All language subtitles for Inception (2010) (Awafim.tv)

DOWNLOADED FROM WWW.AWAFIM.TV

For latest movies and series with subtitles
Visit WWW.AWAFIM.TV Today

[ OMINOUS MUSIC PLAYS ]

[ WAVES CRASHING ]

[ CHILDREN GIGGLING
IN DISTANCE ]

[ HAPPY CHATTER ]

[ SHRIEKS PLAYFULLY ]

[ SHOUTING IN JAPANESE ]

[ CONVERSING IN JAPANESE ]

[ SWALLOWING WITH DIFFICULTY ]

ARE YOU HERE TO KILL ME?

I KNOW WHAT THIS IS.

I'VE SEEN ONE BEFORE...

[ RATTLING ]

...MANY, MANY YEARS AGO.

IT BELONGED TO A MAN I MET
IN A HALF-REMEMBERED DREAM.

A MAN POSSESSED
OF SOME RADICAL NOTIONS.

Cobb: WHAT IS
THE MOST RESILIENT PARASITE?

A BACTERIA?

A VIRUS?

AN INTESTINAL WORM?

UH...WHAT MR. COBB
IS TRYING TO SAY--

AN IDEA.

RESILIENT.
HIGHLY CONTAGIOUS.

ONCE AN IDEA HAS TAKEN HOLD
OF THE BRAIN,

IT'S ALMOST IMPOSSIBLE
TO ERADICATE.

AN IDEA THAT IS FULLY FORMED,
FULLY UNDERSTOOD--

THAT STICKS.

RIGHT IN THERE SOMEWHERE.

FOR SOMEONE LIKE YOU
TO STEAL?

YES.
IN THE DREAM STATE,

YOUR CONSCIOUS DEFENSES
ARE LOWERED,

AND THAT MAKES YOUR THOUGHTS
VULNERABLE TO THEFT.

IT'S CALLED EXTRACTION.

MR. SAITO,
WE CAN TRAIN YOUR SUBCONSCIOUS

TO DEFEND ITSELF

FROM EVEN
THE MOST SKILLED EXTRACTOR.

HOW CAN YOU DO THAT?

BECAUSE I AM
THE MOST SKILLED EXTRACTOR.

I KNOW HOW TO SEARCH YOUR MIND
AND FIND YOUR SECRETS.

I KNOW THE TRICKS.

AND I CAN TEACH THEM
TO YOU,

SO THAT EVEN
WHEN YOU'RE ASLEEP,

YOUR DEFENSE
IS NEVER DOWN.

LOOK, IF YOU WANT MY HELP,

YOU'RE GONNA HAVE TO BE
COMPLETELY OPEN WITH ME.

I NEED TO KNOW MY WAY
AROUND YOUR THOUGHTS

BETTER THAN YOUR WIFE,

BETTER THAN YOUR THERAPIST,
BETTER THAN ANYONE.

IF THIS IS A DREAM,

AND YOU HAVE A SAFE
FULL OF SECRETS,

I NEED TO KNOW
WHAT'S IN THAT SAFE.

IN ORDER
FOR THIS ALL TO WORK,

YOU NEED TO COMPLETELY
LET ME IN.

ENJOY YOUR EVENING, GENTLEMEN,

AS I CONSIDER
YOUR PROPOSAL.

[ INDISTINCT CONVERSATIONS ]

[ RUMBLING ]
HE KNOWS.

[ OBJECTS RATTLING ]

WHAT'S GOING ON UP THERE?

[ RATTLING CONTINUES ]

[ WATCH TICKING;
TICKING QUICKENS ]

[ INDISTINCT SHOUTING
IN DISTANCE ]

[ EXPLOSIONS IN DISTANCE ]

[ TICKING ]

[ OBJECTS RATTLING ]

SAITO KNOWS.
HE'S PLAYING WITH US.

DOESN'T MATTER.
I CAN GET IT HERE. TRUST ME.

THE INFORMATION
IS IN THE SAFE.

HE LOOKED RIGHT AT IT
WHEN I MENTIONED SECRETS.

WHAT'S SHE DOING HERE?

JUST HEAD BACK
TO THE ROOM.

ALL RIGHT?
I'LL TAKE CARE OF THIS.

OKAY, MAKE SURE YOU DO.
WE'RE HERE TO WORK.

IF I JUMPED...

WOULD I SURVIVE?

WITH A CLEAN DIVE,
PERHAPS.

MAL, WHAT ARE YOU
DOING HERE?

I THOUGHT
YOU MIGHT BE MISSING ME.

YOU KNOW THAT I AM.

BUT I...

I CAN'T
TRUST YOU ANYMORE.

SO WHAT?

LOOKS LIKE
ARTHUR'S TASTE.

ACTUALLY,
THE SUBJECT IS PARTIAL

TO POSTWAR
BRITISH PAINTERS.

PLEASE, HAVE A SEAT.

TELL ME...

DO THE CHILDREN MISS ME?

YOU CAN'T IMAGINE.

WHAT ARE YOU DOING?

JUST GETTING
SOME FRESH AIR.

STAY WHERE YOU ARE, MAL.

[ BREATHES DEEPLY ]

COME ON. DAMN IT.

[ GRINDING ]

[ MUFFLED GUNSHOT ]

[ MUFFLED GUNSHOT ]

[ LOCK CLICKS,
HINGES CREAK ]

Saito: TURN AROUND!

Mal: THE GUN, DOM.

[ GRUNTS ]

PLEASE.

[ BREATHING HEAVILY ]

NOW THE ENVELOPE,
MR. COBB.

DID SHE TELL YOU?
OR HAVE YOU KNOWN ALL ALONG?

THAT YOU'RE HERE
TO STEAL FROM ME

OR THAT WE ARE
ACTUALLY ASLEEP?

I WANT TO KNOW THE NAME
OF YOUR EMPLOYER.

[ GUN COCKS ]

UH, THERE'S NO USE
THREATENING HIM IN A DREAM,

RIGHT, MAL?

THAT DEPENDS
ON WHAT YOU'RE THREATENING.

KILLING HIM
WOULD JUST WAKE HIM UP.

BUT PAIN...

[ GUNSHOT ]
AAH! UGH!

...PAIN IS IN THE MIND.

AND JUDGING BY THE DECOR,

WE'RE IN YOUR MIND,
AREN'T WE, ARTHUR?

[ MUFFLED GUNSHOT ]
[ GRUNTS ]

WHAT ARE YOU DOING?!
IT'S TOO SOON!

I KNOW.
BUT THE DREAM'S COLLAPSING.

I'M GONNA TRY TO KEEP SAITO
UNDER A LITTLE BIT LONGER.

WE'RE ALMOST THERE.

[ MUFFLED GUNSHOTS ]

[ GRUNTING ]

HE WAS CLOSE.

VERY CLOSE.

[ SCREAMING ]

AAH! STOP HIM!

[ MUFFLED GUNSHOTS ]

AAH!
[ GUNSHOTS ]

[ BEEPING ]

[ GROANING SOFTLY ]

THIS ISN'T GONNA WORK.
WAKE HIM UP.

AAH!

HE WON'T WAKE!

[ PANTING ]

GIVE HIM THE KICK!
WHAT?

DUNK HIM.

[ CREAKING ]

[ DISTORTED,
SLOW-MOTION SOUNDS ]

[ GASPS ]

AAH.

NASH!

[ GRUNTING ]

HE'S OUT.

[ BREATHING HEAVILY ]

[ INDISTINCT SHOUTING ]

YOU CAME PREPARED, HMM?

NOT EVEN MY HEAD OF SECURITY
KNOWS THIS APARTMENT.

HOW DID YOU FIND IT?

IT'S VERY DIFFICULT
FOR A MAN OF YOUR POSITION

TO KEEP A LOVE NEST
LIKE THIS SECRET,

PARTICULARLY WHERE THERE'S
A MARRIED WOMAN INVOLVED.

SHE WOULD NEVER.
YET, HERE WE ARE...

WITH A DILEMMA.

THEY'RE GETTING CLOSER.

YOU GOT
WHAT YOU CAME FOR.

WELL, THAT'S NOT TRUE.

YOU LEFT OUT A KEY PIECE
OF INFORMATION, DIDN'T YOU?

YOU HELD SOMETHING BACK,

BECAUSE YOU KNEW
WHAT WE WERE UP TO.

QUESTION IS,
WHY'D YOU LET US IN AT ALL?

AN AUDITION.

AN AUDITION FOR WHAT?

DOESN'T MATTER.
YOU FAILED.

WE EXTRACTED EVERY BIT OF
INFORMATION YOU HAD IN THERE.

BUT YOUR DECEPTION
WAS OBVIOUS.

[ TRAIN RATTLING ]

[ TICKING QUICKENS ]

[ TRAINS WHOOSHING ]

[ BEEPING SLOWLY ]

♪ NON! RIEN DE RIEN... ♪

SO, LEAVE ME AND GO.

YOU DON'T SEEM TO UNDERSTAND,
MR. SAITO.

THAT CORPORATION
THAT HIRED US,

THEY WON'T ACCEPT FAILURE.

WE WON'T LAST TWO DAYS.

COBB?

LOOKS LIKE I'M GONNA HAVE TO
DO THIS A LITTLE MORE SIMPLY.

TELL US WHAT YOU KNOW!

TELL US
WHAT YOU KNOW NOW!

[ CHUCKLING ]

I HAVE ALWAYS HATED
THIS CARPET.

IT'S STAINED AND FRAYED
IN SUCH DISTINCTIVE WAYS.

BUT VERY DEFINITELY
MADE OF WOOL.

RIGHT NOW...

I'M LYING ON POLYESTER.

WHICH MEANS...

I'M NOT LYING ON MY CARPET
IN MY APARTMENT.

YOU HAVE LIVED UP
TO YOUR REPUTATION, MR. COBB.

I'M STILL DREAMING.

[ EDIT PIAF'S "NON JE NE
REGRETTE RIEN" PLAYING ]

[ RAPID BEEPING ]

HOW'D IT GO?
NOT GOOD.

DREAM WITHIN A DREAM.

AH, I'M IMPRESSED.

BUT IN MY DREAM,
YOU PLAY BY MY RULES.

AH, YES, BUT, YOU SEE,
MR. SAITO...

WE'RE NOT IN YOUR DREAM.
WE'RE IN MINE.

[ INDISTINCT SHOUTING ]

[ RAPID BEEPING,
MUSIC CONTINUES ]

[ SHOUTING CONTINUES ]
AAH!

[ MUSIC CONTINUES ]

ASSHOLE.
HOW DO YOU MESS UP THE CARPET?

IT WASN'T MY FAULT.
YOU'RE THE ARCHITECT.

I DIDN'T KNOW HE WAS GONNA
RUB HIS DAMN CHEEK ON IT!

THAT'S ENOUGH.

AND YOU. WHAT THE HELL
WAS ALL THAT?

I HAVE IT UNDER CONTROL.

I'D HATE TO SEE YOU
OUT OF CONTROL.

ALL RIGHT,
WE DON'T HAVE TIME FOR THIS.

I'M GETTING OFF AT KYOTO.

WHY? HE'S NOT GONNA CHECK
EVERY COMPARTMENT.

WELL, I DON'T LIKE TRAINS.

LISTEN.
EVERY MAN FOR HIMSELF.

[ RATTLING ]

[ GUN CLICKS ]

[ SETS GUN DOWN ]

[ TELEPHONE RINGS ]

YES, HELLO?

PHILLIPA: Hi, Daddy.

JAMES: Hi, Dad.

HEY, GUYS. HEY.
HOW ARE YOU?

HOW YOU DOIN', HUH?

Good.

Okay, I guess.

OKAY?
[ CHUCKLES ]

WHO'S JUST OKAY?
IS THAT YOU, JAMES?

Yeah.

When are you
coming home, Dad?

[ EXHALES SHARPLY ]

WELL, I CAN'T, SWEETHEART.
I CAN'T.

NOT FOR A WHILE,
REMEMBER?

Why?

LOOK, I...I TOLD YOU.

I'M-- I'M AWAY
BECAUSE I'M WORKING, RIGHT?

Grandma says
you're never coming back.

PHILLIPA, IS THAT YOU?

PUT GRANDMA ON THE PHONE
FOR ME, WILL YOU?

She's shaking her head.

WE'LL JUST HOPE
SHE'S WRONG ABOUT THAT.

Daddy?

YEAH, JAMES?

Is Mommy with you?

JAMES,
WE TALKED ABOUT THIS.

MOMMY'S NOT HERE ANYMORE.

Where?

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

LISTEN, I'M-- I'M GONNA SEND
SOME PRESENTS WITH GRANDPA.

ALL RIGHT?

AND YOU BE GOOD.
YOU BE...

[ Click, dial tone ]

[ REPLACES RECEIVER ]

[ KNOCK ON DOOR ]

OUR RIDE'S ON THE ROOF.

RIGHT.

[ DOOR CLOSES ]

[ SIGHS ]

HEY, ARE YOU OKAY?

YEAH.
YEAH, I'M FINE. WHY?

WELL, DOWN IN THE DREAM,
MAL SHOWING UP.

LOOK, I'M, UH,
SORRY ABOUT YOUR LEG.

WON'T HAPPEN AGAIN.

IT'S GETTING WORSE,
ISN'T IT?

ONE APOLOGY'S ALL YOU'RE
GETTING, ALL RIGHT, ARTHUR?

WHERE'S NASH?

HE HASN'T SHOWN.
YOU WANT TO WAIT?

NO, WE WERE SUPPOSED TO
DELIVER SAITO'S EXPANSION PLANS

TO COBOL ENGINEERING
TWO HOURS AGO.

BY NOW,
THEY KNOW WE FAILED.

IT'S TIME WE DISAPPEAR.

WHERE YOU GONNA GO?
BUENOS AIRES.

I CAN LIE LOW THERE,

MAYBE SNIFF OUT A JOB
WHEN THINGS QUIET DOWN.

YOU?
STATESIDE.

SEND MY REGARDS.

[ SIGHS ]

HE SOLD YOU OUT.

THOUGHT TO COME TO ME
AND BARGAIN FOR HIS LIFE.

SO, I OFFER YOU
THE SATISFACTION.

IT'S NOT THE WAY
I DEAL WITH THINGS.

[ HELICOPTER BLADES WHIRRING ]

WHAT WILL YOU DO
WITH HIM?

NOTHING.

BUT I CAN'T SPEAK
FOR COBOL ENGINEERING.

WHAT DO YOU WANT
FROM US?

INCEPTION.

IS IT POSSIBLE?
OF COURSE NOT.

IF YOU CAN STEAL AN IDEA
FROM SOMEONE'S MIND,

WHY CAN'T YOU
PLANT ONE THERE INSTEAD?

OKAY. HERE'S ME PLANTING
AN IDEA IN YOUR HEAD.

I SAY TO YOU,
"DON'T THINK ABOUT ELEPHANTS."

WHAT ARE YOU
THINKING ABOUT?

ELEPHANTS.

RIGHT.
BUT IT'S NOT YOUR IDEA,

BECAUSE YOU KNOW
I GAVE IT TO YOU.

THE SUBJECT'S MIND
CAN ALWAYS TRACE THE
GENESIS OF THE IDEA.

TRUE INSPIRATION'S
IMPOSSIBLE TO FAKE.

IT'S NOT TRUE.

CAN YOU DO IT?

ARE YOU OFFERING ME
A CHOICE?

BECAUSE I CAN FIND MY OWN WAY
TO SQUARE THINGS WITH COBOL.

THEN YOU DO
HAVE A CHOICE.

AND I CHOOSE
TO LEAVE, SIR.

TELL THE CREW
WHERE YOU WANT TO GO.

HEY, MR. COBB!

HOW WOULD YOU
LIKE TO GO HOME?

TO AMERICA?

TO YOUR CHILDREN?

YOU CAN'T FIX THAT!
NO ONE CAN!

JUST LIKE INCEPTION.

COBB, COME ON.

HOW COMPLEX IS THE IDEA?

SIMPLE ENOUGH.

NO IDEA IS SIMPLE

WHEN YOU NEED TO PLANT IT
IN SOMEBODY ELSE'S MIND.

MY MAIN COMPETITOR IS AN OLD MAN
IN POOR HEALTH.

HIS SON WILL SOON INHERIT
CONTROL OF THE CORPORATION.

I NEED HIM TO DECIDE TO BREAK UP
HIS FATHER'S EMPIRE.

COBB, WE SHOULD WALK AWAY
FROM THIS.

HOLD ON.

IF I WERE TO DO THIS,
IF...I EVEN COULD DO IT,

I'D NEED A GUARANTEE.

HOW DO I KNOW
YOU CAN DELIVER?

YOU DON'T.

BUT I CAN.

SO, DO YOU WANT
TO TAKE A LEAP OF FAITH...

OR BECOME AN OLD MAN,
FILLED WITH REGRET,

WAITING TO DIE ALONE?

ASSEMBLE YOUR TEAM,
MR. COBB.

AND CHOOSE YOUR PEOPLE
MORE WISELY.

LOOK, I KNOW HOW MUCH
YOU WANT TO GO HOME.

THIS CAN'T BE DONE.

YES, IT CAN.
JUST HAVE TO GO DEEP ENOUGH.

YOU DON'T KNOW THAT.

I'VE DONE IT BEFORE.

WHO'D YOU DO IT TO?

WHY ARE WE GOING
TO PARIS?

WE'RE GONNA NEED
A NEW ARCHITECT.

[ BELL TOLLING ]

Cobb: YOU NEVER DID LIKE
YOUR OFFICE, DID YOU?

NO SPACE TO THINK
IN THAT BROOM CUPBOARD.

IS IT SAFE FOR YOU
TO BE HERE?

EXTRADITION BETWEEN FRANCE
AND THE UNITED STATES

IS A BUREAUCRATIC
NIGHTMARE.

YOU KNOW THAT.

I THINK THEY MIGHT
FIND A WAY

TO MAKE IT WORK
IN YOUR CASE.

LOOK, I, UH...

BROUGHT THESE FOR YOU
TO GIVE TO THE KIDS

WHEN YOU HAVE A CHANCE.

IT'LL TAKE MORE THAN
THE OCCASIONAL STUFFED ANIMAL

TO CONVINCE THOSE CHILDREN
THEY STILL HAVE A FATHER.

I'M JUST DOING WHAT I KNOW.
I'M DOING WHAT YOU TAUGHT ME.

I NEVER TAUGHT YOU
TO BE A THIEF.

NO, YOU TAUGHT ME
TO NAVIGATE PEOPLE'S MINDS.

BUT AFTER WHAT HAPPENED,

THERE WEREN'T A WHOLE LOT
OF LEGITIMATE WAYS

FOR ME TO USE THAT SKILL.

WHAT ARE YOU
DOING HERE, DOM?

I THINK
I FOUND A WAY HOME.

IT'S A JOB FOR SOME
VERY, VERY POWERFUL PEOPLE.

PEOPLE WHO I BELIEVE CAN FIX
MY CHARGES PERMANENTLY.

BUT I NEED YOUR HELP.

YOU'RE HERE TO CORRUPT

ONE OF MY BRIGHTEST
AND BEST.

YOU KNOW
WHAT I'M OFFERING.

YOU HAVE TO LET THEM
DECIDE FOR THEMSELVES.

MONEY.
NOT JUST MONEY.

YOU REMEMBER.

IT'S THE CHANCE TO BUILD
CATHEDRALS, ENTIRE CITIES,

THINGS THAT NEVER EXISTED,

THINGS THAT COULDN'T EXIST
IN THE REAL WORLD.

SO, YOU-- YOU WANT ME
TO LET SOMEONE ELSE

FOLLOW YOU
INTO YOUR FANTASY?

THEY DON'T ACTUALLY
COME INTO THE DREAM.

THEY JUST-- THEY JUST
DESIGN THE LEVELS

AND TEACH THEM
TO THE DREAMERS.

THAT'S ALL.

DESIGN IT YOURSELF.

MAL WON'T LET ME.

COME BACK
TO REALITY, DOM.

PLEASE.

"REALITY."

THOSE KIDS,
YOUR GRANDCHILDREN,

THEY'RE WAITING FOR THEIR FATHER
TO COME BACK HOME.

THAT'S THEIR REALITY.

AND THIS JOB, THIS LAST JOB,
THAT'S HOW I GET THERE.

I WOULD NOT BE STANDING HERE
IF I KNEW ANY OTHER WAY.

I NEED AN ARCHITECT
WHO IS AS GOOD AS I WAS.

I'VE GOT SOMEBODY BETTER.

Miles: ARIADNE?

I'D LIKE YOU
TO MEET MR. COBB.

PLEASED TO MEET YOU.

IF YOU HAVE
A FEW MOMENTS,

MR. COBB HAS A JOB OFFER
HE'D LIKE TO DISCUSS WITH YOU.

A WORK PLACEMENT?

NOT EXACTLY.

I HAVE A TEST FOR YOU.

YOU'RE NOT GONNA TELL ME
ANYTHING ABOUT THIS FIRST?

BEFORE I DESCRIBE THE JOB,
I HAVE TO KNOW YOU CAN DO IT.
WHY?

IT'S NOT,
STRICTLY SPEAKING, LEGAL.

YOU HAVE TWO MINUTES
TO DESIGN A MAZE

THAT IT TAKES
ONE MINUTE TO SOLVE.

STOP.

[ PAPER RIPS ]

AGAIN.

STOP.

YOU'RE GONNA HAVE TO DO BETTER
THAN THAT.

THAT'S MORE LIKE IT.

Cobb: THEY SAY
WE ONLY USE A FRACTION

OF OUR BRAIN'S
TRUE POTENTIAL.

NOW, THAT'S
WHEN WE'RE AWAKE.

WHEN WE'RE ASLEEP,

OUR MIND CAN DO
ALMOST ANYTHING.

SUCH AS?

WELL, IMAGINE YOU'RE DESIGNING
A BUILDING, ALL RIGHT?

YOU CONSCIOUSLY CREATE
EACH ASPECT.

BUT SOMETIMES IT FEELS LIKE
IT'S ALMOST CREATING ITSELF,

IF YOU KNOW WHAT I MEAN.

YEAH. YEAH,
LIKE I'M...DISCOVERING IT.

GENUINE INSPIRATION,
RIGHT?
MM-HMM.

NOW, IN A DREAM, OUR MIND
CONTINUOUSLY DOES THIS.

WE CREATE AND PERCEIVE
OUR WORLD SIMULTANEOUSLY.

AND OUR MIND
DOES THIS SO WELL

THAT WE DON'T EVEN KNOW
IT'S HAPPENING.

THAT ALLOWS US TO GET RIGHT
IN THE MIDDLE OF THAT PROCESS.

HOW?

BY TAKING OVER
THE CREATING PART.

NOW, THIS IS
WHERE I NEED YOU.

YOU CREATE THE WORLD
OF THE DREAM.

WE BRING THE SUBJECT
INTO THAT DREAM,

AND THEY FILL IT
WITH THEIR SUBCONSCIOUS.

HOW COULD I EVER
ACQUIRE ENOUGH DETAIL

TO MAKE THEM THINK
THAT IT'S REALITY?

WELL, DREAMS, THEY FEEL REAL
WHILE WE'RE IN THEM, RIGHT?

IT'S ONLY WHEN WE WAKE UP

THAT WE REALIZE SOMETHING
WAS ACTUALLY STRANGE.

LET ME ASK YOU
A QUESTION.

YOU-- YOU NEVER
REALLY REMEMBER

THE BEGINNING OF A DREAM,
DO YOU?

YOU ALWAYS WIND UP RIGHT IN
THE MIDDLE OF WHAT'S GOING ON.

I GUESS, YEAH.

SO, HOW DID WE
END UP HERE?

WELL, WE JUST CAME
FROM THE...

THINK ABOUT IT, ARIADNE.
HOW DID YOU GET HERE?

WHERE ARE YOU RIGHT NOW?

WE'RE DREAMING?

YOU'RE ACTUALLY
IN THE MIDDLE

OF THE WORKSHOP RIGHT NOW,
SLEEPING.

THIS IS YOUR FIRST LESSON
IN SHARED DREAMING.

STAY CALM.

[ RUMBLING,
CUP AND SAUCER RATTLING ]

[ EXPLOSIONS ]

IF IT'S JUST A DREAM,
THEN WHY ARE YOU PROTEC--

[ "NON JE NE REGRETTE RIEN"
PLAYS ]

BECAUSE IT'S NEVER
JUST A DREAM, IS IT?

AND A FACE FULL OF GLASS
HURTS LIKE HELL.

WHEN YOU'RE IN IT,
IT FEELS REAL.

THAT'S WHY THE MILITARY
DEVELOPED DREAM SHARING.

IT WAS A TRAINING PROGRAM
FOR SOLDIERS

TO SHOOT AND STAB
AND STRANGLE EACH OTHER

AND THEN WAKE UP.

HOW DID ARCHITECTS
BECOME INVOLVED?

WELL, SOMEONE HAD TO DESIGN
THE DREAMS, RIGHT?

WHY DON'T YOU GIVE US
ANOTHER FIVE MINUTES?

FIVE MINUTES?!
[ MUSIC STOPS ]

WHAT-- WE WERE TALKING
FOR LIKE AT LEAST AN HOUR.

IN A DREAM, YOUR MIND
FUNCTIONS MORE QUICKLY.

THEREFORE, TIME SEEMS
TO FEEL MORE SLOW.

FIVE MINUTES IN THE
REAL WORLD GIVES YOU
AN HOUR IN THE DREAM.

WHY DON'T YOU SEE
WHAT YOU CAN GET UP TO
IN FIVE MINUTES?

[ BREATHES DEEPLY ]

Cobb: YOU'VE GOT
THE BASIC LAYOUT.

THE BOOKSTORE, THE CAFé.

ALMOST EVERYTHING ELSE
IS HERE, TOO.

Ariadne:
WHO ARE THE PEOPLE?

PROJECTIONS
OF MY SUBCONSCIOUS.

YOURS?
YES.

REMEMBER, YOU ARE THE DREAMER.
YOU BUILD THIS WORLD.

I AM THE SUBJECT.
MY MIND POPULATES IT.

YOU CAN LITERALLY TALK
TO MY SUBCONSCIOUS.

THAT'S ONE OF THE WAYS
WE EXTRACT INFORMATION

FROM THE SUBJECT.

HOW ELSE DO YOU DO IT?

BY CREATING
SOMETHING SECURE

LIKE A-- LIKE A BANK VAULT
OR A JAIL.
[ HORN BEEPS ]

THE MIND AUTOMATICALLY
FILLS IT WITH INFORMATION

IT'S TRYING TO PROTECT.

YOU UNDERSTAND?

THEN YOU BREAK IN
AND STEAL IT.

WELL...

I GUESS I THOUGHT
THAT THE DREAM SPACE

WOULD BE ALL
ABOUT THE VISUAL,

BUT IT'S MORE
ABOUT THE FEEL OF IT.

MY QUESTION IS,

WHAT HAPPENS
WHEN YOU START MESSING

WITH THE PHYSICS
OF IT ALL?

[ THUD ]

IT'S SOMETHING,
ISN'T IT?

YES, IT IS.

[ HORN HONKS IN DISTANCE ]

Ariadne: WHY ARE THEY ALL
LOOKING AT ME?

BECAUSE MY
SUBCONSCIOUS FEELS

THAT SOMEONE ELSE
IS CREATING THIS WORLD.

THE MORE
YOU CHANGE THINGS,

THE QUICKER THE PROJECTIONS
START TO CONVERGE ON YOU.

"CONVERGE"?

THEY SENSE THE FOREIGN NATURE
OF THE DREAMER.

THEY ATTACK LIKE WHITE BLOOD
CELLS FIGHTING AN INFECTION.

LIKE THEY'RE GONNA
ATTACK US?

NO, NO.

JUST YOU.

THIS IS GREAT,
BUT I'M TELLING YOU,

IF YOU KEEP CHANGING THINGS
LIKE THIS...

GEEZ.

MIND TELLING YOUR SUBCONSCIOUS
TO TAKE IT EASY?

IT'S MY SUBCONSCIOUS.
REMEMBER? I CAN'T CONTROL IT.

[ EXPLOSION, GLASS SHATTERS ]

VERY IMPRESSIVE.

I KNOW THIS BRIDGE.
THIS PLACE IS REAL, ISN'T IT?

YEAH, I CROSS IT EVERY DAY
TO GET TO THE COLLEGE.

NEVER RE-CREATE PLACES
FROM YOUR MEMORY.

ALWAYS IMAGINE
NEW PLACES.

WELL, YOU GOTTA DRAW FROM
STUFF YOU KNOW, RIGHT?

ONLY USE DETAILS--
A-A STREETLAMP OR A PHONE BOOTH.

NEVER ENTIRE AREAS.

WHY NOT?

'CAUSE BUILDING A DREAM
FROM YOUR MEMORY

IS THE EASIEST WAY
TO LOSE YOUR GRASP

ON WHAT'S REAL
AND WHAT IS A DREAM.

IS THAT WHAT HAPPENED
TO YOU?

HEY, LISTEN TO ME.

THIS HAS NOTHING TO DO WITH ME,
YOU UNDERSTAND?

IS THAT WHY YOU NEED ME
TO BUILD YOUR DREAMS?

HEY, GET OFF OF HER.
BACK UP. BACK UP!

COBB! COBB!

GET OFF OF HER!
COBB! LET ME GO!

MAL!
LET ME GO!

MAL!

WAKE ME UP!
MAL!

WAKE ME UP!
WAKE ME UP!
MAL, NO! NO!

WAKE ME UP!
WAKE ME UP!

[ GASPING ]

HEY. HEY.
HEY. LOOK AT ME.

YOU'RE OKAY.
YOU'RE OKAY.

[ GASPING ] WHY--

WHY WOULDN'T I WAKE UP?
[ SIGHS ]

'CAUSE THERE WAS STILL
SOME TIME ON THE CLOCK,

AND YOU CAN'T WAKE UP FROM
WITHIN THE DREAM UNLESS YOU DIE.

SHE'LL NEED A TOTEM.
WHAT?!

A TOTEM,
IT'S A SMALL PERSONAL...

THAT'S SOME SUBCONSCIOUS
YOU'VE GOT ON YOU, COBB!

SHE'S A REAL CHARMER!

OH. I SEE
YOU MET MRS. COBB.

SHE'S HIS WIFE?
YEAH.

SO, A TOTEM.
[ BREATHING HEAVILY ]

YOU NEED A SMALL OBJECT,
POTENTIALLY HEAVY,

SOMETHING YOU CAN HAVE
ON YOU ALL THE TIME

THAT NO ONE ELSE KNOWS.
WHAT, LIKE A COIN?

NO. IT NEEDS TO BE
MORE UNIQUE THAN THAT.

LIKE, THIS IS A...
LOADED DIE.

[ EXHALES SHARPLY ]

I CAN'T LET YOU TOUCH IT.

THAT WOULD DEFEAT
THE PURPOSE.

SEE, ONLY I KNOW THE BALANCE
AND THE WEIGHT

OF THIS PARTICULAR
LOADED DIE.

THAT WAY,
WHEN YOU LOOK AT YOUR TOTEM,

YOU KNOW BEYOND A DOUBT

THAT YOU'RE NOT
IN SOMEONE ELSE'S DREAM.

[ SIGHS ]

I-I DON'T KNOW IF YOU CAN'T
SEE WHAT'S GOING ON,

OR IF YOU JUST
DON'T WANT TO,

BUT COBB HAS SOME
SERIOUS PROBLEMS

THAT HE'S TRIED
TO BURY DOWN THERE.

AND I'M NOT ABOUT
TO JUST OPEN MY MIND

TO SOMEONE LIKE THAT.

[ DOOR CLOSES ]
Cobb: SHE'LL BE BACK.

I'VE NEVER SEEN ANYONE PICK
IT UP THAT QUICKLY BEFORE.

REALITY'S NOT GONNA BE ENOUGH
FOR HER NOW,

AND WHEN SHE COMES BACK
[SCOFFS]

WHEN SHE COMES BACK,

YOU'RE GONNA HAVE
HER BUILDING MAZES.

WHERE ARE YOU GONNA BE?

I GOTTA GO VISIT EAMES.

EAMES? NO, HE'S IN MOMBASA.
IT'S COBOL'S BACKYARD.

IT'S A NECESSARY RISK.

WELL, THERE'S PLENTY
OF GOOD THIEVES.

[ SIGHS ]
WE DON'T JUST NEED A THIEF.

WE NEED A FORGER.

[ INDISTINCT CONVERSATIONS ]

YOU CAN RUB THEM TOGETHER
ALL YOU WANT,

THEY'RE NOT GONNA BREED.

YOU NEVER KNOW.

LET ME GET YOU A DRINK.
[ DIE RATTLE ]

YOU'RE BUYING.

YOUR SPELLING
HASN'T IMPROVED.

PISS OFF.

HOW'S YOUR HANDWRITING?

IT'S VERSATILE.

GOOD.

THANK YOU VERY MUCH.

INCEPTION.

NOW, BEFORE YOU BOTHER

TELLING ME IT'S IMPOSSIBLE,
LET ME--

NO, IT'S PERFECTLY POSSIBLE.
IT'S JUST BLOODY DIFFICULT.

INTERESTING.

'CAUSE ARTHUR KEEPS TELLING ME
IT CAN'T BE DONE.

HMM. ARTHUR.

YOU STILL WORKING
WITH THAT STICK IN THE MUD?

WELL, HE IS GOOD
AT WHAT HE DOES, RIGHT?

OH, HE'S THE BEST.

HE HAS NO IMAGINATION.
NOT LIKE YOU.

LISTEN, IF YOU'RE GONNA
PERFORM INCEPTION,

YOU NEED IMAGINATION.

LET ME ASK YOU SOMETHING.

HAVE YOU DONE IT BEFORE?

WE TRIED IT.

WE GOT THE IDEA IN PLACE,
BUT IT DIDN'T TAKE.

YOU DIDN'T PLANT IT
DEEP ENOUGH?

NO, IT'S NOT
JUST ABOUT DEPTH.

YOU NEED THE SIMPLEST
VERSION OF THE IDEA

IN ORDER FOR IT
TO GROW NATURALLY

IN YOUR SUBJECT'S MIND.

IT'S A VERY SUBTLE ART.

SO, WHAT IS THIS IDEA
THAT YOU NEED TO PLANT?

WE NEED THE HEIR
OF A MAJOR CORPORATION

TO DISSOLVE
HIS FATHER'S EMPIRE.

WELL, YOU SEE,
RIGHT THERE,

YOU HAVE VARIOUS
POLITICAL MOTIVATIONS

AND ANTI-MONOPOLISTIC
SENTIMENTS AND SO FORTH.

BUT ALL OF
THAT STUFF IS...

IT'S REALLY AT THE MERCY OF
YOUR SUBJECT'S PREJUDICE,
YOU SEE?

AND WHAT YOU HAVE
TO DO IS START AT
THE ABSOLUTE BASIC.

WHICH IS WHAT?

THE RELATIONSHIP
WITH THE FATHER.

DO YOU HAVE A CHEMIST?
NO, NOT YET.

RIGHT. OKAY, WELL,
THERE'S A MAN HERE. YUSUF.

HE, UH, HE FORMULATES HIS
OWN VERSIONS OF THE COMPOUNDS.

WHY DON'T YOU
TAKE ME THERE?

ONCE YOU'VE LOST YOUR TAIL.
THE MAN AT THE BAR.

COBOL ENGINEERING.

THAT PRICE ON MY HEAD--
WAS THAT DEAD OR ALIVE?

DON'T REMEMBER. LET'S SEE
IF HE STARTS SHOOTING.

RUN INTERFERENCE.

I'LL MEET YOU DOWNSTAIRS IN
THE BAR IN, SAY, HALF AN HOUR?

THEN BACK HERE?
THIS IS THE LAST PLACE
THEY'D SUSPECT.

[ CHUCKLES ] MM.

ALL RIGHT.

FREDDY! FREDDY SIMMONDS.

MY GOD, IT'S YOU,
ISN'T IT?

[ GRUNTS ]
WHO?

NO, IT ISN'T YOU.

YOU'RE NOT DREAMING NOW,
ARE YOU?

[ PEOPLE SHOUTING ]

OHH!

THERE!

[ SPEAKING
NATIVE LANGUAGE ]

CAFé. ONE CAFé.

[ SPEAKING URGENTLY
IN NATIVE LANGUAGE ]

[ SPEAKING URGENTLY ]
Shh!

[ INDISTINCT SHOUTING ]

[ SPEAKING URGENTLY ]
ONE CAFé.

CAFé.

[ INDISTINCT SHOUTING ]

[ GUNFIRE ]

[ HORN HONKING ]

OHH!

[ BULLETS RICOCHET ]

[ GRUNTS ]

[ TIRES SCREECH ]

[ TIRES SCREECH ]

CARE FOR A LIFT, MR. COBB?

WHAT ARE YOU DOING
IN MOMBASA?!

I'M HERE TO PROTECT
MY INVESTMENT.

[ WHISTLES, TAPS CAR ]

AH, SO THIS IS YOUR IDEA
OF LOSING A TAIL, HUH?

DIFFERENT TAIL.

[ ARIADNE CLEARS THROAT SOFTLY ]

COBB SAID YOU'D BE BACK.

YEAH, WELL,
I TRIED NOT TO COME, BUT...

BUT THERE'S NOTHING
QUITE LIKE IT.

IT'S JUST...

...PURE CREATION.

SHALL WE TAKE A LOOK AT SOME
PARADOXICAL ARCHITECTURE?

YOU'RE GONNA HAVE TO MASTER
A FEW TRICKS

IF YOU'RE GONNA BUILD
THREE COMPLETE DREAM LEVELS.

EXCUSE ME.

WHAT KIND OF TRICKS?

IN A DREAM,
YOU CAN CHEAT ARCHITECTURE

INTO IMPOSSIBLE SHAPES.

THAT LETS YOU CREATE
CLOSED LOOPS,

LIKE THE PENROSE STEPS.

THE INFINITE STAIRCASE.

SEE?

PARADOX.

SO, A CLOSED LOOP
LIKE THAT

WILL HELP YOU DISGUISE
THE BOUNDARIES

OF THE DREAM YOU CREATE.

BUT HOW BIG DO THESE LEVELS
HAVE TO BE?

WELL, IT COULD BE ANYTHING
FROM THE FLOOR OF A BUILDING

TO AN ENTIRE CITY.

BUT THEY HAVE TO BE
COMPLICATED ENOUGH

THAT WE CAN HIDE
FROM THE PROJECTIONS.

A MAZE.
RIGHT, A MAZE.

AND THE BETTER
THE MAZE...

THEN THE LONGER WE HAVE
BEFORE THE PROJECTIONS CATCH US?

EXACTLY.

MY SUBCONSCIOUS
SEEMS POLITE ENOUGH.

[ CHUCKLES ] YOU WAIT.
THEY'LL TURN UGLY.

NO ONE LIKES TO FEEL
SOMEONE ELSE

MESSING AROUND
IN THEIR MIND.

COBB CAN'T BUILD ANYMORE,
CAN HE?

WELL, I DON'T KNOW
IF HE CAN'T, BUT HE WON'T.

HE THINKS IT'S SAFER
IF HE DOESN'T KNOW THE LAYOUTS.

WHY?
HE WON'T TELL ME.

BUT I THINK IT'S MAL.

HIS EX-WIFE?

NO, NOT HIS EX.

THEY'RE STILL TOGETHER?

NO...

SHE'S DEAD.

WHAT YOU SEE IN THERE
IS JUST HIS PROJECTION OF HER.

WHAT WAS SHE LIKE
IN REAL LIFE?

SHE WAS LOVELY.

Yusuf:
YOU ARE SEEKING A CHEMIST?
Cobb: YES.

TO FORMULATE COMPOUNDS
FOR A JOB?

AND TO GO INTO THE FIELD
WITH US.

NO, I RARELY GO INTO THE FIELD,
MR. COBB.

WELL, WE'D NEED YOU THERE

TO TAILOR COMPOUNDS
SPECIFIC TO OUR NEEDS.

WHICH ARE?
GREAT DEPTH.

A DREAM WITHIN A DREAM.
TWO LEVELS.

THREE.

NOT POSSIBLE.

THAT MANY DREAMS WITHIN DREAMS
IS TOO UNSTABLE.

IT IS POSSIBLE.

YOU JUST HAVE TO ADD
A SEDATIVE.

A POWERFUL SEDATIVE.

HOW MANY TEAM MEMBERS?

FIVE.
Saito: SIX.

THE ONLY WAY TO KNOW
YOU'VE DONE THE JOB

IS IF I GO IN WITH YOU.

THERE'S NO ROOM FOR TOURISTS
ON A JOB LIKE THIS, MR. SAITO.

THIS TIME, IT SEEMS THERE IS.

THIS, I THINK,
IS A GOOD PLACE TO START.

I USE IT EVERY DAY.

WHAT FOR?

HERE, I'LL SHOW YOU.

PERHAPS YOU WILL NOT
WANT TO SEE.

AFTER YOU.

Eames: 10...12.

ALL CONNECTED.
BLOODY HELL.

THEY COME EVERY DAY
TO SHARE THE DREAM.

YOU SEE?
VERY STABLE.

HOW LONG
DO THEY DREAM FOR?

Yusuf: THREE, FOUR HOURS,
EACH DAY.

AND DREAM TIME?

WITH THIS COMPOUND?

ABOUT 40 HOURS,
EACH AND EVERY DAY.

WHY DO THEY DO IT?

TELL HIM, MR. COBB.

AFTER A WHILE, IT BECOMES
THE ONLY WAY YOU CAN DREAM.

DO YOU STILL DREAM,
MR. COBB?

THEY COME HERE EVERY DAY
TO SLEEP?

Elderly man: NO.

THEY COME TO BE WOKEN UP.

THE DREAM HAS BECOME
THEIR REALITY.

WHO ARE YOU
TO SAY OTHERWISE, SIR?

[ CHUCKLES ]

LET'S SEE
WHAT YOU CAN DO.

[ CREAKING ]

YOU KNOW HOW
TO FIND ME.

[ CREAKING ]

YOU KNOW
WHAT YOU HAVE TO DO.

[ GRUNTING ]

[ EXHALES SHARPLY ]
SHARP, NO?

[ BREATHING HEAVILY ]

[ BREATHING RAGGEDLY ]

Saito: ARE YOU ALL RIGHT,
MR. COBB?

YEAH. YEAH.

EVERYTHING'S JUST FINE.

[ EXHALES SHARPLY ]

ROBERT FISCHER,

HEIR TO THE FISCHER MORROW
ENERGY CONGLOMERATE.

WHAT'S YOUR PROBLEM
WITH THIS MR. FISCHER?

THAT'S NOT YOUR CONCERN.

MR. SAITO, THIS [SCOFFS]

THIS ISN'T YOUR TYPICAL
CORPORATE ESPIONAGE.

YOU ASKED ME
FOR INCEPTION.

I DO HOPE YOU UNDERSTAND
THE GRAVITY OF THAT REQUEST.

NOW, THE SEED THAT WE PLANT
IN THIS MAN'S MIND

WILL GROW INTO AN IDEA.

THIS IDEA WILL DEFINE HIM.

IT MAY COME TO CHANGE...

WELL, IT MAY COME TO CHANGE
EVERYTHING ABOUT HIM.

WE'RE THE LAST COMPANY
STANDING

BETWEEN THEM
AND TOTAL ENERGY DOMINANCE.

AND WE CAN
NO LONGER COMPETE.

SOON, THEY'LL CONTROL THE ENERGY
SUPPLY OF HALF THE WORLD.

IN EFFECT,
THEY BECOME A NEW SUPERPOWER.

[ POUNDS TABLE ]

THE WORLD NEEDS ROBERT FISCHER
TO CHANGE HIS MIND.

Eames:
THAT'S WHERE WE COME IN.

HOW IS ROBERT FISCHER'S
RELATIONSHIP WITH HIS FATHER?

RUMOR IS THE RELATIONSHIP
IS QUITE COMPLICATED.

WELL, WE CAN'T WORK BASED
SOLELY ON RUMOR, CAN WE?

CAN YOU GET ME ACCESS
TO THIS MAN HERE?

BROWNING.

FISCHER SENIOR'S
RIGHT-HAND MAN...

FISCHER JUNIOR'S GODFATHER.

IT SHOULD BE POSSIBLE,

IF YOU CAN GET
THE RIGHT REFERENCES.

REFERENCES ARE SOMETHING OF
A SPECIALTY FOR ME, MR. SAITO.

I'M NOT SMELLING
SETTLEMENT HERE.

TAKE THEM DOWN.

MR. BROWNING,
MAURICE FISCHER'S POLICY

IS ALWAYS ONE
OF AVOIDING LITIGATION.

WELL, SHALL WE VOICE
YOUR CONCERNS

WITH MAURICE DIRECTLY?

I'M NOT SURE
THAT'S NECESSARY.

NO, NO, NO.
I-I THINK WE SHOULD.

HOW IS HE?

I DON'T WANT TO BOTHER HIM
UNNECESSARILY, BUT--

ROBERT, I TOLD YOU
KEEP OUT THE DAMN...
[ CLATTER ]

WAIT, SO DO IT! GET--
Nurse: Shh.

PUT IT THROUGH!

NEVER! NEVER.

HAVEN'T YOU,
THE SAME AS I ASKED.

LEAVE THAT.

[ BREATHING RAGGEDLY ]

Browning: MUST BE A CHERISHED
MEMORY OF HIS.

I PUT IT BESIDE HIS BED.

HE HASN'T EVEN NOTICED.

ROBERT...

[ SIGHS ]

...WE NEED TO TALK
ABOUT A POWER OF ATTORNEY.

I KNOW THIS IS HARD
ON YOU--
NOT NOW, UNCLE PETER.

BUT IT'S IMPERATIVE
THAT WE START TO...

Eames:
THE VULTURES ARE CIRCLING.

AND THE SICKER
MAURICE FISCHER BECOMES,

THE MORE POWERFUL
PETER BROWNING BECOMES.

I'VE HAD AMPLE OPPORTUNITY
TO OBSERVE BROWNING,

ADOPT HIS PHYSICAL PRESENCE,
STUDY HIS MANNERISMS,

AND SO ON AND SO FORTH.

SO NOW IN THE FIRST LAYER
OF THE DREAM,

I CAN IMPERSONATE BROWNING

AND SUGGEST CONCEPTS
TO FISCHER'S CONSCIOUS MIND.

THEN, WHEN WE TAKE HIM
A LEVEL DEEPER,

HIS OWN PROJECTION
OF BROWNING SHOULD--

SHOULD FEED THAT
RIGHT BACK TO HIM.

SO HE GIVES HIMSELF
THE IDEA.

PRECISELY.

THAT'S THE ONLY WAY
IT WILL STICK.

IT HAS TO SEEM
SELF-GENERATED.

EAMES...

I AM IMPRESSED.

YOUR CONDESCENSION, AS ALWAYS,
IS MUCH APPRECIATED,

ARTHUR, THANK YOU.

[ WHIRRING ]

[ RUSTLING ]

WERE YOU GOING UNDER
ON YOUR OWN?

NO, NO, I WAS JUST--

I WAS JUST RUNNING
SOME EXPERIMENTS.

I DIDN'T REALIZE
ANYONE WAS HERE.

YEAH, I WAS JUST-- I WAS
WORKING ON MY TOTEM, ACTUALLY.

HERE.
LET ME TAKE A LOOK.

AH--

SO YOU'RE LEARNING, HUH?

AN ELEGANT SOLUTION
FOR KEEPING TRACK OF REALITY.

WAS IT YOUR IDEA?

NO, IT WAS...
IT WAS MAL'S, ACTUALLY.

THIS...

THIS ONE WAS HERS.

SHE'D SPIN IT
IN THE DREAM,

AND IT WOULD
NEVER TOPPLE.

JUST...

SPIN AND SPIN.

ARTHUR TOLD ME
SHE PASSED AWAY.

HOW ARE THE MAZES
COMING ALONG?

EACH LEVEL
RELATES TO THE PART

OF THE SUBJECT'S
SUBCONSCIOUS

THAT WE ARE TRYING
TO ACCESS.

SO, I'M MAKING THE BOTTOM
LEVEL A HOSPITAL

SO FISCHER
WILL BRING HIS FATHER.

UM, YOU KNOW, ACTUALLY,

I HAVE A QUESTION
ABOUT THIS LAYOUT.

NO, NO, NO. DON'T--
DON'T SHOW ME SPECIFICS.

ONLY THE DREAMER
SHOULD KNOW THE LAYOUT.

WHY IS THAT
SO IMPORTANT?

IN CASE ONE OF US
BRINGS IN OUR PROJECTIONS.

WE DON'T WANT THEM KNOWING
THE DETAILS OF THE MAZE.

YOU MEAN
IN CASE YOU BRING MAL IN.

YOU CAN'T KEEP HER OUT,
CAN YOU?

RIGHT.

YOU CAN'T BUILD BECAUSE,

IF YOU KNOW THE MAZE,
THEN SHE KNOWS IT.

WELL, SHE'D SABOTAGE
THE WHOLE OPERATION.

COBB, DO THE OTHERS KNOW?

NO. NO, THEY DON'T.

YOU'VE GOTTA WARN THEM
IF THIS IS GETTING WORSE.

NO ONE SAID
IT'S GETTING WORSE.

I NEED TO GET HOME.

THAT'S ALL I CARE ABOUT
RIGHT NOW.

WHY CAN'T YOU GO HOME?

BECAUSE THEY THINK
I KILLED HER.

THANK YOU.

FOR WHAT?

FOR NOT ASKING
WHETHER I DID.

"I WILL SPLIT UP
MY FATHER'S EMPIRE."

NOW, THIS IS
OBVIOUSLY AN IDEA

THAT ROBERT HIMSELF
WOULD CHOOSE TO REJECT.

WHICH IS WHY WE NEED TO PLANT IT
DEEP IN HIS SUBCONSCIOUS.

THE SUBCONSCIOUS IS MOTIVATED
BY EMOTION, RIGHT?

NOT REASON.

WE NEED TO FIND A WAY
TO TRANSLATE THIS

INTO AN EMOTIONAL CONCEPT.

HOW DO YOU TRANSLATE A BUSINESS
STRATEGY INTO AN EMOTION?

THAT'S WHAT WE'RE HERE
TO FIGURE OUT, RIGHT?

NOW, ROBERT'S RELATIONSHIP
WITH HIS FATHER

IS STRESSED, TO SAY THE LEAST.

WELL,
CAN WE RUN WITH THAT?

WE COULD SUGGEST TO HIM

BREAKING UP
HIS FATHER'S COMPANY

AS A "SCREW YOU"
TO THE OLD MAN.

NO, BECAUSE I THINK
POSITIVE EMOTION

TRUMPS NEGATIVE EMOTION
EVERY TIME.

WE ALL YEARN
FOR RECONCILIATION,

FOR CATHARSIS.

WE NEED ROBERT FISCHER

TO HAVE A POSITIVE
EMOTIONAL REACTION TO ALL THIS.

ALL RIGHT,
WELL, TRY THIS.

UM, "MY FATHER ACCEPTS THAT
I WANT TO CREATE FOR MYSELF,

NOT FOLLOW
IN HIS FOOTSTEPS."

THAT MIGHT WORK.

"MIGHT"?

WE'RE GONNA NEED TO DO
A LITTLE BETTER THAN "MIGHT."

OH. THANK YOU FOR
YOUR CONTRIBUTION, ARTHUR.

FORGIVE ME FOR WANTING
A LITTLE SPECIFICITY, EAMES.

SPECIFICITY?

INCEPTION'S
NOT ABOUT BEING SPECIFIC.

WHEN WE GET INSIDE HIS MIND,

WE'RE GONNA HAVE TO WORK
WITH WHAT WE FIND.

Eames:
ON THE TOP LEVEL,

WE OPEN UP HIS RELATIONSHIP
WITH HIS FATHER,

AND SAY, "I WILL NOT FOLLOW
IN MY FATHER'S FOOTSTEPS."

THEN THE NEXT LEVEL DOWN,

WE FEED HIM,

"I WILL CREATE SOMETHING
FOR MYSELF."

THEN, BY THE TIME
WE HIT THE BOTTOM LEVEL,

WE BRING OUT THE BIG GUNS.

"MY FATHER DOESN'T WANT ME
TO BE HIM."
EXACTLY.

Arthur: THREE LAYERS DOWN,
THE DREAMS ARE GONNA COLLAPSE

WITH THE SLIGHTEST DISTURBANCE.

SEDATION.

FOR SLEEP STABLE ENOUGH

TO CREATE THREE LAYERS
OF DREAMING,

WE'LL HAVE TO COMBINE IT

WITH AN EXTREMELY
POWERFUL SEDATIVE.

GOOD NIGHT.

THE COMPOUND WE'LL BE USING
TO SHARE THE DREAM

CREATES A VERY CLEAR CONNECTION
BETWEEN DREAMERS

WHILST ACTUALLY ACCELERATING
BRAIN FUNCTION.

IN OTHER WORDS, IT GIVES US
MORE TIME ON EACH LEVEL.

BRAIN FUNCTION IN THE DREAM
WILL BE ABOUT 20 TIMES NORMAL.

WHEN YOU ENTER A DREAM
WITHIN THAT DREAM,

THE EFFECT IS COMPOUNDED.

IT'S 3 DREAMS--
THAT'S 10 HOURS TIMES--

I'M SORRY, MATH WAS NEVER
MY STRONG SUBJECT.

H-HOW MUCH TIME IS THAT?

IT'S A WEEK,
THE FIRST LEVEL DOWN,

SIX MONTHS,
THE SECOND LEVEL DOWN,

AND THE THIRD LEVEL...

IT'S 10 YEARS.

WHO WOULD WANT TO BE STUCK
IN A DREAM FOR 10 YEARS?

DEPENDS ON THE DREAM.

SO, ONCE WE'VE MADE THE PLANT,
HOW DO WE GET OUT?

AND I'M HOPING YOU HAVE
SOMETHING MORE ELEGANT IN MIND

THAN SHOOTING ME
IN THE HEAD.

A KICK.

WHAT'S A KICK?

THIS, ARIADNE,
WOULD BE A KICK.

IT'S THAT FEELING OF FALLING
YOU GET THAT JOLTS YOU AWAKE.

IT [SNAPS FINGERS]
SNAPS YOU OUT OF THE DREAM.

ARE WE GONNA FEEL A KICK
WITH THIS KIND OF SEDATION?

Yusuf:
OH, THAT'S THE CLEVER PART.

I CUSTOMIZED THE SEDATIVE

TO LEAVE INNER EAR FUNCTION
UNIMPAIRED.

THAT WAY,
HOWEVER DEEP THE SLEEP,

THE SLEEPER
STILL FEELS FALLING.

OR TIPPING.

THE TRICK IS
TO SYNCHRONIZE A KICK

THAT CAN PENETRATE
ALL THREE LEVELS.

WE COULD USE
THE MUSICAL COUNTDOWN

TO SYNCHRONIZE
THE DIFFERENT KICKS.

[ "NON JE NE REGRETTE RIEN"
PLAYS ]

Eames: HE HASN'T GOT
ANY SURGERY SCHEDULED.

THERE'S NO DENTAL,
NOTHING.

Cobb: WASN'T HE SUPPOSED
TO HAVE A KNEE OPERATION?

NOTHING. NOTHING THAT THEY'D
PUT HIM UNDER FOR, ANYWAY.

AND WE NEED-- WE NEED
AT LEAST A GOOD 10 HOURS.

SYDNEY TO LOS ANGELES.

ONE OF THE LONGEST FLIGHTS
IN THE WORLD.

HE MAKES IT EVERY TWO WEEKS.

HE MUST BE
FLYING PRIVATE, THEN.

NOT IF THERE WERE UNEXPECTED
MAINTENANCE WITH HIS PLANE.

Arthur:
IT WOULD HAVE TO BE A 747.
WHY'S THAT?

BECAUSE ON A 747,
THE PILOT IS UP TOP,

AND THE FIRST-CLASS CABIN
IS IN THE NOSE,

SO NO ONE
WOULD WALK THROUGH.

BUT YOU'D HAVE TO BUY OUT
THE ENTIRE CABIN

AND THE FIRST-CLASS
FLIGHT ATTENDANT.

I BOUGHT THE AIRLINE.

IT SEEMED NEATER.

ARIADNE?

TERRIFIC WORK,
BY THE WAY.

[ WHIRRING ]

[ ELEVATOR CLATTERING ]

Mal:
YOU KNOW HOW TO FIND ME.

YOU KNOW
WHAT YOU HAVE TO DO.

YOU REMEMBER WHEN YOU ASKED ME
TO MARRY YOU?

OF COURSE I DO.

YOU SAID YOU HAD A DREAM.

THAT WE'D GROW OLD
TOGETHER.

AND WE CAN.

[ SUSPENSEFUL MUSIC PLAYS ]

YOU SHOULDN'T BE HERE.

[ CAGE RATTLING ]

I JUST WANTED TO SEE
WHAT KIND OF "TESTS"

YOU'RE DOING ON YOUR OWN
EVERY NIGHT.

ALL RIGHT, WELL, THIS
HAS NOTHING TO DO WITH YOU.

THIS HAS EVERYTHING
TO DO WITH ME.

YOU'VE ASKED ME TO SHARE DREAMS
WITH YOU.

NOT THESE.

THESE ARE MY DREAMS.

[ GULLS CRYING ]

WHY DO YOU DO THIS
TO YOURSELF?

DOWNLOADED FROM WWW.AWAFIM.TV

For latest movies and series with subtitles
Visit WWW.AWAFIM.TV Today