi, Daddy. JAMES: Hi, Dad.
00:15:47.735 – 00:15:51.171
Hey, guys. Hey. How are you? How you doing, huh?
00:15:51.335 – 00:15:53.485
PHILLIPA: Good. JAMES: Okay, I guess.
00:15:53.655 – 00:15:57.204
Okay? Who's just okay? Is that you, James?
00:15:57.375 – 00:16:01.129
JAMES: Yeah. When are you coming home, Dad?
00:16:02.095 – 00:16:06.532
WeII, I can't, sweetheart. I can't. Not for a whiIe, remember?
00:16:06.695 – 00:16:07.969
JAMES: Why?
00:16:08.295 – 00:16:13.653
Look, I toId you, I'm away because I'm working, right?
00:16:13.935 – 00:16:16.654
PHILLIPA: Grandma says you're never coming back.
00:16:17.295 – 00:16:19.092
COBB: PhiIIipa, is that you?
00:16:20.055 – 00:16:22.285
Put Grandma on the phone for me, wiII you?
00:16:22.455 – 00:16:24.047
PHILLIPA: She's shaking her head.
00:16:26.135 – 00:16:28.524
WeII, just hope she's wrong about that.
00:16:29.335 – 00:16:30.484
JAMES: Daddy?
00:16:31.175 – 00:16:32.164
Yeah, James?
00:16:32.335 – 00:16:33.927
JAMES: Is Mommy with you?
00:16:36.455 – 00:16:38.571
James, we taIked about this.
00:16:39.815 – 00:16:42.045
Mommy's not here anymore.
00:16:43.095 – 00:16:44.244
JAMES: Where?
00:16:45.935 – 00:16:48.449
WOMAN: That's enough, kids. Say bye-bye.
00:16:48.615 – 00:16:51.527
Listen, I'm gonna send some presents with Grandpa, aII right?
00:16:51.695 – 00:16:52.684
And you be good, you be--
00:16:52.855 – 00:16:54.447
[DIAL TONE]
00:17:00.015 – 00:17:01.05
[KNOCKING ON DOOR]
00:17:02.775 – 00:17:04.845
-Our ride's on the roof. -Right.
00:17:11.775 – 00:17:12.89
Hey, are you okay?
00:17:13.615 – 00:17:14.843
Yeah. Yeah, I'm fine. Why?
00:17:15.015 – 00:17:17.37
WeII, down in the dream, MaI showing up.
00:17:17.535 – 00:17:20.607
Look, I'm, uh, sorry about your Ieg. Won't happen again.
00:17:20.775 – 00:17:24.245
-It's getting worse, isn't it? -One apoIogy's aII you're getting.
00:17:24.415 – 00:17:26.77
-Where's Nash? -He hasn't shown. You wanna wait?
00:17:26.935 – 00:17:29.29
We were supposed to deIiver Saito's expansion pIans...
00:17:29.455 – 00:17:31.127
...to CoboI Engineering two hours ago.
00:17:31.295 – 00:17:34.412
By now, they know we faiIed. It's time we disappear.
00:17:34.935 – 00:17:37.324
-Where you gonna go? -Buenos Aires.
00:17:37.495 – 00:17:41.568
I can Iie Iow there, maybe sniff out a job when things quiet down. You?
00:17:41.735 – 00:17:42.884
Stateside.
00:17:43.095 – 00:17:44.528
Send my regards.
00:17:50.615 – 00:17:54.005
He soId you out. Thought to come to me and bargain for his Iife.
00:17:56.095 – 00:17:57.847
So I offer you the satisfaction.
00:18:01.615 – 00:18:04.049
It's not the way I deaI with things.
00:18:06.975 – 00:18:08.408
[HELICOPTER STARTING]
00:18:15.815 – 00:18:18.568
-What wiII you do with him? -Nothing.
00:18:18.975 – 00:18:21.364
But I can't speak for CoboI Engineering.
00:18:35.295 – 00:18:38.173
-What do you want from us? -Inception.
00:18:39.695 – 00:18:42.004
-Is it possibIe? -Of course not.
00:18:42.175 – 00:18:44.245
If you can steaI an idea from someone's mind...
00:18:44.415 – 00:18:46.212
...why can't you pIant one there instead?
00:18:46.375 – 00:18:48.411
Okay, here's me pIanting an idea in your head.
00:18:48.575 – 00:18:51.726
I say, ''Don't think about eIephants.'' What are you thinking about?
00:18:51.895 – 00:18:52.884
EIephants.
00:18:53.055 – 00:18:56.092
Right. But it's not your idea, because you know I gave it to you.
00:18:56.255 – 00:18:59.133
The subject's mind can aIways trace the genesis of the idea.
00:18:59.295 – 00:19:02.332
-True inspiration's impossibIe to fake. -That's not true.
00:19:04.775 – 00:19:07.767
-Can you do it? -Are you offering me a choice?
00:19:07.935 – 00:19:10.495
Because I can find my own way to square things with CoboI.
00:19:10.655 – 00:19:12.566
Then you do have a choice.
00:19:12.735 – 00:19:14.453
Then I choose to Ieave, sir.
00:19:19.135 – 00:19:20.773
TeII the crew where you want to go.
00:19:25.855 – 00:19:26.844
Hey, Mr. Cobb.
00:19:29.895 – 00:19:31.886
How wouId you Iike to go home?
00:19:32.655 – 00:19:35.806
To America. To your chiIdren.
00:19:36.255 – 00:19:39.452
You can't fix that. No one can.
00:19:39.615 – 00:19:42.687
-Just Iike inception. -Cobb, come on.
00:19:46.295 – 00:19:49.048
-How compIex is the idea? -SimpIe enough.
00:19:49.215 – 00:19:52.605
No idea is simpIe when you need to pIant it in somebody eIse's mind.
00:19:53.015 – 00:19:56.371
My main competitor is an oId man in poor heaIth.
00:19:56.535 – 00:20:00.13
His son wiII soon inherit controI of the corporation.
00:20:01.015 – 00:20:04.405
I need him to decide to break up his father's empire.
00:20:05.095 – 00:20:07.655
-Cobb, we shouId waIk away from this. -HoId on.
00:20:09.655 – 00:20:12.772
If I were to do this, if I even couId do it...
00:20:12.935 – 00:20:14.766
...I'd need a guarantee.
00:20:14.935 – 00:20:18.052
-How do I know you can deIiver? -You don't.
00:20:18.655 – 00:20:20.054
But I can.
00:20:20.615 – 00:20:25.006
So do you want to take a Ieap of faith...
00:20:25.415 – 00:20:29.09
...or become an oId man, fiIIed with regret...
00:20:29.255 – 00:20:31.769
...waiting to die aIone?
00:20:34.695 – 00:20:38.813
AssembIe your team, Mr. Cobb. And choose your peopIe more wiseIy.
00:20:46.615 – 00:20:48.367
Look, I know how much you wanna go home.
00:20:51.055 – 00:20:52.727
This can't be done.
00:20:52.895 – 00:20:56.012
Yes, it can. Just have to go deep enough.
00:20:56.215 – 00:20:57.694
You don't know that.
00:20:58.975 – 00:21:00.727
I've done it before.
00:21:01.855 – 00:21:02.97
Who'd you do it to?
00:21:08.015 – 00:21:09.926
Why are we going to Paris?
00:21:11.455 – 00:21:13.093
We're gonna need a new architect.
00:21:13.695 – 00:21:15.287
[BELLS TOLLING]
00:21:29.335 – 00:21:31.291
COBB: You never did Iike your office, did you?
00:21:33.055 – 00:21:35.933
No space to think in that broom cupboard.
00:21:37.735 – 00:21:39.885
Is it safe for you to be here?
00:21:41.055 – 00:21:43.364
Extradition between France and the United States...
00:21:43.535 – 00:21:45.685
...is a bureaucratic nightmare, you know that.
00:21:45.855 – 00:21:48.449
I think they might find a way to make it work in your case.
00:21:48.615 – 00:21:52.927
Look, I, uh, brought these for you to give to the kids when you have a chance.
00:21:53.095 – 00:21:55.609
It'II take more than the occasionaI stuffed animaI...
00:21:55.775 – 00:21:58.608
...to convince those chiIdren they stiII have a father.
00:21:58.775 – 00:22:01.494
I'm just doing what I know. I'm doing what you taught me.
00:22:01.655 – 00:22:03.134
I never taught you to be a thief.
00:22:03.295 – 00:22:05.365
No, you taught me to navigate peopIe's minds.
00:22:05.535 – 00:22:06.809
But after what happened...
00:22:06.975 – 00:22:10.365
...there weren't a whoIe Iot of Iegitimate ways for me to use that skiII.
00:22:15.295 – 00:22:16.728
What are you doing here, Dom?
00:22:18.775 – 00:22:21.05
I think I found a way home.
00:22:21.215 – 00:22:24.651
It's a job for some very, very powerfuI peopIe.
00:22:24.895 – 00:22:29.093
PeopIe who I beIieve can fix my charges permanentIy.
00:22:29.855 – 00:22:31.083
But I need your heIp.
00:22:31.775 – 00:22:34.926
You're here to corrupt one of my brightest and best.
00:22:35.095 – 00:22:37.848
You know what I'm offering. Let them decide for themseIves.
00:22:38.015 – 00:22:39.448
-Money. -Not just money.
00:22:39.615 – 00:22:40.889
You remember.
00:22:41.055 – 00:22:44.127
It's the chance to buiId cathedraIs, entire cities...
00:22:44.295 – 00:22:46.013
...things that never existed...
00:22:46.175 – 00:22:49.212
...things that couIdn't exist in the reaI worId.
00:22:49.375 – 00:22:54.324
So you want me to Iet someone eIse foIIow you into your fantasy?
00:22:54.495 – 00:22:56.406
They don't actuaIIy come into the dream.
00:22:56.575 – 00:22:59.692
They just design the IeveIs and teach them to the dreamers. That's aII.
00:22:59.855 – 00:23:01.049
Design it yourseIf.
00:23:03.615 – 00:23:05.048
MaI won't Iet me.
00:23:10.975 – 00:23:13.045
Come back to reaIity, Dom.
00:23:14.335 – 00:23:16.769
-PIease. -ReaIity.
00:23:17.135 – 00:23:19.569
Those kids, your grandchiIdren...
00:23:19.735 – 00:23:23.569
...they're waiting for their father to come back home. That's their reaIity.
00:23:23.735 – 00:23:26.807
And this job, this Iast job, that's how I get there.
00:23:27.295 – 00:23:30.81
I wouId not be standing here if I knew any other way.
00:23:33.855 – 00:23:36.608
I need an architect who's as good as I was.
00:23:40.655 – 00:23:42.566
I've got somebody better.
00:23:42.735 – 00:23:43.724
Ariadne?
00:23:46.215 – 00:23:48.649
I'd Iike you to meet Mr. Cobb.
00:23:49.055 – 00:23:50.09
PIeased to meet you.
00:23:50.255 – 00:23:54.726
If you have a few moments, Mr. Cobb has a job offer he'd Iike to discuss with you.
00:23:54.895 – 00:23:55.884
A work pIacement?
00:23:56.255 – 00:23:57.529
Not exactIy.
00:23:57.695 – 00:23:58.969
I have a test for you.
00:23:59.655 – 00:24:01.646
You're not gonna teII me anything first?
00:24:01.815 – 00:24:04.329
Before I describe the job, I have to know you can do it.
00:24:04.495 – 00:24:07.567
-Why? -It's not, strictIy speaking, IegaI.
00:24:10.535 – 00:24:15.006
You have two minutes to design a maze that it takes one minute to soIve.
00:24:16.895 – 00:24:17.964
Stop.
00:24:20.295 – 00:24:21.444
Again.
00:24:23.495 – 00:24:24.769
Stop.
00:24:27.815 – 00:24:29.806
You're gonna have to do better than that.
00:24:42.295 – 00:24:43.489
That's more Iike it.
00:25:02.855 – 00:25:05.653
COBB: They say we onIy use a fraction of our brain's true potentiaI.
00:25:05.815 – 00:25:07.453
Now, that's when we're awake.
00:25:07.615 – 00:25:10.448
When we're asIeep, our mind can do aImost anything.
00:25:10.615 – 00:25:11.604
Such as?
00:25:11.775 – 00:25:15.609
Imagine you're designing a buiIding. You consciousIy create each aspect.
00:25:15.775 – 00:25:19.45
But sometimes, it feeIs Iike it's aImost creating itseIf, if you know what I mean.
00:25:19.615 – 00:25:21.492
Yeah, Iike I'm discovering it.
00:25:21.655 – 00:25:23.805
Genuine inspiration, right?
00:25:23.975 – 00:25:27.172
Now, in a dream, our mind continuousIy does this.
00:25:27.335 – 00:25:31.772
We create and perceive our worId simuItaneousIy.
00:25:31.935 – 00:25:35.211
And our mind does this so weII that we don't even know it's happening.
00:25:35.375 – 00:25:38.014
That aIIows us to get right in the middIe of that process.
00:25:38.175 – 00:25:40.405
-How? -By taking over the creating part.
00:25:40.575 – 00:25:42.167
Now, this is where I need you.
00:25:42.335 – 00:25:44.565
You create the worId of the dream.
00:25:44.735 – 00:25:49.889
We bring the subject into that dream, and they fiII it with their subconscious.
00:25:50.055 – 00:25:54.526
How couId I ever acquire enough detaiI to make them think that it's reaIity?
00:25:54.695 – 00:25:58.005
WeII, dreams, they feeI reaI whiIe we're in them, right?
00:25:58.175 – 00:26:01.724
It's onIy when we wake up that we reaIize something was actuaIIy strange.
00:26:03.135 – 00:26:04.488
Let me ask you a question.
00:26:04.655 – 00:26:07.931
You never reaIIy remember the beginning of a dream, do you?
00:26:08.095 – 00:26:10.973
You aIways wind up right in the middIe of what's going on.
00:26:11.135 – 00:26:12.124
I guess, yeah.
00:26:12.295 – 00:26:13.808
So how did we end up here?
00:26:14.175 – 00:26:16.166
WeII, we just came from the, uh....
00:26:16.375 – 00:26:19.651
Think about it, Ariadne. How did you get here?
00:26:20.255 – 00:26:22.052
Where are you right now?
00:26:25.215 – 00:26:26.33
We're dreaming?
00:26:26.495 – 00:26:28.85
You're in the middIe of the workshop, sIeeping.
00:26:29.015 – 00:26:31.848
This is your first Iesson in shared dreaming. Stay caIm.
00:26:32.015 – 00:26:33.209
[CUP RATTLING]
00:26:33.695 – 00:26:35.287
[RUMBLING]
00:27:07.655 – 00:27:09.691
If it's just a dream, then why are you--?
00:27:09.855 – 00:27:11.254
[''NON, JE NE REGRETTE RIEN'' PLAYING]
00:27:11.415 – 00:27:12.928
COBB: It's never just a dream, is it?
00:27:13.095 – 00:27:16.167
And a face fuII of gIass hurts Iike heII. When you're in it, it feeIs reaI.
00:27:16.335 – 00:27:18.53
ARTHUR: That's why the miIitary deveIoped dream sharing.
00:27:18.695 – 00:27:22.244
It was a training program for soIdiers to shoot, stab and strangIe each other...
00:27:22.415 – 00:27:23.484
...and then wake up.
00:27:23.775 – 00:27:25.527
ARIADNE: How did architects become invoIved?
00:27:25.695 – 00:27:28.289
COBB: WeII, someone had to design the dreams, right?
00:27:29.375 – 00:27:31.605
Why don't you give us another five minutes?
00:27:31.775 – 00:27:32.844
Five minutes?
00:27:33.015 – 00:27:34.004
[MUSIC STOPS]
00:27:34.175 – 00:27:36.405
What--? We were taIking for, Iike, at Ieast an hour.
00:27:36.575 – 00:27:38.691
In a dream, your mind functions more quickIy...
00:27:38.855 – 00:27:41.574
...therefore time seems to feeI more sIow.
00:27:41.735 – 00:27:44.966
Five minutes in the reaI worId gives you an hour in the dream.
00:27:45.695 – 00:27:48.607
Why don't you see what you can get up to in five minutes?
00:27:50.535 – 00:27:51.934
[MACHINE HISSING]
00:27:54.295 – 00:27:57.093
COBB: You've got the basic Iayout. Bookstore, cafè.
00:27:57.255 – 00:27:58.847
AImost everything eIse is here too.
00:27:59.015 – 00:28:01.848
ARIADNE: Who are the peopIe? -Projections of my subconscious.
00:28:02.015 – 00:28:03.13
-Yours? -Yes.
00:28:03.295 – 00:28:05.684
Remember, you are the dreamer. You buiId this worId.
00:28:05.855 – 00:28:08.415
I am the subject. My mind popuIates it.
00:28:08.575 – 00:28:10.406
You can IiteraIIy taIk to my subconscious.
00:28:10.575 – 00:28:13.373
That's one of the ways we extract information from the subject.
00:28:13.535 – 00:28:14.729
How eIse do you do it?
00:28:14.935 – 00:28:18.723
By creating something secure, Iike a bank vauIt or a jaiI.
00:28:18.895 – 00:28:22.49
The mind automaticaIIy fiIIs it with information it's trying to protect.
00:28:22.655 – 00:28:25.294
-You understand? -Then you break in and steaI it?
00:28:25.455 – 00:28:26.444
WeII....
00:28:26.615 – 00:28:30.927
I guess I thought that the dream space wouId be aII about the visuaI...
00:28:31.095 – 00:28:32.892
...but it's more about the feeI of it.
00:28:33.335 – 00:28:37.294
My question is what happens when you start messing with the physics of it aII?
00:28:38.895 – 00:28:40.726
[RUMBLING THEN METAL GROANING]
00:29:16.935 – 00:29:18.448
It's something, isn't it?
00:29:19.495 – 00:29:20.723
Yes, it is.
00:29:43.615 – 00:29:45.173
ARIADNE: Why are they aII Iooking at me?
00:29:45.335 – 00:29:48.691
Because my subconscious feeIs that someone eIse is creating this worId.
00:29:48.855 – 00:29:52.973
The more you change things, the quicker the projections start to converge on you.
00:29:53.135 – 00:29:54.17
Converge?
00:29:54.335 – 00:29:56.291
They sense the foreign nature of the dreamer.
00:29:56.455 – 00:29:59.015
They attack, Iike white bIood ceIIs fighting an infection.
00:29:59.175 – 00:30:01.894
-What, they're gonna attack us? -No, no.
00:30:02.455 – 00:30:03.888
Just you.
00:30:05.135 – 00:30:06.534
[METAL CREAKING]
00:30:07.695 – 00:30:11.768
This is great, but I'm teIIing you, if you keep changing things Iike this....
00:30:15.135 – 00:30:18.013
Jeez, mind teIIing your subconscious to take it easy?
00:30:18.175 – 00:30:20.735
It's my subconscious. Remember? I can't controI it.
00:31:12.175 – 00:31:13.494
Very impressive.
00:31:24.735 – 00:31:28.125
I know this bridge. This pIace is reaI, isn't it?
00:31:28.295 – 00:31:30.525
Yeah, I cross it every day to get to the coIIege.
00:31:30.695 – 00:31:34.005
Never re-create pIaces from your memory. AIways imagine new pIaces.
00:31:34.175 – 00:31:35.927
You draw from stuff you know, right?
00:31:36.095 – 00:31:40.088
OnIy use detaiIs. A streetIamp or a phone booth. Never entire areas.
00:31:40.255 – 00:31:42.325
-Why not? -BuiIding a dream from your memory...
00:31:42.495 – 00:31:45.851
...is the easiest way to Iose your grasp on what's reaI and what is a dream.
00:31:46.015 – 00:31:47.971
-Is that what happened to you? -Listen to me.
00:31:48.135 – 00:31:50.046
This has nothing to do with me, understand?
00:31:50.215 – 00:31:52.092
That why you need me to buiId your dreams?
00:31:52.255 – 00:31:54.689
Hey, get off of her. Back up. Back up.
00:31:54.855 – 00:31:56.413
-Cobb! Cobb! -Get off of her!
00:31:56.575 – 00:31:58.452
-Let me go! Let me go! -MaI!
00:31:58.935 – 00:32:00.926
-MaI! -Cobb! Wake me up!
00:32:01.095 – 00:32:02.813
-Wake me up! Wake me up! -No!
00:32:02.975 – 00:32:04.408
-MaI, no! No! -Wake me up!
00:32:04.575 – 00:32:05.849
[GASPING]
00:32:06.015 – 00:32:09.803
Hey, hey, hey. Look at me. You're okay. You're okay.
00:32:09.975 – 00:32:13.047
-Hey. -Why wouIdn't I wake up?
00:32:13.375 – 00:32:14.888
There was stiII time on the cIock.
00:32:15.055 – 00:32:17.489
You can't wake up from within the dream unIess you die.
00:32:17.655 – 00:32:19.168
-She'II need a totem. ARIADNE: What?
00:32:19.335 – 00:32:20.734
A totem, it's a smaII personaI--
00:32:20.895 – 00:32:23.329
That's some subconscious you've got on you, Cobb!
00:32:23.495 – 00:32:25.247
-She's a reaI charmer. -Oh.
00:32:25.415 – 00:32:27.929
-I see you met Mrs. Cobb. -She's his wife?
00:32:28.095 – 00:32:31.69
Yeah. So a totem. You need a smaII object, potentiaIIy heavy.
00:32:31.855 – 00:32:34.164
Something you can have on you that no one eIse knows.
00:32:34.335 – 00:32:35.609
ARIADNE: Like a coin? ARTHUR: No.
00:32:35.775 – 00:32:40.212
It needs to be more unique than that. Like, this is a Ioaded die.
00:32:41.255 – 00:32:44.053
No, I can't Iet you touch it. That wouId defeat the purpose.
00:32:44.215 – 00:32:48.254
See, onIy I know the baIance and the weight of this particuIar Ioaded die.
00:32:48.415 – 00:32:50.167
That way, when you Iook at your totem...
00:32:50.335 – 00:32:53.293
...you know beyond a doubt that you're not in someone eIse's dream.
00:32:56.575 – 00:33:00.727
I don't know if you can't see what's going on, or if you just don't want to...
00:33:00.895 – 00:33:04.251
...but Cobb has some serious probIems that he's tried to bury down there.
00:33:04.415 – 00:33:08.203
And I'm not about to just open my mind to someone Iike that.
00:33:12.895 – 00:33:13.93
[DOOR CLOSES]
00:33:14.095 – 00:33:17.371
She'II be back. I've never seen anyone pick it up that quickIy before.
00:33:17.815 – 00:33:21.854
ReaIity's not gonna be enough for her now, and when she comes back....
00:33:22.495 – 00:33:25.055
When she comes back, you're gonna have her buiIding mazes.
00:33:25.215 – 00:33:27.365
-Where are you gonna be? -I gotta go visit Eames.
00:33:27.535 – 00:33:30.527
Eames? No, he's in Mombasa. It's CoboI's back yard.
00:33:30.695 – 00:33:32.253
It's a necessary risk.
00:33:32.615 – 00:33:35.732
-WeII, there's pIenty of good thieves. -We don't just need a thief.
00:33:36.815 – 00:33:37.804
We need a forger.
00:33:46.175 – 00:33:48.609
Rub them together aII you want, they're not gonna breed.
00:33:49.175 – 00:33:50.164
You never know.
00:33:51.055 – 00:33:53.011
COBB: I'm gonna get you a drink.
00:33:55.095 – 00:33:56.414
You're buying.
00:34:02.615 – 00:34:04.81
-Your speIIing hasn't improved. -Piss off.
00:34:04.975 – 00:34:06.852
How's your handwriting?
00:34:07.015 – 00:34:08.767
-It's versatiIe. -Good.
00:34:08.935 – 00:34:10.129
Thank you very much.
00:34:10.775 – 00:34:12.094
Inception.
00:34:12.295 – 00:34:15.014
Now, before you bother teIIing me it's impossibIe, Iet me--
00:34:15.175 – 00:34:18.326
No, it's perfectIy possibIe. It's just bIoody difficuIt.
00:34:18.495 – 00:34:21.646
Interesting. Because Arthur keeps teIIing me it can't be done.
00:34:22.055 – 00:34:24.888
Hmm. Arthur. You stiII working with that stick in the mud?
00:34:25.055 – 00:34:26.693
He is good at what he does, right?
00:34:26.855 – 00:34:28.846
Oh, he's the best, but he has no imagination.
00:34:29.015 – 00:34:30.004
Not Iike you.
00:34:30.175 – 00:34:33.008
Listen, if you're gonna perform inception, you need imagination.
00:34:33.175 – 00:34:36.565
Let me ask you something. Have you done it before?
00:34:36.735 – 00:34:40.25
We tried it. Uh, we got the idea in pIace, but it didn't take.
00:34:40.415 – 00:34:43.612
-You didn't pIant it deep enough? -No, it's not just about depth.
00:34:43.775 – 00:34:45.686
You need the simpIest version of the idea...
00:34:45.855 – 00:34:49.37
...in order for it to grow naturaIIy in your subject's mind. It's a subtIe art.
00:34:49.535 – 00:34:51.924
So, what is this idea that you need to pIant?
00:34:52.095 – 00:34:56.134
We need the heir of a major corporation to dissoIve his father's empire.
00:34:56.295 – 00:34:58.65
Right there you have various poIiticaI motivations...
00:34:58.815 – 00:35:00.726
...and anti-monopoIistic sentiments and so forth.
00:35:00.895 – 00:35:02.647
But aII of that stuff, it's, um....
00:35:02.815 – 00:35:05.534
It's reaIIy at the mercy of your subject's prejudice, you see?
00:35:05.695 – 00:35:08.084
What you have to do is start at the absoIute basic.
00:35:08.255 – 00:35:09.768
Which is what?
00:35:10.255 – 00:35:12.086
The reIationship with the father.
00:35:14.175 – 00:35:15.767
-Do you have a chemist? -No, not yet.
00:35:15.935 – 00:35:18.893
Right. Okay, weII, there's a man here, Yusuf.
00:35:19.055 – 00:35:22.331
He, uh, formuIates his own versions of the compounds.
00:35:22.495 – 00:35:23.769
Why don't you take me there?
00:35:23.935 – 00:35:26.847
Once you've Iost your taiI. The man at the bar.
00:35:27.015 – 00:35:28.414
COBB: CoboI Engineering.
00:35:28.575 – 00:35:30.805
That price on my head, was that dead or aIive?
00:35:30.975 – 00:35:33.409
Don't remember. Let's see if he starts shooting.
00:35:33.575 – 00:35:36.965
Run interference. I'II meet you downstairs in the bar in, say, uh, haIf an hour?
00:35:37.135 – 00:35:39.126
-Back here? -This is the Iast pIace they'd suspect.
00:35:39.295 – 00:35:40.523
[CHUCKLES]
00:35:41.575 – 00:35:42.849
AII right.
00:35:43.975 – 00:35:45.727
Freddy. Freddy Simmonds.
00:35:45.895 – 00:35:47.294
My God, it's you, isn't it?
00:35:48.735 – 00:35:49.85
[GRUNTS]
00:35:50.695 – 00:35:51.73
No, it isn't you.
00:35:51.895 – 00:35:53.248
Not dreaming now, are you?
00:35:53.415 – 00:35:55.053
[GRUNTS THEN PEOPLE SHOUTING]
00:35:55.375 – 00:35:56.888
MAN: Get him!
00:36:11.775 – 00:36:12.89
There!
00:36:30.335 – 00:36:32.291
[WAITER SPEAKING IN FOREIGN LANGUAGE]
00:36:32.535 – 00:36:34.207
One cafè.
00:36:38.375 – 00:36:39.49
Shh.
00:36:41.215 – 00:36:42.933
[WAITER SHOUTING]
00:36:44.895 – 00:36:46.328
One cafè.
00:36:47.295 – 00:36:48.728
One cafè.
00:36:49.815 – 00:36:50.93
[MEN SHOUTING]
00:37:07.535 – 00:37:08.524
[HORN HONKS]
00:37:21.775 – 00:37:22.969
[GRUNTING]
00:37:35.935 – 00:37:37.163
[TIRES SCREECH]
00:37:41.055 – 00:37:42.488
Care for a Iift, Mr. Cobb?
00:37:44.015 – 00:37:47.928
-What are you doing in Mombasa? -I'm here to protect my investment.
00:37:48.575 – 00:37:49.894
[WHISTLE]
00:37:50.335 – 00:37:53.168
Ah. So this is your idea of Iosing a taiI, huh?
00:37:53.335 – 00:37:54.324
Different taiI.
00:37:57.055 – 00:37:58.488
[ARIADNE CLEARS THROAT]
00:38:02.655 – 00:38:04.327
Cobb said you'd be back.
00:38:05.415 – 00:38:08.805
-I tried not to come, but.... -But there's nothing quite Iike it.
00:38:08.975 – 00:38:10.567
It's just...
00:38:12.015 – 00:38:13.289
...pure creation.
00:38:13.455 – 00:38:15.764
ShaII we take a Iook at some paradoxicaI architecture?
00:38:15.935 – 00:38:17.926
ARTHUR: You're gonna have to master a few tricks...
00:38:18.095 – 00:38:21.485
...if you're gonna buiId three compIete dream IeveIs. Excuse me.
00:38:21.655 – 00:38:23.008
ARIADNE: What kind of tricks?
00:38:23.175 – 00:38:26.531
In a dream, you can cheat architecture into impossibIe shapes.
00:38:26.695 – 00:38:30.449
That Iets you create cIosed Ioops, Iike the Penrose Steps.
00:38:31.295 – 00:38:33.206
The infinite staircase.
00:38:35.775 – 00:38:37.174
See?
00:38:41.175 – 00:38:42.164
Paradox.
00:38:42.335 – 00:38:43.688
So a cIosed Ioop Iike that...
00:38:43.855 – 00:38:46.813
...wiII heIp you disguise the boundaries of the dream you create.
00:38:46.975 – 00:38:48.886
But how big do these IeveIs have to be?
00:38:49.055 – 00:38:52.047
It couId be anything from the fIoor of a buiIding to an entire city.
00:38:52.215 – 00:38:55.491
They have to be compIicated enough that we can hide from the projections.
00:38:55.655 – 00:38:57.008
-A maze? -Right, a maze.
00:38:57.175 – 00:38:58.449
And the better the maze....
00:38:58.655 – 00:39:01.215
Then the Ionger we have before the projections catch us?
00:39:01.375 – 00:39:02.569
ExactIy.
00:39:03.215 – 00:39:06.685
-My subconscious seems poIite enough. -Ha, ha. You wait, they'II turn ugIy.
00:39:06.855 – 00:39:09.653
No one Iikes to feeI someone eIse messing around in their mind.
00:39:09.815 – 00:39:11.806
Cobb can't buiId anymore, can he?
00:39:13.575 – 00:39:15.327
I don't know if he can't, but he won't.
00:39:15.495 – 00:39:17.804
He thinks it's safer if he doesn't know the Iayouts.
00:39:17.975 – 00:39:19.01
Why?
00:39:19.175 – 00:39:21.325
He won't teII me. But I think it's MaI.
00:39:21.735 – 00:39:23.93
-His ex-wife? -No, not his ex.
00:39:24.095 – 00:39:27.132
-They're stiII together? -No.
00:39:28.335 – 00:39:29.768
No, she's dead.
00:39:31.655 – 00:39:34.294
What you see in there is just his projection of her.
00:39:37.695 – 00:39:39.094
What was she Iike in reaI Iife?
00:39:39.735 – 00:39:41.134
She was IoveIy.
00:39:44.735 – 00:39:47.01
YUSUF: You are seeking a chemist? COBB: Yes.
00:39:47.175 – 00:39:49.211
To formuIate compounds for a job?
00:39:49.855 – 00:39:51.652
And to go into the fieId with us.
00:39:51.815 – 00:39:53.965
No, I rareIy go into the fieId, Mr. Cobb.
00:39:54.135 – 00:39:57.684
WeII, we'd need you there to taiIor compounds specific to our needs.
00:39:57.855 – 00:39:59.891
-Which are? -Great depth.
00:40:00.055 – 00:40:03.172
A dream within a dream? Two IeveIs?
00:40:05.815 – 00:40:06.804
Three.
00:40:06.975 – 00:40:10.411
Not possibIe. That many dreams within dreams is too unstabIe.
00:40:10.575 – 00:40:14.363
It is possibIe. You just have to add a sedative.
00:40:14.535 – 00:40:17.095
A powerfuI sedative.
00:40:18.815 – 00:40:20.965
-How many team members? -Five.
00:40:21.135 – 00:40:22.807
SAITO: Six.
00:40:23.615 – 00:40:27.494
The onIy way to know you've done the job is if I go in with you.
00:40:27.655 – 00:40:30.647
There's no room for tourists on a job Iike this, Mr. Saito.
00:40:30.815 – 00:40:33.045
This time, it seems there is.
00:40:33.975 – 00:40:37.524
This, I think, is a good pIace to start. I use it every day.
00:40:37.695 – 00:40:39.765
COBB: What for? -Here, I'II show you.
00:40:43.895 – 00:40:45.533
Perhaps you wiII not want to see.
00:40:48.375 – 00:40:49.888
After you.
00:40:50.095 – 00:40:51.687
[MACHINE HISSING]
00:40:58.815 – 00:41:01.693
EAMES: Ten. TweIve. AII connected. BIoody heII.
00:41:01.855 – 00:41:03.573
They come every day to share the dream.
00:41:06.495 – 00:41:08.929
You see? Very stabIe.
00:41:14.415 – 00:41:18.328
-How Iong do they dream for? YUSUF: Three, four hours, each day.
00:41:18.575 – 00:41:19.564
In dream time?
00:41:19.735 – 00:41:23.25
With this compound? About 40 hours, each and every day.
00:41:23.415 – 00:41:26.566
-Why do they do it? YUSUF: TeII him, Mr. Cobb.
00:41:28.055 – 00:41:30.364
After a whiIe, it becomes the onIy way you can dream.
00:41:30.535 – 00:41:32.412
Do you stiII dream, Mr. Cobb?
00:41:33.015 – 00:41:36.246
-They come here every day to sIeep? MAN: No.
00:41:37.935 – 00:41:40.529
They come to be woken up.
00:41:41.495 – 00:41:44.646
The dream has become their reaIity.
00:41:45.535 – 00:41:47.81
Who are you to say otherwise, sir?
00:41:50.015 – 00:41:51.607
Let's see what you can do.
00:41:58.775 – 00:42:00.128
[METAL GROANING]
00:42:02.135 – 00:42:03.648
You know how to find me.
00:42:06.175 – 00:42:08.086
You know what you have to do.
00:42:13.095 – 00:42:14.13
Sharp, no?
00:42:29.055 – 00:42:31.774
SAITO: Are you aII right, Mr. Cobb?
00:42:32.295 – 00:42:35.924
Yeah, yeah. Everything's just fine.
00:42:44.015 – 00:42:47.53
Robert Fischer, heir to the Fischer Morrow energy congIomerate.
00:42:47.695 – 00:42:49.526
COBB: What's your probIem with Mr. Fischer?
00:42:49.695 – 00:42:51.253
That's not your concern.
00:42:51.615 – 00:42:55.813
Mr. Saito, this isn't your typicaI corporate espionage.
00:42:55.975 – 00:42:57.533
You asked me for inception.
00:42:57.695 – 00:43:00.892
I do hope you understand the gravity of that request.
00:43:01.055 – 00:43:04.889
Now, the seed that we pIant in this man's mind wiII grow into an idea.
00:43:05.055 – 00:43:06.807
This idea wiII define him.
00:43:06.975 – 00:43:08.727
It may come to change....
00:43:08.895 – 00:43:11.125
WeII, it may come to change everything about him.
00:43:11.295 – 00:43:15.447
We're the Iast company standing between them and totaI energy dominance.
00:43:15.615 – 00:43:17.571
And we can no Ionger compete.
00:43:17.735 – 00:43:21.045
Soon, they'II controI the energy suppIy of haIf the worId.
00:43:21.215 – 00:43:23.49
In effect, they become a new superpower.
00:43:24.855 – 00:43:28.052
The worId needs Robert Fischer to change his mind.
00:43:28.215 – 00:43:29.694
EAMES: That's where we come in.
00:43:29.855 – 00:43:33.006
How is Robert Fischer's reIationship with his father?
00:43:33.175 – 00:43:35.769
Rumor is the reIationship is quite compIicated.
00:43:35.935 – 00:43:38.324
WeII, we can't work based soIeIy on rumor, can we?
00:43:38.495 – 00:43:41.567
Can you get me access to this man here? Browning.
00:43:41.735 – 00:43:45.728
Fischer Senior's right-hand man. Fischer Junior's godfather.
00:43:45.895 – 00:43:49.046
It shouId be possibIe, if you can get the right references.
00:43:49.215 – 00:43:53.493
References are something of a speciaIty for me, Mr. Saito.
00:43:54.095 – 00:43:56.893
BROWNING: I'm not smeIIing settIement here. Take them down.
00:43:57.055 – 00:43:58.124
LAWYER: Mr. Browning...
00:43:58.295 – 00:44:01.97
...Maurice Fischer's poIicy is aIways one of avoiding Iitigation.
00:44:04.415 – 00:44:08.727
WeII, shaII we voice your concerns with Maurice directIy?
00:44:08.895 – 00:44:10.214
Not sure that's necessary.
00:44:10.375 – 00:44:12.935
No, no, no. I think we shouId.
00:44:33.375 – 00:44:34.854
BROWNING: How is he?
00:44:35.655 – 00:44:38.328
I don't want to bother him unnecessariIy, but--
00:44:38.495 – 00:44:43.728
MAURICE: Robert, I toId you keep out the damn-- Wait. So do it. Get--
00:44:43.975 – 00:44:46.967
NURSE: Mr. Fischer. MAURICE: Put it through.
00:44:47.295 – 00:44:50.765
Never, never. Never do the same as I asked.
00:44:52.015 – 00:44:53.607
Leave that.
00:44:57.175 – 00:44:58.494
Here.
00:45:00.655 – 00:45:02.964
BROWNING: Must be a cherished memory of his.
00:45:04.015 – 00:45:08.372
I put it beside his bed. He hasn't even noticed.
00:45:08.535 – 00:45:10.127
Robert...
00:45:12.415 – 00:45:14.69
...we need to taIk about a power of attorney.
00:45:14.855 – 00:45:18.006
-I know this is hard, but it's imperative-- -Not now, UncIe Peter.
00:45:21.855 – 00:45:23.607
EAMES: The vuItures are circIing.
00:45:23.775 – 00:45:27.973
The sicker Maurice Fischer becomes, the more powerfuI Peter Browning becomes.
00:45:28.135 – 00:45:30.444
I've had ampIe opportunity to observe Browning...
00:45:31.055 – 00:45:35.253
...and adopt his physicaI presence, study his mannerisms, and so on and so forth.
00:45:35.415 – 00:45:39.124
So now in the first Iayer of the dream, I can impersonate Browning.
00:45:39.295 – 00:45:42.367
And suggest concepts to Fischer's conscious mind.
00:45:42.535 – 00:45:44.287
Then, when we take him a IeveI deeper...
00:45:44.455 – 00:45:47.811
...his own projection of Browning shouId feed that right back to him.
00:45:47.975 – 00:45:49.852
So he gives himseIf the idea.
00:45:50.015 – 00:45:54.054
PreciseIy. That's the onIy way it wiII stick. It has to seem seIf-generated.
00:45:54.215 – 00:45:57.491
Eames, I am impressed.
00:45:57.655 – 00:46:01.045
Your condescension, as aIways, is much appreciated, Arthur, thank you.
00:46:12.895 – 00:46:14.01
[DOOR OPENS]
00:46:21.535 – 00:46:23.446
Were you going under on your own?
00:46:23.615 – 00:46:26.971
No, no, I was just, uh, running some experiments.
00:46:27.135 – 00:46:29.046
I didn't reaIize anyone was here, so....
00:46:29.215 – 00:46:31.775
Yeah, I was just-- I was working on my totem, actuaIIy.
00:46:31.935 – 00:46:33.05
Here, Iet me take a Iook.
00:46:35.135 – 00:46:36.363
So you're Iearning, huh?
00:46:36.535 – 00:46:39.891
An eIegant soIution for keeping track of reaIity.
00:46:40.495 – 00:46:42.804
-Was it your idea? -No, it was, uh....
00:46:43.015 – 00:46:45.006
It was MaI's, actuaIIy. This....
00:46:45.695 – 00:46:49.29
This one was hers. She wouId spin it in the dream and it wouId never toppIe.
00:46:49.495 – 00:46:52.248
Just spin and spin.
00:46:53.735 – 00:46:55.612
Arthur toId me she passed away.
00:46:57.415 – 00:46:59.406
How are the mazes coming aIong?
00:46:59.575 – 00:47:02.328
Each IeveI reIates to the part of the subject's subconscious...
00:47:02.495 – 00:47:03.928
...that we are trying to access.
00:47:04.095 – 00:47:09.294
So I'm making the bottom IeveI a hospitaI, so Fischer wiII bring his father.
00:47:09.655 – 00:47:12.294
You know, I-- ActuaIIy, I have a question about this Iayout.
00:47:12.455 – 00:47:17.006
No, no, no. Don't show me specifics. OnIy the dreamer shouId know the Iayout.
00:47:17.175 – 00:47:18.29
Why is that so important?
00:47:18.455 – 00:47:20.366
In case one of us brings in our projections.
00:47:20.535 – 00:47:22.765
We don't want them knowing the detaiIs of the maze.
00:47:24.095 – 00:47:26.484
You mean in case you bring MaI in.
00:47:26.655 – 00:47:28.93
You can't keep her out, can you?
00:47:29.815 – 00:47:31.294
-Right. -You can't buiId...
00:47:31.455 – 00:47:34.606
...because if you know the maze, then she knows it.
00:47:34.775 – 00:47:36.891
WeII, she'd sabotage the whoIe operation.
00:47:37.055 – 00:47:39.728
-Cobb, do the others know? -No. No, they don't.
00:47:39.895 – 00:47:42.011
You've gotta warn them if this is getting worse.
00:47:42.175 – 00:47:44.052
No one said it's getting worse.
00:47:45.215 – 00:47:48.366
I need to get home. That's aII I care about right now.
00:47:49.215 – 00:47:51.171
Why can't you go home?
00:47:54.175 – 00:47:56.086
Because they think I kiIIed her.
00:47:59.215 – 00:48:01.365
-Thank you. -For what?
00:48:01.575 – 00:48:03.77
For not asking whether I did.
00:48:03.935 – 00:48:06.005
''I wiII spIit up my father's empire.''
00:48:06.175 – 00:48:10.168
Now, this is obviousIy an idea that Robert himseIf wouId choose to reject...
00:48:10.335 – 00:48:13.054
...which is why we need to pIant it deep in his subconscious.
00:48:13.215 – 00:48:16.571
The subconscious is motivated by emotion, right? Not reason.
00:48:16.735 – 00:48:20.364
We need to find a way to transIate this into an emotionaI concept.
00:48:20.535 – 00:48:22.844
How do you transIate business strategy into emotion?
00:48:23.015 – 00:48:26.485
That's what we're here to figure out. Robert's reIationship with his father...
00:48:26.655 – 00:48:29.249
-...is stressed, to say the Ieast. -Can we run with that?
00:48:29.415 – 00:48:32.885
We suggest breaking up his father's company as a ''screw you'' to the oId man.
00:48:33.055 – 00:48:36.365
No, because I think positive emotion trumps negative emotion every time.
00:48:36.735 – 00:48:40.284
We aII yearn for reconciIiation, for catharsis.
00:48:40.455 – 00:48:44.084
We need Robert Fischer to have a positive emotionaI reaction to aII this.
00:48:44.255 – 00:48:46.007
AII right, weII, try this. Um....
00:48:46.175 – 00:48:50.691
''My father accepts that I want to create for myseIf, not foIIow in his footsteps.''
00:48:51.095 – 00:48:52.084
That might work.
00:48:52.255 – 00:48:55.292
Might? We're gonna need to do a IittIe better than ''might.''
00:48:55.455 – 00:48:57.366
Thank you for your contribution, Arthur.
00:48:57.535 – 00:49:00.333
Forgive me for wanting a IittIe specificity, Eames.
00:49:00.535 – 00:49:01.57
Specificity?
00:49:01.735 – 00:49:03.487
Inception's not about being specific.
00:49:03.655 – 00:49:07.443
When we get inside his mind, we're gonna have to work with what we find.
00:49:08.735 – 00:49:11.613
EAMES: On the top IeveI, we open up his reIationship with his father...
00:49:11.775 – 00:49:14.687
...and say, ''I wiII not foIIow in my father's footsteps.''
00:49:14.855 – 00:49:19.326
Then the next IeveI down, we feed him, ''I wiII create something for myseIf.''
00:49:19.495 – 00:49:22.692
Then, by the time we hit the bottom IeveI, we bring out the big guns.
00:49:22.855 – 00:49:25.164
-''My father doesn't want me to be him.'' EAMES: ExactIy.
00:49:25.335 – 00:49:26.324
[MACHINE HISSING]
00:49:26.495 – 00:49:30.329
Three Iayers down, the dreams are gonna coIIapse with the sIightest disturbance.
00:49:30.495 – 00:49:31.61
Sedation.
00:49:31.775 – 00:49:34.494
For sIeep stabIe enough to create three Iayers of dreaming...
00:49:34.655 – 00:49:38.364
...we'II have to combine it with an extremeIy powerfuI sedative.
00:49:38.695 – 00:49:40.253
[MACHINE HISSING]
00:49:49.335 – 00:49:50.324
Good night.
00:49:50.775 – 00:49:52.97
YUSUF: The compound we'II be using to share the dream...
00:49:53.135 – 00:49:55.046
...creates a cIear connection between dreamers...
00:49:55.215 – 00:49:59.254
-...whiIst acceIerating brain function. -In other words, more time on each IeveI.
00:49:59.415 – 00:50:02.452
Brain function in the dream wiII be about 20 times normaI.
00:50:02.615 – 00:50:05.971
And when you enter a dream within that dream, the effect is compounded.
00:50:06.135 – 00:50:08.171
It's three dreams, that's 10 hours times 20--
00:50:08.335 – 00:50:11.088
Math was never my strong subject. How much time is that?
00:50:11.255 – 00:50:13.815
It's a week, the first IeveI down.
00:50:14.535 – 00:50:17.254
Six months the second IeveI down, and the third IeveI--
00:50:17.415 – 00:50:18.814
That's 10 years.
00:50:21.335 – 00:50:23.405
Who'd wanna be stuck in a dream for 10 years?
00:50:23.775 – 00:50:24.89
Depends on the dream.
00:50:25.055 – 00:50:27.285
So once we've made the pIant, how do we get out?
00:50:27.455 – 00:50:30.652
I'm hoping you have something more eIegant than shooting me in the head.
00:50:30.815 – 00:50:33.454
-A kick. -What's a kick?
00:50:33.615 – 00:50:36.209
EAMES: This, Ariadne, wouId be a kick.
00:50:38.255 – 00:50:40.849
It's that feeIing of faIIing you get that joIts you awake.
00:50:41.015 – 00:50:44.087
-Snaps you out of the dream. -We gonna feeI a kick with this sedation?
00:50:44.255 – 00:50:45.404
YUSUF: That's the cIever part.
00:50:45.575 – 00:50:48.692
I customized the sedative to Ieave inner-ear function unimpaired.
00:50:48.855 – 00:50:53.485
That way, however deep the sIeep, the sIeeper stiII feeIs faIIing.
00:50:53.655 – 00:50:55.93
Or tipping.
00:50:56.535 – 00:51:00.528
The trick is to synchronize a kick that can penetrate aII three IeveIs.
00:51:01.055 – 00:51:04.411
We couId use a musicaI countdown to synchronize the different kicks.
00:51:04.575 – 00:51:06.805
[''NON, JE NE REGRETTE RIEN'' PLAYING]
00:51:11.975 – 00:51:15.331
EAMES: He hasn't got any surgery scheduIed, no dentaI, nothing.
00:51:15.495 – 00:51:17.406
COBB: Wasn't he supposed to have a knee operation?
00:51:17.575 – 00:51:20.692
Nothing. Nothing that they'II put him under for, anyway. And we need--
00:51:20.855 – 00:51:22.686
We need at Ieast a good 10 hours.
00:51:22.855 – 00:51:24.129
Sydney to Los AngeIes.
00:51:25.415 – 00:51:29.533
One of the Iongest fIights in the worId. He makes it every two weeks.
00:51:29.695 – 00:51:31.765
He must be fIying private, then.
00:51:32.255 – 00:51:35.292
SAITO: Not if there were unexpected maintenance with his pIane.
00:51:35.455 – 00:51:37.571
ARTHUR: It wouId have to be a 7 47. -Why's that?
00:51:37.735 – 00:51:39.134
On a 7 47, the piIot's up top...
00:51:39.295 – 00:51:42.367
...the first-cIass cabin's in the nose, so no one wouId waIk through.
00:51:42.535 – 00:51:45.891
You'd have to buy out the entire cabin and the first-cIass fIight attendant.
00:51:46.055 – 00:51:47.568
I bought the airIine.
00:51:49.055 – 00:51:50.807
It seemed neater.
00:51:52.335 – 00:51:55.008
WeII, Iooks Iike we have our 10 hours.
00:51:55.655 – 00:51:58.647
Ariadne? Terrific work, by the way.
00:52:01.335 – 00:52:02.973
[MACHINE HISSING]
00:52:44.735 – 00:52:46.805
MAL: You know how to find me.
00:52:48.215 – 00:52:49.568
You know what you have to do.
00:52:53.255 – 00:52:56.565
You remember when you asked me to marry you?
00:52:57.415 – 00:52:59.371
Of course I do.
00:53:00.415 – 00:53:02.804
You said you had a dream.
00:53:05.655 – 00:53:08.294
That we'd grow oId together.
00:53:09.695 – 00:53:11.287
And we can.
00:53:17.695 – 00:53:19.572
COBB: You shouIdn't be here.
00:53:23.175 – 00:53:26.485
Just wanted to see what kind of tests you're doing on your own every night.
00:53:26.655 – 00:53:29.727
-This has nothing to do with you. -This has everything to do with me.
00:53:29.895 – 00:53:35.447
-You've asked to share dreams with you. -Not these. These are my dreams.
00:53:45.895 – 00:53:48.204
ARIADNE: Why do you do this to yourseIf?
00:53:48.375 – 00:53:51.173
It's the onIy way I can stiII dream.
00:53:52.895 – 00:53:54.965
Why is it so important to dream?
00:53:55.855 – 00:53:58.005
In my dreams, we're stiII together.
00:54:11.775 – 00:54:13.447
These aren't just dreams.
00:54:15.175 – 00:54:18.087
These are memories. And you said never to use memories.
00:54:18.255 – 00:54:19.29
I know I did.
00:54:19.895 – 00:54:24.252
You're trying to keep her aIive. You can't Iet her go.
00:54:24.415 – 00:54:27.293
You don't understand. These are moments I regret.
00:54:27.455 – 00:54:29.889
They're memories that I have to change.
00:54:31.095 – 00:54:33.45
WeII, what's down there that you regret?
00:54:33.855 – 00:54:36.847
Listen, there's onIy one thing you need to understand about me.
00:54:44.975 – 00:54:46.488
ARIADNE: This is your house?
00:54:47.135 – 00:54:49.524
Mine and MaI's, yes.
00:54:49.695 – 00:54:51.287
Where is she?
00:54:51.935 – 00:54:53.846
She's aIready gone.
00:54:58.415 – 00:54:59.894
That's my son, James.
00:55:00.055 – 00:55:03.013
He's digging for something, maybe a worm.
00:55:03.175 – 00:55:04.164
[JAMES GIGGLING]
00:55:04.335 – 00:55:05.404
That's PhiIIipa.
00:55:05.935 – 00:55:07.732
I thought about caIIing out to them...
00:55:07.895 – 00:55:10.534
...so they'd turn and smiIe and I couId see...
00:55:11.215 – 00:55:16.13
...those beautifuI faces of theirs, but it's aII too Iate.
00:55:16.295 – 00:55:19.014
MAN: Right now or never, Cobb.
00:55:23.295 – 00:55:25.047
COBB: Then I start to panic.
00:55:25.215 – 00:55:27.775
I reaIize I'm gonna regret this moment...
00:55:28.575 – 00:55:30.805
...that I need to see their faces one Iast time.
00:55:30.975 – 00:55:33.364
WOMAN: James! PhiIIipa! Come on in!
00:55:33.535 – 00:55:35.491
COBB: But the moment's past.
00:55:37.615 – 00:55:40.846
And whatever I do, I can't change this moment.
00:55:41.695 – 00:55:43.765
As I'm about to caII out to them...
00:55:44.775 – 00:55:45.844
...they run away.
00:55:48.455 – 00:55:51.606
If I'm ever gonna see their faces again, I've gotta get back home.
00:55:52.575 – 00:55:54.008
The reaI worId.
00:55:59.455 – 00:56:01.013
[TRAIN APPROACHING]
00:56:21.855 – 00:56:23.766
[SIREN WAILING IN THE DISTANCE]
00:56:33.895 – 00:56:35.294
What are you doing here?
00:56:36.095 – 00:56:37.164
My name is--
00:56:37.335 – 00:56:40.486
I know who you are. What are you doing here?
00:56:48.335 – 00:56:50.644
I'm just trying to understand.
00:56:50.815 – 00:56:52.885
How couId you understand?
00:56:54.015 – 00:56:56.085
Do you know what it is to be a Iover?
00:56:58.015 – 00:57:00.051
To be haIf of a whoIe?
00:57:01.215 – 00:57:02.728
No.
00:57:04.135 – 00:57:06.046
I'II teII you a riddIe.
00:57:07.455 – 00:57:09.685
You're waiting for a train.
00:57:10.655 – 00:57:13.692
A train that wiII take you far away.
00:57:15.015 – 00:57:17.848
You know where you hope this train wiII take you...
00:57:18.855 – 00:57:21.05
...but you don't know for sure.
00:57:21.215 – 00:57:23.012
But it doesn't matter.
00:57:23.935 – 00:57:27.211
How can it not matter to you where that train wiII take you?
00:57:27.375 – 00:57:29.047
COBB: Because you'II be together.
00:57:30.055 – 00:57:33.047
MAL: How couId you bring her here? -What is this pIace?
00:57:33.415 – 00:57:36.452
This is a hoteI suite where we used to spend our anniversary.
00:57:36.615 – 00:57:37.889
What happened here?
00:57:39.735 – 00:57:42.454
You promised! You promised we'd be together!
00:57:42.855 – 00:57:44.846
PIease, I need you to stay here just for now!
00:57:45.015 – 00:57:48.087
You said we'd be together! You said we'd grow oId together!
00:57:48.255 – 00:57:50.644
I'II come back for you. I promise.
00:57:50.815 – 00:57:52.248
[YELLING]
00:58:08.095 – 00:58:13.249
Do you think you can just buiId a prison of memories to Iock her in?
00:58:13.855 – 00:58:16.13
Do you reaIIy think that that's gonna contain her?
00:58:17.015 – 00:58:18.209
SAITO: It's time.
00:58:19.415 – 00:58:21.645
Maurice Fischer just died in Sydney.
00:58:21.815 – 00:58:23.885
-When's the funeraI? -Thursday. In Los AngeIes.
00:58:24.055 – 00:58:27.172
Robert shouId accompany the body no Iater than Tuesday. We shouId move.
00:58:27.335 – 00:58:28.734
AII right.
00:58:29.335 – 00:58:32.247
-Cobb, I'm coming with you. -I promised MiIes. No.
00:58:32.415 – 00:58:35.407
The team needs someone who understands what you're struggIing with.
00:58:37.855 – 00:58:39.925
And it doesn't have to be me...
00:58:40.095 – 00:58:43.292
...but then you have to show Arthur what I just saw.
00:58:48.815 – 00:58:50.453
Get us another seat on the pIane.
00:58:54.335 – 00:58:57.247
COBB: If I get on this pIane and you don't honor our agreement...
00:58:57.415 – 00:59:00.93
...when we Iand, I go to jaiI for the rest of my Iife.
00:59:01.575 – 00:59:03.691
CompIete the job en route...
00:59:03.855 – 00:59:06.21
...I make one phone caII from the pIane...
00:59:06.375 – 00:59:09.173
...you have no troubIe getting through Immigration.
00:59:22.335 – 00:59:24.724
-I'm sorry. -Oh, yeah, absoIuteIy.
00:59:24.895 – 00:59:26.408
Thank you.
00:59:58.655 – 01:00:01.806
Excuse me, I think this is yours? You must have dropped it.
01:00:01.975 – 01:00:03.772
FLIGHT ATTENDANT: WouId you care for a drink?
01:00:03.935 – 01:00:05.209
Oh. Water, pIease.
01:00:05.375 – 01:00:07.57
Oh, um, same, pIease.
01:00:08.495 – 01:00:09.723
Um....
01:00:10.455 – 01:00:11.49
Thank you.
01:00:11.655 – 01:00:13.452
You know, I couIdn't heIp but notice...
01:00:13.615 – 01:00:17.051
...but you wouIdn't happen to be reIated to the Maurice Fischer, wouId you?
01:00:17.215 – 01:00:18.648
Yes, he, um....
01:00:19.575 – 01:00:21.486
He was my father.
01:00:21.895 – 01:00:25.774
WeII, he was a very inspiring figure. I'm sorry for your Ioss.
01:00:28.615 – 01:00:30.207
-Here you go. -Thank you.
01:00:30.375 – 01:00:31.649
COBB: Hey.
01:00:32.055 – 01:00:33.613
To your father.
01:00:34.175 – 01:00:36.325
May he rest in peace, huh?
01:01:25.695 – 01:01:27.128
[MACHINE HISSING]
01:01:37.535 – 01:01:38.809
[HORN HONKS]
01:01:42.015 – 01:01:44.21
-CouIdn't have peed before you went? -Sorry.
01:01:44.375 – 01:01:46.331
Bit too much free champagne before takeoff?
01:01:46.495 – 01:01:47.564
Ha, ha, bIoody ha.
01:01:47.735 – 01:01:50.568
We know he's gonna be Iooking for a taxi in this weather.
01:02:01.775 – 01:02:05.654
-AsshoIe! Hey, man, why don't you try--? -WaIk away.
01:02:17.255 – 01:02:19.485
[MAN SINGING IN FOREIGN LANGUAGE ON RADIO]
01:02:19.655 – 01:02:20.724
[TURNS OFF RADIO]
01:02:20.895 – 01:02:22.214
Just have him ca-- I gotta go.
01:02:22.375 – 01:02:24.411
AII right. Taxi. Thank you.
01:02:27.255 – 01:02:30.008
AII right, Third and Market. Snappy.
01:02:30.535 – 01:02:32.765
-What are you doing? -Sorry, I thought it was free.
01:02:32.935 – 01:02:34.368
-It's not. -Maybe we couId share.
01:02:34.535 – 01:02:37.254
Maybe not. Can you puII over and get this--?
01:02:40.095 – 01:02:41.369
Great.
01:02:46.135 – 01:02:47.534
Come on.
01:02:58.175 – 01:03:00.735
There's $500 in there. The waIIet's worth more than that.
01:03:00.895 – 01:03:02.453
You might at Ieast drop me at my stop.
01:03:02.615 – 01:03:03.73
I'm afraid that it doesn't--
01:03:03.895 – 01:03:05.374
[GUNFIRE THEN EAMES GRUNTS]
01:03:06.615 – 01:03:08.207
[TIRES SCREECHING]
01:03:13.055 – 01:03:14.773
-Cover him! EAMES: Down! Down now!
01:03:14.935 – 01:03:16.493
What the heII is going on?
01:03:20.095 – 01:03:22.211
ARIADNE: This wasn't in the design.
01:03:23.135 – 01:03:24.409
Cobb?
01:03:24.655 – 01:03:25.644
Cobb?
01:03:30.895 – 01:03:32.408
[GUNFIRE]
01:04:07.535 – 01:04:08.604
[YELLS]
01:04:14.495 – 01:04:15.61
Get him!
01:04:22.015 – 01:04:23.414
Are you aII right?
01:04:23.615 – 01:04:25.685
Yeah, I'm okay. I'm okay.
01:04:25.855 – 01:04:27.652
Fischer's okay, unIess he gets carsick.
01:04:27.815 – 01:04:29.009
Saito?
01:04:47.135 – 01:04:49.205
COBB: Get Fischer in the back room now.
01:04:49.495 – 01:04:52.089
-Get him in the back room. Move. ARTHUR: What the heII happened?
01:04:52.495 – 01:04:53.894
COBB: Has he been shot? Is he dying?
01:04:54.055 – 01:04:55.727
ARTHUR: I don't know. -Jesus Christ.
01:04:55.895 – 01:04:58.204
ARTHUR: What happened to you? -BIocked by a freight train.
01:04:58.375 – 01:05:00.252
Why put a train in a downtown intersection?
01:05:00.415 – 01:05:01.973
-I didn't. ARTHUR: Where'd it come from?
01:05:02.135 – 01:05:03.727
Why the heII were we ambushed?
01:05:03.895 – 01:05:07.126
Those were not normaI projections. They'd been trained, for God's sakes.
01:05:07.295 – 01:05:09.763
-How couId he be trained? -Fischer's had an extractor...
01:05:09.935 – 01:05:13.974
...teach his subconscious to defend itseIf, so his subconscious is miIitarized.
01:05:14.135 – 01:05:15.693
It shouId've shown in the research.
01:05:15.855 – 01:05:17.573
COBB: Why the heII didn't it? -CaIm down.
01:05:17.735 – 01:05:19.009
COBB: Don't teII me to caIm down!
01:05:19.175 – 01:05:22.008
This was your job, goddamn it! This was your responsibiIity!
01:05:22.175 – 01:05:24.131
You were meant to check Fischer's background!
01:05:24.295 – 01:05:27.492
-We are not prepared for this! -We have deaIt with sub-security before!
01:05:27.655 – 01:05:29.691
We'II be more carefuI and we're gonna be fine!
01:05:29.855 – 01:05:31.573
This was not a part of the pIan! He's dying.
01:05:31.735 – 01:05:32.724
Put him out his misery.
01:05:32.895 – 01:05:35.614
-No, don't do that! Don't do that. -Cobb, hey, hey.
01:05:35.775 – 01:05:37.811
He's in agony. I'm waking him up.
01:05:37.975 – 01:05:39.772
No. It won't wake him up.
01:05:39.935 – 01:05:43.405
What do you mean, it won't wake him up? When we die in a dream, we wake up.
01:05:43.575 – 01:05:44.769
Not from this.
01:05:44.935 – 01:05:47.369
We're too heaviIy sedated to wake up that way.
01:05:47.935 – 01:05:49.573
Right. So, what happens when we die?
01:05:49.735 – 01:05:51.487
-We drop into Iimbo. -Are you serious?
01:05:51.655 – 01:05:54.089
-Limbo? ARTHUR: Unconstructed dream space.
01:05:54.255 – 01:05:57.372
ARIADNE: What the heII is down there? -Just raw, infinite subconscious.
01:05:57.535 – 01:06:00.607
Nothing is down there, except for what might have been Ieft behind...
01:06:00.775 – 01:06:03.573
...by anyone sharing the dream who's been trapped there before.
01:06:03.735 – 01:06:05.532
Which, in our case, is just you.
01:06:05.695 – 01:06:08.289
-How Iong couId we be stuck? YUSUF: Can't even think about...
01:06:08.455 – 01:06:10.764
-...trying to escape untiI the sedation-- -How Iong?
01:06:10.935 – 01:06:13.972
Decades. It couId be infinite. Ask him, he's the one who's been there.
01:06:14.135 – 01:06:15.329
ARTHUR: Let's get him upstairs.
01:06:15.495 – 01:06:16.723
[GROANING]
01:06:16.895 – 01:06:18.294
Great.
01:06:19.255 – 01:06:20.654
Thank you.
01:06:21.335 – 01:06:24.407
So now we're trapped in Fischer's mind, battIing his own private army.
01:06:24.575 – 01:06:26.008
And if we get kiIIed...
01:06:26.175 – 01:06:29.247
...we'II be Iost in Iimbo tiII our brains turn to scrambIed egg, hmm?
01:06:35.895 – 01:06:37.647
ARTHUR: Someone got first aid?
01:06:39.815 – 01:06:43.125
-You knew these risks and didn't teII us? -There weren't meant to be risks.
01:06:43.295 – 01:06:46.128
-Didn't know we'd be deaIing with gunfire. -You had no right.
01:06:46.295 – 01:06:48.525
This was the onIy way to go three Iayers deep.
01:06:48.695 – 01:06:50.606
You knew about this and went aIong with it?
01:06:50.775 – 01:06:51.764
I trusted him.
01:06:51.935 – 01:06:53.766
When? When he promised you haIf his share?
01:06:53.935 – 01:06:57.052
No. His whoIe share. Besides, he said he'd done it before.
01:06:57.215 – 01:06:59.206
What, with MaI? Because that worked so good?
01:06:59.375 – 01:07:02.651
That has nothing to do with it. I did what I had to to get to my chiIdren.
01:07:02.815 – 01:07:04.646
You Ied us into a war zone with no way out?
01:07:04.815 – 01:07:08.694
There is a way out. We continue on with the job, and we do it as fast as possibIe...
01:07:08.855 – 01:07:11.085
...and we get out using the kick, just Iike before.
01:07:11.255 – 01:07:13.61
Forget it. We go any deeper, we just raise the stakes.
01:07:13.775 – 01:07:15.572
I am sitting this one out on this IeveI.
01:07:15.735 – 01:07:18.044
COBB: Fischer's security is surrounding this pIace.
01:07:18.215 – 01:07:20.41
Ten hours of fIight time is a week at this IeveI.
01:07:20.575 – 01:07:24.124
That means each and every one of us wiII be kiIIed. That I can guarantee you.
01:07:24.735 – 01:07:28.33
We have no other choice but to continue on and do it as fast as possibIe.
01:07:29.855 – 01:07:32.21
Downwards is the onIy way forwards.
01:07:33.695 – 01:07:34.81
Get ready.
01:07:34.975 – 01:07:37.011
You, come on. Let's go shake him up.
01:07:41.695 – 01:07:44.607
I'm insured against kidnapping for up to 10 miIIion.
01:07:44.775 – 01:07:47.528
-This shouId be very simpIe. COBB: Shut up! It won't be.
01:07:47.695 – 01:07:49.925
ARTHUR: In your father's office, beIow the booksheIves...
01:07:50.095 – 01:07:52.051
...is his personaI safe. We need the combination.
01:07:52.215 – 01:07:53.204
[SIGHS]
01:07:53.375 – 01:07:54.728
I don't know any safe.
01:07:54.935 – 01:07:57.688
COBB: That doesn't mean you don't know the combination.
01:07:59.255 – 01:08:00.529
TeII us what it is.
01:08:01.375 – 01:08:03.013
I don't know.
01:08:07.775 – 01:08:09.811
We have it on good authority you do know.
01:08:09.975 – 01:08:12.205
Yeah? Whose authority?
01:08:13.655 – 01:08:17.011
-Five hundred doIIars, this cost. EAMES: What's inside it?
01:08:17.255 – 01:08:20.884
Cash, cards, ID. And this.
01:08:25.695 – 01:08:27.128
UsefuI?
01:08:27.855 – 01:08:28.844
Maybe.
01:08:29.295 – 01:08:31.013
You're on. You've got an hour.
01:08:31.415 – 01:08:32.404
An hour?
01:08:33.655 – 01:08:35.805
I was supposed to have aII night to crack this.
01:08:35.975 – 01:08:38.489
And Saito wasn't supposed to be shot in the chest.
01:08:38.655 – 01:08:41.692
You've got one hour, now get us something usefuI, pIease.
01:08:42.495 – 01:08:43.928
[SCREAMING]
01:08:44.095 – 01:08:46.45
-What's that? -Good authority.
01:08:50.495 – 01:08:52.133
UncIe Peter.
01:08:52.815 – 01:08:54.851
Just make them stop.
01:08:55.135 – 01:08:57.365
-The combination. -I don't know it.
01:08:57.535 – 01:09:00.095
-Why does Browning say you do? -I don't know.
01:09:00.255 – 01:09:02.644
Just Iet me taIk to him and I'II find out.
01:09:04.895 – 01:09:07.489
You have one hour. Start taIking.
01:09:09.415 – 01:09:10.564
FISCHER: You aII right?
01:09:10.735 – 01:09:12.248
[GROANING]
01:09:12.415 – 01:09:13.643
You okay?
01:09:17.215 – 01:09:20.73
Those bastards have had at me for two days.
01:09:21.375 – 01:09:23.73
They have someone with access to your father's office.
01:09:23.895 – 01:09:25.692
-They're trying to open his safe. -Yeah.
01:09:25.855 – 01:09:28.449
They thought I'd know the combination, but I don't know it.
01:09:28.615 – 01:09:31.254
-Yeah, weII, neither do I, so.... -What?
01:09:31.975 – 01:09:35.092
Maurice toId me that when he passed, you were the onIy one abIe to open it.
01:09:35.255 – 01:09:37.689
No, he never gave me any combination.
01:09:38.375 – 01:09:42.334
Maybe he did. I mean, maybe you just didn't know it was a combination.
01:09:42.495 – 01:09:43.644
WeII, what, then?
01:09:43.815 – 01:09:46.249
I don't know, some meaningfuI combination of numbers...
01:09:46.415 – 01:09:50.169
...based on your experiences with Maurice.
01:09:51.815 – 01:09:55.603
We didn't have very many, uh, meaningfuI experiences together.
01:09:56.295 – 01:09:57.694
Perhaps after your mother died.
01:10:00.255 – 01:10:02.246
After my mother died, you know what he toId me?
01:10:04.492 – 01:10:09.247
''Robert, there's reaIIy nothing to be said.''
01:10:09.412 – 01:10:11.642
Oh, weII, he was bad with emotion.
01:10:11.812 – 01:10:14.406
I was 11, UncIe Peter.
01:10:15.172 – 01:10:18.244
-How's he doing? -He's in a Iot of pain.
01:10:18.412 – 01:10:21.882
When we get down to the Iower IeveIs, the pain wiII be Iess intense.
01:10:22.052 – 01:10:23.201
And if he dies?
01:10:24.332 – 01:10:25.731
Worst-case scenario?
01:10:25.892 – 01:10:28.486
When he wakes up, his mind is compIeteIy gone.
01:10:28.652 – 01:10:32.565
Cobb, I'II stiII honor the arrangement.
01:10:32.732 – 01:10:34.37
COBB: I appreciate that, Saito.
01:10:34.532 – 01:10:38.411
But when you wake up, you won't even remember that we had an arrangement.
01:10:38.572 – 01:10:40.528
Limbo is gonna become your reaIity.
01:10:40.692 – 01:10:44.287
You're gonna be Iost down there so Iong that you're gonna become an oId man.
01:10:44.772 – 01:10:46.046
FiIIed with regret?
01:10:47.412 – 01:10:48.447
Waiting to die aIone.
01:10:49.092 – 01:10:50.161
No.
01:10:50.692 – 01:10:52.284
I'II come back.
01:10:53.052 – 01:10:55.612
And we'II be young men together again.
01:11:01.332 – 01:11:02.367
Breathe.
01:11:02.532 – 01:11:05.41
These peopIe are gonna kiII us if we don't give them the combination.
01:11:05.572 – 01:11:07.403
-They just wanna ransom us. -I heard them.
01:11:07.572 – 01:11:11.326
They're gonna Iock us in that van, and then drive it into the river.
01:11:11.492 – 01:11:12.891
AII right. What is in the safe?
01:11:13.932 – 01:11:15.047
Something for you.
01:11:15.652 – 01:11:19.645
Maurice aIways said it was his most precious gift to you.
01:11:20.332 – 01:11:23.29
-A wiII. -Maurice's wiII is with Port and Dunn.
01:11:23.452 – 01:11:24.601
That's an aIternate.
01:11:24.772 – 01:11:27.047
This wouId supersede the other if you want it to.
01:11:27.212 – 01:11:29.726
It spIits up the component businesses of Fischer Morrow.
01:11:29.892 – 01:11:33.441
It'd be the end of the entire empire as we know it.
01:11:33.612 – 01:11:35.967
Destroying my whoIe inheritance?
01:11:37.572 – 01:11:40.609
-Why wouId he suggest such a thing? -I just don't know.
01:11:43.372 – 01:11:45.249
He Ioved you, Robert.
01:11:45.812 – 01:11:47.37
In his own way.
01:11:47.532 – 01:11:49.25
FISCHER: In his own way.
01:11:50.532 – 01:11:51.965
At the end...
01:11:53.092 – 01:11:55.322
...he caIIed me in to his deathbed.
01:11:55.812 – 01:11:57.564
He couId bareIy speak.
01:11:58.572 – 01:12:02.645
But he took the troubIe to teII me one Iast thing.
01:12:05.052 – 01:12:06.61
He puIIed me cIose.
01:12:09.172 – 01:12:11.163
And I couId onIy make out...
01:12:12.012 – 01:12:13.411
...one word.
01:12:16.932 – 01:12:18.843
''Disappointed.''
01:12:22.852 – 01:12:24.08
[SIGHS]
01:12:24.252 – 01:12:25.401
When were you in Iimbo?
01:12:26.892 – 01:12:30.248
You might have the rest of the team convinced to carry on with this job.
01:12:30.412 – 01:12:32.687
-But they don't know the truth. -Truth? What truth?
01:12:32.892 – 01:12:36.851
The truth that, at any minute, you might bring a freight train through the waII.
01:12:37.012 – 01:12:40.925
The truth that MaI is bursting through your subconscious.
01:12:41.092 – 01:12:43.367
And the truth that, as we go deeper into Fischer...
01:12:43.532 – 01:12:45.25
...we're aIso going deeper into you.
01:12:46.052 – 01:12:49.203
And I'm not sure we're gonna Iike what we find.
01:12:53.052 – 01:12:54.451
We were working together.
01:12:54.612 – 01:12:58.127
We were expIoring the concept of a dream within a dream.
01:12:58.332 – 01:12:59.526
I kept pushing things.
01:12:59.692 – 01:13:03.207
I wanted to go deeper and deeper. I wanted to go further.
01:13:03.692 – 01:13:08.368
I just didn't understand the concept that hours couId turn into years down there...
01:13:08.532 – 01:13:11.171
...that we couId get trapped so deep...
01:13:11.972 – 01:13:15.123
...that when we wound up on the shore of our own subconscious...
01:13:15.692 – 01:13:18.126
...we Iost sight of what was reaI.
01:13:23.972 – 01:13:26.406
We created. We buiIt the worId for ourseIves.
01:13:27.972 – 01:13:29.883
We did that for years.
01:13:31.012 – 01:13:32.889
We buiIt our own worId.
01:13:34.212 – 01:13:35.804
How Iong were you stuck there?
01:13:36.932 – 01:13:38.968
Something Iike 50 years.
01:13:42.212 – 01:13:43.327
Jesus.
01:13:45.572 – 01:13:46.846
How couId you stand it?
01:13:47.012 – 01:13:49.606
It wasn't so bad at first, feeIing Iike gods.
01:13:49.772 – 01:13:52.684
The probIem was knowing that none of it was reaI.
01:13:52.852 – 01:13:57.084
EventuaIIy, it just became impossibIe for me to Iive Iike that.
01:13:57.252 – 01:13:58.571
And what about for her?
01:14:01.892 – 01:14:05.646
She had Iocked something away, something deep inside her.
01:14:07.012 – 01:14:12.006
A truth that she had once known, but chose to forget.
01:14:14.852 – 01:14:17.241
Limbo became her reaIity.
01:14:18.532 – 01:14:20.25
What happened when you woke up?
01:14:20.772 – 01:14:24.287
WeII, to wake up from that after years, after decades...
01:14:25.292 – 01:14:29.604
...to become oId souIs thrown back into youth Iike that?
01:14:30.492 – 01:14:34.087
I knew something was wrong with her. She just wouIdn't admit it.
01:14:35.412 – 01:14:37.562
EventuaIIy, she toId me the truth.
01:14:38.012 – 01:14:41.243
She was possessed by an idea.
01:14:41.412 – 01:14:46.85
This one very simpIe idea that changed everything.
01:14:47.972 – 01:14:50.327
That our worId wasn't reaI.
01:14:51.212 – 01:14:55.33
That she needed to wake up to come back to reaIity...
01:14:55.812 – 01:14:58.087
...that in order to get back home...
01:14:59.292 – 01:15:01.01
...we had to kiII ourseIves.
01:15:07.372 – 01:15:10.682
-What about your chiIdren? -She thought they were projections...
01:15:10.852 – 01:15:13.73
...that our reaI chiIdren were waiting for us up there somewhere.
01:15:13.892 – 01:15:15.53
MAL: I'm their mother! COBB: CaIm down.
01:15:15.692 – 01:15:16.92
I can teII the difference.
01:15:17.092 – 01:15:19.322
If this is my dream, why can't I controI this?
01:15:19.492 – 01:15:21.084
You don't know you're dreaming!
01:15:21.252 – 01:15:23.368
COBB: She was certain there was nothing I couId do...
01:15:23.532 – 01:15:27.207
...no matter how much I begged, no matter how much I pIeaded.
01:15:30.052 – 01:15:32.964
She wanted to do it, but she couId not do it aIone.
01:15:33.132 – 01:15:39.367
She Ioved me too much, so she came up with a pIan on our anniversary.
01:16:04.372 – 01:16:07.045
-Sweetheart, what are you doing? -Join me.
01:16:07.212 – 01:16:11.33
Just-- Just step back inside. AII right? Just step back inside now, come on.
01:16:11.492 – 01:16:15.724
No. I'm going to jump, and you're coming with me.
01:16:15.892 – 01:16:17.53
No, I'm not.
01:16:17.692 – 01:16:19.683
Now, you Iisten to me.
01:16:20.292 – 01:16:24.331
If you jump, you're not gonna wake up, remember? You're gonna die.
01:16:24.492 – 01:16:26.369
Now, just step back inside.
01:16:26.532 – 01:16:29.126
Come on. Step back inside so we can taIk about this.
01:16:29.292 – 01:16:31.169
We've taIked enough.
01:16:33.132 – 01:16:34.724
-MaI. -Come out onto the Iedge...
01:16:34.892 – 01:16:37.486
-...or I'II jump right now. -Okay.
01:16:41.572 – 01:16:43.324
We're gonna taIk about this.
01:16:44.132 – 01:16:45.247
AII right?
01:16:45.412 – 01:16:50.281
-I'm asking you to take a Ieap of faith. -No, honey.
01:16:51.212 – 01:16:54.09
No, I can't. You know I can't do that.
01:16:54.252 – 01:16:56.925
Take a second, think about our chiIdren.
01:16:57.092 – 01:16:58.73
Think about James.
01:16:59.452 – 01:17:01.01
Think about PhiIIipa, now.
01:17:01.172 – 01:17:03.97
If I go without you, they'II take them away anyway.
01:17:04.132 – 01:17:07.329
-What does that mean? -I fiIed a Ietter with our attorney...
01:17:07.732 – 01:17:10.929
...expIaining how I'm fearfuI for my safety.
01:17:13.092 – 01:17:15.128
How you've threatened to kiII me.
01:17:17.812 – 01:17:20.326
-Why did you do this? -I Iove you, Dom.
01:17:20.492 – 01:17:22.21
Why did--? Why wouId you do this to me?
01:17:22.372 – 01:17:25.091
I've freed you from the guiIt of choosing to Ieave them.
01:17:25.252 – 01:17:28.164
We're going home to our reaI chiIdren.
01:17:28.332 – 01:17:31.802
Oh, no, no, no, MaI, you Iisten to me, aII right? MaI, Iook at me, pIease?
01:17:31.972 – 01:17:33.246
You're waiting for a train.
01:17:33.732 – 01:17:37.122
-MaI, goddamn it, don't do this! -A train that wiII take you far away.
01:17:37.292 – 01:17:39.203
James and PhiIIipa are waiting for you!
01:17:39.372 – 01:17:43.047
You know where you hope this train wiII take you, but you can't know for sure.
01:17:43.212 – 01:17:45.328
-MaI, Iook at me! -But it doesn't matter.
01:17:45.492 – 01:17:48.564
-MaI, goddamn it! MaI, Iisten to me! -Because you'II be together.
01:17:48.732 – 01:17:52.407
Sweetheart! Look at me! MaI, no!
01:17:52.572 – 01:17:53.925
Jesus Christ!
01:17:57.292 – 01:18:00.887
She had herseIf decIared sane by three different psychiatrists.
01:18:01.052 – 01:18:05.091
It made it impossibIe for me to try to expIain the nature of her madness.
01:18:05.252 – 01:18:06.401
So I ran.
01:18:06.572 – 01:18:08.005
[CHILDREN GIGGLING]
01:18:08.172 – 01:18:10.322
MAN: Right now, or never, Cobb.
01:18:16.452 – 01:18:20.889
WOMAN: James! PhiIIipa! Come on in! Come on!
01:18:21.132 – 01:18:22.167
AII right, Iet's go.
01:18:22.692 – 01:18:26.321
I Ieft my chiIdren behind and I've been trying to buy my way back ever since.
01:18:26.852 – 01:18:30.561
Your guiIt defines her. It's what powers her.
01:18:30.732 – 01:18:33.883
But you are not responsibIe for the idea that destroyed her.
01:18:35.092 – 01:18:37.56
And if we are gonna succeed in this...
01:18:37.732 – 01:18:42.487
...you have to forgive yourseIf, and you're gonna have to confront her.
01:18:42.652 – 01:18:44.404
But you don't have to do that aIone.
01:18:44.572 – 01:18:46.722
-No, you're not.... -I'm doing it for the others.
01:18:47.372 – 01:18:52.287
Because they have no idea the risk they've taken coming down here with you.
01:18:57.132 – 01:18:58.565
We have to move.
01:18:58.732 – 01:19:00.131
Time's up.
01:19:00.292 – 01:19:02.886
AII right. I don't know any combination.
01:19:03.052 – 01:19:06.044
-Not consciousIy, anyway. COBB: How about instinctiveIy, huh?
01:19:06.212 – 01:19:09.966
I got somebody in your father's office right now ready to tap in the combination.
01:19:10.132 – 01:19:12.93
Give me the first six numbers that come to your head right now.
01:19:13.092 – 01:19:15.208
-I have no idea. -Right now!
01:19:15.372 – 01:19:17.522
I said, right now! Right now!
01:19:17.692 – 01:19:21.401
Five, two, eight, four, nine, one.
01:19:25.132 – 01:19:27.043
You'II have to do better than that.
01:19:27.212 – 01:19:30.409
AII right. Bag them. You're going for a ride.
01:19:34.612 – 01:19:38.571
FISCHER: We're worth more to you aIive. You hear me?
01:19:43.652 – 01:19:45.085
What'd you get?
01:19:45.452 – 01:19:47.886
ReIationship with his father is worse than we imagined.
01:19:48.052 – 01:19:49.041
This heIps us how?
01:19:49.212 – 01:19:52.17
The stronger the issues, the more powerfuI the catharsis.
01:19:53.332 – 01:19:56.29
-How are we gonna reconciIe them? -I'm working on that.
01:19:56.452 – 01:19:59.842
Work faster. The projections are cIosing in quick.
01:20:00.012 – 01:20:03.448
We gotta break out of here before we're totaIIy boxed in.
01:20:37.092 – 01:20:38.081
Damn it.
01:20:38.252 – 01:20:41.13
You mustn't be afraid to dream a IittIe bigger, darIing.
01:20:57.212 – 01:21:00.09
We need to shift his animosity from his father to his godfather.
01:21:00.252 – 01:21:04.131
-Destroy his one positive reIationship? -Repair his reIationship with his father...
01:21:04.292 – 01:21:06.487
...whiIst exposing his godfather's true nature.
01:21:06.652 – 01:21:09.53
We shouId charge Fischer a Iot more than Saito for this job.
01:21:09.692 – 01:21:11.967
His security is gonna get worse as we go deeper.
01:21:12.132 – 01:21:14.521
-I think we run with Mr. CharIes. -No.
01:21:14.892 – 01:21:16.291
EAMES: Who's Mr. CharIes? -Bad idea.
01:21:16.452 – 01:21:19.808
The second we get into that hoteI his security's gonna be aII over us.
01:21:19.972 – 01:21:22.008
We run with Mr. CharIes Iike on the Stein job.
01:21:22.172 – 01:21:24.402
-You've done it before? ARTHUR: Yeah, and it didn't work.
01:21:24.572 – 01:21:27.928
The subject reaIized he was dreaming and his subconscious tore us to pieces.
01:21:28.092 – 01:21:30.003
ExceIIent. But you Iearned a Iot, right?
01:21:30.172 – 01:21:32.208
-I need some kind of distraction. EAMES: No probIem.
01:21:32.372 – 01:21:34.488
How about a IoveIy Iady that I've used before?
01:21:34.652 – 01:21:36.608
Listen to me. You drive carefuIIy, aII right?
01:21:36.772 – 01:21:39.161
Everything down there is gonna be unstabIe as heII.
01:21:43.492 – 01:21:46.723
Don't jump too soon. We onIy got one shot at that kick. We gotta make it.
01:21:46.892 – 01:21:50.043
I'II pIay the music to Iet you know it's coming. The rest is on you.
01:21:50.212 – 01:21:51.964
-You ready? -Ready!
01:21:53.132 – 01:21:54.201
Sweet dreams.
01:21:54.372 – 01:21:56.169
WOMAN: Am I boring you?
01:21:57.412 – 01:22:00.484
I was teIIing you my story. I guess it wasn't to your Iiking.
01:22:02.252 – 01:22:04.812
Um, I have a Iot on my mind.
01:22:06.292 – 01:22:07.805
There goes Mr. CharIes.
01:22:12.332 – 01:22:14.846
Mr. Fischer, right?
01:22:15.012 – 01:22:18.368
PIeasure to see you again. Rod Green from marketing. I--
01:22:18.532 – 01:22:19.647
Hmm.
01:22:19.812 – 01:22:22.372
-And you must be? -Leaving.
01:22:25.452 – 01:22:26.521
In case you get bored.
01:22:31.572 – 01:22:32.891
Must've bIown you off.
01:22:33.052 – 01:22:35.646
That is, unIess her phone number reaIIy is onIy six digits.
01:22:37.732 – 01:22:42.01
Funny way to make friends, someone steaIing your waIIet Iike that.
01:22:44.532 – 01:22:45.521
[SCOFFS]
01:22:45.692 – 01:22:47.922
Goddamn it. The waIIet aIone is worth at Ieast 500--
01:22:48.092 – 01:22:49.161
About $500, right?
01:22:49.332 – 01:22:52.21
Don't worry about it. My peopIe are aIready on it as we speak.
01:22:52.372 – 01:22:54.203
Who or what is Mr. CharIes?
01:22:54.412 – 01:22:57.882
It's a gambit designed to turn Fischer against his own subconscious.
01:22:58.052 – 01:22:59.405
ARIADNE: And why don't you approve?
01:22:59.572 – 01:23:01.483
It invoIves teIIing the mark that he's dreaming...
01:23:01.652 – 01:23:03.722
...which invoIves attracting a Iot of attention to us.
01:23:03.892 – 01:23:06.645
-Didn't Cobb say never to do that? -Hmm.
01:23:06.812 – 01:23:08.53
So now you've noticed how much time...
01:23:08.692 – 01:23:11.206
...Cobb spends doing things he says never to do.
01:23:12.852 – 01:23:14.57
Mr. Saito, can I have a moment?
01:23:14.732 – 01:23:17.041
-I'm sorry, but.... MAN: HoId on! Wait!
01:23:18.332 – 01:23:19.56
You Iook a bit perkier.
01:23:19.732 – 01:23:21.962
Very amusing, Mr. Eames.
01:23:26.132 – 01:23:27.69
[RUMBLING]
01:23:27.972 – 01:23:29.405
TurbuIence on the pIane?
01:23:29.572 – 01:23:31.21
No, it's much cIoser.
01:23:31.372 – 01:23:32.964
That's Yusuf's driving.
01:23:33.812 – 01:23:34.961
[TIRES SCREECHING]
01:23:39.052 – 01:23:40.371
[GLASSES CLINKING]
01:23:40.972 – 01:23:43.327
Um, I'm sorry. Who did you say you were?
01:23:43.492 – 01:23:45.483
COBB: Rod Green from marketing.
01:23:45.652 – 01:23:47.21
But that's not true at aII, is it?
01:23:49.212 – 01:23:52.522
My name is Mr. CharIes. You remember me, don't you?
01:23:52.732 – 01:23:54.609
I'm the head of your security down here.
01:23:55.852 – 01:23:57.683
Get out on a different fIoor, keep moving.
01:23:57.852 – 01:24:00.082
Dump the waIIet. Security wiII be Iooking for that.
01:24:00.252 – 01:24:03.608
-Okay. -We need to buy Cobb a IittIe more time.
01:24:05.332 – 01:24:06.481
[COUGHING]
01:24:07.092 – 01:24:08.605
Security, huh?
01:24:10.932 – 01:24:13.002
-You work for the hoteI? -No, no.
01:24:13.172 – 01:24:17.609
I speciaIize in a very specific type of security.
01:24:17.972 – 01:24:19.564
Subconscious security.
01:24:19.732 – 01:24:21.768
You're taIking about dreams?
01:24:21.932 – 01:24:24.685
Are you taIking about, um, extraction?
01:24:25.652 – 01:24:27.005
I am here to protect you.
01:24:27.172 – 01:24:28.685
[GLASS SHATTERS]
01:24:29.052 – 01:24:30.565
[PEOPLE CHATTERING]
01:24:37.172 – 01:24:38.605
[CHATTERING STOPS]
01:24:39.892 – 01:24:42.326
Mr. Fischer, I'm here to protect you in the event...
01:24:42.492 – 01:24:45.723
...that someone tries to access your mind through your dreams.
01:24:45.892 – 01:24:48.406
You're not safe here.
01:24:49.212 – 01:24:50.77
They're coming for you.
01:25:02.572 – 01:25:03.925
[YELLS]
01:25:08.372 – 01:25:10.283
Strange weather, isn't it?
01:25:14.932 – 01:25:16.047
You feeI that?
01:25:17.932 – 01:25:19.081
What's happening?
01:25:19.252 – 01:25:22.324
Cobb's drawing Fischer's attention to the strangeness of the dream...
01:25:22.492 – 01:25:25.245
...which is making his subconscious Iook for the dreamer.
01:25:25.412 – 01:25:28.37
For me. Quick, give me a kiss.
01:25:33.172 – 01:25:36.847
-They're stiII Iooking at us. -Yeah, it was worth a shot.
01:25:37.492 – 01:25:39.448
We shouId probabIy get out of here.
01:25:43.492 – 01:25:44.527
[GUNFIRE]
01:25:54.132 – 01:25:57.522
COBB: You feeI that? You've actuaIIy been trained for this, Mr. Fischer.
01:25:57.692 – 01:26:01.526
Pay attention to the strangeness of the weather, the shift in gravity.
01:26:01.692 – 01:26:04.729
None of this is reaI. You're in a dream.
01:26:09.332 – 01:26:11.482
Now, the easiest way for you to test yourseIf...
01:26:11.692 – 01:26:15.571
...is to try and remember how you arrived at this hoteI. Can you do that?
01:26:16.372 – 01:26:17.646
Yeah, I....
01:26:17.812 – 01:26:20.201
COBB: No, breathe, breathe. Remember your training.
01:26:20.372 – 01:26:25.321
Accept the fact that you're in a dream, and I'm here to protect you. Go on.
01:26:27.252 – 01:26:28.571
Mm-hm.
01:26:31.252 – 01:26:33.004
-You're not reaI? -No.
01:26:33.172 – 01:26:36.403
No. I'm a projection of your subconscious.
01:26:36.572 – 01:26:38.608
I was sent here to protect you in the event...
01:26:38.772 – 01:26:41.525
...that extractors tried to puII you into a dream.
01:26:41.692 – 01:26:44.809
And I beIieve that's what's going on right now, Mr. Fischer.
01:26:45.852 – 01:26:46.841
Yeah.
01:26:47.012 – 01:26:48.047
Okay.
01:26:48.932 – 01:26:50.126
Okay.
01:26:52.852 – 01:26:54.763
Can you get me out of here?
01:26:55.612 – 01:26:58.126
Right away. FoIIow me.
01:27:11.732 – 01:27:13.006
HoId on a second.
01:27:17.772 – 01:27:19.524
Jesus Christ! What are you doing?
01:27:19.692 – 01:27:21.842
These men were sent here to abduct you, aII right?
01:27:22.012 – 01:27:24.48
If you want my heIp, you have to remain caIm.
01:27:26.132 – 01:27:28.362
I need you to work with me, Mr. Fischer.
01:27:39.572 – 01:27:43.042
If this is a dream, I shouId just kiII myseIf to wake up, right?
01:27:43.212 – 01:27:45.203
I wouIdn't do that if I were you, Mr. Fischer.
01:27:45.372 – 01:27:48.728
I beIieve they have you sedated, and if you puII that trigger...
01:27:48.892 – 01:27:50.007
...you may not wake up.
01:27:51.092 – 01:27:55.244
You may go into a further dream state. Now, you know what I'm taIking about.
01:27:57.492 – 01:27:59.084
You remember the training.
01:28:00.172 – 01:28:01.491
Remember what I said to you.
01:28:02.332 – 01:28:03.447
Give me the gun.
01:28:14.772 – 01:28:17.286
-This room shouId be directIy beIow 528? -Yeah.
01:28:18.492 – 01:28:19.891
[SAFE BEEPS]
01:28:26.292 – 01:28:27.725
Think, Mr. Fischer, think.
01:28:27.892 – 01:28:31.567
What do you remember from before this dream?
01:28:31.892 – 01:28:34.452
There was, um, a Iot of gunfire.
01:28:34.612 – 01:28:37.08
There was rain.
01:28:37.612 – 01:28:39.125
UncIe Peter.
01:28:39.412 – 01:28:42.882
-Oh, my God, we've been kidnapped. -Where were they hoIding you?
01:28:45.812 – 01:28:48.929
-They had us in the back of a van. -That expIains the gravity shifts.
01:28:49.132 – 01:28:51.088
You're in the back of a van. Keep going.
01:28:51.252 – 01:28:53.447
It had something to do with, um....
01:28:54.052 – 01:28:56.805
Something to do with a safe.
01:28:57.412 – 01:28:58.97
God, why is it so hard to remember?
01:28:59.132 – 01:29:01.726
It's Iike trying to remember a dream after you've woken up.
01:29:01.892 – 01:29:03.564
Listen, it takes years of practice.
01:29:03.732 – 01:29:06.007
You and Browning have been puIIed into this dream...
01:29:06.172 – 01:29:08.845
...because they're trying to steaI something from your mind.
01:29:09.012 – 01:29:12.402
I need you to focus and try and remember what that is.
01:29:12.572 – 01:29:14.13
What is it, Mr. Fischer? Think!
01:29:14.292 – 01:29:17.887
A combination. They demanded the first numbers to pop into my head.
01:29:18.052 – 01:29:20.691
They're trying to extract a number from your subconscious.
01:29:20.852 – 01:29:24.447
It can represent anything. We're in a hoteI right now.
01:29:25.212 – 01:29:28.204
We shouId try hoteI rooms. What was the number, Mr. Fischer?
01:29:28.372 – 01:29:31.091
Try and remember for me. This is very important.
01:29:31.252 – 01:29:32.526
Five.
01:29:33.492 – 01:29:35.801
Five, two-- It was something, it was a Iong number.
01:29:35.972 – 01:29:37.963
That's good. We can start there. Fifth fIoor.
01:29:38.132 – 01:29:39.121
Yep.
01:29:39.292 – 01:29:43.171
-So do you use a timer? -No, I have to judge it for myseIf.
01:29:43.372 – 01:29:46.489
WhiIe you're aII asIeep in 528, I wait for Yusuf's kick.
01:29:46.652 – 01:29:48.688
-WeII, how wiII you know? -His music warns me.
01:29:48.852 – 01:29:52.64
And then when the van hits the barrier of the bridge, that shouId be unmistakabIe.
01:29:52.812 – 01:29:55.884
So we get a nice synchronized kick.
01:29:56.052 – 01:29:58.327
If it's too soon, we won't get puIIed out.
01:29:58.492 – 01:30:01.643
But if it's too Iate, I won't be abIe to drop us.
01:30:01.812 – 01:30:05.441
-WeII, why not? -Because the van wiII be in freefaII.
01:30:05.972 – 01:30:08.691
-Can't drop you without gravity. -Right.
01:30:14.092 – 01:30:16.208
They're with me. Go on.
01:30:39.532 – 01:30:40.521
Mr. CharIes.
01:30:40.692 – 01:30:43.57
-Do you know what that is, Mr. Fischer? -Yeah, I think so.
01:30:43.732 – 01:30:45.688
They were trying to put you under.
01:30:46.132 – 01:30:48.088
-I'm aIready under. -Under again.
01:30:48.252 – 01:30:50.72
What do you mean, a dream within a dream?
01:30:51.292 – 01:30:53.647
Hey. I see you've changed.
01:30:53.812 – 01:30:55.404
I'm sorry?
01:30:55.892 – 01:30:59.567
Oh, I'm sorry. I mistook you for a friend.
01:30:59.732 – 01:31:00.96
Oh.
01:31:01.132 – 01:31:03.168
Good-Iooking feIIow, I'm sure.
01:31:03.812 – 01:31:06.61
No, no, no. That's Fischer's projection of Browning.
01:31:06.772 – 01:31:08.569
Let's foIIow him and see how he behaves.
01:31:08.732 – 01:31:10.609
-Why? -Because how he acts wiII teII us...
01:31:10.772 – 01:31:13.969
...if Fischer is starting to suspect his motives the way we want him to.
01:31:14.132 – 01:31:15.121
Shh.
01:31:15.292 – 01:31:16.691
[DOOR OPENS]
01:31:19.532 – 01:31:21.921
-UncIe Peter. -You said you were kidnapped together?
01:31:22.092 – 01:31:25.368
WeII, not exactIy. They aIready had him. They were torturing him.
01:31:25.532 – 01:31:26.931
And you saw them torture him?
01:31:34.172 – 01:31:35.924
The kidnappers are working for you?
01:31:36.852 – 01:31:38.285
Robert.
01:31:38.452 – 01:31:42.127
You're trying to get that safe open? To get the aIternate wiII?
01:31:42.492 – 01:31:46.565
Fischer Morrow has been my entire Iife. I can't Iet you destroy it.
01:31:46.732 – 01:31:49.007
I'm not gonna throw away my inheritance.
01:31:49.172 – 01:31:53.165
I couIdn't Iet you rise to your father's Iast taunt.
01:31:53.932 – 01:31:56.844
-What taunt? -The wiII, Robert. That wiII?
01:31:57.012 – 01:31:58.843
That's his Iast insuIt.
01:31:59.012 – 01:32:02.482
A chaIIenge for you to buiId something for yourseIf...
01:32:02.652 – 01:32:06.281
...by teIIing you you're not worthy of his accompIishments.
01:32:11.732 – 01:32:16.886
-What, but that he was, um, disappointed? -I'm sorry.
01:32:18.212 – 01:32:21.17
But he's wrong.
01:32:21.892 – 01:32:24.406
You can buiId a better company than he ever did.
01:32:24.572 – 01:32:26.927
Mr. Fischer? He's Iying.
01:32:27.092 – 01:32:29.083
-How do you know? -Trust me, it's what I do.
01:32:29.252 – 01:32:31.891
He's hiding something, and we need to find out what that is.
01:32:33.052 – 01:32:36.328
I need you to do the same thing to him that he was going to do to you.
01:32:38.772 – 01:32:42.685
We'II enter his subconscious and find out what he doesn't want you to know.
01:32:43.892 – 01:32:45.325
AII right.
01:32:45.692 – 01:32:46.92
[MACHINE HISSING]
01:32:51.052 – 01:32:52.246
COBB: He's out. -Wait.
01:32:52.412 – 01:32:54.403
Whose subconscious are we going into exactIy?
01:32:54.572 – 01:32:55.846
We're going into Fischer's.
01:32:56.012 – 01:32:58.606
I toId him it was Browning's so he'd be a part of our team.
01:32:58.772 – 01:33:01.002
He's gonna heIp us break into his own subconscious.
01:33:01.172 – 01:33:02.651
COBB: That's right.
01:33:02.812 – 01:33:04.803
Security's gonna run you down hard.
01:33:04.972 – 01:33:07.202
And I wiII Iead them on a merry chase.
01:33:07.732 – 01:33:10.292
-Just be back before the kick. -Go to sIeep, Mr. Eames.
01:33:15.252 – 01:33:16.401
ARTHUR: You good?
01:33:19.452 – 01:33:20.726
Hey. You ready?
01:33:20.892 – 01:33:24.362
Yes, yes. I'm fine. I'm ready.
01:33:36.372 – 01:33:37.646
ARIADNE: Cobb?
01:33:38.292 – 01:33:40.647
Cobb? What's down there?
01:33:43.892 – 01:33:46.36
HopefuIIy, the truth we want Fischer to Iearn.
01:33:46.532 – 01:33:48.363
I mean, what's down there for you?
01:33:56.012 – 01:33:57.331
[SHOTGUN COCKS]
01:33:58.452 – 01:33:59.885
[GUNFIRE THEN YUSUF YELLS]
01:34:10.292 – 01:34:11.725
[ELEVATOR DINGS]
01:34:21.092 – 01:34:22.286
[YUSUF YELLS]
01:34:32.492 – 01:34:34.483
[BOTH GRUNTING]
01:34:56.612 – 01:34:58.409
[METAL GROANING]
01:34:58.572 – 01:35:00.29
[SECURITY GUARD SCREAMING]
01:35:08.652 – 01:35:09.88
[YELLING]
01:36:09.892 – 01:36:11.211
[GUNSHOT]
01:36:17.052 – 01:36:18.371
[LAUGHS]
01:36:18.532 – 01:36:20.204
Did you see that?
01:36:37.972 – 01:36:39.724
COBB: Eames, this is your dream.
01:36:39.892 – 01:36:42.85
I need you to draw the security away from the compIex, understand?
01:36:43.012 – 01:36:44.73
-Who guides Fischer in? COBB: Not me.
01:36:44.892 – 01:36:47.247
If I know the route, everything couId be compromised.
01:36:47.412 – 01:36:49.846
-I designed the pIace. COBB: No, you're with me.
01:36:50.012 – 01:36:51.491
SAITO: I couId do it.
01:36:51.892 – 01:36:54.247
AII right. Brief him on the route into the compIex.
01:36:54.412 – 01:36:58.451
-Fischer, you'II be going with him. -AII right. What about you?
01:36:58.612 – 01:37:01.331
You keep this Iive. I'II be Iistening in the whoIe time.
01:37:01.492 – 01:37:05.451
The windows on that upper fIoor are big enough to cover you from that tower.
01:37:05.612 – 01:37:06.84
FISCHER: You're not coming in?
01:37:07.012 – 01:37:09.242
In order to find out the truth about your father...
01:37:09.412 – 01:37:12.324
...you're gonna need to break into Browning's mind on your own.
01:37:13.172 – 01:37:14.571
SAITO: Come on, Fischer!
01:37:18.932 – 01:37:20.843
[BUZZER SOUNDING]
01:38:07.412 – 01:38:10.927
-Sound the aIarm! Sound the aIarm! -Go, go, go!
01:38:11.092 – 01:38:12.525
Move!
01:38:14.012 – 01:38:15.047
Go!
01:38:20.052 – 01:38:21.326
[GUNFIRE]
01:38:29.652 – 01:38:30.641
YUSUF: Sod it.
01:38:41.332 – 01:38:42.924
I hope you're ready.
01:38:43.252 – 01:38:45.812
[''NON, JE NE REGRETTE RIEN'' PLAYING]
01:38:49.252 – 01:38:51.163
[SONG ECHOING]
01:38:51.332 – 01:38:53.004
No, it's too soon.
01:38:55.732 – 01:38:57.484
[SONG ECHOING]
01:38:59.252 – 01:39:00.401
Cobb, do you hear that?
01:39:00.572 – 01:39:04.008
I first noticed it about 20 minutes ago, I thought it was the wind up here.
01:39:04.532 – 01:39:06.921
Yeah, I hear it. It's music.
01:39:07.092 – 01:39:08.411
So, what do we do?
01:39:08.572 – 01:39:09.925
We move fast.
01:39:15.212 – 01:39:17.328
Yusuf's 10 seconds from the jump.
01:39:19.132 – 01:39:21.407
Which gives Arthur three minutes.
01:39:22.292 – 01:39:24.328
-Hey! -That's him!
01:39:24.972 – 01:39:26.61
-Which gives us what? -Sixty minutes.
01:39:26.772 – 01:39:29.923
-Can they make that route in an hour? -They have to cIimb to the terrace.
01:39:30.092 – 01:39:32.845
Then they need a new route, a more direct route.
01:39:35.692 – 01:39:37.205
[SHOUTS INDISTINCTLY]
01:39:43.652 – 01:39:45.244
It's designed as a Iabyrinth.
01:39:45.412 – 01:39:47.767
There must be access routes that cut through the maze.
01:39:47.932 – 01:39:49.445
Eames?
01:39:51.412 – 01:39:52.925
[GUNFIRE]
01:40:11.612 – 01:40:12.806
Did Eames add any features?
01:40:12.972 – 01:40:14.371
I don't think I shouId teII you.
01:40:14.532 – 01:40:16.762
We don't have time for this. Did he add anything?
01:40:17.172 – 01:40:19.811
He added an air-duct system that can cut through the maze.
01:40:19.972 – 01:40:21.121
Good. ExpIain it to them.
01:40:21.292 – 01:40:22.486
ARIADNE: Saito? -Go ahead.
01:40:48.452 – 01:40:49.805
[SECURITY GUARD GRUNTS]
01:40:54.452 – 01:40:55.965
Paradox.
01:40:56.132 – 01:40:57.565
[SCREAMS THEN THUDS]
01:41:58.092 – 01:41:59.525
[BOTH GASPING]
01:42:02.972 – 01:42:04.928
ARIADNE: What was that? -The kick.
01:42:05.532 – 01:42:07.329
Cobb! Cobb, did we miss it?
01:42:07.492 – 01:42:09.13
Yeah, we missed it.
01:42:09.292 – 01:42:10.441
FISCHER: Man.
01:42:10.612 – 01:42:14.73
CouIdn't someone have dreamt up a goddamn beach? Huh?
01:42:14.892 – 01:42:16.12
Uh-huh.
01:42:16.812 – 01:42:18.882
EAMES [OVER RADIO]: WeII, what the heII do we do now?
01:42:19.052 – 01:42:20.804
We finish the job before the next kick.
01:42:20.972 – 01:42:23.008
-What next kick? -When the van hits the water.
01:42:44.932 – 01:42:48.208
WOMAN [ON RECORDING]: If you'd Iike to make a caII, pIease hang up and try again.
01:42:48.372 – 01:42:50.124
If you need heIp, hang up....
01:42:50.372 – 01:42:53.523
How do I drop you without gravity?
01:42:55.932 – 01:42:58.492
Arthur has a coupIe minutes, and we have about 20.
01:43:18.332 – 01:43:19.685
[SAITO COUGHING]
01:43:20.932 – 01:43:22.524
You okay?
01:43:26.852 – 01:43:30.527
SOLDIER: Run! Turn around! Move to base! Move to base!
01:43:30.692 – 01:43:32.171
Go, go, go!
01:43:34.252 – 01:43:35.367
There's something wrong.
01:43:35.532 – 01:43:37.762
They're heading your way, Iike they know something.
01:43:38.972 – 01:43:41.088
Just buy us more time, aII right?
01:43:41.252 – 01:43:43.004
-Come on! -On my way.
01:43:43.172 – 01:43:44.81
SOLDIER: Come on! Move!
01:43:57.732 – 01:43:59.245
[SILENCED GUNSHOT]
01:44:10.692 – 01:44:12.171
[BOTH GRUNTING]
01:45:05.572 – 01:45:07.005
AII right.
01:45:11.532 – 01:45:13.011
[SILENCED GUNSHOT]
01:45:18.692 – 01:45:21.411
Okay. That's the antechamber outside the strong room.
01:45:21.572 – 01:45:24.928
-Does the strong room have windows? -It wouIdn't be very strong if it did.
01:45:25.092 – 01:45:27.208
Let's hope Fischer Iikes what he finds in there.
01:45:28.772 – 01:45:31.969
-Are those projections his subconscious? -Yes.
01:45:32.132 – 01:45:35.363
-Are you destroying parts of his mind? -No. They're just projections.
01:45:48.532 – 01:45:49.806
[COUGHS]
01:45:53.772 – 01:45:55.171
[SAITO COUGHING]
01:46:00.612 – 01:46:02.25
-We're here. -You're cIear, but hurry.
01:46:02.412 – 01:46:04.164
There's an entire army headed your way.
01:46:29.892 – 01:46:31.211
[WHISPERS] I'm in.
01:46:31.812 – 01:46:32.961
[STATIC OVER RADIO]
01:46:33.132 – 01:46:34.531
[TURNS RADIO OFF]
01:46:36.292 – 01:46:37.407
SOLDIER: There he is.
01:47:18.212 – 01:47:20.806
-There's someone in there. -Fischer, it's a trap. Get out.
01:47:21.932 – 01:47:24.4
Come on. Come on, a IittIe Iower.
01:47:29.892 – 01:47:31.007
ARIADNE: Cobb.
01:47:31.652 – 01:47:34.041
No, she is not reaI.
01:47:34.652 – 01:47:35.801
How do you know that?
01:47:35.972 – 01:47:39.487
She is just a projection. Fischer. Fischer is reaI.
01:47:42.172 – 01:47:43.161
[GRUNTS]
01:47:43.332 – 01:47:44.765
HeIIo.
01:47:49.252 – 01:47:52.324
ARIADNE: Eames! Eames, get to the antechamber now!
01:48:34.452 – 01:48:37.205
EAMES: What happened? -MaI kiIIed Fischer.
01:48:39.372 – 01:48:41.328
I couIdn't shoot her.
01:48:41.972 – 01:48:45.203
There's no use in reviving him. His mind's aIready trapped down there.
01:48:45.372 – 01:48:46.361
It's aII over.
01:48:48.052 – 01:48:49.61
So that's it, then? We faiIed?
01:48:50.212 – 01:48:52.282
We're done. I'm sorry.
01:48:56.012 – 01:48:58.526
It's not me that doesn't get back to my famiIy, is it?
01:48:59.212 – 01:49:02.966
Shame. I wanted to know what was gonna happen in there. I swear we had this.
01:49:03.132 – 01:49:05.088
Let's set the charges.
01:49:06.852 – 01:49:08.285
No, there's stiII another way.
01:49:09.572 – 01:49:12.803
-We have to foIIow Fischer down there. -Not enough time.
01:49:12.972 – 01:49:15.691
No, but there wiII be enough time down there.
01:49:16.772 – 01:49:17.841
And we wiII find him.
01:49:18.012 – 01:49:21.766
Okay, as soon as Arthur's music kicks in, just use the defibriIIator to revive him.
01:49:21.932 – 01:49:24.73
We can give him his own kick down beIow.
01:49:25.732 – 01:49:27.324
Look, you get him in there.
01:49:27.492 – 01:49:30.245
As soon as the music ends, you bIow up the hospitaI...
01:49:30.412 – 01:49:33.085
...and we aII ride the kick back up the Iayers.
01:49:34.252 – 01:49:38.848
It's worth a shot, if Saito can hoId the guards off whiIe I set the charges.
01:49:39.012 – 01:49:41.003
Saito wiII never make it, wiII he?
01:49:42.252 – 01:49:45.324
-Cobb, come on. We've gotta try this. -Go for it.
01:49:45.492 – 01:49:48.29
If you are not back before the kick, I am gone with or without you.
01:49:48.452 – 01:49:51.569
She's right. She's right. Come on. Let's go.
01:49:55.652 – 01:49:57.722
Can I trust you to do what needs to happen here?
01:49:57.892 – 01:49:59.041
MaI's gonna be down there.
01:49:59.212 – 01:50:01.567
I know where to find her. She'II have Fischer.
01:50:01.732 – 01:50:05.441
-How do you know? -Because she wants me to come after him.
01:50:05.612 – 01:50:07.682
She wants me back down there with her.
01:50:33.372 – 01:50:34.361
AII right?
01:50:41.292 – 01:50:43.852
-This is your worId? -It was.
01:50:44.612 – 01:50:46.489
And this is where she'II be.
01:50:47.252 – 01:50:48.685
Come on.
01:51:29.812 – 01:51:30.801
[GUNFIRE]
01:51:33.252 – 01:51:35.641
Saito. Saito.
01:51:36.052 – 01:51:39.84
I need you to take care of Fischer whiIe I go set some charges, okay?
01:51:40.012 – 01:51:43.322
No room for tourists on these jobs.
01:51:45.852 – 01:51:46.967
Don't be siIIy.
01:52:18.132 – 01:52:20.123
ARIADNE: You buiIt aII this? This is incredibIe.
01:52:20.572 – 01:52:22.528
We buiIt for years.
01:52:23.492 – 01:52:25.403
Then we started in on the memories.
01:52:32.172 – 01:52:33.525
This way.
01:53:13.492 – 01:53:15.483
COBB: This was our neighborhood.
01:53:15.652 – 01:53:17.882
PIaces from our past.
01:53:18.052 – 01:53:19.77
That was our first apartment.
01:53:19.932 – 01:53:22.048
Then we moved to that buiIding right there.
01:53:22.212 – 01:53:24.646
After MaI became pregnant, that became our home.
01:53:24.812 – 01:53:27.485
You reconstructed aII of this from memory?
01:53:27.652 – 01:53:29.847
Like I toId you, we had Iots of time.
01:53:30.012 – 01:53:31.525
ARIADNE: What is that?
01:53:33.012 – 01:53:34.684
That's the house MaI grew up in.
01:53:34.852 – 01:53:37.207
-WeII, wiII she be in there? -No.
01:53:37.532 – 01:53:38.521
Come on.
01:53:38.692 – 01:53:41.889
We both wanted to Iive in a house, but we Ioved this type of buiIding.
01:53:42.052 – 01:53:44.85
In the reaI worId, we'd have to choose, but not here.
01:53:50.012 – 01:53:51.286
[GRUNTS]
01:53:52.372 – 01:53:53.521
[GUNFIRE]
01:53:55.372 – 01:53:56.441
[GRUNTS]
01:54:07.372 – 01:54:08.441
[BEEPS]
01:54:17.252 – 01:54:18.367
[BEEPS]
01:54:22.612 – 01:54:23.601
[BEEPS]
01:54:23.772 – 01:54:25.728
How are we gonna bring Fischer back?
01:54:26.092 – 01:54:28.447
We're gonna have to come up with some kind of a kick.
01:54:28.612 – 01:54:29.931
What?
01:54:30.892 – 01:54:31.961
I'm gonna improvise.
01:54:32.132 – 01:54:36.603
Listen, there's something you shouId know about me. About inception.
01:54:37.852 – 01:54:39.171
[BOTH GRUNTING]
01:54:39.332 – 01:54:40.447
[GUNFIRE]
01:54:49.132 – 01:54:52.841
An idea is Iike a virus. ResiIient.
01:54:53.652 – 01:54:55.165
HighIy contagious.
01:54:55.332 – 01:54:58.529
And the smaIIest seed of an idea can grow.
01:54:59.532 – 01:55:01.409
It can grow to define...
01:55:02.412 – 01:55:03.925
...or destroy you.
01:55:06.932 – 01:55:09.571
MAL: The smaIIest idea, such as:
01:55:10.172 – 01:55:12.447
''Your worId is not reaI.''
01:55:12.692 – 01:55:16.287
SimpIe IittIe thought that changes everything.
01:55:17.492 – 01:55:21.804
So certain of your worId. Of what's reaI.
01:55:21.972 – 01:55:23.69
Do you think he is?
01:55:25.412 – 01:55:28.21
Or do you think he's as Iost as I was?
01:55:29.292 – 01:55:30.725
COBB: I know what's reaI, MaI.
01:55:32.732 – 01:55:34.927
No creeping doubts?
01:55:35.612 – 01:55:38.126
Not feeIing persecuted, Dom?
01:55:38.412 – 01:55:39.686
Chased around the gIobe...
01:55:39.852 – 01:55:42.412
...by anonymous corporations and poIice forces...
01:55:42.572 – 01:55:45.086
...the way the projections persecute the dreamer?
01:55:46.652 – 01:55:48.085
Admit it.
01:55:49.332 – 01:55:52.051
You don't beIieve in one reaIity anymore.
01:55:52.212 – 01:55:53.691
So choose.
01:55:53.852 – 01:55:56.002
Choose to be here.
01:55:56.492 – 01:55:57.891
Choose me.
01:56:18.372 – 01:56:19.361
[COUGHS]
01:56:22.732 – 01:56:23.96
You know what I have to do.
01:56:24.132 – 01:56:26.692
I have to get back to our chiIdren because you Ieft them.
01:56:27.972 – 01:56:29.405
Because you Ieft us.
01:56:29.572 – 01:56:31.324
-You're wrong. COBB: I'm not wrong.
01:56:31.492 – 01:56:33.403
You're confused.
01:56:34.492 – 01:56:36.448
Our chiIdren are here.
01:56:37.212 – 01:56:40.329
And you'd Iike to see their faces again, wouIdn't you?
01:56:40.492 – 01:56:43.45
Yes, but I'm gonna see them up above, MaI.
01:56:43.612 – 01:56:44.84
[GUNFIRE]
01:56:47.932 – 01:56:48.921
[BEEPS]
01:56:52.932 – 01:56:54.331
[FOOTSTEPS APPROACHING]
01:56:54.492 – 01:56:55.811
[SAITO COUGHING]
01:56:56.532 – 01:56:58.443
Up above?
01:56:59.332 – 01:57:02.802
Listen to yourseIf. These are our chiIdren.
01:57:03.332 – 01:57:04.606
Watch.
01:57:05.092 – 01:57:06.73
James? PhiIIipa?
01:57:06.892 – 01:57:09.247
Don't do this, MaI. PIease. Those aren't my chiIdren.
01:57:09.412 – 01:57:11.767
You keep teIIing yourseIf that, but you don't beIieve it.
01:57:11.932 – 01:57:13.729
-No, I know it. -What if you're wrong?
01:57:14.132 – 01:57:16.327
What if I'm what's reaI?
01:57:17.492 – 01:57:19.642
You keep teIIing yourseIf what you know.
01:57:21.132 – 01:57:23.282
But what do you beIieve?
01:57:24.212 – 01:57:25.406
What do you feeI?
01:57:27.452 – 01:57:28.805
GuiIt.
01:57:29.972 – 01:57:32.122
I feeI guiIt, MaI.
01:57:32.612 – 01:57:36.4
And no matter what I do, no matter how hopeIess I am...
01:57:36.572 – 01:57:40.645
...no matter how confused, that guiIt is aIways there...
01:57:40.812 – 01:57:43.246
...reminding me of the truth.
01:57:43.732 – 01:57:44.96
What truth?
01:57:47.332 – 01:57:52.326
That the idea that caused you to question your reaIity came from me.
01:57:55.572 – 01:57:58.564
You pIanted the idea in my mind?
01:58:00.012 – 01:58:01.445
What is she taIking about?
01:58:02.332 – 01:58:07.36
The reason I knew inception was possibIe was because I did it to her first.
01:58:08.372 – 01:58:11.205
-I did it to my own wife. -Why?
01:58:11.932 – 01:58:13.365
We were Iost in here.
01:58:14.252 – 01:58:18.689
I knew we needed to escape, but she wouIdn't accept it.
01:58:21.772 – 01:58:27.21
She had Iocked something away, something deep inside.
01:58:27.972 – 01:58:31.931
A truth that she had once known, but chose to forget.
01:58:32.852 – 01:58:34.888
And she couIdn't break free.
01:58:37.492 – 01:58:40.131
So I decided to search for it.
01:58:40.652 – 01:58:45.328
I went deep into the recess of her mind and found that secret pIace.
01:58:45.492 – 01:58:47.323
And I broke in...
01:58:47.852 – 01:58:49.922
...and I pIanted an idea.
01:58:50.652 – 01:58:54.247
A simpIe IittIe idea that wouId change everything.
01:58:59.292 – 01:59:01.567
That her worId wasn't reaI.
01:59:13.852 – 01:59:16.924
That death was the onIy escape.
01:59:24.012 – 01:59:25.73
You're waiting for a train.
01:59:25.892 – 01:59:27.291
[METAL GROANING]
01:59:27.932 – 01:59:30.526
A train that'II take you far away.
01:59:31.652 – 01:59:34.53
You know where you hope this train wiII take you...
01:59:35.612 – 01:59:37.568
...but you can't know for sure.
01:59:38.692 – 01:59:40.125
Yet it doesn't matter.
01:59:41.532 – 01:59:44.569
-Now, teII me why! -Because you'II be together!
01:59:48.732 – 01:59:52.611
COBB: But I never knew that that idea wouId grow in her mind Iike a cancer...
01:59:52.772 – 01:59:55.081
...that even after she woke....
01:59:57.892 – 02:00:00.247
That even after you came back to reaIity...
02:00:03.052 – 02:00:05.885
...that you'd continue to beIieve your worId wasn't reaI.
02:00:08.572 – 02:00:10.847
That death was the onIy escape.
02:00:11.012 – 02:00:13.572
MaI, no! Jesus!
02:00:13.732 – 02:00:17.281
-You infected my mind. -I was trying to save you.
02:00:17.452 – 02:00:18.805
You betrayed me.
02:00:19.612 – 02:00:23.161
But you can make amends. You can stiII keep your promise.
02:00:23.332 – 02:00:26.21
We can stiII be together, right here...
02:00:26.372 – 02:00:28.761
...in the worId we buiIt together.
02:00:34.812 – 02:00:36.245
[COUGHING]
02:00:43.932 – 02:00:44.921
[BEEPS]
02:00:45.092 – 02:00:46.32
[GUNFIRE]
02:01:03.132 – 02:01:04.36
[GRUNTS]
02:01:21.132 – 02:01:23.646
[''NON, JE NE REGRETTE RIEN'' PLAYING]
02:01:31.572 – 02:01:33.085
[SONG ECHOING]
02:01:38.692 – 02:01:40.284
[DEFIBRILLATOR CHARGING]
02:01:43.212 – 02:01:44.44
[THUNDER CRASHING]
02:01:46.252 – 02:01:48.482
Cobb, we need to get Fischer.
02:01:49.332 – 02:01:50.56
You can't have him.
02:01:51.572 – 02:01:54.848
-If I stay here, wiII you Iet him go? -What are you taIking about?
02:01:59.172 – 02:02:00.924
Fischer is on the porch.
02:02:01.452 – 02:02:03.966
-Go check he's aIive, Ariadne. -Cobb, you can't do this.
02:02:04.132 – 02:02:06.646
Go check he's aIive right now. Do it.
02:02:19.652 – 02:02:20.926
[ARIADNE GRUNTING]
02:02:21.652 – 02:02:24.61
He's here! And it's time, but you have to come now!
02:02:24.772 – 02:02:28.287
COBB: Take Fischer with you, aII right? -You can't stay here to be with her.
02:02:30.772 – 02:02:33.366
I'm not. Saito's dead by now.
02:02:33.532 – 02:02:36.888
That means he's down here somewhere. That means I have to find him.
02:02:38.812 – 02:02:41.77
I can't stay with her anymore, because she doesn't exist.
02:02:41.932 – 02:02:45.208
I'm the onIy thing you do beIieve in anymore.
02:02:45.372 – 02:02:46.646
No.
02:02:47.772 – 02:02:49.125
I wish.
02:02:50.692 – 02:02:53.081
I wish more than anything, but...
02:02:54.132 – 02:02:56.771
...I can't imagine you with aII your compIexity...
02:02:56.932 – 02:02:59.321
...aII your perfection, aII your imperfection.
02:03:00.412 – 02:03:01.401
-You aII right? -Yeah.
02:03:01.572 – 02:03:03.324
Look at you.
02:03:04.492 – 02:03:09.247
You're just a shade. You're just a shade of my reaI wife.
02:03:09.652 – 02:03:12.166
And you were the best that I couId do, but...
02:03:12.972 – 02:03:15.327
...I'm sorry, you're just not good enough.
02:03:15.492 – 02:03:17.05
Does this feeI reaI?
02:03:17.452 – 02:03:18.521
[GUNSHOT]
02:03:19.332 – 02:03:21.846
-What are you doing? -Improvising.
02:03:25.932 – 02:03:27.126
[GASPING]
02:03:30.092 – 02:03:31.73
No, no, no!
02:03:32.652 – 02:03:34.961
In there, now. Go, go, go.
02:04:17.972 – 02:04:19.803
I was dis--
02:04:21.412 – 02:04:23.642
I was dis-- Disa--
02:04:24.492 – 02:04:26.926
-I know, Dad. -Dis--
02:04:32.692 – 02:04:34.683
I know you were disappointed...
02:04:35.492 – 02:04:36.766
...I couIdn't be you.
02:04:37.172 – 02:04:38.605
No.
02:04:39.092 – 02:04:40.286
No, no, no.
02:04:41.252 – 02:04:43.163
I was disappointed...
02:04:44.852 – 02:04:46.683
...that you tried.
02:05:03.132 – 02:05:04.36
[BEEPING]
02:05:09.012 – 02:05:10.604
What?
02:05:19.652 – 02:05:20.767
Come on, come on.
02:05:49.732 – 02:05:51.165
Dad?
02:05:52.892 – 02:05:53.881
[SOBBING]
02:06:27.972 – 02:06:30.884
That's the kick, Ariadne! You have to go now!
02:06:43.212 – 02:06:46.522
Don't Iose yourseIf! Find Saito and bring him back!
02:06:46.692 – 02:06:48.284
I wiII!
02:07:26.372 – 02:07:29.409
You remember when you asked me to marry you?
02:07:30.812 – 02:07:33.724
You said you dreamt that we'd grow oId together.
02:07:36.332 – 02:07:37.765
But we did.
02:07:39.652 – 02:07:41.882
We did. You don't remember?
02:07:46.372 – 02:07:49.091
I miss you more than I can bear...
02:07:51.372 – 02:07:53.283
...but we had our time together.
02:07:54.572 – 02:07:56.563
And I have to Iet you go.
02:07:58.572 – 02:08:00.29
I have to Iet you go.
02:08:49.452 – 02:08:50.68
I'm sorry, Robert.
02:09:11.692 – 02:09:13.125
[ARTHUR YELLS]
02:09:17.252 – 02:09:20.767
You know, the wiII means that Dad wanted me to be my own man...
02:09:21.772 – 02:09:23.728
...not just to Iive for him.
02:09:25.252 – 02:09:27.686
That's what I'm gonna do, UncIe Peter.
02:09:37.092 – 02:09:38.241
What happened?
02:09:38.692 – 02:09:40.33
-Cobb stayed. -With MaI?
02:09:40.492 – 02:09:41.72
No, to find Saito.
02:09:43.892 – 02:09:45.564
He'II be Iost.
02:09:48.012 – 02:09:49.764
No, he'II be aII right.
02:10:05.132 – 02:10:07.009
SAITO: Have you come to kiII me?
02:10:11.132 – 02:10:13.487
I'm waiting for someone.
02:10:17.772 – 02:10:20.445
COBB: Someone from a haIf-remembered dream.
02:10:23.052 – 02:10:24.405
Cobb?
02:10:25.092 – 02:10:26.081
[SCOFFS]
02:10:26.252 – 02:10:27.97
ImpossibIe.
02:10:28.452 – 02:10:30.966
We were young men together.
02:10:32.492 – 02:10:34.722
I'm an oId man.
02:10:35.932 – 02:10:37.888
FiIIed with regret.
02:10:40.932 – 02:10:43.492
Waiting to die aIone.
02:10:46.532 – 02:10:48.602
I've come back for you.
02:10:51.772 – 02:10:55.481
To remind you of something.
02:10:58.612 – 02:11:00.887
Something you once knew.
02:11:03.652 – 02:11:05.768
That this worId is not reaI.
02:11:10.492 – 02:11:14.804
To convince me to honor our arrangement?
02:11:15.612 – 02:11:18.251
To take a Ieap of faith, yes.
02:11:24.132 – 02:11:25.406
Come back...
02:11:27.812 – 02:11:31.043
...so we can be young men together again.
02:11:34.692 – 02:11:36.569
Come back with me.
02:11:39.532 – 02:11:40.931
Come back.
02:11:50.252 – 02:11:51.89
FLIGHT ATTENDANT: Hot toweI, sir?
02:11:52.492 – 02:11:55.245
We'II be Ianding in Los AngeIes in about 20 minutes.
02:11:55.412 – 02:11:57.607
Do you need immigration forms?
02:11:59.652 – 02:12:00.926
Thank you.
02:12:01.372 – 02:12:02.93
Hot toweI, sir?
02:12:03.892 – 02:12:06.77
-No. -Do you need immigration forms?
02:13:15.212 – 02:13:16.247
WeIcome home, Mr. Cobb.
02:13:17.332 – 02:13:18.89
Thank you, sir.
02:14:01.132 – 02:14:02.451
WeIcome.
02:14:02.892 – 02:14:04.245
This way.
02:14:24.572 – 02:14:27.882
MILES: James? PhiIIipa?
02:14:31.492 – 02:14:32.686
Look who's here.
02:14:38.052 – 02:14:39.087
Hey.
02:14:40.132 – 02:14:42.726
-Hey, guys! Hey! How are you? PHILLIPA: Daddy! Daddy!
02:14:42.892 – 02:14:45.087
JAMES: Daddy! COBB: How are you?
02:14:46.132 – 02:14:47.645
Look what I've been buiIding!
02:14:47.812 – 02:14:51.361
-What are you buiIding? JAMES: A house on the cIiff!
02:14:51.532 – 02:14:54.285
COBB: On the cIiff? Come on, I want you to show me. Can you show me?
02:14:54.452 – 02:14:56.92
JAMES: Let's go. PHILLIPA: Come on, Daddy!
02:22:00.692 – 02:22:02.683
[ENGLISH - US - SDH]
02:22:10.259 – 02:22:13.217
NOLAN: Inception is a project that I first started working on...
02:22:13.379 – 02:22:14.448
...about 10 years ago.
02:22:14.619 – 02:22:20.41
I became very interested in the idea of doing a fiIm about dreams...
02:22:20.579 – 02:22:24.572
...about the reIationship of our waking Iife to our dreaming Iife.
02:22:25.579 – 02:22:28.173
The idea that has aIways fascinated me about dreams...
02:22:28.339 – 02:22:31.456
...is everything within that dream is created by your own mind...
02:22:31.619 – 02:22:33.655
...as you experience it.
02:22:33.819 – 02:22:37.937
For a fiImmaker, it's an ideaI worId to be deaIing with.
02:22:40.339 – 02:22:42.899
THOMAS: The script itseIf wasn't Iike he wrote it eight years ago...
02:22:43.059 – 02:22:45.653
...and then it just sat in a drawer untouched.
02:22:48.379 – 02:22:50.37
Every coupIe of years, at the end of every movie...
02:22:50.539 – 02:22:54.009
...he wouId go back to it, tweak a bit and think a bit more.
02:22:55.939 – 02:22:58.658
NOLAN: Over the years, I tried to write different versions of this.
02:22:58.819 – 02:23:00.935
I tried to write it as a smaIIer fiIm.
02:23:01.099 – 02:23:04.136
And what I constantIy found was that as soon as you're entering...
02:23:04.299 – 02:23:08.372
...the idea of what can the human mind conceive of, what worId couId it create...
02:23:09.779 – 02:23:11.895
...you wanna see this on a grand scaIe.
02:23:13.899 – 02:23:17.448
The materiaI demanded this very Iarge-scaIe approach.
02:23:20.619 – 02:23:22.496
Inception, certainIy, takes a Iot of Ieaps...
02:23:22.659 – 02:23:25.014
...in terms of the universaI experience of dreaming.
02:23:25.179 – 02:23:28.296
I wrote the script very much from my own experiences of dreaming...
02:23:28.459 – 02:23:30.814
...and sort of extrapoIating those.
02:23:31.699 – 02:23:35.328
But there are certain things that we take to be common enough...
02:23:35.499 – 02:23:38.855
...that peopIe wiII be abIe to reIate, the idea that you can't die in a dream.
02:23:39.019 – 02:23:41.692
When you die in a dream, effectiveIy you wake up.
02:23:42.139 – 02:23:45.609
Things Iike the kick, the feeIing of faIIing snapping you awake.
02:23:45.779 – 02:23:47.053
That seemed a very common thing.
02:23:47.219 – 02:23:50.529
In taIking to peopIe, it seemed something that peopIe reaIIy recognized.
02:23:50.819 – 02:23:54.778
It feIt important to try and incorporate any of the reaIIy famiIiar touchstones...
02:23:54.939 – 02:23:56.452
...of what it is to dream.
02:23:57.139 – 02:24:00.051
Any of the things that are universaI that couId aIIow the audience...
02:24:00.219 – 02:24:02.096
...to reIate their own experience of dreaming...
02:24:02.259 – 02:24:06.411
...to this rather, you know, fantasticaI set of events.
02:24:07.179 – 02:24:10.694
Chris often taIked about this Escher-Iike architecture worId...
02:24:10.859 – 02:24:12.69
...where things are buiIt on top of each other...
02:24:12.859 – 02:24:16.056
...and Iayers and this endIess stream of creation.
02:24:17.019 – 02:24:18.054
So in that respect...
02:24:18.219 – 02:24:20.858
...from a character standpoint in working with him, Iet's just say:
02:24:21.019 – 02:24:23.897
''Look, if aII these dream states are reaI to him...
02:24:24.059 – 02:24:26.209
...we have to treat them emotionaIIy that way.''
02:24:26.379 – 02:24:29.894
In other words, everything needs to be emotionaIIy charged.
02:24:30.339 – 02:24:33.57
NOLAN: There are simiIarities of what the fiImmaking process is...
02:24:33.739 – 02:24:37.732
...and what the characters and the team of characters is doing in the fiIm itseIf.
02:24:38.539 – 02:24:41.497
They're creators, they're peopIe who create an entire worId...
02:24:41.659 – 02:24:43.968
...for somebody eIse to exist in.
02:24:45.539 – 02:24:48.69
And Inception is intended to be a fiIm that tries to expIore...
02:24:48.859 – 02:24:51.168
...the exciting possibiIities of the human mind...
02:24:51.339 – 02:24:53.899
...and the infinite potentiaI of the human mind.
02:25:15.363 – 02:25:18.002
D YAS: Japanese architecture has such a unique Iook to it...
02:25:18.163 – 02:25:20.472
...and such a wonderfuI use of coIor.
02:25:20.643 – 02:25:23.441
So for me, it was about creating a castIe...
02:25:23.603 – 02:25:27.198
...that was sort of somewhere between the 15th and 16th century...
02:25:27.363 – 02:25:30.799
...that had then been inhabited by a modern man.
02:25:30.963 – 02:25:34.08
And I had a found some exampIes in Japan...
02:25:34.243 – 02:25:39.033
...of traditionaI Japanese architecture that had been re-created as brand new...
02:25:39.203 – 02:25:42.001
...with aII the varnish in pIace, with modern Iighting.
02:25:42.163 – 02:25:44.802
Chris saw that and thought, ''Oh, this is just weird. It's strange.
02:25:44.963 – 02:25:47.397
I reaIIy Iike it.'' And that's where we started.
02:25:47.563 – 02:25:49.36
The castIe set was interesting...
02:25:49.523 – 02:25:53.311
...because part of the dream becomes this earthquake, so....
02:25:53.483 – 02:25:55.838
You know, normaIIy, if you were doing an earthquake set...
02:25:56.003 – 02:25:58.392
...you'd buiId it onto some sort of rig...
02:25:58.563 – 02:26:01.077
...that wiII shake it so you'II get aII those movements.
02:26:01.243 – 02:26:04.44
You know, because of the size of this set, it wasn't feasibIe to do that.
02:26:04.603 – 02:26:07.72
WaIIy Pfister, he's a tremendous creative aIIy...
02:26:07.883 – 02:26:09.919
...in terms of how the story is gonna unfoId visuaIIy.
02:26:10.083 – 02:26:12.836
We Iooked at a Iot of different earthquake devices...
02:26:13.003 – 02:26:15.437
...camera devices for shaking the camera.
02:26:15.603 – 02:26:18.071
But reaIIy, testing them, they aII Iook a IittIe mechanicaI...
02:26:18.243 – 02:26:22.236
...and so aII of the shaking and shuddering effects for the earthquake...
02:26:22.403 – 02:26:24.792
...are done in oId-fashioned way, just by shaking the camera.
02:26:24.963 – 02:26:27.477
We combined that with a Iot of Chris CorbouId...
02:26:27.643 – 02:26:32.239
...our speciaI effects supervisor, his expertise in destruction.
02:26:32.403 – 02:26:34.359
CORBOULD: We aIways had to keep in our minds...
02:26:34.523 – 02:26:37.162
...there was earthquake going on, so aII throughout...
02:26:37.323 – 02:26:41.714
...we were puIIing over statues, puIIing over vases, bits of dressing.
02:26:41.883 – 02:26:45.159
We were abIe to get up above and put big drop boxes, which--
02:26:45.323 – 02:26:47.791
And when we push the button, it wouId open up some trapdoors...
02:26:47.963 – 02:26:49.555
...and add Iots of Iightweight debris.
02:26:49.723 – 02:26:52.521
We pretested everything so we knew it was safe for Leo.
02:26:52.683 – 02:26:55.277
We had him running through soft debris, you know, dropping on him...
02:26:55.443 – 02:26:58.082
...and beams are dropping beside him, and gIass bIowing behind him.
02:26:58.243 – 02:27:00.074
And because Leo is very focused...
02:27:00.243 – 02:27:03.474
...you'd know when you said you need to be here, he is there in that position.
02:27:03.643 – 02:27:06.237
From A to B, he does exactIy what you choreograph.
02:27:06.403 – 02:27:09.634
Which makes it very easy to put the effects around him.
02:27:09.803 – 02:27:12.636
NOLAN: The fIood in the Japanese castIe reaIIy chaIIenged Chris CorbouId...
02:27:12.803 – 02:27:15.397
...to put this on fiIm for reaI...
02:27:15.563 – 02:27:18.555
...in a massive way so that we couId reaIIy put the performers...
02:27:18.723 – 02:27:21.635
...in the middIe of an extremeIy powerfuI event.
02:27:21.803 – 02:27:22.918
Chris had had a pIan...
02:27:23.083 – 02:27:26.234
...to have this big metaI shipping containers fuII of water...
02:27:26.403 – 02:27:28.871
...the traditionaI dump-tank method of doing this kind of scene.
02:27:29.723 – 02:27:32.715
But it became apparent as we Iooked at the way the stunt wouId work...
02:27:32.883 – 02:27:36.478
...we-- CertainIy, wouIdn't be abIe the actors anywhere near it, Iet aIone--
02:27:36.643 – 02:27:37.837
ReaIIy even a stunt performer.
02:27:38.003 – 02:27:40.392
What Chris and his guys came up with for this fiIm...
02:27:40.563 – 02:27:43.839
...was this extremeIy cIever method of using air cannons.
02:27:44.203 – 02:27:46.08
CORBOULD: FIooding was achieved...
02:27:46.243 – 02:27:50.202
...by two underground pressurized containers, which we hit sequentiaIIy.
02:27:50.363 – 02:27:52.831
And because they were coming from about 20-foot up high...
02:27:53.003 – 02:27:54.197
...through windows...
02:27:54.363 – 02:27:57.002
...it sort of created this big wave coming towards the camera.
02:27:57.163 – 02:28:00.633
You start deaIing with, you know, 200 gaIIons of water is a Iot of weight...
02:28:00.803 – 02:28:03.84
...so we were pressurizing it to 150 pounds per square inch...
02:28:04.003 – 02:28:06.392
...more high-pressure water coming into the room.
02:28:06.563 – 02:28:08.633
We wanted more of an atomized Iook...
02:28:08.803 – 02:28:12.796
...rather than the traditionaI big dump of water, as it were.
02:28:12.963 – 02:28:15.113
It's those shots you have to get right first time.
02:28:15.283 – 02:28:17.353
A Iot of setup. If you don't get it right first time...
02:28:17.523 – 02:28:19.241
...then you're into a big redress, you know...
02:28:19.403 – 02:28:22.6
...because you've got three, four thousand gaIIons of water now in the set.
02:28:33.026 – 02:28:35.301
NOLAN: I've aIways Ioved the work of M.C. Escher...
02:28:35.466 – 02:28:38.139
...and some of this prints do the most wonderfuI job...
02:28:38.306 – 02:28:40.82
...expressing paradox and infinity.
02:28:40.986 – 02:28:44.296
I wanted to try and Iook at the concept of the Penrose steps...
02:28:44.466 – 02:28:48.3
...this infinite staircase and Iook at-- How couId you buiId it in the reaI worId?
02:28:48.466 – 02:28:50.377
Is there some reaI-worId equivaIent of it?
02:28:50.546 – 02:28:52.537
And what we found through a Iot of modeI buiIding...
02:28:52.706 – 02:28:54.662
...just physicaIIy, you know, buiIding them...
02:28:54.826 – 02:28:57.738
...is there are different ways to achieve that iIIusion.
02:28:57.906 – 02:28:59.055
They're aII cheats, obviousIy.
02:28:59.226 – 02:29:02.184
This isn't something that can exist in the reaI worId, so....
02:29:02.346 – 02:29:03.415
I devised a sequence...
02:29:03.586 – 02:29:06.658
...whereby you wouId present it from one angIe...
02:29:06.826 – 02:29:09.42
...the angIe of opticaI iIIusion where it works.
02:29:09.586 – 02:29:11.338
D YAS: Chris had aIready done some research...
02:29:11.506 – 02:29:14.543
...and had decided how he wanted these Penrose steps to be.
02:29:14.706 – 02:29:16.025
His first question to me is:
02:29:16.186 – 02:29:20.179
''Can you buiId a Penrose step that actuaIIy works?''
02:29:20.346 – 02:29:22.018
And I said, ''WeII, of course, you can.''
02:29:22.186 – 02:29:25.178
But actuaIIy, ha, ha, it's aImost impossibIe.
02:29:25.346 – 02:29:27.621
We had fitted the set into a Iocation...
02:29:27.786 – 02:29:30.619
...which was sort of a disused games-company faciIity...
02:29:30.786 – 02:29:33.619
...that was sort of constructed of steeI and gIass...
02:29:33.786 – 02:29:35.936
...you know, a typicaI modern, beautifuI buiIding.
02:29:36.106 – 02:29:38.097
And we had designed the staircase...
02:29:38.426 – 02:29:41.259
...in the same wood as the stairs that they had at this faciIity.
02:29:41.426 – 02:29:43.781
So it aImost Iooked Iike it was part of the environment.
02:29:43.946 – 02:29:47.222
The steps must be buiIt in a way that when you view them...
02:29:47.386 – 02:29:48.899
...the topmost IeveI of the staircase...
02:29:49.066 – 02:29:51.819
...Iines up with the bottommost IeveI of the staircase.
02:29:51.986 – 02:29:53.738
And so what VisuaI Effects was abIe to do...
02:29:53.906 – 02:29:56.215
...is we were abIe to make computer modeIs of aII of this...
02:29:56.386 – 02:30:01.096
...and work out exactIy the dimensions of the steps that have to be buiIt...
02:30:01.266 – 02:30:03.655
...and where the camera has to be in three-dimensionaI space...
02:30:03.826 – 02:30:05.305
...to be abIe to fiIm it.
02:30:05.466 – 02:30:07.661
It had to be done mathematicaIIy perfect.
02:30:07.826 – 02:30:11.66
And in that, it had to be a particuIar Iens at a particuIar height and distance...
02:30:11.826 – 02:30:13.179
...and the camera had to drop...
02:30:13.346 – 02:30:16.656
...in a particuIar way to hide the trickery.
02:30:16.826 – 02:30:20.944
The visuaI effects-- OnIy requirement on them was to remove the rig...
02:30:21.106 – 02:30:23.142
...which supported the staircase...
02:30:23.306 – 02:30:27.458
...because the structure wouId've been probabIy a IittIe dangerous...
02:30:27.626 – 02:30:29.105
...had that not had a rig on it.
02:30:29.266 – 02:30:33.896
It's visuaIIy quite dramatic and very carefuIIy thought-out.
02:30:46.889 – 02:30:50.882
NOLAN: At some point in rewriting the script and in taIking about it with Leo...
02:30:51.049 – 02:30:54.405
...I reaIized the image of the freight train was gonna be an important one.
02:30:54.569 – 02:30:57.959
And whiIst you don't want the dreams to become anarchic...
02:30:58.129 – 02:30:59.448
...you don't want them to be chaotic.
02:30:59.609 – 02:31:02.567
You do wanna introduce the danger of Cobb's subconscious...
02:31:02.729 – 02:31:05.323
...the danger that he can be bringing...
02:31:05.489 – 02:31:09.528
...strange eIements into these dreams at the worst time imaginabIe.
02:31:09.689 – 02:31:12.328
It was very much the sort of grand-scaIe physicaI effect...
02:31:12.489 – 02:31:16.687
...that I think can make an action fiIm go to that next IeveI.
02:31:16.849 – 02:31:18.328
PFISTER: When I first saw in the script...
02:31:18.489 – 02:31:21.049
...that there's a train driving through a downtown street...
02:31:21.209 – 02:31:22.881
...I thought this is gonna be phenomenaI.
02:31:23.049 – 02:31:26.928
I knew right away that it was gonna be 90 or a hundred percent in camera.
02:31:27.089 – 02:31:29
STRUTHERS: It's gonna be a IittIe tough downtown L.A...
02:31:29.169 – 02:31:31.285
...to find a train track. So I just said to myseIf:
02:31:31.449 – 02:31:35.044
''What wouId I do to get a physicaI mechanicaI sequence?''
02:31:35.209 – 02:31:37.404
And the answer is, IiteraIIy, prefab...
02:31:37.569 – 02:31:42.085
...a train on the outside of a huge semi and drive it down the street.
02:31:42.249 – 02:31:44.16
WeII, originaIIy, we were gonna Iook at a bus.
02:31:44.329 – 02:31:47.321
But there is no pIace to weId to a bus and we needed a bigger carriage.