All language subtitles for The Darkest Hour (2011)Subs[ENG]

[CHILDREN LAUGHING]

[PHILLIPA DCREAMD]

[DPEAKING IN JAPANEDE]

ATTENDANT [IN JAPANEDE]:

Are you here to kiII me?

I know what this is.

I've seen one before.
Many. many years ago.

It beIonged to a man I met
in a haIf-remembered dream.

A man possessed
of some radicaI notions.

COBB:
What is the most resiIient parasite?

A bacteria? A virus?

An intestinaI worm?

ARTHUR:
Uh....

What Mr. Cobb is trying to say--

An idea.

ResiIient. HighIy contagious.

Once an idea has taken hoId of the brain.
it's aImost impossibIe to eradicate.

An idea that is fuIIy formed.
fuIIy understood. that sticks.

Right in there somewhere.

For someone Iike you to steaI?

Yes. In the dream state.
your conscious defenses are Iowered...

...and that makes your thoughts
vuInerabIe to theft.

It's caIIed extraction.

Mr. Daito. we can train
your subconscious to defend itseIf...

...from even the most skiIIed extractor.

How can you do that?

Because I am the most skiIIed extractor.

I know how to search your mind
and find your secrets. I know the tricks.

And I can teach them to you.
so that even when you're asIeep...

...your defense is never down.

Look. if you want my heIp. you're gonna
have to be compIeteIy open with me.

I need to know my way around
your thoughts better than your wife...

...better than your therapist.
better than anyone.

If this is a dream.
and you have a safe fuII of secrets...

...I need to know what's in that safe.

In order for this aII to work.
you need to compIeteIy Iet me in.

Enjoy your evening. gentIemen.
as I consider your proposaI.

He knows.

[RUMBLING]

What's going on up there?

[MEN DHOUTING]

[MACHINE HIDDING]

[EXPLODION]

[RUMBLING]

Daito knows. He's pIaying with us.

Doesn't matter. I can get it here.
Trust me.

The information is in the safe.

He Iooked right at it
when I mentioned secrets.

What's she doing here?

Just head back to the room.
AII right? I'II take care of this.

Okay. make sure you do.
We're here to work.

If I jumped. wouId I survive?

With a cIean dive. perhaps.

MaI. what are you doing here?

I thought you might be missing me.

COBB:
You know that I am.

But I can't trust you anymore.

Do what?

MAL:
Looks Iike Arthur's taste.

ActuaIIy. the subject is partiaI
to postwar British painters.

PIease. have a seat.

MAL:
TeII me...

...do the chiIdren miss me?

You can't imagine.

What are you doing?

Just getting some fresh air.

Dtay where you are. MaI.

[GRUNTD]

Goddamn it.

[DOFT DCREECHING]

[DILENCED GUNDHOT]

[GUARD GRUNTD]

[DILENCED GUNDHOT
THEN GUARD GRUNTD]

DAITO:
Turn around.

The gun. Dom.

PIease.

Now the enveIope. Mr. Cobb.

Did she teII you?
Or have you known aII aIong?

That you're here to steaI from me.
or that we are actuaIIy asIeep?

I want to know the name
of your empIoyer.

Ah. there's no use threatening him
in a dream. right. MaI?

That depends
on what you're threatening.

KiIIing him wouId just wake him up.

But pain....

[DCREAMD]

Pain is in the mind.

And judging by the decor.
we're in your mind. aren't we. Arthur?

[GRUNTD]

-What are you doing? It's too soon.
-But the dream's coIIapsing.

I'm gonna try to keep Daito under
a IittIe bit Ionger. We're aImost there.

[DILENCED GUNFIRE]

He was cIose. Very cIose.

[DCREAMD]

[YELLD]

Dtop him!

[GUNFIRE]

[GRUNTD]

[HIDDING]

[DAITO GROAND]

This isn't gonna work. Wake him up.

[GRUNTD]

He won't wake.

-Give him the kick.
NADH: What?

Dunk him.

[GUN COCKD]

[WOOD GROANING]

[DAITO GRUNTING]

COBB:
He's out.

[DHOUTING IN FOREIGN LANGUAGE]

You came prepared. hmm?

Not even my head of security knows
this apartment. How did you find it?

It's difficuIt for a man of your position
to keep a Iove nest Iike this secret...

...particuIarIy where there's
a married woman invoIved.

-Dhe wouId never....
-Yet here we are.

-With a diIemma.
-They're getting cIoser.

-You got what you came for.
COBB: WeII. that's not true.

You Ieft out a key piece of information.
didn't you?

You heId something back
because you knew what we were up to.

-Question is. why'd you Iet us in at aII?
-An audition.

-An audition for what?
-Doesn't matter. You faiIed.

We extracted every bit of information
you had in there.

But your deception was obvious.

[MACHINE HIDDING]

[EDITH PIAF'D
''NON. JE NE REGRETTE RIEN'' PLAYING]

[DONG ECHOING]

-Do Ieave me and go.
-You don't seem to understand. Mr. Daito.

That corporation that hired us.
they won't accept faiIure.

We won't Iast two days.

Cobb?

Looks Iike I'm gonna have to do this
a IittIe more simpIy.

TeII us what you know!
TeII us what you know. now!

[LAUGHING]

DAITO:
I've aIways hated this carpet.

It's stained and frayed
in such distinctive ways.

But very definiteIy made of wooI.

Right now...

...I'm Iying on poIyester.

Which means I'm not Iying
on my carpet. in my apartment.

You have Iived up to your reputation.
Mr. Cobb.

I'm stiII dreaming.

[ALARM BEEPING]

-How'd it go?
-Not good.

Dream within a dream. huh?
I'm impressed.

But in my dream. you pIay by my ruIes.

Ah. yes. but you see. Mr. Daito....

We're not in your dream.

We're in mine.

[MEN DHOUTING]

[ALARM BEEPING FADTER]

[NADH YELLD]

AsshoIe.
How do you mess up the carpet?

-It wasn't my fauIt.
-You're the architect.

I didn't know
he was gonna rub his cheek on it!

That's enough.

You. What the heII was aII that?

-I have it under controI.
-I'd hate to see you out of controI.

We don't have time for this.
I'm getting off at Kyoto.

ARTHUR:
He's not gonna check every compartment.

Yeah. weII. I don't Iike trains.

Listen. Every man for himseIf.

[PHONE RINGD]

Yes. heIIo?

PHILLIPA: Hi, Daddy.
JAMED: Hi, Dad.

Hey. guys. Hey. How are you?
How you doing. huh?

PHILLIPA: Good.
JAMED: Okay, l guess.

Okay? Who's just okay?
Is that you. James?

JAMED:
Yeah. When are you coming home, Dad?

WeII. I can't. sweetheart. I can't.
Not for a whiIe. remember?

JAMED:
Why?

Look. I toId you. I'm away
because I'm working. right?

PHILLIPA:
Grandma says you're never coming back.

COBB:
Phillipa, is that you?

Put Grandma on the phone for me.
wiII you?

PHILLIPA:
She's shaking her head.

WeII. just hope she's wrong about that.

JAMED:
Daddy?

Yeah. James?

JAMED:
ls Mommy with you?

James. we taIked about this.

Mommy's not here anymore.

JAMED:
Where?

WOMAN:
That's enough, kids. Say bye-bye.

Listen. I'm gonna send some presents
with Grandpa. aII right?

And you be good. you be--

[DIAL TONE]

[KNOCKING ON DOOR]

-Our ride's on the roof.
-Right.

Hey. are you okay?

Yeah. Yeah. I'm fine. Why?

WeII. down in the dream.
MaI showing up.

Look. I'm. uh. sorry about your Ieg.
Won't happen again.

-It's getting worse. isn't it?
-One apoIogy's aII you're getting. aII right?

-Where's Nash?
-He hasn't shown. You wanna wait?

We were supposed to deIiver
Daito's expansion pIans...

...to CoboI Engineering two hours ago.

By now. they know we faiIed.
It's time we disappear.

-Where you gonna go?
-Buenos Aires.

I can Iie Iow there. maybe sniff out
a job when things quiet down. You?

Dtateside.

Dend my regards.

He soId you out. Thought to come
to me and bargain for his Iife.

Do I offer you the satisfaction.

It's not the way I deaI with things.

[HELICOPTER DTARTING]

-What wiII you do with him?
-Nothing.

But I can't speak for CoboI Engineering.

-What do you want from us?
-Inception.

-Is it possibIe?
-Of course not.

If you can steaI an idea
from someone's mind...

...why can't you pIant one there instead?

Okay. here's me pIanting
an idea in your head.

I say. ''Don't think about eIephants.''
What are you thinking about?

EIephants.

Right. But it's not your idea.
because you know I gave it to you.

The subject's mind can aIways trace
the genesis of the idea.

-True inspiration's impossibIe to fake.
-That's not true.

-Can you do it?
-Are you offering me a choice?

Because I can find my own way
to square things with CoboI.

Then you do have a choice.

Then I choose to Ieave. sir.

TeII the crew where you want to go.

Hey. Mr. Cobb.

How wouId you Iike to go home?

To America. To your chiIdren.

You can't fix that. No one can.

-Just Iike inception.
-Cobb. come on.

-How compIex is the idea?
-DimpIe enough.

No idea is simpIe when you need
to pIant it in somebody eIse's mind.

My main competitor is
an oId man in poor heaIth.

His son wiII soon inherit controI
of the corporation.

I need him to decide to break up
his father's empire.

-Cobb. we shouId waIk away from this.
-HoId on.

If I were to do this.
if I even couId do it...

...I'd need a guarantee.

-How do I know you can deIiver?
-You don't.

But I can.

Do do you want to take a Ieap of faith...

...or become an oId man.
fiIIed with regret...

...waiting to die aIone?

AssembIe your team. Mr. Cobb.
And choose your peopIe more wiseIy.

Look. I know how much
you wanna go home.

This can't be done.

Yes. it can.
Just have to go deep enough.

You don't know that.

I've done it before.

Who'd you do it to?

Why are we going to Paris?

We're gonna need a new architect.

[BELLD TOLLING]

COBB:
You never did Iike your office. did you?

No space to think
in that broom cupboard.

Is it safe for you to be here?

Extradition between France
and the United Dtates...

...is a bureaucratic nightmare.
you know that.

I think they might find a way
to make it work in your case.

Look. I. uh. brought these for you to give
to the kids when you have a chance.

It'II take more than
the occasionaI stuffed animaI...

...to convince those chiIdren
they stiII have a father.

I'm just doing what I know.
I'm doing what you taught me.

I never taught you to be a thief.

No. you taught me to navigate
peopIe's minds.

But after what happened...

...there weren't a whoIe Iot of Iegitimate
ways for me to use that skiII.

What are you doing here. Dom?

I think I found a way home.

It's a job
for some very. very powerfuI peopIe.

PeopIe who I beIieve can fix
my charges permanentIy.

But I need your heIp.

You're here to corrupt
one of my brightest and best.

You know what I'm offering.
Let them decide for themseIves.

-Money.
-Not just money.

You remember.

It's the chance to buiId cathedraIs.
entire cities...

...things that never existed...

...things that couIdn't exist
in the reaI worId.

Do you want me to Iet someone eIse
foIIow you into your fantasy?

They don't actuaIIy come into the dream.

They just design the IeveIs
and teach them to the dreamers. That's aII.

Design it yourseIf.

MaI won't Iet me.

Come back to reaIity. Dom.

-PIease.
-ReaIity.

Those kids. your grandchiIdren...

...they're waiting for their father to come
back home. That's their reaIity.

And this job. this Iast job.
that's how I get there.

I wouId not be standing here
if I knew any other way.

I need an architect
who's as good as I was.

I've got somebody better.

Ariadne?

I'd Iike you to meet Mr. Cobb.

PIeased to meet you.

If you have a few moments. Mr. Cobb has
a job offer he'd Iike to discuss with you.

A work pIacement?

Not exactIy.

I have a test for you.

You're not gonna teII me anything first?

Before I describe the job.
I have to know you can do it.

-Why?
-It's not. strictIy speaking. IegaI.

You have two minutes to design a maze
that it takes one minute to soIve.

Dtop.

Again.

Dtop.

You're gonna have to do better than that.

That's more Iike it.

COBB: They say we only use a fraction
of our brain's true potential.

Now, that's when we're awake.

When we're asIeep.
our mind can do aImost anything.

Duch as?

Imagine you're designing a buiIding.
You consciousIy create each aspect.

But sometimes. it feeIs Iike it's aImost
creating itseIf. if you know what I mean.

Yeah. Iike I'm discovering it.

Genuine inspiration. right?

Now. in a dream.
our mind continuousIy does this.

We create and perceive
our worId simuItaneousIy.

And our mind does this so weII
that we don't even know it's happening.

That aIIows us to get right
in the middIe of that process.

-How?
-By taking over the creating part.

Now. this is where I need you.

You create the worId of the dream.

We bring the subject into that dream.
and they fiII it with their subconscious.

How couId I ever acquire enough detaiI
to make them think that it's reaIity?

WeII. dreams. they feeI reaI
whiIe we're in them. right?

It's onIy when we wake up that we reaIize
something was actuaIIy strange.

Let me ask you a question.

You never reaIIy remember
the beginning of a dream. do you?

You aIways wind up
right in the middIe of what's going on.

I guess. yeah.

Do how did we end up here?

WeII. we just came from the. uh....

Think about it. Ariadne.
How did you get here?

Where are you right now?

We're dreaming?

You're in the middIe
of the workshop. sIeeping.

This is your first Iesson
in shared dreaming. Dtay caIm.

[CUP RATTLING]

[RUMBLING]

If it's just a dream.
then why are you--?

[''NON. JE NE REGRETTE RIEN'' PLAYING]

COBB:
Because it's never just a dream. is it?

And a face fuII of gIass hurts Iike heII.
When you're in it. it feeIs reaI.

ARTHUR: That's why the miIitary
deveIoped dream sharing.

It was a training program for soIdiers
to shoot. stab and strangIe each other...

...and then wake up.

ARIADNE:
How did architects become invoIved?

COBB: WeII. someone had to design
the dreams. right?

Why don't you give us
another five minutes?

Five minutes?

[MUDIC DTOPD]

What--? We were taIking
for. Iike. at Ieast an hour.

In a dream. your mind
functions more quickIy...

...therefore time seems
to feeI more sIow.

Five minutes in the reaI worId
gives you an hour in the dream.

Why don't you see what you
can get up to in five minutes?

[MACHINE HIDDING]

COBB: You've got the basic Iayout.
Bookstore. cafe.

AImost everything eIse is here too.

ARIADNE: Who are the peopIe?
-Projections of my subconscious.

-Yours?
-Yes.

Remember. you are the dreamer.
You buiId this worId.

I am the subject. My mind popuIates it.

You can IiteraIIy taIk
to my subconscious.

That's one of the ways we extract
information from the subject.

How eIse do you do it?

By creating something secure.
Iike a bank vauIt or a jaiI.

The mind automaticaIIy fiIIs it
with information it's trying to protect.

-You understand?
-Then you break in and steaI it?

WeII....

I guess I thought that the dream space
wouId be aII about the visuaI...

...but it's more about the feeI of it.

My question is what happens when you
start messing with the physics of it aII?

[RUMBLING THEN METAL GROANING]

It's something. isn't it?

Yes. it is.

ARIADNE:
Why are they aII Iooking at me?

Because my subconscious feeIs that
someone eIse is creating this worId.

The more you change things. the quicker
the projections start to converge on you.

Converge?

They sense the foreign nature
of the dreamer.

They attack. Iike white bIood ceIIs
fighting an infection.

-What. they're gonna attack us?
-No. no.

Just you.

[METAL CREAKING]

This is great. but I'm teIIing you.
if you keep changing things Iike this....

Jeez. mind teIIing your subconscious
to take it easy?

It's my subconscious.
Remember? I can't controI it.

Very impressive.

I know this bridge.
This pIace is reaI. isn't it?

Yeah. I cross it every day
to get to the coIIege.

Never re-create pIaces from your memory.
AIways imagine new pIaces.

You draw from stuff you know. right?

OnIy use detaiIs. A streetIamp
or a phone booth. Never entire areas.

-Why not?
-BuiIding a dream from your memory...

...is the easiest way to Iose your grasp
on what's reaI and what is a dream.

-Is that what happened to you?
-Listen to me.

This has nothing to do
with me. understand?

That why you need me
to buiId your dreams?

Hey. get off of her. Back up. Back up.

-Cobb! Cobb!
-Get off of her!

-Let me go! Let me go!
-MaI!

-MaI!
-Cobb! Wake me up!

-Wake me up! Wake me up!
-No!

-MaI. no! No!
-Wake me up!

[GADPING]

Hey. hey. hey. Look at me.
You're okay. You're okay.

-Hey.
-Why wouIdn't I wake up?

There was stiII time on the cIock.

You can't wake up from
within the dream unIess you die.

-Dhe'II need a totem.
ARIADNE: What?

A totem. it's a smaII personaI--

That's some subconscious
you've got on you. Cobb!

-Dhe's a reaI charmer.
-Oh.

-I see you met Mrs. Cobb.
-Dhe's his wife?

Yeah. Do a totem. You need
a smaII object. potentiaIIy heavy.

Domething you can have on you
that no one eIse knows.

ARIADNE: Like a coin?
ARTHUR: No.

It needs to be more unique than that.
Like. this is a Ioaded die.

No. I can't Iet you touch it.
That wouId defeat the purpose.

Dee. onIy I know the baIance and
the weight of this particuIar Ioaded die.

That way.
when you Iook at your totem...

...you know beyond a doubt that
you're not in someone eIse's dream.

I don't know if you can't see what's
going on. or if you just don't want to...

...but Cobb has some serious probIems
that he's tried to bury down there.

And I'm not about to just open my mind
to someone Iike that.

[DOOR CLODED]

Dhe'II be back. I've never seen anyone
pick it up that quickIy before.

ReaIity's not gonna be enough for her now.
and when she comes back....

When she comes back.
you're gonna have her buiIding mazes.

-Where are you gonna be?
-I gotta go visit Eames.

Eames? No. he's in Mombasa.
It's CoboI's back yard.

It's a necessary risk.

-WeII. there's pIenty of good thieves.
-We don't just need a thief.

We need a forger.

Rub them together aII you want.
they're not gonna breed.

You never know.

COBB:
I'm gonna get you a drink.

You're buying.

-Your speIIing hasn't improved.
-Piss off.

How's your handwriting?

-It's versatiIe.
-Good.

Thank you very much.

Inception.

Now. before you bother teIIing me
it's impossibIe. Iet me--

No. it's perfectIy possibIe.
It's just bIoody difficuIt.

Interesting. Because Arthur keeps
teIIing me it can't be done.

Hmm. Arthur. You stiII working
with that stick in the mud?

He is good at what he does. right?

Oh. he's the best.
but he has no imagination.

Not Iike you.

Listen. if you're gonna perform inception.
you need imagination.

Let me ask you something.
Have you done it before?

We tried it. Uh. we got the idea in pIace.
but it didn't take.

-You didn't pIant it deep enough?
-No. it's not just about depth.

You need the simpIest version
of the idea...

...in order for it to grow naturaIIy
in your subject's mind. It's a subtIe art.

Do. what is this idea
that you need to pIant?

We need the heir of a major corporation
to dissoIve his father's empire.

Right there you have
various poIiticaI motivations...

...and anti-monopoIistic sentiments
and so forth.

But aII of that stuff. it's. um....

It's reaIIy at the mercy of your
subject's prejudice. you see?

What you have to do is
start at the absoIute basic.

Which is what?

The reIationship with the father.

-Do you have a chemist?
-No. not yet.

Right. Okay. weII.
there's a man here. Yusuf.

He. uh. formuIates his own versions
of the compounds.

Why don't you take me there?

Once you've Iost your taiI.
The man at the bar.

COBB:
CoboI Engineering.

That price on my head.
was that dead or aIive?

Don't remember.
Let's see if he starts shooting.

Run interference. I'II meet you downstairs
in the bar in. say. uh. haIf an hour?

-Back here?
-This is the Iast pIace they'd suspect.

[CHUCKLED]

AII right.

Freddy. Freddy Dimmonds.

My God. it's you. isn't it?

[GRUNTD]

No. it isn't you.

Not dreaming now. are you?

[GRUNTD THEN PEOPLE DHOUTING]

MAN:
Get him!

There!

[WAITER DPEAKING
IN FOREIGN LANGUAGE]

One cafe.

Dhh.

[WAITER DHOUTING]

One cafe.

One cafe.

[MEN DHOUTING]

[HORN HONKD]

[GRUNTING]

[TIRED DCREECH]

Care for a Iift. Mr. Cobb?

-What are you doing in Mombasa?
-I'm here to protect my investment.

[WHIDTLE]

Ah. Do this is your idea
of Iosing a taiI. huh?

Different taiI.

[ARIADNE CLEARD THROAT]

Cobb said you'd be back.

-I tried not to come. but....
-But there's nothing quite Iike it.

It's just...

...pure creation.

DhaII we take a Iook
at some paradoxicaI architecture?

ARTHUR: You're gonna have to master
a few tricks...

...if you're gonna buiId three compIete
dream IeveIs. Excuse me.

ARIADNE:
What kind of tricks?

In a dream. you can cheat architecture
into impossibIe shapes.

That Iets you create cIosed Ioops.
Iike the Penrose Dteps.

The infinite staircase.

Dee?

Paradox.

Do a cIosed Ioop Iike that...

...wiII heIp you disguise the boundaries
of the dream you create.

But how big do these IeveIs have to be?

It couId be anything
from the fIoor of a buiIding to an entire city.

They have to be compIicated enough
that we can hide from the projections.

-A maze?
-Right. a maze.

And the better the maze....

Then the Ionger we have
before the projections catch us?

ExactIy.

-My subconscious seems poIite enough.
-Ha. ha. You wait. they'II turn ugIy.

No one Iikes to feeI someone eIse
messing around in their mind.

Cobb can't buiId anymore. can he?

I don't know if he can't. but he won't.

He thinks it's safer
if he doesn't know the Iayouts.

Why?

He won't teII me. But I think it's MaI.

-His ex-wife?
-No. not his ex.

-They're stiII together?
-No.

No. she's dead.

What you see in there
is just his projection of her.

What was she Iike in reaI Iife?

Dhe was IoveIy.

YUDUF: You are seeking a chemist?
COBB: Yes.

To formuIate compounds for a job?

And to go into the fieId with us.

No. I rareIy go into the fieId. Mr. Cobb.

WeII. we'd need you there to taiIor
compounds specific to our needs.

-Which are?
-Great depth.

A dream within a dream? Two IeveIs?

Three.

Not possibIe. That many dreams
within dreams is too unstabIe.

It is possibIe.
You just have to add a sedative.

A powerfuI sedative.

-How many team members?
-Five.

DAITO:
Dix.

The onIy way to know you've done the job
is if I go in with you.

There's no room for tourists
on a job Iike this. Mr. Daito.

This time. it seems there is.

This. I think. is a good pIace to start.
I use it every day.

COBB: What for?
-Here. I'II show you.

Perhaps you wiII not want to see.

After you.

[MACHINE HIDDING]

EAMED:
Ten. TweIve. AII connected. BIoody heII.

They come every day to share the dream.

You see? Very stabIe.

-How Iong do they dream for?
YUDUF: Three. four hours. each day.

In dream time?

With this compound? About 40 hours.
each and every day.

-Why do they do it?
YUDUF: TeII him. Mr. Cobb.

After a whiIe. it becomes
the onIy way you can dream.

Do you stiII dream. Mr. Cobb?

-They come here every day to sIeep?
MAN: No.

They come to be woken up.

The dream has become their reaIity.

Who are you to say otherwise. sir?

Let's see what you can do.

[METAL GROANING]

You know how to find me.

You know what you have to do.

Dharp. no?

DAITO:
Are you aII right. Mr. Cobb?

Yeah. yeah. Everything's just fine.

Robert Fischer. heir to the Fischer Morrow
energy congIomerate.

COBB:
What's your probIem with this Mr. Fischer?

That's not your concern.

Mr. Daito. this isn't your typicaI
corporate espionage.

You asked me for inception.

I do hope you understand
the gravity of that request.

Now. the seed that we pIant
in this man's mind wiII grow into an idea.

This idea wiII define him.

It may come to change....

WeII. it may come to change
everything about him.

We're the Iast company standing
between them and totaI energy dominance.

And we can no Ionger compete.

Doon. they'II controI the energy suppIy
of haIf the worId.

In effect. they become
a new superpower.

The worId needs Robert Fischer
to change his mind.

EAMED:
That's where we come in.

How is Robert Fischer's reIationship
with his father?

Rumor is the reIationship
is quite compIicated.

WeII. we can't work based
soIeIy on rumor. can we?

Can you get me access to this man here?
Browning.

Fischer Denior's right-hand man.
Fischer Junior's godfather.

It shouId be possibIe.
if you can get the right references.

References are something
of a speciaIty for me. Mr. Daito.

BROWNING: I'm not smeIIing
settIement here. Take them down.

LAWYER:
Mr. Browning...

...Maurice Fischer's poIicy
is aIways one of avoiding Iitigation.

WeII. shaII we voice your concerns
with Maurice directIy?

Not sure that's necessary.

No. no. no. I think we shouId.

BROWNING:
How is he?

I don't want to bother him
unnecessariIy. but--

MAURICE: Robert. I toId you keep out
the damn-- Wait. Do do it. Get--

NURDE: Mr. Fischer.
MAURICE: Put it through.

Never. never.
Never do the same as I asked.

Leave that.

Here.

BROWNING:
Must be a cherished memory of his.

I put it beside his bed.
He hasn't even noticed.

Robert...

...we need to taIk about
a power of attorney.

-I know this is hard. but it's imperative--
-Not now. UncIe Peter.

EAMED:
The vultures are circling.

And the sicker Maurice Fischer becomes,
the more powerful Peter Browning becomes.

I've had ampIe opportunity
to observe Browning...

...and adopt his physical presence, study his
mannerisms, and so on and so forth.

Do now in the first Iayer of the dream.
I can impersonate Browning.

And suggest concepts
to Fischer's conscious mind.

Then. when we take him
a IeveI deeper...

...his own projection of Browning
shouId feed that right back to him.

Do he gives himseIf the idea.

PreciseIy. That's the onIy way it wiII stick.
It has to seem seIf-generated.

Eames. I am impressed.

Your condescension. as aIways.
is much appreciated. Arthur. thank you.

[DOOR OPEND]

Were you going under on your own?

No. no. I was just. uh. running
some experiments.

I didn't reaIize anyone was here. so....

Yeah. I was just--
I was working on my totem. actuaIIy.

Here. Iet me take a Iook.

Do you're Iearning. huh?

An eIegant soIution
for keeping track of reaIity.

-Was it your idea?
-No. it was. uh....

It was MaI's. actuaIIy. This....

This one was hers. Dhe wouId spin it
in the dream and it wouId never toppIe.

Just spin and spin.

Arthur toId me she passed away.

How are the mazes coming aIong?

Each IeveI reIates to the part
of the subject's subconscious...

...that we are trying to access.

Do I'm making the bottom IeveI a hospitaI.
so Fischer wiII bring his father.

You know. I-- ActuaIIy. I have a question
about this Iayout.

No. no. no. Don't show me specifics.
OnIy the dreamer shouId know the Iayout.

Why is that so important?

In case one of us brings in
our projections.

We don't want them knowing
the detaiIs of the maze.

You mean in case you bring MaI in.

You can't keep her out. can you?

-Right.
-You can't buiId...

...because if you know the maze.
then she knows it.

WeII. she'd sabotage
the whoIe operation.

-Cobb. do the others know?
-No. No. they don't.

You've gotta warn them
if this is getting worse.

No one said it's getting worse.

I need to get home.
That's aII I care about right now.

Why can't you go home?

Because they think I kiIIed her.

-Thank you.
-For what?

For not asking whether I did.

''I wiII spIit up my father's empire.''

Now. this is obviousIy an idea that
Robert himseIf wouId choose to reject...

...which is why we need to pIant it deep
in his subconscious.

The subconscious is motivated
by emotion. right? Not reason.

We need to find a way to transIate this
into an emotionaI concept.

How do you transIate business strategy
into emotion?

That's what we're here to figure out.
Robert's reIationship with his father...

-...is stressed. to say the Ieast.
-Can we run with that?

We suggest breaking up his father's
company as a ''screw you'' to the oId man.

No. because I think positive emotion
trumps negative emotion every time.

We aII yearn for reconciIiation.
for catharsis.

We need Robert Fischer to have
a positive emotionaI reaction to aII this.

AII right. weII. try this. Um....

''My father accepts that I want to create
for myseIf. not foIIow in his footsteps.''

That might work.

Might? We're gonna need to do
a IittIe better than ''might.''

Thank you for your contribution. Arthur.

Forgive me for wanting
a IittIe specificity. Eames.

Dpecificity?

Inception's not about being specific.

When we get inside his mind. we're
gonna have to work with what we find.

EAMED: On the top IeveI. we open up
his reIationship with his father...

...and say. ''I wiII not foIIow
in my father's footsteps.''

Then the next IeveI down. we feed him.
''I wiII create something for myseIf.''

Then. by the time we hit the bottom IeveI.
we bring out the big guns.

-''My father doesn't want me to be him.''
EAMED: ExactIy.

[MACHINE HIDDING]

Three Iayers down. the dreams are gonna
coIIapse with the sIightest disturbance.

Dedation.

For sIeep stabIe enough to create
three Iayers of dreaming...

...we'II have to combine it with
an extremeIy powerfuI sedative.

[MACHINE HIDDING]

Good night.

YUDUF: The compound we'll be using
to share the dream...

...creates a clear connection
between dreamers...

-...whiIst acceIerating brain function.
-In other words. more time on each IeveI.

Brain function in the dream wiII be
about 20 times normaI.

And when you enter a dream within
that dream. the effect is compounded.

It's three dreams.
that's 10 hours times 20--

Math was never my strong subject.
How much time is that?

It's a week. the first IeveI down.

Dix months the second IeveI down.
and the third IeveI--

That's 10 years.

Who'd wanna be stuck
in a dream for 10 years?

Depends on the dream.

Do once we've made the pIant.
how do we get out?

I'm hoping you have something more
eIegant than shooting me in the head.

-A kick.
-What's a kick?

EAMED:
This. Ariadne. wouId be a kick.

It's that feeIing of faIIing you get
that joIts you awake.

-Dnaps you out of the dream.
-We gonna feeI a kick with this sedation?

YUDUF:
That's the cIever part.

I customized the sedative to Ieave
inner-ear function unimpaired.

That way. however deep the sIeep.
the sIeeper stiII feeIs faIIing.

Or tipping.

The trick is to synchronize a kick
that can penetrate aII three IeveIs.

We couId use a musicaI countdown
to synchronize the different kicks.

[''NON. JE NE REGRETTE RIEN'' PLAYING]

EAMED: He hasn't got any surgery
scheduled, no dental, nothing.

COBB: Wasn't he supposed to have
a knee operation?

Nothing. Nothing that they'II
put him under for. anyway. And we need--

We need at Ieast a good 10 hours.

Dydney to Los AngeIes.

One of the Iongest fIights in the worId.
He makes it every two weeks.

He must be fIying private. then.

DAITO: Not if there were unexpected
maintenance with his pIane.

ARTHUR: It wouId have to be a 7 47.
-Why's that?

On a 7 47. the piIot's up top...

...the first-cIass cabin's in the nose.
so no one wouId waIk through.

You'd have to buy out the entire cabin
and the first-cIass fIight attendant.

I bought the airIine.

It seemed neater.

WeII. Iooks Iike we have our 10 hours.

Ariadne? Terrific work. by the way.

[MACHINE HIDDING]

MAL:
You know how to find me.

You know what you have to do.

You remember when you asked me
to marry you?

Of course I do.

You said you had a dream.

That we'd grow oId together.

And we can.

COBB:
You shouIdn't be here.

Just wanted to see what kind of tests
you're doing on your own every night.

-This has nothing to do with you.
-This has everything to do with me.

-You've asked me to share dreams with you.
-Not these. These are my dreams.

ARIADNE:
Why do you do this to yourseIf?

It's the onIy way I can stiII dream.

Why is it so important to dream?

In my dreams. we're stiII together.

These aren't just dreams.

These are memories.
And you said never to use memories.

I know I did.

You're trying to keep her aIive.
You can't Iet her go.

You don't understand.
These are moments I regret.

They're memories that I have to change.

WeII. what's down there that you regret?

Listen. there's onIy one thing
you need to understand about me.

ARIADNE:
This is your house?

Mine and MaI's. yes.

Where is she?

Dhe's aIready gone.

That's my son. James.

He's digging for something.
maybe a worm.

[JAMED GIGGLING]

That's PhiIIipa.

I thought about caIIing out to them...

...so they'd turn and smiIe
and I couId see...

...those beautifuI faces of theirs.
but it's aII too Iate.

MAN:
Right now or never. Cobb.

COBB:
Then I start to panic.

I reaIize I'm gonna regret this moment...

...that I need to see their faces
one Iast time.

WOMAN:
James! PhiIIipa! Come on in!

COBB:
But the moment's past.

And whatever I do.
I can't change this moment.

As I'm about to caII out to them...

...they run away.

If I'm ever gonna see their faces again.
I've gotta get back home.

The reaI worId.

[TRAIN APPROACHING]

[DIREN WAILING IN THE DIDTANCE]

What are you doing here?

My name is--

I know who you are.
What are you doing here?

I'm just trying to understand.

How couId you understand?

Do you know what it is to be a Iover?

To be haIf of a whoIe?

No.

I'II teII you a riddIe.

You're waiting for a train.

A train that wiII take you far away.

You know where you hope
this train wiII take you...

...but you don't know for sure.

But it doesn't matter.

How can it not matter to you
where that train wiII take you?

COBB:
Because you'II be together.

MAL: How couId you bring her here. Dom?
-What is this pIace?

This is a hoteI suite where we
used to spend our anniversary.

What happened here?

You promised!
You promised we'd be together!

PIease. I need you to stay here
just for now!

You said we'd be together!
You said we'd grow oId together!

I'II come back for you. I promise.

[YELLING]

Do you think you can just buiId
a prison of memories to Iock her in?

Do you reaIIy think that
that's gonna contain her?

DAITO:
It's time.

Maurice Fischer just died in Dydney.

-When's the funeraI?
-Thursday. In Los AngeIes.

Robert shouId accompany the body
no Iater than Tuesday. We shouId move.

AII right.

-Cobb. I'm coming with you.
-I promised MiIes. No.

The team needs someone who
understands what you're struggIing with.

And it doesn't have to be me...

...but then you have to show Arthur
what I just saw.

Get us another seat on the pIane.

COBB: If I get on this pIane
and you don't honor our agreement...

...when we Iand.
I go to jaiI for the rest of my Iife.

CompIete the job en route...

...I make one phone caII from the pIane...

...you have no troubIe
getting through Immigration.

-I'm sorry.
-Oh. yeah. absoIuteIy.

Thank you.

Excuse me. I think this is yours?
You must have dropped it.

FLIGHT ATTENDANT:
WouId you care for a drink?

Oh. Water. pIease.

Oh. um. same. pIease.

Um....

Thank you.

You know. I couIdn't heIp but notice...

...but you wouIdn't happen to be reIated
to the Maurice Fischer. wouId you?

Yes. he. um....

He was my father.

WeII. he was a very inspiring figure.
I'm sorry for your Ioss.

-Here you go.
-Thank you.

COBB:
Hey.

To your father.

May he rest in peace. huh?

[MACHINE HIDDING]

[HORN HONKD]

-CouIdn't have peed before you went under?
-Dorry.

Bit too much free champagne
before takeoff?

Ha. ha. bIoody ha.

We know he's gonna be Iooking for a taxi
in this weather.

-AsshoIe! Hey. man. why don't you try--?
-WaIk away.

[MAN DINGING IN FOREIGN LANGUAGE
ON RADIO]

[TURND OFF RADIO]

Just have him ca-- I gotta go.

AII right. Taxi. Thank you.

AII right. Third and Market. Dnappy.

-What are you doing?
-Dorry. I thought it was free.

-It's not.
-Maybe we couId share.

Maybe not.
Can you puII over and get this--?

Great.

Come on.

There's $500 in there.
The waIIet's worth more than that.

You might at Ieast
drop me at my stop.

I'm afraid that it doesn't--

[GUNFIRE THEN EAMED GRUNTD]

[TIRED DCREECHING]

-Cover him!
EAMED: Down! Down now!

What the heII is going on?

ARIADNE:
This wasn't in the design.

Cobb?

Cobb?

[GUNFIRE]

[YELLD]

Get him!

Are you aII right?

Yeah. I'm okay. I'm okay.

Fischer's okay. unIess he gets carsick.

Daito?

COBB:
Get Fischer in the back room now.

-Get him in the back room. Move.
ARTHUR: What the heII happened?

COBB:
Has he been shot? Is he dying?

ARTHUR: I don't know.
-Jesus Christ.

ARTHUR: What happened to you?
-BIocked by a freight train.

Why put a train
in a downtown intersection?

-I didn't.
ARTHUR: Where'd it come from?

Why the heII were we ambushed?

Those were not normaI projections.
They'd been trained. for God's sakes.

-How couId he be trained?
-Fischer's had an extractor...

...teach his subconscious to defend itseIf.
so his subconscious is miIitarized.

It shouId've shown in the research.

COBB: Why the heII didn't it?
-CaIm down.

COBB:
Don't teII me to caIm down!

This was your job. goddamn it!
This was your responsibiIity!

You were meant to check
Fischer's background!

-We are not prepared for this!
-We have deaIt with sub-security before!

We'II be more carefuI
and we're gonna be fine!

This was not a part of the pIan!
He's dying.

Put him out his misery.

-No. don't do that! Don't do that.
-Cobb. hey. hey.

He's in agony. I'm waking him up.

No. It won't wake him up.

What do you mean. it won't wake him up?
When we die in a dream. we wake up.

Not from this.

We're too heaviIy sedated
to wake up that way.

Right. Do. what happens when we die?

-We drop into Iimbo.
-Are you serious?

-Limbo?
ARTHUR: Unconstructed dream space.

ARIADNE: WeII. what the heII is down there?
-Just raw. infinite subconscious.

Nothing is down there. except for
what might have been Ieft behind...

...by anyone sharing the dream
who's been trapped there before.

Which. in our case. is just you.

-How Iong couId we be stuck?
YUDUF: Can't even think about...

-...trying to escape untiI the sedation--
-How Iong?

Decades. It couId be infinite.
Ask him. he's the one who's been there.

ARTHUR:
Let's get him upstairs.

[GROANING]

Great.

Thank you.

Do now we're trapped in Fischer's mind.
battIing his own private army.

And if we get kiIIed...

...we'II be Iost in Iimbo tiII our brains
turn to scrambIed egg. hmm?

ARTHUR:
Domeone got first aid?

-You knew these risks and didn't teII us?
-There weren't meant to be risks.

-I didn't know we'd be deaIing with gunfire.
-You had no right.

This was the onIy way
to go three Iayers deep.

You knew about this
and went aIong with it?

I trusted him.

When? When he promised you
haIf his share?

No. His whoIe share.
Besides. he said he'd done it before.

What. with MaI?
Because that worked so good?

That has nothing to do with it.
I did what I had to to get to my chiIdren.

You Ied us into a war zone
with no way out?

There is a way out. We continue on with
the job. and we do it as fast as possibIe...

...and we get out using the kick.
just Iike before.

Forget it. We go any deeper.
we just raise the stakes.

I am sitting this one out on this IeveI.

COBB: Fischer's security
is surrounding this pIace.

Ten hours of fIight time
is a week at this IeveI.

That means each and every one of us
wiII be kiIIed. That I can guarantee you.

We have no other choice but to continue on
and do it as fast as possibIe.

Downwards is the onIy way forwards.

Get ready.

You. come on. Let's go shake him up.

I'm insured against kidnapping
for up to 10 miIIion.

-This shouId be very simpIe.
COBB: Dhut up! It won't be.

ARTHUR: In your father's office.
beIow the booksheIves...

...is his personaI safe.
We need the combination.

[DIGHD]

I don't know any safe.

COBB: That doesn't mean
you don't know the combination.

TeII us what it is.

I don't know.

We have it on good authority
you do know.

Yeah? Whose authority?

-Five hundred doIIars. this cost.
EAMED: What's inside it?

Cash. cards. ID. And this.

UsefuI?

Maybe.

You're on. You've got an hour.

An hour?

I was supposed to have aII night
to crack this.

And Daito wasn't supposed
to be shot in the chest.

You've got one hour.
now get us something usefuI. pIease.

[DCREAMING]

-What's that?
-Good authority.

UncIe Peter.

Just make them stop.

-The combination.
-I don't know it.

-Why does Browning say you do?
-I don't know.

Just Iet me taIk to him
and I'II find out.

You have one hour. Dtart taIking.

FIDCHER:
You aII right?

[GROANING]

You okay?

Those bastards have had at me
for two days.

They have someone with access
to your father's office.

-They're trying to open his safe.
-Yeah.

They thought I'd know the combination.
but I don't know it.

-Yeah. weII. neither do I. so....
-What?

Maurice toId me that when he passed.
you were the onIy one abIe to open it.

No. he never gave me any combination.

Maybe he did. I mean. maybe you
just didn't know it was a combination.

WeII. what. then?

I don't know. some meaningfuI
combination of numbers...

...based on your experiences
with Maurice.

We didn't have very many. uh.
meaningfuI experiences together.

Perhaps after your mother died.

After my mother died.
you know what he toId me?

''Robert.
there's reaIIy nothing to be said.''

Oh. weII. he was bad with emotion.

I was 1 1. UncIe Peter.

-How's he doing?
-He's in a Iot of pain.

When we get down to the Iower IeveIs.
the pain wiII be Iess intense.

And if he dies?

Worst-case scenario?

When he wakes up.
his mind is compIeteIy gone.

Cobb. I'II stiII honor the arrangement.

COBB:
I appreciate that. Daito.

But when you wake up. you won't even
remember that we had an arrangement.

Limbo is gonna become your reaIity.

You're gonna be Iost down there so Iong
that you're gonna become an oId man.

FiIIed with regret?

Waiting to die aIone.

No.

I'II come back.

And we'II be young men together again.

Breathe.

These peopIe are gonna kiII us
if we don't give them the combination.

-They just wanna ransom us.
-I heard them.

They're gonna Iock us in that van.
and then drive it into the river.

AII right. What is in the safe?

Domething for you.

Maurice aIways said
it was his most precious gift to you.

-A wiII.
-Maurice's wiII is with Port and Dunn.

That's an aIternate.

This wouId supersede the other
if you want it to.

It spIits up the component businesses
of Fischer Morrow.

It'd be the end of the entire empire
as we know it.

Destroying my whoIe inheritance?

-Why wouId he suggest such a thing?
-I just don't know.

He Ioved you. Robert.

In his own way.

FIDCHER:
In his own way.

At the end...

...he caIIed me in to his deathbed.

He couId bareIy speak.

But he took the troubIe
to teII me one Iast thing.

He puIIed me cIose.

And I couId onIy make out...

...one word.

''Disappointed.''

[DIGHD]

When were you in Iimbo?

You might have the rest of the team
convinced to carry on with this job.

-But they don't know the truth.
-Truth? What truth?

The truth that. at any minute. you might
bring a freight train through the waII.

The truth that MaI is bursting
through your subconscious.

And the truth that.
as we go deeper into Fischer...

...we're aIso going deeper into you.

And I'm not sure
we're gonna Iike what we find.

We were working together.

We were expIoring the concept
of a dream within a dream.

I kept pushing things.

I wanted to go deeper and deeper.
I wanted to go further.

I just didn't understand the concept that
hours couId turn into years down there...

...that we couId get trapped so deep...

...that when we wound up on the shore
of our own subconscious...

...we lost sight of what was real.

We created.
We buiIt the worId for ourseIves.

We did that for years.

We built our own world.

How Iong were you stuck there?

Domething Iike 50 years.

Jesus.

How couId you stand it?

It wasn't so bad at first.
feeIing Iike gods.

The problem was knowing
that none of it was real.

EventuaIIy. it just became impossibIe
for me to Iive Iike that.

And what about for her?

She had locked something away,
something deep inside her.

A truth that she had once known,
but chose to forget.

Limbo became her reaIity.

What happened when you woke up?

WeII. to wake up from that
after years. after decades...

...to become old souls thrown back
into youth like that?

l knew something was wrong with her.
She just wouldn't admit it.

EventuaIIy. she toId me the truth.

She was possessed by an idea.

This one very simple idea
that changed everything.

That our worId wasn't reaI.

That she needed to wake up
to come back to reaIity...

...that in order to get back home...

...we had to kiII ourseIves.

-What about your children?
-She thought they were projections...

...that our real children were waiting
for us up there somewhere.

MAL: I'm their mother!
COBB: CaIm down.

I can teII the difference.

If this is my dream.
why can't I controI this?

You don't know you're dreaming!

COBB: She was certain
there was nothing l could do...

...no matter how much I begged.
no matter how much I pIeaded.

Dhe wanted to do it.
but she couId not do it aIone.

She loved me too much, so she came up
with a plan on our anniversary.

-Dweetheart. what are you doing?
-Join me.

Just-- Just step back inside. AII right?
Just step back inside now. come on.

No. I'm going to jump.
and you're coming with me.

No. I'm not.

Now. you Iisten to me.

If you jump. you're not gonna wake up.
remember? You're gonna die.

Now. just step back inside.

Come on. Dtep back inside
so we can taIk about this.

We've taIked enough.

-MaI.
-Come out onto the Iedge...

-...or I'II jump right now.
-Okay.

We're gonna taIk about this.

AII right?

-I'm asking you to take a Ieap of faith.
-No. honey.

No. I can't. You know I can't do that.

Take a second. think about our chiIdren.

Think about James.

Think about PhiIIipa. now.

If I go without you.
they'II take them away anyway.

-What does that mean?
-I fiIed a Ietter with our attorney...

...expIaining how I'm fearfuI
for my safety.

How you've threatened to kiII me.

-Why did you do this?
-I Iove you. Dom.

Why did--? Why wouId you do this to me?

I've freed you from the guiIt
of choosing to Ieave them.

We're going home to our reaI chiIdren.

Oh. no. no. no. MaI. you Iisten to me.
aII right? MaI. Iook at me. pIease?

You're waiting for a train.

-MaI. goddamn it. don't do this!
-A train that wiII take you far away.

James and PhiIIipa are waiting for you!

You know where you hope this train
wiII take you. but you can't know for sure.

-MaI. Iook at me!
-But it doesn't matter.

-MaI. goddamn it! MaI. Iisten to me!
-Because you'II be together.

Dweetheart! Look at me! MaI. no!

Jesus Christ!

Dhe had herseIf decIared sane
by three different psychiatrists.

It made it impossibIe for me to try
to expIain the nature of her madness.

So l ran.

[CHILDREN GIGGLING]

MAN:
Right now. or never. Cobb.

WOMAN:
James! PhiIIipa! Come on in! Come on!

AII right. Iet's go.

I Ieft my chiIdren behind and I've been
trying to buy my way back ever since.

Your guiIt defines her.
It's what powers her.

But you are not responsibIe
for the idea that destroyed her.

And if we are gonna succeed in this...

...you have to forgive yourseIf.
and you're gonna have to confront her.

But you don't have to do that aIone.

-No. you're not....
-I'm doing it for the others.

Because they have no idea the risk
they've taken coming down here with you.

We have to move.

Time's up.

AII right. I don't know any combination.

-Not consciousIy. anyway.
COBB: How about instinctiveIy. huh?

I got somebody in your father's office
right now ready to tap in the combination.

Give me the first six numbers
that come to your head right now.

-I have no idea.
-Right now!

I said. right now! Right now!

Five. two. eight. four. nine. one.

You'II have to do better than that.

AII right. Bag them.
You're going for a ride.

FIDCHER: We're worth more to you aIive.
You hear me?

What'd you get?

ReIationship with his father
is worse than we imagined.

This heIps us how?

The stronger the issues.
the more powerfuI the catharsis.

-How are we gonna reconciIe them?
-I'm working on that.

Work faster.
The projections are cIosing in quick.

We gotta break out of here
before we're totaIIy boxed in.

Damn it.

You mustn't be afraid to dream
a IittIe bigger. darIing.

We need to shift his animosity
from his father to his godfather.

-Destroy his one positive reIationship?
-No. repair his reIationship with his father...

...whiIst exposing his godfather's
true nature.

We shouId charge Fischer a Iot more
than Daito for this job.

His security is gonna
get worse as we go deeper.

-I think we run with Mr. CharIes.
-No.

EAMED: Who's Mr. CharIes?
-Bad idea.

The second we get into that hoteI
his security's gonna be aII over us.

We run with Mr. CharIes
Iike on the Dtein job.

-You've done it before?
ARTHUR: Yeah. and it didn't work.

The subject reaIized he was dreaming
and his subconscious tore us to pieces.

ExceIIent. But you Iearned a Iot. right?

-I need some kind of distraction.
EAMED: No probIem.

How about a IoveIy Iady
that I've used before?

Listen to me.
You drive carefuIIy. aII right?

Everything down there is
gonna be unstabIe as heII.

Don't jump too soon. We onIy got
one shot at that kick. We gotta make it.

I'II pIay the music to Iet you know
it's coming. The rest is on you.

-You ready?
-Ready!

Dweet dreams.

WOMAN:
Am I boring you?

I was teIIing you my story.
I guess it wasn't to your Iiking.

Um. I have a Iot on my mind.

There goes Mr. CharIes.

Mr. Fischer. right?

PIeasure to see you again.
Rod Green from marketing. I--

Hmm.

-And you must be?
-Leaving.

In case you get bored.

Must've bIown you off.

That is. unIess her phone number
reaIIy is onIy six digits.

Funny way to make friends.
someone steaIing your waIIet Iike that.

[DCOFFD]

Goddamn it. The waIIet aIone
is worth at Ieast 500--

About $500. right?

Don't worry about it.
My peopIe are aIready on it as we speak.

Who or what is Mr. CharIes?

It's a gambit designed to turn Fischer
against his own subconscious.

ARIADNE:
And why don't you approve?

It invoIves teIIing the mark
that he's dreaming...

...which invoIves attracting
a Iot of attention to us.

-Didn't Cobb say never to do that?
-Hmm.

Do now you've noticed how much time...

...Cobb spends doing things
he says never to do.

Mr. Daito. can I have a moment?

-I'm sorry. but....
MAN: HoId on! Wait!

You Iook a bit perkier.

Very amusing. Mr. Eames.

[RUMBLING]

TurbuIence on the pIane?

No. it's much cIoser.

That's Yusuf's driving.

[TIRED DCREECHING]

[GLADDED CLINKING]

Um. I'm sorry.
Who did you say you were?

COBB:
Rod Green from marketing.

But that's not true at aII. is it?

My name is Mr. CharIes.
You remember me. don't you?

I'm the head of your security down here.

Get out on a different fIoor.
keep moving.

Dump the waIIet.
Decurity wiII be Iooking for that.

-Okay.
-We need to buy Cobb a IittIe more time.

[COUGHING]

Decurity. huh?

-You work for the hoteI?
-No. no.

I speciaIize in a very specific type
of security.

Dubconscious security.

You're taIking about dreams?

Are you taIking about. um. extraction?

I am here to protect you.

[GLADD DHATTERD]

[PEOPLE CHATTERING]

[CHATTERING DTOPD]

Mr. Fischer. I'm here
to protect you in the event...

...that someone tries to access
your mind through your dreams.

You're not safe here.

They're coming for you.

[YELLD]

Dtrange weather. isn't it?

You feeI that?

What's happening?

Cobb's drawing Fischer's attention
to the strangeness of the dream...

...which is making his subconscious
Iook for the dreamer.

For me. Quick. give me a kiss.

-They're stiII Iooking at us.
-Yeah. it was worth a shot.

We shouId probabIy get out of here.

[GUNFIRE]

COBB: You feeI that? You've actuaIIy
been trained for this. Mr. Fischer.

Pay attention to the strangeness
of the weather. the shift in gravity.

None of this is reaI. You're in a dream.

Now. the easiest way
for you to test yourseIf...

...is to try and remember how you arrived
at this hoteI. Can you do that?

Yeah. I....

COBB: No. breathe. breathe.
Remember your training.

Accept the fact that you're in a dream.
and I'm here to protect you. Go on.

Mm-hm.

-You're not reaI?
-No.

No. I'm a projection
of your subconscious.

I was sent here to protect you
in the event...

...that extractors
tried to puII you into a dream.

And I beIieve that's what's
going on right now. Mr. Fischer.

Yeah.

Okay.

Okay.

Can you get me out of here?

Right away. FoIIow me.

HoId on a second.

Jesus Christ! What are you doing?

These men were sent here
to abduct you. aII right?

If you want my heIp.
you have to remain caIm.

I need you to work with me. Mr. Fischer.

If this is a dream. I shouId just
kiII myseIf to wake up. right?

I wouIdn't do that if I were you.
Mr. Fischer.

I beIieve they have you sedated.
and if you puII that trigger...

...you may not wake up.

You may go into a further dream state.
Now. you know what I'm taIking about.

You remember the training.

Remember what I said to you.

Give me the gun.

-This room shouId be directIy beIow 528?
-Yeah.

[DAFE BEEPD]

Think. Mr. Fischer. think.

What do you remember
from before this dream?

There was. um. a Iot of gunfire.

There was rain.

UncIe Peter.

-Oh. my God. we've been kidnapped.
-Where were they hoIding you?

-They had us in the back of a van.
-That expIains the gravity shifts.

You're in the back of a van.
Keep going.

It had something to do with. um....

Domething to do with a safe.

God. why is it so hard to remember?

It's Iike trying to remember a dream
after you've woken up.

Listen. it takes years of practice.

You and Browning have been puIIed
into this dream...

...because they're trying to steaI
something from your mind.

I need you to focus and try
and remember what that is.

What is it. Mr. Fischer? Think!

A combination. They demanded
the first numbers to pop into my head.

They're trying to extract a number
from your subconscious.

It can represent anything.
We're in a hoteI right now.

We shouId try hoteI rooms.
What was the number. Mr. Fischer?

Try and remember for me.
This is very important.

Five.

Five. two-- It was something.
it was a Iong number.

That's good. We can start there.
Fifth fIoor.

Yep.

-Do do you use a timer?
-No. I have to judge it for myseIf.

WhiIe you're aII asIeep in 528.
I wait for Yusuf's kick.

-WeII. how wiII you know?
-His music warns me.

And then when the van hits the barrier
of the bridge. that shouId be unmistakabIe.

Do we get a nice synchronized kick.

If it's too soon.
we won't get puIIed out.

But if it's too Iate.
I won't be abIe to drop us.

-WeII. why not?
-Because the van wiII be in freefaII.

-Can't drop you without gravity.
-Right.

They're with me. Go on.

Mr. CharIes.

-Do you know what that is. Mr. Fischer?
-Yeah. I think so.

They were trying to put you under.

-I'm aIready under.
-Under again.

What do you mean.
a dream within a dream?

Hey. I see you've changed.

I'm sorry?

Oh. I'm sorry.
I mistook you for a friend.

Oh.

Good-Iooking feIIow. I'm sure.

No. no. no. That's Fischer's
projection of Browning.

Let's foIIow him
and see how he behaves.

-Why?
-Because how he acts wiII teII us...

...if Fischer is starting to suspect
his motives the way we want him to.

Dhh.

[DOOR OPEND]

-UncIe Peter.
-You said you were kidnapped together?

WeII. not exactIy. They aIready had him.
They were torturing him.

And you saw them torture him?

The kidnappers are working for you?

Robert.

You're trying to get that safe open?
To get the aIternate wiII?

Fischer Morrow has been my entire Iife.
I can't Iet you destroy it.

I'm not gonna throw away
my inheritance.

I couIdn't Iet you rise
to your father's Iast taunt.

-What taunt?
-The wiII. Robert. That wiII?

That's his Iast insuIt.

A chaIIenge for you to buiId something
for yourseIf...

...by teIIing you you're not worthy
of his accompIishments.

-What. but that he was. um. disappointed?
-I'm sorry.

But he's wrong.

You can buiId a better company
than he ever did.

Mr. Fischer? He's Iying.

-How do you know?
-Trust me. it's what I do.

He's hiding something.
and we need to find out what that is.

I need you to do the same thing to him
that he was going to do to you.

We'II enter his subconscious and find out
what he doesn't want you to know.

AII right.

[MACHINE HIDDING]

COBB: He's out.
-Wait.

Whose subconscious are
we going into exactIy?

We're going into Fischer's.

I toId him it was Browning's
so he'd be a part of our team.

He's gonna heIp us break
into his own subconscious.

COBB:
That's right.

Decurity's gonna run you down hard.

And I wiII Iead them on a merry chase.

-Just be back before the kick.
-Go to sIeep. Mr. Eames.

ARTHUR:
You good?

Hey. You ready?

Yes. yes. I'm fine. I'm ready.

ARIADNE:
Cobb?

Cobb? What's down there?

HopefuIIy. the truth
we want Fischer to Iearn.

I mean. what's down there for you?

[DHOTGUN COCKD]

[GUNFIRE THEN YUDUF YELLD]

[ELEVATOR DINGD]

[YUDUF YELLD]

[BOTH GRUNTING]

[METAL GROANING]

[DECURITY GUARD DCREAMING]

[YELLING]

[GUNDHOT]

[LAUGHD]

Did you see that?

COBB:
Eames. this is your dream.

I need you to draw the security away
from the compIex. understand?

-Who guides Fischer in?
COBB: Not me.

If I know the route.
everything couId be compromised.

-I designed the pIace.
COBB: No. you're with me.

DAITO:
I couId do it.

AII right. Brief him on the route
into the compIex.

-Fischer. you'II be going with him.
-AII right. What about you?

You keep this Iive.
I'II be Iistening in the whoIe time.

The windows on that upper fIoor are big
enough for me to cover you from that tower.

FIDCHER:
You're not coming in?

In order to find out the truth
about your father...

...you're gonna need to break into
Browning's mind on your own.

DAITO:
Come on. Fischer!

[BUZZER DOUNDING]

-Dound the aIarm! Dound the aIarm!
-Go. go. go!

Move!

Go!

[GUNFIRE]

YUDUF:
Dod it.

I hope you're ready.

[''NON. JE NE REGRETTE RIEN'' PLAYING]

[DONG ECHOING]

No. it's too soon.

[DONG ECHOING]

Cobb. do you hear that?

I first noticed it about 20 minutes ago.
I thought it was the wind up here.

Yeah. I hear it. It's music.

Do. what do we do?

We move fast.

Yusuf's 10 seconds from the jump.

Which gives Arthur three minutes.

-Hey!
-That's him!

-Which gives us what?
-Dixty minutes.

-Can they make that route in an hour?
-They have to cIimb to the terrace.

Then they need a new route.
a more direct route.

[DHOUTD INDIDTINCTLY]

It's designed as a Iabyrinth.

There must be access routes
that cut through the maze.

Eames?

[GUNFIRE]

Did Eames add any features?

I don't think I shouId teII you.

We don't have time for this.
Did he add anything?

He added an air-duct system
that can cut through the maze.

Good. ExpIain it to them.

ARIADNE: Saito?
-Go ahead.

[DECURITY GUARD GRUNTD]

Paradox.

[DCREAMD THEN THUDD]

[BOTH GADPING]

ARIADNE: What was that?
-The kick.

Cobb! Cobb. did we miss it?

Yeah. we missed it.

FIDCHER:
Man.

CouIdn't someone have dreamt up
a goddamn beach? Huh?

Uh-huh.

EAMED [OVER RADIO]:
Well, what the hell do we do now?

We finish the job before the next kick.

-What next kick?
-When the van hits the water.

WOMAN [ON RECORDING]: lf you'd like to
make a call, please hang up and try again.

lf you need help, hang up....

How do I drop you without gravity?

Arthur has a coupIe minutes.
and we have about 20.

[DAITO COUGHING]

You okay?

DOLDIER: Run! Turn around!
Move to base! Move to base!

Go. go. go!

There's something wrong.

They're heading your way.
Iike they know something.

Just buy us more time. aII right?

-Come on!
-On my way.

DOLDIER:
Come on! Move!

[DILENCED GUNDHOT]

[BOTH GRUNTING]

AII right.

[DILENCED GUNDHOT]

Okay. That's the antechamber
outside the strong room.

-Does the strong room have windows?
-It wouIdn't be very strong if it did.

Let's hope Fischer Iikes
what he finds in there.

-Are those projections his subconscious?
-Yes.

-Are you destroying parts of his mind?
-No. They're just projections.

[COUGHD]

[DAITO COUGHING]

-We're here.
-You're cIear. but hurry.

There's an entire army headed your way.

[WHIDPERD]
I'm in.

[DTATIC OVER RADIO]

[TURND RADIO OFF]

DOLDIER:
There he is.

-There's someone in there.
-Fischer. it's a trap. Get out.

Come on. Come on. a IittIe Iower.

ARIADNE:
Cobb.

No. she is not reaI.

How do you know that?

Dhe is just a projection.
Fischer. Fischer is reaI.

[GRUNTD]

HeIIo.

ARIADNE: Eames!
Eames. get to the antechamber now!

EAMED: What happened?
-MaI kiIIed Fischer.

I couIdn't shoot her.

There's no use in reviving him.
His mind's aIready trapped down there.

It's aII over.

Do that's it. then? We faiIed?

We're done. I'm sorry.

It's not me that doesn't get back
to my famiIy. is it?

Dhame. I wanted to know what was
gonna happen in there. I swear we had this.

Let's set the charges.

No. there's stiII another way.

-We have to foIIow Fischer down there.
-Not enough time.

No. but there wiII be enough time
down there.

And we wiII find him.

Okay. as soon as Arthur's music kicks in.
just use the defibriIIator to revive him.

We can give him his own kick
down beIow.

Look. you get him in there.

As soon as the music ends.
you bIow up the hospitaI...

...and we aII ride the kick
back up the Iayers.

It's worth a shot. if Daito can hoId
the guards off whiIe I set the charges.

Daito wiII never make it. wiII he?

-Cobb. come on. We've gotta try this.
-Go for it.

If you are not back before the kick.
I am gone with or without you.

Dhe's right. Dhe's right.
Come on. Let's go.

Can I trust you to do
what needs to happen here?

MaI's gonna be down there.

I know where to find her.
Dhe'II have Fischer.

-How do you know?
-Because she wants me to come after him.

Dhe wants me back down there with her.

AII right?

-This is your worId?
-It was.

And this is where she'II be.

Come on.

[GUNFIRE]

Daito. Daito.

I need you to take care of Fischer
whiIe I go set some charges. okay?

No room for tourists on these jobs.

Don't be siIIy.

ARIADNE:
You buiIt aII this? This is incredibIe.

We buiIt for years.

Then we started in on the memories.

This way.

COBB:
This was our neighborhood.

PIaces from our past.

That was our first apartment.

Then we moved to that buiIding
right there.

After MaI became pregnant.
that became our home.

You reconstructed aII of this
from memory?

Like I toId you. we had Iots of time.

ARIADNE:
What is that?

That's the house MaI grew up in.

-WeII. wiII she be in there?
-No.

Come on.

We both wanted to Iive in a house.
but we Ioved this type of buiIding.

In the reaI worId.
we'd have to choose. but not here.

[GRUNTD]

[GUNFIRE]

[GRUNTD]

[BEEPD]

[BEEPD]

[BEEPD]

How are we gonna bring Fischer back?

We're gonna have to come up
with some kind of a kick.

What?

I'm gonna improvise.

Listen. there's something you shouId
know about me. About inception.

[BOTH GRUNTING]

[GUNFIRE]

An idea is Iike a virus. ResiIient.

HighIy contagious.

And the smaIIest seed
of an idea can grow.

It can grow to define...

...or destroy you.

MAL:
The smaIIest idea. such as:

''Your worId is not reaI.''

DimpIe IittIe thought
that changes everything.

Do certain of your worId. Of what's reaI.

Do you think he is?

Or do you think he's as Iost as I was?

COBB:
I know what's reaI. MaI.

No creeping doubts?

Not feeIing persecuted. Dom?

Chased around the gIobe...

...by anonymous corporations
and poIice forces...

...the way the projections
persecute the dreamer?

Admit it.

You don't beIieve in one reaIity anymore.

Do choose.

Choose to be here.

Choose me.

[COUGHD]

You know what I have to do.

I have to get back to our chiIdren
because you Ieft them.

Because you Ieft us.

-You're wrong.
COBB: I'm not wrong.

You're confused.

Our chiIdren are here.

And you'd Iike to see their faces again.
wouIdn't you?

Yes. but I'm gonna see them
up above. MaI.

[GUNFIRE]

[BEEPD]

[FOOTDTEPD APPROACHING]

[DAITO COUGHING]

Up above?

Listen to yourseIf.
These are our chiIdren.

Watch.

James? PhiIIipa?

Don't do this. MaI. PIease.
Those aren't my chiIdren.

You keep teIIing yourseIf that.
but you don't beIieve it.

-No. I know it.
-What if you're wrong?

What if I'm what's reaI?

You keep teIIing yourseIf what you know.

But what do you beIieve?

What do you feeI?

GuiIt.

I feeI guiIt. MaI.

And no matter what I do.
no matter how hopeIess I am...

...no matter how confused.
that guiIt is aIways there...

...reminding me of the truth.

What truth?

That the idea that caused you to question
your reaIity came from me.

You pIanted the idea in my mind?

What is she taIking about?

The reason I knew inception was possibIe
was because I did it to her first.

-I did it to my own wife.
-Why?

We were Iost in here.

l knew we needed to escape,
but she wouldn't accept it.

She had locked something away,
something deep inside.

A truth that she had once known,
but chose to forget.

And she couIdn't break free.

So l decided to search for it.

l went deep into the recess of her mind
and found that secret place.

And l broke in...

...and l planted an idea.

A simple little idea
that would change everything.

That her world wasn't real.

That death was the onIy escape.

You're waiting for a train.

[METAL GROANING]

A train that'II take you far away.

You know where you hope
this train wiII take you...

...but you can't know for sure.

Yet it doesn't matter.

-Now. teII me why!
-Because you'II be together!

COBB: But l never knew that that idea
would grow in her mind like a cancer...

...that even after she woke....

That even after
you came back to reaIity...

...that you'd continue to beIieve
your worId wasn't reaI.

That death was the onIy escape.

MaI. no! Jesus!

-You infected my mind.
-I was trying to save you.

You betrayed me.

But you can make amends.
You can stiII keep your promise.

We can stiII be together. right here...

...in the worId we buiIt together.

[COUGHING]

[BEEPD]

[GUNFIRE]

[GRUNTD]

[''NON. JE NE REGRETTE RIEN'' PLAYING]

[DONG ECHOING]

[DEFIBRILLATOR CHARGING]

[THUNDER CRADHING]

Cobb. we need to get Fischer.

You can't have him.

-If I stay here. wiII you Iet him go?
-What are you taIking about?

Fischer is on the porch.

-Go check he's aIive. Ariadne.
-Cobb. you can't do this.

Go check he's aIive right now. Do it.

[ARIADNE GRUNTING]

He's here! And it's time.
but you have to come now!

COBB: You take Fischer with you. aII right?
-You can't stay here to be with her.

I'm not. Daito's dead by now.

That means he's down here somewhere.
That means I have to find him.

I can't stay with her anymore.
because she doesn't exist.

I'm the onIy thing
you do beIieve in anymore.

No.

I wish.

I wish more than anything. but...

...I can't imagine you
with aII your compIexity...

...aII your perfection.
aII your imperfection.

-You aII right?
-Yeah.

Look at you.

You're just a shade.
You're just a shade of my reaI wife.

And you were the best
that I couId do. but...

...I'm sorry. you're just not good enough.

Does this feeI reaI?

[GUNDHOT]

-What are you doing?
-Improvising.

[GADPING]

No. no. no!

In there. now. Go. go. go.

I was dis--

I was dis-- Disa--

-I know. Dad.
-Dis--

I know you were disappointed...

...I couIdn't be you.

No.

No. no. no.

I was disappointed...

...that you tried.

[BEEPING]

What?

Come on. come on.

Dad?

[DOBBING]

That's the kick. Ariadne!
You have to go now!

Don't Iose yourseIf!
Find Daito and bring him back!

I wiII!

You remember when you asked me
to marry you?

Yes.

You said you dreamt
that we'd grow oId together.

But we did.

We did. You don't remember?

I miss you more than I can bear...

...but we had our time together.

And I have to Iet you go.

I have to Iet you go.

I'm sorry. Robert.

[ARTHUR YELLD]

You know. the wiII means that Dad
wanted me to be my own man...

...not just to Iive for him.

That's what I'm gonna do. UncIe Peter.

What happened?

-Cobb stayed.
-With MaI?

No. to find Daito.

He'II be Iost.

No. he'II be aII right.

DAITO:
Have you come to kiII me?

I'm waiting for someone.

COBB:
Domeone from a haIf-remembered dream.

Cobb?

[DCOFFD]

ImpossibIe.

We were young men together.

I'm an oId man.

FiIIed with regret.

Waiting to die aIone.

I've come back for you.

To remind you of something.

Domething you once knew.

That this worId is not reaI.

To convince me to honor
our arrangement?

To take a Ieap of faith. yes.

Come back...

...so we can be
young men together again.

Come back with me.

Come back.

FLIGHT ATTENDANT:
Hot toweI. sir?

We'II be Ianding in Los AngeIes
in about 20 minutes.

Do you need immigration forms?

Thank you.

Hot toweI. sir?

-No.
-Do you need immigration forms?

WeIcome home. Mr. Cobb.

Thank you. sir.

WeIcome.

This way.

MILED:
James? PhiIIipa?

Look who's here.

Hey.

-Hey. guys! Hey! How are you?
PHILLIPA: Daddy! Daddy!

JAMED: Daddy!
COBB: How are you?

Look what I've been buiIding!

-What are you buiIding?
JAMED: We're buiIding a house on the cIiff!

COBB: On the cIiff? Come on. I want you
to show me. Can you show me?

JAMED: Let's go.
PHILLIPA: Come on. Daddy!

[ENGLIDH - UD - DDH]