1
00:00:53,345 --> 00:00:56,348
[ CHILDREN GIGGLING
IN DISTANCE ]
2
00:02:06,668 --> 00:02:11,172
ARE YOU HERE TO KILL ME?
3
00:02:17,888 --> 00:02:21,141
I KNOW WHAT THIS IS.
4
00:02:21,224 --> 00:02:23,852
I'VE SEEN ONE BEFORE…
5
00:02:25,104 --> 00:02:28,024
…MANY, MANY YEARS AGO.
6
00:02:28,107 --> 00:02:33,570
IT BELONGED TO A MAN I MET
IN A HALF-REMEMBERED DREAM.
7
00:02:35,697 --> 00:02:40,661
A MAN POSSESSED
OF SOME RADICAL NOTIONS.
8
00:02:43,831 --> 00:02:46,792
WHAT IS
THE MOST RESILIENT PARASITE?
9
00:02:46,875 --> 00:02:49,378
A BACTERIA?
10
00:02:49,461 --> 00:02:51,547
A VIRUS?
11
00:02:51,630 --> 00:02:53,215
AN INTESTINAL WORM?
12
00:02:53,298 --> 00:02:56,427
UH…WHAT MR. COBB
IS TRYING TO SAY…
13
00:02:56,510 --> 00:02:57,845
AN IDEA.
14
00:02:58,846 --> 00:03:00,806
RESILIENT.
HIGHLY CONTAGIOUS.
15
00:03:00,889 --> 00:03:03,601
ONCE AN IDEA HAS TAKEN HOLD
OF THE BRAIN,
16
00:03:03,684 --> 00:03:05,853
IT'S ALMOST IMPOSSIBLE
TO ERADICATE.
17
00:03:05,936 --> 00:03:08,814
AN IDEA THAT IS FULLY FORMED,
FULLY UNDERSTOOD…
18
00:03:08,897 --> 00:03:10,024
THAT STICKS.
19
00:03:10,107 --> 00:03:11,984
RIGHT IN THERE SOMEWHERE.
20
00:03:12,067 --> 00:03:13,569
FOR SOMEONE LIKE YOU
TO STEAL?
21
00:03:13,652 --> 00:03:14,862
YES.
IN THE DREAM STATE,
22
00:03:14,945 --> 00:03:16,781
YOUR CONSCIOUS DEFENSES
ARE LOWERED,
23
00:03:16,864 --> 00:03:19,241
AND THAT MAKES YOUR THOUGHTS
VULNERABLE TO THEFT.
24
00:03:19,324 --> 00:03:20,785
IT'S CALLED EXTRACTION.
25
00:03:20,868 --> 00:03:23,370
MR. SAITO,
WE CAN TRAIN YOUR SUBCONSCIOUS
26
00:03:23,453 --> 00:03:25,081
TO DEFEND ITSELF
27
00:03:25,164 --> 00:03:26,999
FROM EVEN
THE MOST SKILLED EXTRACTOR.
28
00:03:27,082 --> 00:03:28,542
HOW CAN YOU DO THAT?
29
00:03:28,625 --> 00:03:31,045
BECAUSE I AM
THE MOST SKILLED EXTRACTOR.
30
00:03:31,128 --> 00:03:33,965
I KNOW HOW TO SEARCH YOUR MIND
AND FIND YOUR SECRETS.
31
00:03:34,048 --> 00:03:35,173
I KNOW THE TRICKS.
32
00:03:35,256 --> 00:03:37,217
AND I CAN TEACH THEM
TO YOU,
33
00:03:37,300 --> 00:03:38,552
SO THAT EVEN
WHEN YOU'RE ASLEEP,
34
00:03:38,635 --> 00:03:41,055
YOUR DEFENSE
IS NEVER DOWN.
35
00:03:41,138 --> 00:03:42,598
LOOK, IF YOU WANT MY HELP,
36
00:03:42,681 --> 00:03:45,810
YOU'RE GONNA HAVE TO BE
COMPLETELY OPEN WITH ME.
37
00:03:45,893 --> 00:03:47,770
I NEED TO KNOW MY WAY
AROUND YOUR THOUGHTS
38
00:03:47,853 --> 00:03:49,480
BETTER THAN YOUR WIFE,
39
00:03:49,563 --> 00:03:51,649
BETTER THAN YOUR THERAPIST,
BETTER THAN ANYONE.
40
00:03:51,732 --> 00:03:52,984
IF THIS IS A DREAM,
41
00:03:53,067 --> 00:03:54,986
AND YOU HAVE A SAFE
FULL OF SECRETS,
42
00:03:55,069 --> 00:03:57,362
I NEED TO KNOW
WHAT'S IN THAT SAFE.
43
00:03:57,445 --> 00:03:59,115
IN ORDER
FOR THIS ALL TO WORK,
44
00:03:59,198 --> 00:04:00,866
YOU NEED TO COMPLETELY
LET ME IN.
45
00:04:03,284 --> 00:04:05,496
ENJOY YOUR EVENING, GENTLEMEN,
46
00:04:05,579 --> 00:04:08,207
AS I CONSIDER
YOUR PROPOSAL.
47
00:04:09,917 --> 00:04:11,877
HE KNOWS.
48
00:04:15,296 --> 00:04:16,548
WHAT'S GOING ON UP THERE?
49
00:04:19,551 --> 00:04:23,764
[ WATCH TICKING;
TICKING QUICKENS ]
50
00:04:25,891 --> 00:04:29,436
[ INDISTINCT SHOUTING
IN DISTANCE ]
51
00:05:10,727 --> 00:05:13,564
SAITO KNOWS.
HE'S PLAYING WITH US.
52
00:05:13,647 --> 00:05:15,858
DOESN'T MATTER.
I CAN GET IT HERE. TRUST ME.
53
00:05:15,941 --> 00:05:17,818
THE INFORMATION
IS IN THE SAFE.
54
00:05:17,901 --> 00:05:20,278
HE LOOKED RIGHT AT IT
WHEN I MENTIONED SECRETS.
55
00:05:20,361 --> 00:05:22,447
WHAT'S SHE DOING HERE?
56
00:05:24,866 --> 00:05:26,911
JUST HEAD BACK
TO THE ROOM.
57
00:05:26,994 --> 00:05:28,704
ALL RIGHT?
I'LL TAKE CARE OF THIS.
58
00:05:28,787 --> 00:05:30,455
OKAY, MAKE SURE YOU DO.
WE'RE HERE TO WORK.
59
00:05:38,172 --> 00:05:41,175
IF I JUMPED…
60
00:05:41,258 --> 00:05:43,135
WOULD I SURVIVE?
61
00:05:45,470 --> 00:05:49,141
WITH A CLEAN DIVE,
PERHAPS.
62
00:05:49,224 --> 00:05:50,392
MAL, WHAT ARE YOU
DOING HERE?
63
00:05:50,475 --> 00:05:52,686
I THOUGHT
YOU MIGHT BE MISSING ME.
64
00:05:52,769 --> 00:05:53,896
YOU KNOW THAT I AM.
65
00:05:53,979 --> 00:05:56,023
BUT I…
66
00:05:56,106 --> 00:05:57,942
I CAN'T
TRUST YOU ANYMORE.
67
00:05:58,025 --> 00:06:00,360
SO WHAT?
68
00:06:00,443 --> 00:06:03,363
LOOKS LIKE
ARTHUR'S TASTE.
69
00:06:03,446 --> 00:06:05,490
ACTUALLY,
THE SUBJECT IS PARTIAL
70
00:06:05,573 --> 00:06:07,785
TO POSTWAR
BRITISH PAINTERS.
71
00:06:07,868 --> 00:06:11,038
PLEASE, HAVE A SEAT.
72
00:06:18,837 --> 00:06:20,547
TELL ME…
73
00:06:20,630 --> 00:06:22,216
DO THE CHILDREN MISS ME?
74
00:06:25,426 --> 00:06:28,263
YOU CAN'T IMAGINE.
75
00:06:32,391 --> 00:06:33,602
WHAT ARE YOU DOING?
76
00:06:33,685 --> 00:06:35,229
JUST GETTING
SOME FRESH AIR.
77
00:06:35,312 --> 00:06:37,647
STAY WHERE YOU ARE, MAL.
78
00:06:50,327 --> 00:06:52,704
COME ON. DAMN IT.
79
00:07:42,879 --> 00:07:44,547
[ LOCK CLICKS,
HINGES CREAK ]
80
00:07:53,390 --> 00:07:56,227
TURN AROUND!
81
00:07:56,310 --> 00:07:57,602
THE GUN, DOM.
82
00:08:06,569 --> 00:08:07,904
PLEASE.
83
00:08:19,916 --> 00:08:22,753
NOW THE ENVELOPE,
MR. COBB.
84
00:08:22,836 --> 00:08:26,506
DID SHE TELL YOU?
OR HAVE YOU KNOWN ALL ALONG?
85
00:08:26,589 --> 00:08:28,675
THAT YOU'RE HERE
TO STEAL FROM ME
86
00:08:28,758 --> 00:08:31,761
OR THAT WE ARE
ACTUALLY ASLEEP?
87
00:08:36,057 --> 00:08:38,143
I WANT TO KNOW THE NAME
OF YOUR EMPLOYER.
88
00:08:40,020 --> 00:08:42,564
UH, THERE'S NO USE
THREATENING HIM IN A DREAM,
89
00:08:42,647 --> 00:08:44,275
RIGHT, MAL?
90
00:08:44,358 --> 00:08:47,403
THAT DEPENDS
ON WHAT YOU'RE THREATENING.
91
00:08:47,486 --> 00:08:50,155
KILLING HIM
WOULD JUST WAKE HIM UP.
92
00:08:50,238 --> 00:08:51,781
BUT PAIN…
93
00:08:53,492 --> 00:08:55,493
AAH! UGH!
94
00:08:55,576 --> 00:08:57,871
…PAIN IS IN THE MIND.
95
00:08:57,954 --> 00:08:59,497
AND JUDGING BY THE DECOR,
96
00:08:59,580 --> 00:09:01,833
WE'RE IN YOUR MIND,
AREN'T WE, ARTHUR?
97
00:09:13,887 --> 00:09:15,513
WHAT ARE YOU DOING?!
IT'S TOO SOON!
98
00:09:15,596 --> 00:09:17,182
I KNOW.
BUT THE DREAM'S COLLAPSING.
99
00:09:17,265 --> 00:09:19,310
I'M GONNA TRY TO KEEP SAITO
UNDER A LITTLE BIT LONGER.
100
00:09:19,393 --> 00:09:20,643
WE'RE ALMOST THERE.
101
00:09:34,366 --> 00:09:36,701
HE WAS CLOSE.
102
00:09:36,784 --> 00:09:39,079
VERY CLOSE.
103
00:09:51,841 --> 00:09:53,885
AAH! STOP HIM!
104
00:10:08,691 --> 00:10:11,652
AAH!
105
00:10:20,537 --> 00:10:21,662
THIS ISN'T GONNA WORK.
WAKE HIM UP.
106
00:10:31,339 --> 00:10:32,882
AAH!
107
00:10:43,310 --> 00:10:44,727
HE WON'T WAKE!
108
00:10:49,857 --> 00:10:51,318
GIVE HIM THE KICK!
WHAT?
109
00:10:51,401 --> 00:10:52,693
DUNK HIM.
110
00:11:20,763 --> 00:11:26,353
[ DISTORTED,
SLOW-MOTION SOUNDS ]
111
00:11:28,313 --> 00:11:29,730
AAH.
112
00:11:33,109 --> 00:11:34,777
NASH!
113
00:11:36,363 --> 00:11:38,697
HE'S OUT.
114
00:11:43,620 --> 00:11:46,957
YOU CAME PREPARED, HMM?
115
00:11:47,040 --> 00:11:48,542
NOT EVEN MY HEAD OF SECURITY
KNOWS THIS APARTMENT.
116
00:11:48,625 --> 00:11:50,127
HOW DID YOU FIND IT?
117
00:11:50,210 --> 00:11:52,670
IT'S VERY DIFFICULT
FOR A MAN OF YOUR POSITION
118
00:11:52,753 --> 00:11:54,714
TO KEEP A LOVE NEST
LIKE THIS SECRET,
119
00:11:54,797 --> 00:11:57,301
PARTICULARLY WHERE THERE'S
A MARRIED WOMAN INVOLVED.
120
00:11:57,384 --> 00:11:59,386
SHE WOULD NEVER.
YET, HERE WE ARE…
121
00:11:59,469 --> 00:12:01,054
WITH A DILEMMA.
122
00:12:01,137 --> 00:12:02,598
THEY'RE GETTING CLOSER.
123
00:12:02,681 --> 00:12:03,890
YOU GOT
WHAT YOU CAME FOR.
124
00:12:03,973 --> 00:12:05,517
WELL, THAT'S NOT TRUE.
125
00:12:05,600 --> 00:12:08,312
YOU LEFT OUT A KEY PIECE
OF INFORMATION, DIDN'T YOU?
126
00:12:08,395 --> 00:12:09,729
YOU HELD SOMETHING BACK,
127
00:12:09,812 --> 00:12:11,773
BECAUSE YOU KNEW
WHAT WE WERE UP TO.
128
00:12:11,856 --> 00:12:13,442
QUESTION IS,
WHY'D YOU LET US IN AT ALL?
129
00:12:13,525 --> 00:12:14,568
AN AUDITION.
130
00:12:14,651 --> 00:12:16,945
AN AUDITION FOR WHAT?
131
00:12:17,028 --> 00:12:18,989
DOESN'T MATTER.
YOU FAILED.
132
00:12:19,072 --> 00:12:21,825
WE EXTRACTED EVERY BIT OF
INFORMATION YOU HAD IN THERE.
133
00:12:21,908 --> 00:12:24,202
BUT YOUR DECEPTION
WAS OBVIOUS.
134
00:12:54,815 --> 00:12:59,904
♪ NON! RIEN DE RIEN… *
135
00:13:05,201 --> 00:13:08,079
SO, LEAVE ME AND GO.
136
00:13:08,162 --> 00:13:09,831
YOU DON'T SEEM TO UNDERSTAND,
MR. SAITO.
137
00:13:09,914 --> 00:13:11,458
THAT CORPORATION
THAT HIRED US,
138
00:13:11,541 --> 00:13:13,793
THEY WON'T ACCEPT FAILURE.
139
00:13:13,876 --> 00:13:16,213
WE WON'T LAST TWO DAYS.
140
00:13:16,296 --> 00:13:19,257
COBB?
141
00:13:19,340 --> 00:13:21,426
LOOKS LIKE I'M GONNA HAVE TO
DO THIS A LITTLE MORE SIMPLY.
142
00:13:22,843 --> 00:13:24,846
TELL US WHAT YOU KNOW!
143
00:13:24,929 --> 00:13:26,765
TELL US
WHAT YOU KNOW NOW!
144
00:13:29,976 --> 00:13:33,230
I HAVE ALWAYS HATED
THIS CARPET.
145
00:13:33,313 --> 00:13:37,651
IT'S STAINED AND FRAYED
IN SUCH DISTINCTIVE WAYS.
146
00:13:37,734 --> 00:13:42,280
BUT VERY DEFINITELY
MADE OF WOOL.
147
00:13:42,363 --> 00:13:45,075
RIGHT NOW…
148
00:13:45,158 --> 00:13:46,993
I'M LYING ON POLYESTER.
149
00:13:50,955 --> 00:13:53,625
WHICH MEANS…
150
00:13:53,708 --> 00:13:57,337
I'M NOT LYING ON MY CARPET
IN MY APARTMENT.
151
00:13:57,420 --> 00:14:01,258
YOU HAVE LIVED UP
TO YOUR REPUTATION, MR. COBB.
152
00:14:01,341 --> 00:14:03,843
I'M STILL DREAMING.
153
00:14:03,926 --> 00:14:05,928
[ EDIT PIAF'S "NON JE NE
REGRETTE RIEN" PLAYING ]
154
00:14:10,308 --> 00:14:11,934
HOW'D IT GO?
NOT GOOD.
155
00:14:16,731 --> 00:14:19,025
DREAM WITHIN A DREAM.
156
00:14:19,108 --> 00:14:21,902
AH, I'M IMPRESSED.
157
00:14:23,112 --> 00:14:25,907
BUT IN MY DREAM,
YOU PLAY BY MY RULES.
158
00:14:25,990 --> 00:14:29,119
AH, YES, BUT, YOU SEE,
MR. SAITO…
159
00:14:29,202 --> 00:14:31,496
WE'RE NOT IN YOUR DREAM.
WE'RE IN MINE.
160
00:14:34,791 --> 00:14:37,085
[ RAPID BEEPING,
MUSIC CONTINUES ]
161
00:14:37,168 --> 00:14:40,463
AAH!
162
00:14:41,964 --> 00:14:43,883
ASSHOLE. HOW DO YOU
MESS UP THE CARPET?
163
00:14:43,966 --> 00:14:45,260
IT WASN'T MY FAULT.
164
00:14:45,343 --> 00:14:46,595
YOU'RE THE ARCHITECT.
165
00:14:46,678 --> 00:14:48,472
I DIDN'T KNOW HE WAS GONNA
RUB HIS DAMN CHEEK ON IT!
166
00:14:48,555 --> 00:14:50,348
THAT'S ENOUGH.
167
00:14:50,431 --> 00:14:52,892
AND YOU. WHAT THE HELL
WAS ALL THAT?
168
00:14:52,975 --> 00:14:54,852
I HAVE IT UNDER CONTROL.
169
00:14:54,935 --> 00:14:56,354
I'D HATE TO SEE YOU
OUT OF CONTROL.
170
00:14:56,437 --> 00:14:58,732
ALL RIGHT,
WE DON'T HAVE TIME FOR THIS.
171
00:14:58,815 --> 00:15:00,275
I'M GETTING OFF AT KYOTO.
172
00:15:00,358 --> 00:15:02,319
WHY? HE'S NOT GONNA CHECK
EVERY COMPARTMENT.
173
00:15:02,402 --> 00:15:03,779
WELL, I DON'T LIKE TRAINS.
174
00:15:03,862 --> 00:15:06,113
LISTEN.
EVERY MAN FOR HIMSELF.
175
00:16:20,313 --> 00:16:21,815
YES, HELLO?
176
00:16:21,898 --> 00:16:23,400
Hi, Daddy.
177
00:16:23,483 --> 00:16:25,151
Hi, Dad.
178
00:16:25,234 --> 00:16:27,445
HEY, GUYS. HEY.
HOW ARE YOU?
179
00:16:27,528 --> 00:16:28,905
HOW YOU DOIN', HUH?
180
00:16:28,988 --> 00:16:30,240
Good.
181
00:16:30,323 --> 00:16:31,575
Okay, I guess.
182
00:16:31,658 --> 00:16:33,827
OKAY?
183
00:16:33,910 --> 00:16:35,495
WHO'S JUST OKAY?
IS THAT YOU, JAMES?
184
00:16:35,578 --> 00:16:37,664
Yeah.
185
00:16:37,747 --> 00:16:39,039
When are you
coming home, Dad?
186
00:16:40,750 --> 00:16:43,211
WELL, I CAN'T, SWEETHEART.
I CAN'T.
187
00:16:43,294 --> 00:16:45,046
NOT FOR A WHILE,
REMEMBER?
188
00:16:45,129 --> 00:16:46,882
Why?
189
00:16:46,965 --> 00:16:48,966
LOOK, I…I TOLD YOU.
190
00:16:49,049 --> 00:16:52,178
I'M… I'M AWAY
BECAUSE I'M WORKING, RIGHT?
191
00:16:52,261 --> 00:16:56,057
Grandma says
you're never coming back.
192
00:16:56,140 --> 00:16:58,976
PHILLIPA, IS THAT YOU?
193
00:16:59,059 --> 00:17:01,646
PUT GRANDMA ON THE PHONE
FOR ME, WILL YOU?
194
00:17:01,729 --> 00:17:03,648
She's shaking her head.
195
00:17:05,441 --> 00:17:08,236
WE'LL JUST HOPE
SHE'S WRONG ABOUT THAT.
196
00:17:08,319 --> 00:17:10,614
Daddy?
197
00:17:10,697 --> 00:17:11,948
YEAH, JAMES?
198
00:17:12,031 --> 00:17:13,741
Is Mommy with you?
199
00:17:16,285 --> 00:17:19,790
JAMES,
WE TALKED ABOUT THIS.
200
00:17:19,873 --> 00:17:22,459
MOMMY'S NOT HERE ANYMORE.
201
00:17:22,542 --> 00:17:25,462
Where?
202
00:17:25,545 --> 00:17:28,715
That's enough, kids.
Say bye-bye.
203
00:17:28,798 --> 00:17:31,259
LISTEN, I'M… I'M GONNA SEND
SOME PRESENTS WITH GRANDPA.
204
00:17:31,342 --> 00:17:32,594
ALL RIGHT?
205
00:17:32,677 --> 00:17:33,928
AND YOU BE GOOD.
YOU BE…
206
00:17:42,269 --> 00:17:44,689
OUR RIDE'S ON THE ROOF.
207
00:17:44,772 --> 00:17:46,691
RIGHT.
208
00:17:53,197 --> 00:17:54,532
HEY, ARE YOU OKAY?
209
00:17:54,615 --> 00:17:56,493
YEAH.
YEAH, I'M FINE. WHY?
210
00:17:56,576 --> 00:17:59,329
WELL, DOWN IN THE DREAM,
MAL SHOWING UP.
211
00:17:59,412 --> 00:18:01,080
LOOK, I'M, UH,
SORRY ABOUT YOUR LEG.
212
00:18:01,163 --> 00:18:02,624
WON'T HAPPEN AGAIN.
213
00:18:02,707 --> 00:18:04,250
IT'S GETTING WORSE,
ISN'T IT?
214
00:18:04,333 --> 00:18:05,794
ONE APOLOGY'S ALL YOU'RE
GETTING, ALL RIGHT, ARTHUR?
215
00:18:05,877 --> 00:18:07,378
WHERE'S NASH?
216
00:18:07,461 --> 00:18:09,088
HE HASN'T SHOWN.
YOU WANT TO WAIT?
217
00:18:09,171 --> 00:18:11,466
NO, WE WERE SUPPOSED TO
DELIVER SAITO'S EXPANSION PLANS
218
00:18:11,549 --> 00:18:13,092
TO COBOL ENGINEERING
TWO HOURS AGO.
219
00:18:13,175 --> 00:18:14,678
BY NOW,
THEY KNOW WE FAILED.
220
00:18:14,761 --> 00:18:17,263
IT'S TIME WE DISAPPEAR.
221
00:18:17,346 --> 00:18:19,307
WHERE YOU GONNA GO?
BUENOS AIRES.
222
00:18:19,390 --> 00:18:20,767
I CAN LIE LOW THERE,
223
00:18:20,850 --> 00:18:23,102
MAYBE SNIFF OUT A JOB
WHEN THINGS QUIET DOWN.
224
00:18:23,185 --> 00:18:25,563
YOU?
STATESIDE.
225
00:18:25,646 --> 00:18:27,189
SEND MY REGARDS.
226
00:18:33,404 --> 00:18:35,072
HE SOLD YOU OUT.
227
00:18:35,155 --> 00:18:37,367
THOUGHT TO COME TO ME
AND BARGAIN FOR HIS LIFE.
228
00:18:37,450 --> 00:18:41,328
SO, I OFFER YOU
THE SATISFACTION.
229
00:18:44,624 --> 00:18:47,167
IT'S NOT THE WAY
I DEAL WITH THINGS.
230
00:19:00,180 --> 00:19:01,182
WHAT WILL YOU DO
WITH HIM?
231
00:19:01,265 --> 00:19:03,309
NOTHING.
232
00:19:03,392 --> 00:19:06,562
BUT I CAN'T SPEAK
FOR COBOL ENGINEERING.
233
00:19:19,993 --> 00:19:21,745
WHAT DO YOU WANT
FROM US?
234
00:19:21,828 --> 00:19:23,370
INCEPTION.
235
00:19:24,580 --> 00:19:26,791
IS IT POSSIBLE?
OF COURSE NOT.
236
00:19:26,874 --> 00:19:29,920
IF YOU CAN STEAL AN IDEA
FROM SOMEONE'S MIND,
237
00:19:30,003 --> 00:19:32,005
WHY CAN'T YOU
PLANT ONE THERE INSTEAD?
238
00:19:32,088 --> 00:19:33,965
OKAY. HERE'S ME PLANTING
AN IDEA IN YOUR HEAD.
239
00:19:34,048 --> 00:19:35,926
I SAY TO YOU,
"DON'T THINK ABOUT ELEPHANTS."
240
00:19:36,009 --> 00:19:37,010
WHAT ARE YOU
THINKING ABOUT?
241
00:19:37,093 --> 00:19:38,803
ELEPHANTS.
242
00:19:38,886 --> 00:19:40,430
RIGHT.
BUT IT'S NOT YOUR IDEA,
243
00:19:40,513 --> 00:19:42,849
BECAUSE YOU KNOW
I GAVE IT TO YOU.
244
00:19:42,932 --> 00:19:45,351
THE SUBJECT'S MIND
CAN ALWAYS TRACE THE
GENESIS OF THE IDEA.
245
00:19:45,434 --> 00:19:46,603
TRUE INSPIRATION'S
IMPOSSIBLE TO FAKE.
246
00:19:46,686 --> 00:19:47,770
IT'S NOT TRUE.
247
00:19:50,314 --> 00:19:52,025
CAN YOU DO IT?
248
00:19:52,108 --> 00:19:53,860
ARE YOU OFFERING ME
A CHOICE?
249
00:19:53,943 --> 00:19:57,238
BECAUSE I CAN FIND MY OWN WAY
TO SQUARE THINGS WITH COBOL.
250
00:19:57,321 --> 00:19:59,240
THEN YOU DO
HAVE A CHOICE.
251
00:19:59,323 --> 00:20:01,117
AND I CHOOSE
TO LEAVE, SIR.
252
00:20:06,164 --> 00:20:07,665
TELL THE CREW
WHERE YOU WANT TO GO.
253
00:20:12,419 --> 00:20:14,088
HEY, MR. COBB!
254
00:20:16,465 --> 00:20:19,010
HOW WOULD YOU
LIKE TO GO HOME?
255
00:20:19,093 --> 00:20:20,971
TO AMERICA?
256
00:20:21,054 --> 00:20:23,848
TO YOUR CHILDREN?
257
00:20:23,931 --> 00:20:27,226
YOU CAN'T FIX THAT!
NO ONE CAN!
258
00:20:27,309 --> 00:20:28,853
JUST LIKE INCEPTION.
259
00:20:28,936 --> 00:20:30,270
COBB, COME ON.
260
00:20:33,524 --> 00:20:35,860
HOW COMPLEX IS THE IDEA?
261
00:20:35,943 --> 00:20:37,278
SIMPLE ENOUGH.
262
00:20:37,361 --> 00:20:38,863
NO IDEA IS SIMPLE
263
00:20:38,946 --> 00:20:41,198
WHEN YOU NEED TO PLANT IT
IN SOMEBODY ELSE'S MIND.
264
00:20:41,281 --> 00:20:45,036
MY MAIN COMPETITOR IS AN OLD MAN
IN POOR HEALTH.
265
00:20:45,119 --> 00:20:49,290
HIS SON WILL SOON INHERIT
CONTROL OF THE CORPORATION.
266
00:20:49,373 --> 00:20:53,544
I NEED HIM TO DECIDE TO BREAK UP
HIS FATHER'S EMPIRE.
267
00:20:53,627 --> 00:20:55,505
COBB, WE SHOULD WALK AWAY
FROM THIS.
268
00:20:55,588 --> 00:20:57,882
HOLD ON.
269
00:20:57,965 --> 00:21:01,469
IF I WERE TO DO THIS,
IF…I EVEN COULD DO IT,
270
00:21:01,552 --> 00:21:03,346
I'D NEED A GUARANTEE.
271
00:21:03,429 --> 00:21:05,849
HOW DO I KNOW
YOU CAN DELIVER?
272
00:21:05,932 --> 00:21:07,851
YOU DON'T.
273
00:21:07,934 --> 00:21:09,936
BUT I CAN.
274
00:21:10,019 --> 00:21:14,649
SO, DO YOU WANT
TO TAKE A LEAP OF FAITH…
275
00:21:14,732 --> 00:21:18,987
OR BECOME AN OLD MAN,
FILLED WITH REGRET,
276
00:21:19,070 --> 00:21:21,655
WAITING TO DIE ALONE?
277
00:21:24,491 --> 00:21:26,661
ASSEMBLE YOUR TEAM,
MR. COBB.
278
00:21:26,744 --> 00:21:29,122
AND CHOOSE YOUR PEOPLE
MORE WISELY.
279
00:21:37,379 --> 00:21:39,090
LOOK, I KNOW HOW MUCH
YOU WANT TO GO HOME.
280
00:21:41,217 --> 00:21:43,636
THIS CAN'T BE DONE.
281
00:21:43,719 --> 00:21:47,264
YES, IT CAN.
JUST HAVE TO GO DEEP ENOUGH.
282
00:21:47,347 --> 00:21:49,100
YOU DON'T KNOW THAT.
283
00:21:49,183 --> 00:21:52,145
I'VE DONE IT BEFORE.
284
00:21:52,228 --> 00:21:54,354
WHO'D YOU DO IT TO?
285
00:21:58,651 --> 00:22:02,613
WHY ARE WE GOING
TO PARIS?
286
00:22:02,696 --> 00:22:05,365
WE'RE GONNA NEED
A NEW ARCHITECT.
287
00:22:20,380 --> 00:22:24,010
YOU NEVER DID LIKE
YOUR OFFICE, DID YOU?
288
00:22:25,219 --> 00:22:30,474
NO SPACE TO THINK
IN THAT BROOM CUPBOARD.
289
00:22:30,557 --> 00:22:33,603
IS IT SAFE FOR YOU
TO BE HERE?
290
00:22:33,686 --> 00:22:35,897
EXTRADITION BETWEEN FRANCE
AND THE UNITED STATES
291
00:22:35,980 --> 00:22:36,940
IS A BUREAUCRATIC
NIGHTMARE.
292
00:22:37,023 --> 00:22:38,399
YOU KNOW THAT.
293
00:22:38,482 --> 00:22:39,901
I THINK THEY MIGHT
FIND A WAY
294
00:22:39,984 --> 00:22:41,069
TO MAKE IT WORK
IN YOUR CASE.
295
00:22:41,152 --> 00:22:43,238
LOOK, I, UH…
296
00:22:43,321 --> 00:22:45,322
BROUGHT THESE FOR YOU
TO GIVE TO THE KIDS
297
00:22:45,405 --> 00:22:46,908
WHEN YOU HAVE A CHANCE.
298
00:22:46,991 --> 00:22:49,410
IT'LL TAKE MORE THAN
THE OCCASIONAL STUFFED ANIMAL
299
00:22:49,493 --> 00:22:52,205
TO CONVINCE THOSE CHILDREN
THEY STILL HAVE A FATHER.
300
00:22:52,288 --> 00:22:54,791
I'M JUST DOING WHAT I KNOW.
I'M DOING WHAT YOU TAUGHT ME.
301
00:22:54,874 --> 00:22:57,794
I NEVER TAUGHT YOU
TO BE A THIEF.
302
00:22:57,877 --> 00:22:59,545
NO, YOU TAUGHT ME
TO NAVIGATE PEOPLE'S MINDS.
303
00:22:59,628 --> 00:23:01,172
BUT AFTER WHAT HAPPENED,
304
00:23:01,255 --> 00:23:03,340
THERE WEREN'T A WHOLE LOT
OF LEGITIMATE WAYS
305
00:23:03,423 --> 00:23:04,675
FOR ME TO USE THAT SKILL.
306
00:23:08,929 --> 00:23:11,474
WHAT ARE YOU
DOING HERE, DOM?
307
00:23:11,557 --> 00:23:16,104
I THINK
I FOUND A WAY HOME.
308
00:23:16,187 --> 00:23:19,690
IT'S A JOB FOR SOME
VERY, VERY POWERFUL PEOPLE.
309
00:23:19,773 --> 00:23:24,862
PEOPLE WHO I BELIEVE CAN FIX
MY CHARGES PERMANENTLY.
310
00:23:24,945 --> 00:23:26,156
BUT I NEED YOUR HELP.
311
00:23:26,239 --> 00:23:28,074
YOU'RE HERE TO CORRUPT
312
00:23:28,157 --> 00:23:29,617
ONE OF MY BRIGHTEST
AND BEST.
313
00:23:29,700 --> 00:23:31,661
YOU KNOW
WHAT I'M OFFERING.
314
00:23:31,744 --> 00:23:33,370
YOU HAVE TO LET THEM
DECIDE FOR THEMSELVES.
315
00:23:33,453 --> 00:23:35,039
MONEY.
NOT JUST MONEY.
316
00:23:35,122 --> 00:23:36,874
YOU REMEMBER.
317
00:23:36,957 --> 00:23:40,295
IT'S THE CHANCE TO BUILD
CATHEDRALS, ENTIRE CITIES,
318
00:23:40,378 --> 00:23:42,213
THINGS THAT NEVER EXISTED,
319
00:23:42,296 --> 00:23:45,424
THINGS THAT COULDN'T EXIST
IN THE REAL WORLD.
320
00:23:45,507 --> 00:23:48,427
SO, YOU… YOU WANT ME
TO LET SOMEONE ELSE
321
00:23:48,510 --> 00:23:50,721
FOLLOW YOU
INTO YOUR FANTASY?
322
00:23:50,804 --> 00:23:52,223
THEY DON'T ACTUALLY
COME INTO THE DREAM.
323
00:23:52,306 --> 00:23:53,641
THEY JUST… THEY JUST
DESIGN THE LEVELS
324
00:23:53,724 --> 00:23:55,018
AND TEACH THEM
TO THE DREAMERS.
325
00:23:55,101 --> 00:23:56,311
THAT'S ALL.
326
00:23:56,394 --> 00:23:57,435
DESIGN IT YOURSELF.
327
00:23:59,688 --> 00:24:01,648
MAL WON'T LET ME.
328
00:24:06,987 --> 00:24:10,825
COME BACK
TO REALITY, DOM.
329
00:24:10,908 --> 00:24:11,909
PLEASE.
330
00:24:11,992 --> 00:24:13,995
"REALITY."
331
00:24:14,078 --> 00:24:17,081
THOSE KIDS,
YOUR GRANDCHILDREN,
332
00:24:17,164 --> 00:24:19,416
THEY'RE WAITING FOR THEIR FATHER
TO COME BACK HOME.
333
00:24:19,499 --> 00:24:21,044
THAT'S THEIR REALITY.
334
00:24:21,127 --> 00:24:24,505
AND THIS JOB, THIS LAST JOB,
THAT'S HOW I GET THERE.
335
00:24:24,588 --> 00:24:28,466
I WOULD NOT BE STANDING HERE
IF I KNEW ANY OTHER WAY.
336
00:24:30,761 --> 00:24:34,556
I NEED AN ARCHITECT
WHO IS AS GOOD AS I WAS.
337
00:24:38,102 --> 00:24:40,188
I'VE GOT SOMEBODY BETTER.
338
00:24:40,271 --> 00:24:41,772
ARIADNE?
339
00:24:43,941 --> 00:24:46,610
I'D LIKE YOU
TO MEET MR. COBB.
340
00:24:46,693 --> 00:24:48,238
PLEASED TO MEET YOU.
341
00:24:48,321 --> 00:24:50,114
IF YOU HAVE
A FEW MOMENTS,
342
00:24:50,197 --> 00:24:53,159
MR. COBB HAS A JOB OFFER
HE'D LIKE TO DISCUSS WITH YOU.
343
00:24:53,242 --> 00:24:54,660
A WORK PLACEMENT?
344
00:24:54,743 --> 00:24:56,204
NOT EXACTLY.
345
00:24:56,287 --> 00:24:58,206
I HAVE A TEST FOR YOU.
346
00:24:58,289 --> 00:25:00,917
YOU'RE NOT GONNA TELL ME
ANYTHING ABOUT THIS FIRST?
347
00:25:01,000 --> 00:25:04,670
BEFORE I DESCRIBE THE JOB,
I HAVE TO KNOW YOU CAN DO IT.
WHY?
348
00:25:04,753 --> 00:25:06,588
IT'S NOT,
STRICTLY SPEAKING, LEGAL.
349
00:25:09,925 --> 00:25:12,387
YOU HAVE TWO MINUTES
TO DESIGN A MAZE
350
00:25:12,470 --> 00:25:14,596
THAT IT TAKES
ONE MINUTE TO SOLVE.
351
00:25:15,848 --> 00:25:16,932
STOP.
352
00:25:20,144 --> 00:25:21,312
AGAIN.
353
00:25:22,729 --> 00:25:24,023
STOP.
354
00:25:27,360 --> 00:25:30,154
YOU'RE GONNA HAVE TO DO BETTER
THAN THAT.
355
00:25:42,458 --> 00:25:44,210
THAT'S MORE LIKE IT.
356
00:26:03,645 --> 00:26:05,815
THEY SAY
WE ONLY USE A FRACTION
357
00:26:05,898 --> 00:26:07,608
OF OUR BRAIN'S
TRUE POTENTIAL.
358
00:26:07,691 --> 00:26:09,402
NOW, THAT'S
WHEN WE'RE AWAKE.
359
00:26:09,485 --> 00:26:10,694
WHEN WE'RE ASLEEP,
360
00:26:10,777 --> 00:26:11,988
OUR MIND CAN DO
ALMOST ANYTHING.
361
00:26:12,071 --> 00:26:13,990
SUCH AS?
362
00:26:14,073 --> 00:26:15,783
WELL, IMAGINE YOU'RE DESIGNING
A BUILDING, ALL RIGHT?
363
00:26:15,866 --> 00:26:18,035
YOU CONSCIOUSLY CREATE
EACH ASPECT.
364
00:26:18,118 --> 00:26:20,621
BUT SOMETIMES IT FEELS LIKE
IT'S ALMOST CREATING ITSELF,
365
00:26:20,704 --> 00:26:21,998
IF YOU KNOW WHAT I MEAN.
366
00:26:22,081 --> 00:26:23,958
YEAH. YEAH,
LIKE I'M…DISCOVERING IT.
367
00:26:24,041 --> 00:26:26,336
GENUINE INSPIRATION,
RIGHT?
MM-HMM.
368
00:26:26,419 --> 00:26:30,214
NOW, IN A DREAM, OUR MIND
CONTINUOUSLY DOES THIS.
369
00:26:30,297 --> 00:26:35,636
WE CREATE AND PERCEIVE
OUR WORLD SIMULTANEOUSLY.
370
00:26:35,719 --> 00:26:36,929
AND OUR MIND
DOES THIS SO WELL
371
00:26:37,012 --> 00:26:38,806
THAT WE DON'T EVEN KNOW
IT'S HAPPENING.
372
00:26:38,889 --> 00:26:41,058
THAT ALLOWS US TO GET RIGHT
IN THE MIDDLE OF THAT PROCESS.
373
00:26:41,141 --> 00:26:42,393
HOW?
374
00:26:42,476 --> 00:26:43,978
BY TAKING OVER
THE CREATING PART.
375
00:26:44,061 --> 00:26:45,646
NOW, THIS IS
WHERE I NEED YOU.
376
00:26:45,729 --> 00:26:47,773
YOU CREATE THE WORLD
OF THE DREAM.
377
00:26:47,856 --> 00:26:50,276
WE BRING THE SUBJECT
INTO THAT DREAM,
378
00:26:50,359 --> 00:26:53,779
AND THEY FILL IT
WITH THEIR SUBCONSCIOUS.
379
00:26:53,862 --> 00:26:56,449
HOW COULD I EVER
ACQUIRE ENOUGH DETAIL
380
00:26:56,532 --> 00:26:59,285
TO MAKE THEM THINK
THAT IT'S REALITY?
381
00:26:59,368 --> 00:27:01,996
WELL, DREAMS, THEY FEEL REAL
WHILE WE'RE IN THEM, RIGHT?
382
00:27:02,079 --> 00:27:03,706
IT'S ONLY WHEN WE WAKE UP
383
00:27:03,789 --> 00:27:05,958
THAT WE REALIZE SOMETHING
WAS ACTUALLY STRANGE.
384
00:27:06,041 --> 00:27:07,877
LET ME ASK YOU
A QUESTION.
385
00:27:07,960 --> 00:27:10,671
YOU… YOU NEVER
REALLY REMEMBER
386
00:27:10,754 --> 00:27:12,465
THE BEGINNING OF A DREAM,
DO YOU?
387
00:27:12,548 --> 00:27:15,301
YOU ALWAYS WIND UP RIGHT IN
THE MIDDLE OF WHAT'S GOING ON.
388
00:27:15,384 --> 00:27:16,760
I GUESS, YEAH.
389
00:27:16,843 --> 00:27:18,637
SO, HOW DID WE
END UP HERE?
390
00:27:18,720 --> 00:27:21,849
WELL, WE JUST CAME
FROM THE…
391
00:27:21,932 --> 00:27:24,559
THINK ABOUT IT, ARIADNE.
HOW DID YOU GET HERE?
392
00:27:24,642 --> 00:27:26,353
WHERE ARE YOU RIGHT NOW?
393
00:27:29,856 --> 00:27:31,734
WE'RE DREAMING?
394
00:27:31,817 --> 00:27:32,902
YOU'RE ACTUALLY
IN THE MIDDLE
395
00:27:32,985 --> 00:27:34,611
OF THE WORKSHOP RIGHT NOW,
SLEEPING.
396
00:27:34,694 --> 00:27:36,447
THIS IS YOUR FIRST LESSON
IN SHARED DREAMING.
397
00:27:36,530 --> 00:27:38,908
STAY CALM.
398
00:27:38,991 --> 00:27:40,909
[ RUMBLING,
CUP AND SAUCER RATTLING ]
399
00:28:14,734 --> 00:28:16,987
IF IT'S JUST A DREAM,
THEN WHY ARE YOU PROTEC…
400
00:28:17,070 --> 00:28:18,448
[ "NON JE NE REGRETTE RIEN"
PLAYS ]
401
00:28:18,531 --> 00:28:20,241
BECAUSE IT'S NEVER
JUST A DREAM, IS IT?
402
00:28:20,324 --> 00:28:22,326
AND A FACE FULL OF GLASS
HURTS LIKE HELL.
403
00:28:22,409 --> 00:28:23,660
WHEN YOU'RE IN IT,
IT FEELS REAL.
404
00:28:23,743 --> 00:28:25,413
THAT'S WHY THE MILITARY
DEVELOPED DREAM SHARING.
405
00:28:25,496 --> 00:28:27,290
IT WAS A TRAINING PROGRAM
FOR SOLDIERS
406
00:28:27,373 --> 00:28:29,542
TO SHOOT AND STAB
AND STRANGLE EACH OTHER
407
00:28:29,625 --> 00:28:30,793
AND THEN WAKE UP.
408
00:28:30,876 --> 00:28:33,337
HOW DID ARCHITECTS
BECOME INVOLVED?
409
00:28:33,420 --> 00:28:36,715
WELL, SOMEONE HAD TO DESIGN
THE DREAMS, RIGHT?
410
00:28:36,798 --> 00:28:39,802
WHY DON'T YOU GIVE US
ANOTHER FIVE MINUTES?
411
00:28:39,885 --> 00:28:41,345
FIVE MINUTES?!
412
00:28:41,428 --> 00:28:44,765
WHAT… WE WERE TALKING
FOR LIKE AT LEAST AN HOUR.
413
00:28:44,848 --> 00:28:46,976
IN A DREAM, YOUR MIND
FUNCTIONS MORE QUICKLY.
414
00:28:47,059 --> 00:28:50,896
THEREFORE, TIME SEEMS
TO FEEL MORE SLOW.
415
00:28:50,979 --> 00:28:52,939
FIVE MINUTES IN THE
REAL WORLD GIVES YOU
AN HOUR IN THE DREAM.
416
00:28:54,400 --> 00:28:57,194
WHY DON'T YOU SEE
WHAT YOU CAN GET UP TO
IN FIVE MINUTES?
417
00:29:03,075 --> 00:29:04,535
YOU'VE GOT
THE BASIC LAYOUT.
418
00:29:04,618 --> 00:29:06,287
THE BOOKSTORE, THE CAFÉ.
419
00:29:06,370 --> 00:29:07,913
ALMOST EVERYTHING ELSE
IS HERE, TOO.
420
00:29:07,996 --> 00:29:09,206
WHO ARE THE PEOPLE?
421
00:29:09,289 --> 00:29:11,125
PROJECTIONS
OF MY SUBCONSCIOUS.
422
00:29:11,208 --> 00:29:13,169
YOURS?
YES.
423
00:29:13,252 --> 00:29:15,421
REMEMBER, YOU ARE THE DREAMER.
YOU BUILD THIS WORLD.
424
00:29:15,504 --> 00:29:18,007
I AM THE SUBJECT.
MY MIND POPULATES IT.
425
00:29:18,090 --> 00:29:20,009
YOU CAN LITERALLY TALK
TO MY SUBCONSCIOUS.
426
00:29:20,092 --> 00:29:21,927
THAT'S ONE OF THE WAYS
WE EXTRACT INFORMATION
427
00:29:22,010 --> 00:29:23,220
FROM THE SUBJECT.
428
00:29:23,303 --> 00:29:24,555
HOW ELSE DO YOU DO IT?
429
00:29:24,638 --> 00:29:26,474
BY CREATING
SOMETHING SECURE
430
00:29:26,557 --> 00:29:29,059
LIKE A… LIKE A BANK VAULT
OR A JAIL.
431
00:29:29,142 --> 00:29:31,145
THE MIND AUTOMATICALLY
FILLS IT WITH INFORMATION
432
00:29:31,228 --> 00:29:32,396
IT'S TRYING TO PROTECT.
433
00:29:32,479 --> 00:29:33,981
YOU UNDERSTAND?
434
00:29:34,064 --> 00:29:35,441
THEN YOU BREAK IN
AND STEAL IT.
435
00:29:35,524 --> 00:29:36,984
WELL…
436
00:29:37,067 --> 00:29:39,403
I GUESS I THOUGHT
THAT THE DREAM SPACE
437
00:29:39,486 --> 00:29:41,572
WOULD BE ALL
ABOUT THE VISUAL,
438
00:29:41,655 --> 00:29:43,740
BUT IT'S MORE
ABOUT THE FEEL OF IT.
439
00:29:43,823 --> 00:29:44,908
MY QUESTION IS,
440
00:29:44,991 --> 00:29:46,536
WHAT HAPPENS
WHEN YOU START MESSING
441
00:29:46,619 --> 00:29:49,079
WITH THE PHYSICS
OF IT ALL?
442
00:30:28,118 --> 00:30:30,996
IT'S SOMETHING,
ISN'T IT?
443
00:30:31,079 --> 00:30:33,248
YES, IT IS.
444
00:30:56,980 --> 00:30:59,066
WHY ARE THEY ALL
LOOKING AT ME?
445
00:30:59,149 --> 00:31:00,526
BECAUSE MY
SUBCONSCIOUS FEELS
446
00:31:00,609 --> 00:31:02,653
THAT SOMEONE ELSE
IS CREATING THIS WORLD.
447
00:31:02,736 --> 00:31:04,321
THE MORE
YOU CHANGE THINGS,
448
00:31:04,404 --> 00:31:06,490
THE QUICKER THE PROJECTIONS
START TO CONVERGE ON YOU.
449
00:31:06,573 --> 00:31:08,325
"CONVERGE"?
450
00:31:08,408 --> 00:31:10,661
THEY SENSE THE FOREIGN NATURE
OF THE DREAMER.
451
00:31:10,744 --> 00:31:13,623
THEY ATTACK LIKE WHITE BLOOD
CELLS FIGHTING AN INFECTION.
452
00:31:13,706 --> 00:31:14,790
LIKE THEY'RE GONNA
ATTACK US?
453
00:31:14,873 --> 00:31:16,083
NO, NO.
454
00:31:16,166 --> 00:31:18,293
JUST YOU.
455
00:31:22,172 --> 00:31:24,133
THIS IS GREAT,
BUT I'M TELLING YOU,
456
00:31:24,216 --> 00:31:25,676
IF YOU KEEP CHANGING THINGS
LIKE THIS…
457
00:31:29,513 --> 00:31:31,140
GEEZ.
458
00:31:31,223 --> 00:31:33,350
MIND TELLING YOUR SUBCONSCIOUS
TO TAKE IT EASY?
459
00:31:33,433 --> 00:31:35,894
IT'S MY SUBCONSCIOUS.
REMEMBER? I CAN'T CONTROL IT.
460
00:32:29,197 --> 00:32:30,866
VERY IMPRESSIVE.
461
00:32:42,001 --> 00:32:46,549
I KNOW THIS BRIDGE.
THIS PLACE IS REAL, ISN'T IT?
462
00:32:46,632 --> 00:32:48,925
YEAH, I CROSS IT EVERY DAY
TO GET TO THE COLLEGE.
463
00:32:49,008 --> 00:32:50,720
NEVER RE-CREATE PLACES
FROM YOUR MEMORY.
464
00:32:50,803 --> 00:32:52,638
ALWAYS IMAGINE
NEW PLACES.
465
00:32:52,721 --> 00:32:54,640
WELL, YOU GOTTA DRAW FROM
STUFF YOU KNOW, RIGHT?
466
00:32:54,723 --> 00:32:57,560
ONLY USE DETAILS…
A-A STREETLAMP OR A PHONE BOOTH.
467
00:32:57,643 --> 00:32:58,602
NEVER ENTIRE AREAS.
468
00:32:58,685 --> 00:33:00,229
WHY NOT?
469
00:33:00,312 --> 00:33:01,980
'CAUSE BUILDING A DREAM
FROM YOUR MEMORY
470
00:33:02,063 --> 00:33:03,315
IS THE EASIEST WAY
TO LOSE YOUR GRASP
471
00:33:03,398 --> 00:33:04,775
ON WHAT'S REAL
AND WHAT IS A DREAM.
472
00:33:04,858 --> 00:33:05,818
IS THAT WHAT HAPPENED
TO YOU?
473
00:33:05,901 --> 00:33:07,444
HEY, LISTEN TO ME.
474
00:33:07,527 --> 00:33:09,363
THIS HAS NOTHING TO DO WITH ME,
YOU UNDERSTAND?
475
00:33:09,446 --> 00:33:11,240
IS THAT WHY YOU NEED ME
TO BUILD YOUR DREAMS?
476
00:33:11,323 --> 00:33:13,325
HEY, GET OFF OF HER.
BACK UP. BACK UP!
477
00:33:13,408 --> 00:33:15,160
COBB! COBB!
478
00:33:15,243 --> 00:33:16,412
GET OFF OF HER!
COBB! LET ME GO!
479
00:33:16,495 --> 00:33:17,747
MAL!
LET ME GO!
480
00:33:17,830 --> 00:33:18,914
MAL!
481
00:33:18,997 --> 00:33:20,541
WAKE ME UP!
MAL!
482
00:33:20,624 --> 00:33:22,459
WAKE ME UP!
WAKE ME UP!
MAL, NO! NO!
483
00:33:22,542 --> 00:33:24,085
WAKE ME UP!
WAKE ME UP!
484
00:33:25,838 --> 00:33:27,798
HEY. HEY.
HEY. LOOK AT ME.
485
00:33:27,881 --> 00:33:29,466
YOU'RE OKAY.
YOU'RE OKAY.
486
00:33:29,549 --> 00:33:31,301
WHY…
487
00:33:31,384 --> 00:33:33,053
WHY WOULDN'T I WAKE UP?
488
00:33:33,136 --> 00:33:35,097
'CAUSE THERE WAS STILL
SOME TIME ON THE CLOCK,
489
00:33:35,180 --> 00:33:37,808
AND YOU CAN'T WAKE UP FROM
WITHIN THE DREAM UNLESS YOU DIE.
490
00:33:37,891 --> 00:33:39,685
SHE'LL NEED A TOTEM.
WHAT?!
491
00:33:39,768 --> 00:33:41,645
A TOTEM,
IT'S A SMALL PERSONAL…
492
00:33:41,728 --> 00:33:43,980
THAT'S SOME SUBCONSCIOUS
YOU'VE GOT ON YOU, COBB!
493
00:33:44,063 --> 00:33:45,482
SHE'S A REAL CHARMER!
494
00:33:45,565 --> 00:33:47,150
OH. I SEE
YOU MET MRS. COBB.
495
00:33:47,233 --> 00:33:48,903
SHE'S HIS WIFE?
YEAH.
496
00:33:48,986 --> 00:33:50,404
SO, A TOTEM.
497
00:33:50,487 --> 00:33:52,322
YOU NEED A SMALL OBJECT,
POTENTIALLY HEAVY,
498
00:33:52,405 --> 00:33:54,366
SOMETHING YOU CAN HAVE
ON YOU ALL THE TIME
499
00:33:54,449 --> 00:33:56,118
THAT NO ONE ELSE KNOWS.
WHAT, LIKE A COIN?
500
00:33:56,201 --> 00:33:58,120
NO. IT NEEDS TO BE
MORE UNIQUE THAN THAT.
501
00:33:58,203 --> 00:34:01,456
LIKE, THIS IS A…
LOADED DIE.
502
00:34:02,916 --> 00:34:04,251
I CAN'T LET YOU TOUCH IT.
503
00:34:04,334 --> 00:34:05,920
THAT WOULD DEFEAT
THE PURPOSE.
504
00:34:06,003 --> 00:34:07,630
SEE, ONLY I KNOW THE BALANCE
AND THE WEIGHT
505
00:34:07,713 --> 00:34:09,882
OF THIS PARTICULAR
LOADED DIE.
506
00:34:09,965 --> 00:34:11,884
THAT WAY,
WHEN YOU LOOK AT YOUR TOTEM,
507
00:34:11,967 --> 00:34:13,302
YOU KNOW BEYOND A DOUBT
508
00:34:13,385 --> 00:34:15,512
THAT YOU'RE NOT
IN SOMEONE ELSE'S DREAM.
509
00:34:18,640 --> 00:34:21,143
I-I DON'T KNOW IF YOU CAN'T
SEE WHAT'S GOING ON,
510
00:34:21,226 --> 00:34:22,895
OR IF YOU JUST
DON'T WANT TO,
511
00:34:22,978 --> 00:34:25,021
BUT COBB HAS SOME
SERIOUS PROBLEMS
512
00:34:25,104 --> 00:34:26,398
THAT HE'S TRIED
TO BURY DOWN THERE.
513
00:34:26,481 --> 00:34:28,984
AND I'M NOT ABOUT
TO JUST OPEN MY MIND
514
00:34:29,067 --> 00:34:30,360
TO SOMEONE LIKE THAT.
515
00:34:35,365 --> 00:34:37,868
SHE'LL BE BACK.
516
00:34:37,951 --> 00:34:40,329
I'VE NEVER SEEN ANYONE PICK
IT UP THAT QUICKLY BEFORE.
517
00:34:40,412 --> 00:34:42,665
REALITY'S NOT GONNA BE ENOUGH
FOR HER NOW,
518
00:34:42,748 --> 00:34:44,875
AND WHEN SHE COMES BACK
519
00:34:44,958 --> 00:34:46,335
WHEN SHE COMES BACK,
520
00:34:46,418 --> 00:34:48,086
YOU'RE GONNA HAVE
HER BUILDING MAZES.
521
00:34:48,169 --> 00:34:49,672
WHERE ARE YOU GONNA BE?
522
00:34:49,755 --> 00:34:51,507
I GOTTA GO VISIT EAMES.
523
00:34:51,590 --> 00:34:53,801
EAMES? NO, HE'S IN MOMBASA.
IT'S COBOL'S BACKYARD.
524
00:34:53,884 --> 00:34:55,719
IT'S A NECESSARY RISK.
525
00:34:55,802 --> 00:34:57,346
WELL, THERE'S PLENTY
OF GOOD THIEVES.
526
00:34:57,429 --> 00:35:00,015
WE DON'T JUST NEED A THIEF.
527
00:35:00,098 --> 00:35:01,182
WE NEED A FORGER.
528
00:35:09,608 --> 00:35:11,694
YOU CAN RUB THEM TOGETHER
ALL YOU WANT,
529
00:35:11,777 --> 00:35:12,862
THEY'RE NOT GONNA BREED.
530
00:35:12,945 --> 00:35:14,320
YOU NEVER KNOW.
531
00:35:15,655 --> 00:35:18,158
LET ME GET YOU A DRINK.
532
00:35:18,241 --> 00:35:20,702
YOU'RE BUYING.
533
00:35:26,792 --> 00:35:28,043
YOUR SPELLING
HASN'T IMPROVED.
534
00:35:28,126 --> 00:35:29,461
PISS OFF.
535
00:35:29,544 --> 00:35:30,838
HOW'S YOUR HANDWRITING?
536
00:35:30,921 --> 00:35:32,464
IT'S VERSATILE.
537
00:35:32,547 --> 00:35:33,799
GOOD.
538
00:35:33,882 --> 00:35:35,091
THANK YOU VERY MUCH.
539
00:35:35,174 --> 00:35:36,719
INCEPTION.
540
00:35:36,802 --> 00:35:38,136
NOW, BEFORE YOU BOTHER
541
00:35:38,219 --> 00:35:40,430
TELLING ME IT'S IMPOSSIBLE,
LET ME…
542
00:35:40,513 --> 00:35:43,058
NO, IT'S PERFECTLY POSSIBLE.
IT'S JUST BLOODY DIFFICULT.
543
00:35:43,141 --> 00:35:45,227
INTERESTING.
544
00:35:45,310 --> 00:35:47,103
'CAUSE ARTHUR KEEPS TELLING ME
IT CAN'T BE DONE.
545
00:35:47,186 --> 00:35:48,898
HMM. ARTHUR.
546
00:35:48,981 --> 00:35:50,315
YOU STILL WORKING WITH
THAT STICK IN THE MUD?
547
00:35:50,398 --> 00:35:51,859
WELL, HE IS GOOD
AT WHAT HE DOES, RIGHT?
548
00:35:51,942 --> 00:35:53,485
OH, HE'S THE BEST.
549
00:35:53,568 --> 00:35:55,988
HE HAS NO IMAGINATION.
NOT LIKE YOU.
550
00:35:56,071 --> 00:35:57,907
LISTEN, IF YOU'RE GONNA
PERFORM INCEPTION,
551
00:35:57,990 --> 00:35:59,366
YOU NEED IMAGINATION.
552
00:35:59,449 --> 00:36:01,284
LET ME ASK YOU SOMETHING.
553
00:36:01,367 --> 00:36:03,119
HAVE YOU DONE IT BEFORE?
554
00:36:03,202 --> 00:36:04,788
WE TRIED IT.
555
00:36:04,871 --> 00:36:06,582
WE GOT THE IDEA IN PLACE,
BUT IT DIDN'T TAKE.
556
00:36:06,665 --> 00:36:08,166
YOU DIDN'T PLANT IT
DEEP ENOUGH?
557
00:36:08,249 --> 00:36:09,793
NO, IT'S NOT
JUST ABOUT DEPTH.
558
00:36:09,876 --> 00:36:11,921
YOU NEED THE SIMPLEST
VERSION OF THE IDEA
559
00:36:12,004 --> 00:36:13,088
IN ORDER FOR IT
TO GROW NATURALLY
560
00:36:13,171 --> 00:36:14,381
IN YOUR SUBJECT'S MIND.
561
00:36:14,464 --> 00:36:16,216
IT'S A VERY SUBTLE ART.
562
00:36:16,299 --> 00:36:18,969
SO, WHAT IS THIS IDEA
THAT YOU NEED TO PLANT?
563
00:36:19,052 --> 00:36:21,388
WE NEED THE HEIR
OF A MAJOR CORPORATION
564
00:36:21,471 --> 00:36:22,890
TO DISSOLVE
HIS FATHER'S EMPIRE.
565
00:36:22,973 --> 00:36:24,016
WELL, YOU SEE,
RIGHT THERE,
566
00:36:24,099 --> 00:36:25,434
YOU HAVE VARIOUS
POLITICAL MOTIVATIONS
567
00:36:25,517 --> 00:36:27,227
AND ANTI-MONOPOLISTIC
SENTIMENTS AND SO FORTH.
568
00:36:27,310 --> 00:36:29,396
BUT ALL OF
THAT STUFF IS…
569
00:36:29,479 --> 00:36:30,731
IT'S REALLY AT THE MERCY
570
00:36:30,814 --> 00:36:32,357
OF YOUR SUBJECT'S
PREJUDICE, YOU SEE?
571
00:36:32,440 --> 00:36:33,400
AND WHAT YOU HAVE TO DO
572
00:36:33,483 --> 00:36:35,402
IS START AT
THE ABSOLUTE BASIC.
573
00:36:35,485 --> 00:36:36,485
WHICH IS WHAT?
574
00:36:37,654 --> 00:36:38,989
THE RELATIONSHIP
WITH THE FATHER.
575
00:36:41,491 --> 00:36:44,244
DO YOU HAVE A CHEMIST?
NO, NOT YET.
576
00:36:44,327 --> 00:36:47,081
RIGHT. OKAY, WELL,
THERE'S A MAN HERE. YUSUF.
577
00:36:47,164 --> 00:36:50,459
HE, UH, HE FORMULATES HIS
OWN VERSIONS OF THE COMPOUNDS.
578
00:36:50,542 --> 00:36:52,586
WHY DON'T YOU
TAKE ME THERE?
579
00:36:52,669 --> 00:36:55,130
ONCE YOU'VE LOST YOUR TAIL.
THE MAN AT THE BAR.
580
00:36:55,213 --> 00:36:56,882
COBOL ENGINEERING.
581
00:36:56,965 --> 00:36:59,509
THAT PRICE ON MY HEAD…
WAS THAT DEAD OR ALIVE?
582
00:36:59,592 --> 00:37:01,637
DON'T REMEMBER. LET'S SEE
IF HE STARTS SHOOTING.
583
00:37:01,720 --> 00:37:03,430
RUN INTERFERENCE.
584
00:37:03,513 --> 00:37:05,599
I'LL MEET YOU DOWNSTAIRS IN
THE BAR IN, SAY, HALF AN HOUR?
585
00:37:05,682 --> 00:37:07,851
THEN BACK HERE?
THIS IS THE LAST PLACE
THEY'D SUSPECT.
586
00:37:07,934 --> 00:37:09,812
MM.
587
00:37:09,895 --> 00:37:11,981
ALL RIGHT.
588
00:37:12,064 --> 00:37:14,984
FREDDY! FREDDY SIMMONDS.
589
00:37:15,067 --> 00:37:16,484
MY GOD, IT'S YOU,
ISN'T IT?
590
00:37:17,986 --> 00:37:19,404
WHO?
591
00:37:19,487 --> 00:37:21,824
NO, IT ISN'T YOU.
592
00:37:21,907 --> 00:37:23,282
YOU'RE NOT DREAMING NOW,
ARE YOU?
593
00:37:37,881 --> 00:37:39,716
OHH!
594
00:37:41,760 --> 00:37:43,053
THERE!
595
00:38:01,029 --> 00:38:02,072
[ SPEAKING
NATIVE LANGUAGE ]
596
00:38:02,155 --> 00:38:04,158
CAFÉ. ONE CAFÉ.
597
00:38:04,241 --> 00:38:05,951
[ SPEAKING URGENTLY
IN NATIVE LANGUAGE ]
598
00:38:15,919 --> 00:38:18,714
ONE CAFÉ.
599
00:38:18,797 --> 00:38:20,548
CAFÉ.
600
00:38:41,153 --> 00:38:42,403
OHH!
601
00:39:15,394 --> 00:39:16,563
CARE FOR A LIFT, MR. COBB?
602
00:39:16,646 --> 00:39:19,691
WHAT ARE YOU DOING
IN MOMBASA?!
603
00:39:19,774 --> 00:39:22,235
I'M HERE TO PROTECT
MY INVESTMENT.
604
00:39:24,904 --> 00:39:27,490
AH, SO THIS IS YOUR IDEA
OF LOSING A TAIL, HUH?
605
00:39:27,573 --> 00:39:28,574
DIFFERENT TAIL.
606
00:39:36,791 --> 00:39:39,628
COBB SAID YOU'D BE BACK.
607
00:39:39,711 --> 00:39:42,131
YEAH, WELL,
I TRIED NOT TO COME, BUT…
608
00:39:42,214 --> 00:39:43,632
BUT THERE'S NOTHING
QUITE LIKE IT.
609
00:39:43,715 --> 00:39:44,799
IT'S JUST…
610
00:39:46,885 --> 00:39:49,846
…PURE CREATION.
611
00:39:49,929 --> 00:39:51,974
SHALL WE TAKE A LOOK AT SOME
PARADOXICAL ARCHITECTURE?
612
00:39:52,057 --> 00:39:53,558
YOU'RE GONNA HAVE TO MASTER
A FEW TRICKS
613
00:39:53,641 --> 00:39:55,060
IF YOU'RE GONNA BUILD
THREE COMPLETE DREAM LEVELS.
614
00:39:55,143 --> 00:39:56,812
EXCUSE ME.
615
00:39:56,895 --> 00:39:59,689
WHAT KIND OF TRICKS?
616
00:39:59,772 --> 00:40:01,399
IN A DREAM,
YOU CAN CHEAT ARCHITECTURE
617
00:40:01,482 --> 00:40:02,525
INTO IMPOSSIBLE SHAPES.
618
00:40:02,608 --> 00:40:04,569
THAT LETS YOU CREATE
CLOSED LOOPS,
619
00:40:04,652 --> 00:40:07,197
LIKE THE PENROSE STEPS.
620
00:40:07,280 --> 00:40:08,698
THE INFINITE STAIRCASE.
621
00:40:11,492 --> 00:40:13,245
SEE?
622
00:40:17,082 --> 00:40:18,959
PARADOX.
623
00:40:19,042 --> 00:40:20,627
SO, A CLOSED LOOP
LIKE THAT
624
00:40:20,710 --> 00:40:22,963
WILL HELP YOU DISGUISE
THE BOUNDARIES
625
00:40:23,046 --> 00:40:24,422
OF THE DREAM YOU CREATE.
626
00:40:24,505 --> 00:40:26,008
BUT HOW BIG DO THESE LEVELS
HAVE TO BE?
627
00:40:26,091 --> 00:40:28,218
WELL, IT COULD BE ANYTHING
FROM THE FLOOR OF A BUILDING
628
00:40:28,301 --> 00:40:29,678
TO AN ENTIRE CITY.
629
00:40:29,761 --> 00:40:31,180
BUT THEY HAVE TO BE
COMPLICATED ENOUGH
630
00:40:31,263 --> 00:40:32,639
THAT WE CAN HIDE
FROM THE PROJECTIONS.
631
00:40:32,722 --> 00:40:34,057
A MAZE.
RIGHT, A MAZE.
632
00:40:34,140 --> 00:40:35,809
AND THE BETTER
THE MAZE…
633
00:40:35,892 --> 00:40:38,270
THEN THE LONGER WE HAVE
BEFORE THE PROJECTIONS CATCH US?
634
00:40:38,353 --> 00:40:39,813
EXACTLY.
635
00:40:39,896 --> 00:40:42,482
MY SUBCONSCIOUS
SEEMS POLITE ENOUGH.
636
00:40:42,565 --> 00:40:43,775
YOU WAIT.
THEY'LL TURN UGLY.
637
00:40:43,858 --> 00:40:45,485
NO ONE LIKES TO FEEL
SOMEONE ELSE
638
00:40:45,568 --> 00:40:46,903
MESSING AROUND
IN THEIR MIND.
639
00:40:46,986 --> 00:40:50,532
COBB CAN'T BUILD ANYMORE,
CAN HE?
640
00:40:50,615 --> 00:40:53,660
WELL, I DON'T KNOW
IF HE CAN'T, BUT HE WON'T.
641
00:40:53,743 --> 00:40:56,038
HE THINKS IT'S SAFER
IF HE DOESN'T KNOW THE LAYOUTS.
642
00:40:56,121 --> 00:40:57,789
WHY?
HE WON'T TELL ME.
643
00:40:57,872 --> 00:40:59,708
BUT I THINK IT'S MAL.
644
00:40:59,791 --> 00:41:01,251
HIS EX-WIFE?
645
00:41:01,334 --> 00:41:02,294
NO, NOT HIS EX.
646
00:41:02,377 --> 00:41:03,879
THEY'RE STILL TOGETHER?
647
00:41:03,962 --> 00:41:06,631
NO…
648
00:41:06,714 --> 00:41:07,840
SHE'S DEAD.
649
00:41:10,509 --> 00:41:12,470
WHAT YOU SEE IN THERE
IS JUST HIS PROJECTION OF HER.
650
00:41:15,807 --> 00:41:18,268
WHAT WAS SHE LIKE
IN REAL LIFE?
651
00:41:18,351 --> 00:41:20,270
SHE WAS LOVELY.
652
00:41:23,564 --> 00:41:26,651
YOU ARE SEEKING A CHEMIST?
YES.
653
00:41:26,734 --> 00:41:28,737
TO FORMULATE COMPOUNDS
FOR A JOB?
654
00:41:28,820 --> 00:41:31,447
AND TO GO INTO THE FIELD
WITH US.
655
00:41:31,530 --> 00:41:34,159
NO, I RARELY GO INTO THE FIELD,
MR. COBB.
656
00:41:34,242 --> 00:41:35,660
WELL, WE'D NEED YOU THERE
657
00:41:35,743 --> 00:41:37,537
TO TAILOR COMPOUNDS
SPECIFIC TO OUR NEEDS.
658
00:41:37,620 --> 00:41:39,873
WHICH ARE?
GREAT DEPTH.
659
00:41:39,956 --> 00:41:43,168
A DREAM WITHIN A DREAM.
TWO LEVELS.
660
00:41:45,128 --> 00:41:47,172
THREE.
661
00:41:47,255 --> 00:41:48,882
NOT POSSIBLE.
662
00:41:48,965 --> 00:41:50,342
THAT MANY DREAMS WITHIN DREAMS
IS TOO UNSTABLE.
663
00:41:50,425 --> 00:41:52,761
IT IS POSSIBLE.
664
00:41:52,844 --> 00:41:55,055
YOU JUST HAVE TO ADD
A SEDATIVE.
665
00:41:55,138 --> 00:41:57,556
A POWERFUL SEDATIVE.
666
00:41:58,850 --> 00:42:00,936
HOW MANY TEAM MEMBERS?
667
00:42:01,019 --> 00:42:02,687
FIVE.
SIX.
668
00:42:02,770 --> 00:42:07,067
THE ONLY WAY TO KNOW
YOU'VE DONE THE JOB
669
00:42:07,150 --> 00:42:09,611
IS IF I GO IN WITH YOU.
670
00:42:09,694 --> 00:42:11,947
THERE'S NO ROOM FOR TOURISTS
ON A JOB LIKE THIS, MR. SAITO.
671
00:42:12,030 --> 00:42:14,616
THIS TIME, IT SEEMS THERE IS.
672
00:42:14,699 --> 00:42:17,535
THIS, I THINK,
IS A GOOD PLACE TO START.
673
00:42:17,618 --> 00:42:19,162
I USE IT EVERY DAY.
674
00:42:19,245 --> 00:42:20,330
WHAT FOR?
675
00:42:20,413 --> 00:42:23,124
HERE, I'LL SHOW YOU.
676
00:42:24,959 --> 00:42:27,379
PERHAPS YOU WILL NOT
WANT TO SEE.
677
00:42:29,881 --> 00:42:31,007
AFTER YOU.
678
00:42:39,807 --> 00:42:42,769
10…12.
679
00:42:42,852 --> 00:42:44,562
ALL CONNECTED.
BLOODY HELL.
680
00:42:44,645 --> 00:42:46,064
THEY COME EVERY DAY
TO SHARE THE DREAM.
681
00:42:49,275 --> 00:42:51,610
YOU SEE?
VERY STABLE.
682
00:42:56,866 --> 00:42:58,952
HOW LONG
DO THEY DREAM FOR?
683
00:42:59,035 --> 00:43:01,163
THREE, FOUR HOURS,
EACH DAY.
684
00:43:01,246 --> 00:43:02,956
AND DREAM TIME?
685
00:43:03,039 --> 00:43:04,833
WITH THIS COMPOUND?
686
00:43:04,916 --> 00:43:06,751
ABOUT 40 HOURS,
EACH AND EVERY DAY.
687
00:43:06,834 --> 00:43:09,004
WHY DO THEY DO IT?
688
00:43:09,087 --> 00:43:11,089
TELL HIM, MR. COBB.
689
00:43:11,172 --> 00:43:14,343
AFTER A WHILE, IT BECOMES
THE ONLY WAY YOU CAN DREAM.
690
00:43:14,426 --> 00:43:16,428
DO YOU STILL DREAM,
MR. COBB?
691
00:43:16,511 --> 00:43:18,763
THEY COME HERE EVERY DAY
TO SLEEP?
692
00:43:18,846 --> 00:43:21,057
Elderly man: NO.
693
00:43:21,140 --> 00:43:24,769
THEY COME TO BE WOKEN UP.
694
00:43:24,852 --> 00:43:29,065
THE DREAM HAS BECOME
THEIR REALITY.
695
00:43:29,148 --> 00:43:32,360
WHO ARE YOU
TO SAY OTHERWISE, SIR?
696
00:43:34,737 --> 00:43:36,197
LET'S SEE
WHAT YOU CAN DO.
697
00:43:47,292 --> 00:43:50,044
YOU KNOW HOW
TO FIND ME.
698
00:43:51,546 --> 00:43:53,465
YOU KNOW
WHAT YOU HAVE TO DO.
699
00:43:57,885 --> 00:43:59,845
SHARP, NO?
700
00:44:15,320 --> 00:44:18,073
ARE YOU ALL RIGHT,
MR. COBB?
701
00:44:18,156 --> 00:44:20,658
YEAH. YEAH.
702
00:44:20,741 --> 00:44:22,452
EVERYTHING'S JUST FINE.
703
00:44:30,293 --> 00:44:32,087
ROBERT FISCHER,
704
00:44:32,170 --> 00:44:34,881
HEIR TO THE FISCHER MORROW
ENERGY CONGLOMERATE.
705
00:44:34,964 --> 00:44:36,716
WHAT'S YOUR PROBLEM
WITH THIS MR. FISCHER?
706
00:44:36,799 --> 00:44:38,427
THAT'S NOT YOUR CONCERN.
707
00:44:38,510 --> 00:44:40,470
MR. SAITO, THIS
708
00:44:40,553 --> 00:44:43,432
THIS ISN'T YOUR TYPICAL
CORPORATE ESPIONAGE.
709
00:44:43,515 --> 00:44:45,267
YOU ASKED ME
FOR INCEPTION.
710
00:44:45,350 --> 00:44:48,520
I DO HOPE YOU UNDERSTAND
THE GRAVITY OF THAT REQUEST.
711
00:44:48,603 --> 00:44:51,481
NOW, THE SEED THAT WE PLANT
IN THIS MAN'S MIND
712
00:44:51,564 --> 00:44:52,732
WILL GROW INTO AN IDEA.
713
00:44:52,815 --> 00:44:54,734
THIS IDEA WILL DEFINE HIM.
714
00:44:54,817 --> 00:44:56,861
IT MAY COME TO CHANGE…
715
00:44:56,944 --> 00:44:59,322
WELL, IT MAY COME TO CHANGE
EVERYTHING ABOUT HIM.
716
00:44:59,405 --> 00:45:01,032
WE'RE THE LAST COMPANY
STANDING
717
00:45:01,115 --> 00:45:03,952
BETWEEN THEM
AND TOTAL ENERGY DOMINANCE.
718
00:45:04,035 --> 00:45:06,788
AND WE CAN
NO LONGER COMPETE.
719
00:45:06,871 --> 00:45:09,791
SOON, THEY'LL CONTROL THE ENERGY
SUPPLY OF HALF THE WORLD.
720
00:45:09,874 --> 00:45:11,501
IN EFFECT,
THEY BECOME A NEW SUPERPOWER.
721
00:45:13,586 --> 00:45:16,672
THE WORLD NEEDS ROBERT FISCHER
TO CHANGE HIS MIND.
722
00:45:16,755 --> 00:45:18,800
THAT'S WHERE WE COME IN.
723
00:45:18,883 --> 00:45:22,095
HOW IS ROBERT FISCHER'S
RELATIONSHIP WITH HIS FATHER?
724
00:45:22,178 --> 00:45:25,223
RUMOR IS THE RELATIONSHIP
IS QUITE COMPLICATED.
725
00:45:25,306 --> 00:45:27,809
WELL, WE CAN'T WORK BASED
SOLELY ON RUMOR, CAN WE?
726
00:45:27,892 --> 00:45:29,685
CAN YOU GET ME ACCESS
TO THIS MAN HERE?
727
00:45:29,768 --> 00:45:31,062
BROWNING.
728
00:45:31,145 --> 00:45:33,773
FISCHER SENIOR'S
RIGHT-HAND MAN…
729
00:45:33,856 --> 00:45:35,484
FISCHER JUNIOR'S GODFATHER.
730
00:45:35,567 --> 00:45:36,818
IT SHOULD BE POSSIBLE,
731
00:45:36,901 --> 00:45:38,987
IF YOU CAN GET
THE RIGHT REFERENCES.
732
00:45:39,070 --> 00:45:43,533
REFERENCES ARE SOMETHING OF
A SPECIALTY FOR ME, MR. SAITO.
733
00:45:43,616 --> 00:45:46,286
I'M NOT SMELLING
SETTLEMENT HERE.
734
00:45:46,369 --> 00:45:48,037
TAKE THEM DOWN.
735
00:45:48,120 --> 00:45:49,872
MR. BROWNING,
MAURICE FISCHER'S POLICY
736
00:45:49,955 --> 00:45:51,874
IS ALWAYS ONE
OF AVOIDING LITIGATION.
737
00:45:54,502 --> 00:45:57,005
WELL, SHALL WE VOICE
YOUR CONCERNS
738
00:45:57,088 --> 00:45:59,341
WITH MAURICE DIRECTLY?
739
00:45:59,424 --> 00:46:00,883
I'M NOT SURE
THAT'S NECESSARY.
740
00:46:00,966 --> 00:46:03,261
NO, NO, NO.
I-I THINK WE SHOULD.
741
00:46:24,449 --> 00:46:26,993
HOW IS HE?
742
00:46:27,076 --> 00:46:30,455
I DON'T WANT TO BOTHER HIM
UNNECESSARILY, BUT…
743
00:46:30,538 --> 00:46:33,708
ROBERT, I TOLD YOU
KEEP OUT THE DAMN…
744
00:46:34,833 --> 00:46:37,045
WAIT, SO DO IT! GET…
Shh.
745
00:46:37,128 --> 00:46:38,796
PUT IT THROUGH!
746
00:46:38,879 --> 00:46:40,923
NEVER! NEVER.
747
00:46:41,006 --> 00:46:43,176
HAVEN'T YOU,
THE SAME AS I ASKED.
748
00:46:43,259 --> 00:46:45,762
LEAVE THAT.
749
00:46:53,978 --> 00:46:55,813
MUST BE A CHERISHED
MEMORY OF HIS.
750
00:46:55,896 --> 00:46:59,234
I PUT IT BESIDE HIS BED.
751
00:46:59,317 --> 00:47:01,361
HE HASN'T EVEN NOTICED.
752
00:47:01,444 --> 00:47:03,321
ROBERT…
753
00:47:05,197 --> 00:47:07,909
…WE NEED TO TALK
ABOUT A POWER OF ATTORNEY.
754
00:47:07,992 --> 00:47:10,203
I KNOW THIS IS HARD
ON YOU…
NOT NOW, UNCLE PETER.
755
00:47:10,286 --> 00:47:12,079
BUT IT'S IMPERATIVE
THAT WE START TO…
756
00:47:14,957 --> 00:47:17,085
THE VULTURES ARE CIRCLING.
757
00:47:17,168 --> 00:47:19,462
AND THE SICKER
MAURICE FISCHER BECOMES,
758
00:47:19,545 --> 00:47:22,215
THE MORE POWERFUL
PETER BROWNING BECOMES.
759
00:47:22,298 --> 00:47:24,634
I'VE HAD AMPLE OPPORTUNITY
TO OBSERVE BROWNING,
760
00:47:24,717 --> 00:47:27,845
ADOPT HIS PHYSICAL PRESENCE,
STUDY HIS MANNERISMS,
761
00:47:27,928 --> 00:47:29,639
AND SO ON AND SO FORTH.
762
00:47:29,722 --> 00:47:31,600
SO NOW IN THE FIRST LAYER
OF THE DREAM,
763
00:47:31,683 --> 00:47:33,476
I CAN IMPERSONATE BROWNING
764
00:47:33,559 --> 00:47:37,230
AND SUGGEST CONCEPTS
TO FISCHER'S CONSCIOUS MIND.
765
00:47:37,313 --> 00:47:39,065
THEN, WHEN WE TAKE HIM
A LEVEL DEEPER,
766
00:47:39,148 --> 00:47:41,025
HIS OWN PROJECTION
OF BROWNING SHOULD…
767
00:47:41,108 --> 00:47:42,818
SHOULD FEED THAT
RIGHT BACK TO HIM.
768
00:47:42,901 --> 00:47:44,654
SO HE GIVES HIMSELF
THE IDEA.
769
00:47:44,737 --> 00:47:46,406
PRECISELY.
770
00:47:46,489 --> 00:47:48,032
THAT'S THE ONLY WAY
IT WILL STICK.
771
00:47:48,115 --> 00:47:49,200
IT HAS TO SEEM
SELF-GENERATED.
772
00:47:49,283 --> 00:47:50,702
EAMES…
773
00:47:50,785 --> 00:47:52,870
I AM IMPRESSED.
774
00:47:52,953 --> 00:47:55,123
YOUR CONDESCENSION, AS ALWAYS,
IS MUCH APPRECIATED,
775
00:47:55,206 --> 00:47:56,290
ARTHUR, THANK YOU.
776
00:48:17,144 --> 00:48:19,731
WERE YOU GOING UNDER
ON YOUR OWN?
777
00:48:19,814 --> 00:48:21,149
NO, NO, I WAS JUST…
778
00:48:21,232 --> 00:48:23,526
I WAS JUST RUNNING
SOME EXPERIMENTS.
779
00:48:23,609 --> 00:48:25,737
I DIDN'T REALIZE
ANYONE WAS HERE.
780
00:48:25,820 --> 00:48:28,531
YEAH, I WAS JUST… I WAS
WORKING ON MY TOTEM, ACTUALLY.
781
00:48:28,614 --> 00:48:29,699
HERE.
LET ME TAKE A LOOK.
782
00:48:29,782 --> 00:48:31,326
AH…
783
00:48:31,409 --> 00:48:33,536
SO YOU'RE LEARNING, HUH?
784
00:48:33,619 --> 00:48:36,748
AN ELEGANT SOLUTION
FOR KEEPING TRACK OF REALITY.
785
00:48:36,831 --> 00:48:38,750
WAS IT YOUR IDEA?
786
00:48:38,833 --> 00:48:41,085
NO, IT WAS…
IT WAS MAL'S, ACTUALLY.
787
00:48:41,168 --> 00:48:42,712
THIS…
788
00:48:42,795 --> 00:48:44,130
THIS ONE WAS HERS.
789
00:48:44,213 --> 00:48:45,548
SHE'D SPIN IT
IN THE DREAM,
790
00:48:45,631 --> 00:48:46,840
AND IT WOULD
NEVER TOPPLE.
791
00:48:46,923 --> 00:48:48,134
JUST…
792
00:48:48,217 --> 00:48:50,011
SPIN AND SPIN.
793
00:48:50,094 --> 00:48:53,097
ARTHUR TOLD ME
SHE PASSED AWAY.
794
00:48:54,766 --> 00:48:57,310
HOW ARE THE MAZES
COMING ALONG?
795
00:48:57,393 --> 00:48:58,978
EACH LEVEL
RELATES TO THE PART
796
00:48:59,061 --> 00:49:00,938
OF THE SUBJECT'S
SUBCONSCIOUS
797
00:49:01,021 --> 00:49:02,565
THAT WE ARE TRYING
TO ACCESS.
798
00:49:02,648 --> 00:49:04,734
SO, I'M MAKING THE BOTTOM
LEVEL A HOSPITAL
799
00:49:04,817 --> 00:49:06,611
SO FISCHER
WILL BRING HIS FATHER.
800
00:49:06,694 --> 00:49:09,614
UM, YOU KNOW, ACTUALLY,
801
00:49:09,697 --> 00:49:11,366
I HAVE A QUESTION
ABOUT THIS LAYOUT.
802
00:49:11,449 --> 00:49:13,368
NO, NO, NO. DON'T…
DON'T SHOW ME SPECIFICS.
803
00:49:13,451 --> 00:49:15,286
ONLY THE DREAMER
SHOULD KNOW THE LAYOUT.
804
00:49:15,369 --> 00:49:17,831
WHY IS THAT
SO IMPORTANT?
805
00:49:17,914 --> 00:49:19,708
IN CASE ONE OF US
BRINGS IN OUR PROJECTIONS.
806
00:49:19,791 --> 00:49:21,751
WE DON'T WANT THEM KNOWING
THE DETAILS OF THE MAZE.
807
00:49:21,834 --> 00:49:25,588
YOU MEAN
IN CASE YOU BRING MAL IN.
808
00:49:25,671 --> 00:49:28,341
YOU CAN'T KEEP HER OUT,
CAN YOU?
809
00:49:28,424 --> 00:49:29,759
RIGHT.
810
00:49:29,842 --> 00:49:31,553
YOU CAN'T BUILD BECAUSE,
811
00:49:31,636 --> 00:49:34,180
IF YOU KNOW THE MAZE,
THEN SHE KNOWS IT.
812
00:49:34,263 --> 00:49:36,391
WELL, SHE'D SABOTAGE
THE WHOLE OPERATION.
813
00:49:36,474 --> 00:49:37,933
COBB, DO THE OTHERS KNOW?
814
00:49:38,016 --> 00:49:39,561
NO. NO, THEY DON'T.
815
00:49:39,644 --> 00:49:41,937
YOU'VE GOTTA WARN THEM
IF THIS IS GETTING WORSE.
816
00:49:42,020 --> 00:49:43,063
NO ONE SAID
IT'S GETTING WORSE.
817
00:49:44,189 --> 00:49:45,734
I NEED TO GET HOME.
818
00:49:45,817 --> 00:49:48,361
THAT'S ALL I CARE ABOUT
RIGHT NOW.
819
00:49:48,444 --> 00:49:51,029
WHY CAN'T YOU GO HOME?
820
00:49:53,866 --> 00:49:57,662
BECAUSE THEY THINK
I KILLED HER.
821
00:49:58,663 --> 00:50:00,998
THANK YOU.
822
00:50:01,081 --> 00:50:02,375
FOR WHAT?
823
00:50:02,458 --> 00:50:04,126
FOR NOT ASKING
WHETHER I DID.
824
00:50:04,209 --> 00:50:07,171
"I WILL SPLIT UP
MY FATHER'S EMPIRE."
825
00:50:07,254 --> 00:50:08,840
NOW, THIS IS
OBVIOUSLY AN IDEA
826
00:50:08,923 --> 00:50:11,259
THAT ROBERT HIMSELF
WOULD CHOOSE TO REJECT.
827
00:50:11,342 --> 00:50:14,262
WHICH IS WHY WE NEED TO PLANT IT
DEEP IN HIS SUBCONSCIOUS.
828
00:50:14,345 --> 00:50:16,639
THE SUBCONSCIOUS IS MOTIVATED
BY EMOTION, RIGHT?
829
00:50:16,722 --> 00:50:18,307
NOT REASON.
830
00:50:18,390 --> 00:50:20,059
WE NEED TO FIND A WAY
TO TRANSLATE THIS
831
00:50:20,142 --> 00:50:21,811
INTO AN EMOTIONAL CONCEPT.
832
00:50:21,894 --> 00:50:24,606
HOW DO YOU TRANSLATE A BUSINESS
STRATEGY INTO AN EMOTION?
833
00:50:24,689 --> 00:50:26,107
THAT'S WHAT WE'RE HERE
TO FIGURE OUT, RIGHT?
834
00:50:26,190 --> 00:50:28,610
NOW, ROBERT'S RELATIONSHIP
WITH HIS FATHER
835
00:50:28,693 --> 00:50:29,903
IS STRESSED, TO SAY THE LEAST.
836
00:50:29,986 --> 00:50:31,070
WELL,
CAN WE RUN WITH THAT?
837
00:50:31,153 --> 00:50:32,405
WE COULD SUGGEST TO HIM
838
00:50:32,488 --> 00:50:34,073
BREAKING UP
HIS FATHER'S COMPANY
839
00:50:34,156 --> 00:50:35,575
AS A "SCREW YOU"
TO THE OLD MAN.
840
00:50:35,658 --> 00:50:37,118
NO, BECAUSE I THINK
POSITIVE EMOTION
841
00:50:37,201 --> 00:50:38,411
TRUMPS NEGATIVE EMOTION
EVERY TIME.
842
00:50:38,494 --> 00:50:40,789
WE ALL YEARN
FOR RECONCILIATION,
843
00:50:40,872 --> 00:50:42,457
FOR CATHARSIS.
844
00:50:42,540 --> 00:50:44,250
WE NEED ROBERT FISCHER
845
00:50:44,333 --> 00:50:46,461
TO HAVE A POSITIVE
EMOTIONAL REACTION TO ALL THIS.
846
00:50:46,544 --> 00:50:48,337
ALL RIGHT,
WELL, TRY THIS.
847
00:50:48,420 --> 00:50:51,382
UM, "MY FATHER ACCEPTS THAT
I WANT TO CREATE FOR MYSELF,
848
00:50:51,465 --> 00:50:53,384
NOT FOLLOW
IN HIS FOOTSTEPS."
849
00:50:53,467 --> 00:50:54,677
THAT MIGHT WORK.
850
00:50:54,760 --> 00:50:56,763
"MIGHT"?
851
00:50:56,846 --> 00:50:58,431
WE'RE GONNA NEED TO DO
A LITTLE BETTER THAN "MIGHT."
852
00:50:58,514 --> 00:51:00,516
OH. THANK YOU FOR
YOUR CONTRIBUTION, ARTHUR.
853
00:51:00,599 --> 00:51:02,685
FORGIVE ME FOR WANTING
A LITTLE SPECIFICITY, EAMES.
854
00:51:02,768 --> 00:51:04,813
SPECIFICITY?
855
00:51:04,896 --> 00:51:07,064
INCEPTION'S
NOT ABOUT BEING SPECIFIC.
856
00:51:07,147 --> 00:51:08,524
WHEN WE GET INSIDE HIS MIND,
857
00:51:08,607 --> 00:51:12,027
WE'RE GONNA HAVE TO WORK
WITH WHAT WE FIND.
858
00:51:12,110 --> 00:51:13,529
ON THE TOP LEVEL,
859
00:51:13,612 --> 00:51:15,323
WE OPEN UP HIS RELATIONSHIP
WITH HIS FATHER,
860
00:51:15,406 --> 00:51:18,200
AND SAY, "I WILL NOT FOLLOW
IN MY FATHER'S FOOTSTEPS."
861
00:51:18,283 --> 00:51:19,744
THEN THE NEXT LEVEL DOWN,
862
00:51:19,827 --> 00:51:21,329
WE FEED HIM,
863
00:51:21,412 --> 00:51:23,331
"I WILL CREATE SOMETHING
FOR MYSELF."
864
00:51:23,414 --> 00:51:25,040
THEN, BY THE TIME
WE HIT THE BOTTOM LEVEL,
865
00:51:25,123 --> 00:51:26,835
WE BRING OUT THE BIG GUNS.
866
00:51:26,918 --> 00:51:29,504
"MY FATHER DOESN'T WANT ME
TO BE HIM."
EXACTLY.
867
00:51:29,587 --> 00:51:33,132
THREE LAYERS DOWN,
THE DREAMS ARE GONNA COLLAPSE
868
00:51:33,215 --> 00:51:34,717
WITH THE SLIGHTEST DISTURBANCE.
869
00:51:34,800 --> 00:51:35,885
SEDATION.
870
00:51:35,968 --> 00:51:37,720
FOR SLEEP STABLE ENOUGH
871
00:51:37,803 --> 00:51:39,722
TO CREATE THREE LAYERS
OF DREAMING,
872
00:51:39,805 --> 00:51:41,265
WE'LL HAVE TO COMBINE IT
873
00:51:41,348 --> 00:51:42,975
WITH AN EXTREMELY
POWERFUL SEDATIVE.
874
00:51:53,903 --> 00:51:55,655
GOOD NIGHT.
875
00:51:55,738 --> 00:51:58,115
THE COMPOUND WE'LL BE USING
TO SHARE THE DREAM
876
00:51:58,198 --> 00:52:00,493
CREATES A VERY CLEAR CONNECTION
BETWEEN DREAMERS
877
00:52:00,576 --> 00:52:02,537
WHILST ACTUALLY ACCELERATING
BRAIN FUNCTION.
878
00:52:02,620 --> 00:52:04,998
IN OTHER WORDS, IT GIVES US
MORE TIME ON EACH LEVEL.
879
00:52:05,081 --> 00:52:08,292
BRAIN FUNCTION IN THE DREAM
WILL BE ABOUT 20 TIMES NORMAL.
880
00:52:08,375 --> 00:52:10,503
WHEN YOU ENTER A DREAM
WITHIN THAT DREAM,
881
00:52:10,586 --> 00:52:12,005
THE EFFECT IS COMPOUNDED.
882
00:52:12,088 --> 00:52:13,548
IT'S 3 DREAMS…
THAT'S 10 HOURS TIMES…
883
00:52:13,631 --> 00:52:15,132
I'M SORRY, MATH WAS NEVER
MY STRONG SUBJECT.
884
00:52:15,215 --> 00:52:16,801
H-HOW MUCH TIME IS THAT?
885
00:52:16,884 --> 00:52:20,680
IT'S A WEEK,
THE FIRST LEVEL DOWN,
886
00:52:20,763 --> 00:52:22,557
SIX MONTHS,
THE SECOND LEVEL DOWN,
887
00:52:22,640 --> 00:52:23,892
AND THE THIRD LEVEL…
888
00:52:23,975 --> 00:52:25,141
IT'S 10 YEARS.
889
00:52:27,812 --> 00:52:29,898
WHO WOULD WANT TO BE STUCK
IN A DREAM FOR 10 YEARS?
890
00:52:29,981 --> 00:52:31,607
DEPENDS ON THE DREAM.
891
00:52:31,690 --> 00:52:33,818
SO, ONCE WE'VE MADE THE PLANT,
HOW DO WE GET OUT?
892
00:52:33,901 --> 00:52:36,320
AND I'M HOPING YOU HAVE
SOMETHING MORE ELEGANT IN MIND
893
00:52:36,403 --> 00:52:37,572
THAN SHOOTING ME
IN THE HEAD.
894
00:52:37,655 --> 00:52:38,907
A KICK.
895
00:52:38,990 --> 00:52:40,700
WHAT'S A KICK?
896
00:52:40,783 --> 00:52:42,868
THIS, ARIADNE,
WOULD BE A KICK.
897
00:52:46,204 --> 00:52:48,374
IT'S THAT FEELING OF FALLING
YOU GET THAT JOLTS YOU AWAKE.
898
00:52:48,457 --> 00:52:49,959
IT
SNAPS YOU OUT OF THE DREAM.
899
00:52:50,042 --> 00:52:51,753
ARE WE GONNA FEEL A KICK
WITH THIS KIND OF SEDATION?
900
00:52:51,836 --> 00:52:53,128
OH, THAT'S THE CLEVER PART.
901
00:52:53,211 --> 00:52:54,505
I CUSTOMIZED THE SEDATIVE
902
00:52:54,588 --> 00:52:56,966
TO LEAVE INNER EAR FUNCTION
UNIMPAIRED.
903
00:52:57,049 --> 00:52:59,052
THAT WAY,
HOWEVER DEEP THE SLEEP,
904
00:52:59,135 --> 00:53:00,845
THE SLEEPER
STILL FEELS FALLING.
905
00:53:00,928 --> 00:53:02,596
OR TIPPING.
906
00:53:04,431 --> 00:53:06,517
THE TRICK IS
TO SYNCHRONIZE A KICK
907
00:53:06,600 --> 00:53:08,770
THAT CAN PENETRATE
ALL THREE LEVELS.
908
00:53:08,853 --> 00:53:10,479
WE COULD USE
THE MUSICAL COUNTDOWN
909
00:53:10,562 --> 00:53:12,023
TO SYNCHRONIZE
THE DIFFERENT KICKS.
910
00:53:12,106 --> 00:53:14,274
[ "NON JE NE REGRETTE RIEN"
PLAYS ]
911
00:53:21,073 --> 00:53:23,076
HE HASN'T GOT
ANY SURGERY SCHEDULED.
912
00:53:23,159 --> 00:53:24,869
THERE'S NO DENTAL,
NOTHING.
913
00:53:24,952 --> 00:53:26,579
WASN'T HE SUPPOSED
TO HAVE A KNEE OPERATION?
914
00:53:26,662 --> 00:53:28,790
NOTHING. NOTHING THAT THEY'D
PUT HIM UNDER FOR, ANYWAY.
915
00:53:28,873 --> 00:53:31,166
AND WE NEED… WE NEED
AT LEAST A GOOD 10 HOURS.
916
00:53:31,249 --> 00:53:33,627
SYDNEY TO LOS ANGELES.
917
00:53:34,879 --> 00:53:37,130
ONE OF THE LONGEST FLIGHTS
IN THE WORLD.
918
00:53:37,213 --> 00:53:39,050
HE MAKES IT EVERY TWO WEEKS.
919
00:53:39,133 --> 00:53:41,469
HE MUST BE
FLYING PRIVATE, THEN.
920
00:53:41,552 --> 00:53:45,056
NOT IF THERE WERE UNEXPECTED
MAINTENANCE WITH HIS PLANE.
921
00:53:45,139 --> 00:53:47,600
IT WOULD HAVE TO BE A 747.
WHY'S THAT?
922
00:53:47,683 --> 00:53:49,268
BECAUSE ON A 747,
THE PILOT IS UP TOP,
923
00:53:49,351 --> 00:53:51,062
AND THE FIRST-CLASS CABIN
IS IN THE NOSE,
924
00:53:51,145 --> 00:53:52,605
SO NO ONE
WOULD WALK THROUGH.
925
00:53:52,688 --> 00:53:54,440
BUT YOU'D HAVE TO BUY OUT
THE ENTIRE CABIN
926
00:53:54,523 --> 00:53:56,233
AND THE FIRST-CLASS
FLIGHT ATTENDANT.
927
00:53:56,316 --> 00:53:57,526
I BOUGHT THE AIRLINE.
928
00:53:59,153 --> 00:54:01,030
IT SEEMED NEATER.
929
00:54:02,698 --> 00:54:05,952
WELL, LOOKS LIKE
WE HAVE OUR 10 HOURS.
930
00:54:06,035 --> 00:54:07,912
ARIADNE?
931
00:54:07,995 --> 00:54:09,287
TERRIFIC WORK,
BY THE WAY.
932
00:54:56,334 --> 00:55:00,381
YOU KNOW HOW TO FIND ME.
933
00:55:00,464 --> 00:55:02,382
YOU KNOW
WHAT YOU HAVE TO DO.
934
00:55:05,803 --> 00:55:09,891
YOU REMEMBER WHEN YOU ASKED ME
TO MARRY YOU?
935
00:55:09,974 --> 00:55:13,561
OF COURSE I DO.
936
00:55:13,644 --> 00:55:15,938
YOU SAID YOU HAD A DREAM.
937
00:55:19,066 --> 00:55:22,695
THAT WE'D GROW OLD
TOGETHER.
938
00:55:22,778 --> 00:55:25,530
AND WE CAN.
939
00:55:31,745 --> 00:55:32,997
YOU SHOULDN'T BE HERE.
940
00:55:37,293 --> 00:55:39,294
I JUST WANTED TO SEE
WHAT KIND OF "TESTS"
941
00:55:39,377 --> 00:55:41,130
YOU'RE DOING ON YOUR OWN
EVERY NIGHT.
942
00:55:41,213 --> 00:55:42,757
ALL RIGHT, WELL, THIS
HAS NOTHING TO DO WITH YOU.
943
00:55:42,840 --> 00:55:44,299
THIS HAS EVERYTHING
TO DO WITH ME.
944
00:55:44,382 --> 00:55:45,801
YOU'VE ASKED ME TO SHARE DREAMS
WITH YOU.
945
00:55:45,884 --> 00:55:47,386
NOT THESE.
946
00:55:47,469 --> 00:55:50,181
THESE ARE MY DREAMS.
947
00:56:01,192 --> 00:56:03,778
WHY DO YOU DO THIS
TO YOURSELF?
948
00:56:03,861 --> 00:56:06,697
IT'S THE ONLY WAY
I CAN STILL DREAM.
949
00:56:06,780 --> 00:56:10,743
WHY IS IT SO IMPORTANT
TO DREAM?
950
00:56:10,826 --> 00:56:13,578
IN MY DREAMS,
WE'RE STILL TOGETHER.
951
00:56:27,383 --> 00:56:29,594
THESE AREN'T JUST DREAMS.
952
00:56:31,596 --> 00:56:33,015
THESE ARE MEMORIES.
953
00:56:33,098 --> 00:56:34,600
AND… AND YOU SAID
NEVER TO USE MEMORIES.
954
00:56:34,683 --> 00:56:36,018
I KNOW I DID.
955
00:56:36,101 --> 00:56:38,520
YOU'RE TRYING
TO KEEP HER ALIVE.
956
00:56:38,603 --> 00:56:40,606
YOU CAN'T LET HER GO.
957
00:56:40,689 --> 00:56:42,483
YOU DON'T UNDERSTAND.
958
00:56:42,566 --> 00:56:45,194
THESE ARE MOMENTS
I REGRET.
959
00:56:45,277 --> 00:56:47,155
THEY'RE MEMORIES
THAT I HAVE TO CHANGE.
960
00:56:47,238 --> 00:56:51,033
WELL, WHAT'S DOWN THERE
THAT YOU REGRET?
961
00:56:51,116 --> 00:56:52,534
LISTEN,
THERE'S ONLY ONE THING
962
00:56:52,617 --> 00:56:54,119
YOU NEED TO UNDERSTAND
ABOUT ME.
963
00:57:02,169 --> 00:57:04,046
THIS IS YOUR HOUSE?
964
00:57:04,129 --> 00:57:07,424
MINE AND MAL'S, YES.
965
00:57:07,507 --> 00:57:09,844
WHERE IS SHE?
966
00:57:09,927 --> 00:57:11,511
SHE'S ALREADY GONE.
967
00:57:16,183 --> 00:57:18,435
THAT'S MY SON, JAMES.
968
00:57:18,518 --> 00:57:21,146
HE'S DIGGING FOR SOMETHING,
MAYBE A WORM.
969
00:57:22,273 --> 00:57:24,192
THAT'S PHILLIPA.
970
00:57:24,275 --> 00:57:26,694
SEE, I THOUGHT
ABOUT CALLING OUT TO THEM,
971
00:57:26,777 --> 00:57:29,446
SO THEY'D TURN AND SMILE
AND I COULD SEE THOSE…
972
00:57:29,529 --> 00:57:31,657
THOSE BEAUTIFUL FACES
OF THEIRS.
973
00:57:31,740 --> 00:57:33,284
BUT…
974
00:57:33,367 --> 00:57:35,703
IT'S ALL TOO LATE.
975
00:57:35,786 --> 00:57:37,537
RIGHT NOW…
OR NEVER, COBB.
976
00:57:42,584 --> 00:57:44,712
THEN I START TO PANIC.
977
00:57:44,795 --> 00:57:47,548
I REALIZE I'M GONNA REGRET
THIS MOMENT,
978
00:57:47,631 --> 00:57:50,425
THAT I NEED TO SEE THEIR FACES
ONE LAST TIME.
979
00:57:50,508 --> 00:57:51,844
JAMES! PHILLIPA!
980
00:57:51,927 --> 00:57:53,679
COME ON IN!
981
00:57:53,762 --> 00:57:57,016
BUT THE MOMENT'S PAST.
982
00:57:57,099 --> 00:58:00,519
AND WHATEVER I DO,
I CAN'T CHANGE THIS MOMENT.
983
00:58:00,602 --> 00:58:04,190
AS I'M ABOUT TO CALL OUT
TO THEM…
984
00:58:04,273 --> 00:58:06,066
THEY RUN AWAY.
985
00:58:07,985 --> 00:58:10,363
IF I'M EVER GONNA SEE
THEIR FACES AGAIN,
986
00:58:10,446 --> 00:58:12,072
I'VE GOTTA
GET BACK HOME…
987
00:58:13,240 --> 00:58:14,283
…TO THE REAL WORLD.
988
00:58:56,367 --> 00:58:57,785
WHAT ARE YOU DOING HERE?
989
00:58:57,868 --> 00:58:59,287
MY NAME IS…
990
00:58:59,370 --> 00:59:01,122
I KNOW WHO YOU ARE.
991
00:59:01,205 --> 00:59:02,956
WHAT ARE YOU DOING HERE?
992
00:59:10,964 --> 00:59:13,801
I'M JUST TRYING
TO UNDERSTAND.
993
00:59:13,884 --> 00:59:16,762
HOW COULD YOU
UNDERSTAND?
994
00:59:16,845 --> 00:59:19,348
DO YOU KNOW WHAT IT IS
TO BE A LOVER?
995
00:59:21,475 --> 00:59:23,518
TO BE HALF OF A WHOLE?
996
00:59:23,601 --> 00:59:25,770
NO.
997
00:59:27,272 --> 00:59:29,900
I'LL TELL YOU A RIDDLE.
998
00:59:29,983 --> 00:59:33,821
YOU'RE WAITING
FOR A TRAIN,
999
00:59:33,904 --> 00:59:37,449
A TRAIN THAT WILL TAKE YOU
FAR AWAY.
1000
00:59:39,201 --> 00:59:42,746
YOU KNOW WHERE YOU HOPE
THIS TRAIN WILL TAKE YOU,
1001
00:59:42,829 --> 00:59:45,374
BUT YOU DON'T KNOW
FOR SURE.
1002
00:59:45,457 --> 00:59:47,751
BUT IT DOESN'T MATTER.
1003
00:59:47,834 --> 00:59:50,838
HOW CAN IT
NOT MATTER TO YOU
1004
00:59:50,921 --> 00:59:52,673
WHERE THAT TRAIN
WILL TAKE YOU?
1005
00:59:52,756 --> 00:59:54,175
BECAUSE WE'LL BE TOGETHER.
1006
00:59:54,258 --> 00:59:56,635
HOW COULD YOU
BRING HER HERE, DOM?
1007
00:59:56,718 --> 00:59:58,012
WHAT IS THIS PLACE?
1008
00:59:58,095 --> 00:59:59,430
THIS IS THE HOTEL SUITE
1009
00:59:59,513 --> 01:00:01,515
WHERE WE USED TO SPEND
OUR ANNIVERSARY.
1010
01:00:01,598 --> 01:00:02,849
WHAT HAPPENED HERE?
1011
01:00:04,935 --> 01:00:06,561
YOU PROMISED!
1012
01:00:06,644 --> 01:00:08,772
YOU PROMISED
WE'D BE TOGETHER!
1013
01:00:08,855 --> 01:00:10,399
PLEASE, I NEED YOU TO STAY HERE
JUST FOR NOW!
1014
01:00:10,482 --> 01:00:11,859
YOU SAID
WE'D BE TOGETHER!
1015
01:00:11,942 --> 01:00:14,069
YOU SAID WE'D
GROW OLD TOGETHER!
1016
01:00:14,152 --> 01:00:16,238
I'LL COME BACK FOR YOU.
I PROMISE.
1017
01:00:33,922 --> 01:00:38,010
DO YOU THINK
YOU CAN JUST BUILD A PRISON
1018
01:00:38,093 --> 01:00:40,513
OF MEMORIES
TO LOCK HER IN?
1019
01:00:40,596 --> 01:00:42,973
DO YOU REALLY THINK THAT
THAT'S GONNA CONTAIN HER?
1020
01:00:43,056 --> 01:00:45,142
IT'S TIME.
1021
01:00:46,310 --> 01:00:48,521
MAURICE FISCHER JUST DIED
IN SYDNEY.
1022
01:00:48,604 --> 01:00:50,481
WHEN'S THE FUNERAL?
THURSDAY.
1023
01:00:50,564 --> 01:00:51,440
IN LOS ANGELES.
1024
01:00:51,523 --> 01:00:52,525
ROBERT SHOULD
ACCOMPANY THE BODY
1025
01:00:52,608 --> 01:00:54,360
NO LATER THAN TUESDAY.
WE SHOULD MOVE.
1026
01:00:54,443 --> 01:00:56,653
RIGHT.
1027
01:00:56,736 --> 01:00:57,654
COBB,
I'M COMING WITH YOU.
1028
01:00:57,737 --> 01:00:59,907
I PROMISED MILES. NO.
1029
01:00:59,990 --> 01:01:01,658
THE TEAM NEEDS SOMEONE
WHO UNDERSTANDS
1030
01:01:01,741 --> 01:01:02,742
WHAT YOU'RE
STRUGGLING WITH.
1031
01:01:05,912 --> 01:01:07,956
A-AND IT DOESN'T
HAVE TO BE ME,
1032
01:01:08,039 --> 01:01:11,042
BUT THEN YOU HAVE TO SHOW
ARTHUR WHAT I JUST SAW.
1033
01:01:16,340 --> 01:01:18,675
GET US ANOTHER SEAT
ON THE PLANE.
1034
01:01:21,886 --> 01:01:23,764
IF I GET ON THIS PLANE
1035
01:01:23,847 --> 01:01:26,058
AND YOU DON'T HONOR
OUR AGREEMENT…
1036
01:01:26,141 --> 01:01:29,686
WHEN WE LAND, I GO TO JAIL
FOR THE REST OF MY LIFE.
1037
01:01:29,769 --> 01:01:31,564
COMPLETE THE JOB EN ROUTE,
1038
01:01:31,647 --> 01:01:35,109
I MAKE ONE PHONE CALL
FROM THE PLANE,
1039
01:01:35,192 --> 01:01:37,986
YOU HAVE NO TROUBLE
GETTING THROUGH IMMIGRATION.
1040
01:01:51,291 --> 01:01:52,918
I'M SORRY.
1041
01:01:53,001 --> 01:01:55,504
OH, YEAH, I'M SORRY.
MY BAD.
1042
01:02:29,037 --> 01:02:31,624
EXCUSE ME,
I THINK THIS IS YOURS?
1043
01:02:31,707 --> 01:02:33,292
YOU MUST HAVE
DROPPED IT.
1044
01:02:33,375 --> 01:02:35,002
WOULD YOU GENTLEMEN
CARE FOR A DRINK?
1045
01:02:35,085 --> 01:02:36,337
UH, WATER, PLEASE.
1046
01:02:36,420 --> 01:02:39,131
UM, SAME, PLEASE.
1047
01:02:39,214 --> 01:02:41,300
UM…
1048
01:02:41,383 --> 01:02:43,302
THANK YOU.
1049
01:02:43,385 --> 01:02:45,179
YOU KNOW,
I COULDN'T HELP BUT NOTICE,
1050
01:02:45,262 --> 01:02:47,389
BUT YOU WOULDN'T HAPPEN
TO BE RELATED TO…
1051
01:02:47,472 --> 01:02:49,016
THE MAURICE FISCHER,
WOULD YOU?
1052
01:02:49,099 --> 01:02:50,934
YES, HE, UM…
1053
01:02:51,017 --> 01:02:53,562
HE WAS MY FATHER.
1054
01:02:53,645 --> 01:02:55,981
WELL, HE WAS
A VERY INSPIRING FIGURE.
1055
01:02:56,064 --> 01:02:57,566
I'M SORRY FOR YOUR LOSS.
1056
01:03:00,527 --> 01:03:01,529
HERE YOU GO.
1057
01:03:01,612 --> 01:03:02,737
THANK YOU.
1058
01:03:02,820 --> 01:03:04,532
HEY.
1059
01:03:04,615 --> 01:03:06,116
TO YOUR FATHER.
1060
01:03:06,199 --> 01:03:08,826
MAY HE REST IN PEACE, HUH?
1061
01:04:16,770 --> 01:04:19,440
COULDN'T HAVE PEED
BEFORE YOU WENT UNDER?
SORRY.
1062
01:04:19,523 --> 01:04:21,900
BIT TOO MUCH FREE CHAMPAGNE
BEFORE TAKEOFF, EH, YUSUF?
1063
01:04:21,983 --> 01:04:22,984
HA HA BLOODY HA.
1064
01:04:23,067 --> 01:04:24,069
WELL, WE KNOW HE'S
GONNA BE LOOKING
1065
01:04:24,152 --> 01:04:25,612
FOR A TAXI IN
THIS WEATHER.
1066
01:04:37,374 --> 01:04:39,042
ASSHOLE!
1067
01:04:39,125 --> 01:04:40,669
HEY, MAN,
WHY DON'T YOU TRY…
1068
01:04:40,752 --> 01:04:42,045
WALK AWAY.
1069
01:04:54,307 --> 01:04:56,768
[ UP-TEMPO MUSIC PLAYING
ON RADIO ]
1070
01:04:57,977 --> 01:04:59,688
JUST HAVE HIM…
I GOTTA GO.
1071
01:04:59,771 --> 01:05:01,732
ALL RIGHT. TAXI!
THANK YOU.
1072
01:05:04,359 --> 01:05:08,280
ALL RIGHT, THIRD AND MARKET.
SNAPPY.
1073
01:05:08,363 --> 01:05:10,658
WHAT ARE YOU DOING?
OH, I'M SORRY.
I THOUGHT IT WAS FREE.
1074
01:05:10,741 --> 01:05:12,242
WELL, IT'S NOT.
MAYBE WE COULD SHARE.
1075
01:05:12,325 --> 01:05:15,579
YEAH, MAYBE NOT. CAN YOU
PULL OVER AND GET THIS…
1076
01:05:17,873 --> 01:05:18,873
GREAT.
1077
01:05:23,670 --> 01:05:25,088
COME ON!
1078
01:05:36,808 --> 01:05:38,101
THERE'S $500 IN THERE,
1079
01:05:38,184 --> 01:05:39,394
AND THE WALLET'S
WORTH MORE THAN THAT.
1080
01:05:39,477 --> 01:05:41,188
SO YOU MIGHT AT LEAST
DROP ME AT MY STOP.
1081
01:05:41,271 --> 01:05:42,939
I'M AFRAID
IT DOESN'T…
1082
01:05:43,022 --> 01:05:44,357
BULLET!
1083
01:05:52,449 --> 01:05:54,201
COVER HIM!
DOWN! DOWN NOW!
1084
01:05:54,284 --> 01:05:55,619
WHAT THE HELL
IS GOING ON?!
1085
01:06:00,290 --> 01:06:02,083
THIS WASN'T IN THE DESIGN.
1086
01:06:02,166 --> 01:06:04,127
COBB?
1087
01:06:04,210 --> 01:06:05,796
COBB?!
1088
01:06:21,311 --> 01:06:24,063
[ TIRES SQUEALING,
GUNFIRE CONTINUES ]
1089
01:06:48,922 --> 01:06:50,549
AAH!
1090
01:06:50,632 --> 01:06:52,509
[ TIRES SCREECHING,
GUNFIRE CONTINUES ]
1091
01:06:56,513 --> 01:06:57,639
READY?!
1092
01:07:04,604 --> 01:07:07,649
ARE YOU ALL RIGHT?!
YEAH, I-I'M OKAY.
I'M OKAY.
1093
01:07:07,732 --> 01:07:10,360
FISCHER'S OKAY,
UNLESS HE GETS CARSICK.
1094
01:07:10,443 --> 01:07:11,528
SAITO?
1095
01:07:30,588 --> 01:07:32,382
GET FISCHER
IN THE BACK ROOM NOW!
1096
01:07:32,465 --> 01:07:34,718
GET HIM IN THE BACK ROOM.
MOVE!
1097
01:07:36,302 --> 01:07:37,387
HAS HE BEEN SHOT?
I-IS HE DYING?
1098
01:07:37,470 --> 01:07:39,013
I DON'T KNOW.
JESUS CHRIST.
1099
01:07:39,096 --> 01:07:40,432
WHERE WERE YOU?
WHAT HAPPENED TO YOU?
1100
01:07:40,515 --> 01:07:41,642
WE WERE BLOCKED
BY A FREIGHT TRAIN.
1101
01:07:41,725 --> 01:07:42,976
WHY WOULD YOU PUT
A TRAIN CROSSING
1102
01:07:43,059 --> 01:07:44,060
IN THE MIDDLE OF A
DOWNTOWN INTERSECTION?
1103
01:07:44,143 --> 01:07:44,895
WELL, I DIDN'T.
1104
01:07:44,978 --> 01:07:45,938
WELL WHERE'D
IT COME FROM?
1105
01:07:46,021 --> 01:07:46,939
WELL LET ME ASK YOU
A QUESTION!
1106
01:07:47,022 --> 01:07:48,356
WHY THE HELL
WERE WE AMBUSHED, HUH?!
1107
01:07:48,439 --> 01:07:49,775
THOSE WERE NOT
NORMAL PROJECTIONS!
1108
01:07:49,858 --> 01:07:51,526
THEY'D BEEN TRAINED,
FOR GOD'S SAKES!
YOU'RE RIGHT.
1109
01:07:51,609 --> 01:07:52,527
HOW COULD HE BE TRAINED?!
1110
01:07:52,610 --> 01:07:54,529
FISCHER
HAD AN EXTRACTOR
1111
01:07:54,612 --> 01:07:56,490
TEACH HIS SUBCONSCIOUS
TO DEFEND ITSELF.
1112
01:07:56,573 --> 01:07:58,492
SO HIS SUBCONSCIOUS
IS MILITARIZED.
1113
01:07:58,575 --> 01:08:00,327
IT SHOULD'VE SHOWN
IN THE RESEARCH. I'M SORRY.
1114
01:08:00,410 --> 01:08:02,287
SO WHY THE HELL
DIDN'T IT?
CALM DOWN.
1115
01:08:02,370 --> 01:08:04,122
DON'T TELL ME
TO CALM DOWN!
1116
01:08:04,205 --> 01:08:05,457
THIS WAS YOUR JOB,
GODDAMN IT!
1117
01:08:05,540 --> 01:08:07,292
THIS WAS
YOUR RESPONSIBILITY!
1118
01:08:07,375 --> 01:08:09,377
YOU WERE MEANT TO CHECK
FISCHER'S BACKGROUND THOROUGHLY!
1119
01:08:09,460 --> 01:08:10,921
WE ARE NOT PREPARED
FOR THIS TYPE OF VIOLENCE!
1120
01:08:11,004 --> 01:08:12,881
WE HAVE DEALT WITH
SUB-SECURITY BEFORE!
1121
01:08:12,964 --> 01:08:14,716
WE'LL BE A LITTLE MORE CAREFUL,
AND WE'RE GONNA BE FINE!
1122
01:08:14,799 --> 01:08:16,927
THIS WAS NOT A PART OF THE PLAN!
HE'S DYING, FOR GOD'S SAKES!
1123
01:08:17,010 --> 01:08:18,136
PUT HIM
OUT OF HIS MISERY.
1124
01:08:18,219 --> 01:08:19,888
NO, DON'T DO THAT!
HEY, HEY.
1125
01:08:19,971 --> 01:08:21,264
DON'T DO THAT.
1126
01:08:21,347 --> 01:08:23,350
HE'S IN AGONY.
I'M WAKING HIM UP.
1127
01:08:23,433 --> 01:08:25,226
NO.
IT WON'T WAKE HIM UP.
1128
01:08:25,309 --> 01:08:26,603
WHAT DO YOU MEAN,
IT WON'T WAKE HIM UP?
1129
01:08:26,686 --> 01:08:27,604
IT WON'T WAKE HIM UP.
1130
01:08:27,687 --> 01:08:28,939
WHEN WE DIE IN A
DREAM, WE WAKE UP.
1131
01:08:29,022 --> 01:08:30,983
NOT FROM THIS.
1132
01:08:31,066 --> 01:08:33,360
WE'RE TOO HEAVILY SEDATED
TO WAKE UP THAT WAY.
1133
01:08:33,443 --> 01:08:35,863
RIGHT. SO, WHAT HAPPENS
WHEN WE DIE?
1134
01:08:35,946 --> 01:08:37,865
WE DROP INTO LIMBO.
ARE YOU SERIOUS?
1135
01:08:37,948 --> 01:08:39,992
LIMBO?!
UNCONSTRUCTED
DREAM SPACE.
1136
01:08:40,075 --> 01:08:41,743
WELL, WHAT THE HELL
IS DOWN THERE?
1137
01:08:41,826 --> 01:08:43,328
JUST RAW,
INFINITE SUBCONSCIOUS.
1138
01:08:43,411 --> 01:08:44,997
NOTHING IS DOWN THERE,
1139
01:08:45,080 --> 01:08:46,874
EXCEPT FOR WHATEVER MIGHT HAVE
BEEN LEFT BEHIND
1140
01:08:46,957 --> 01:08:48,249
BY ANYONE
SHARING THE DREAM
1141
01:08:48,332 --> 01:08:50,084
WHO'S BEEN TRAPPED
THERE BEFORE.
1142
01:08:50,167 --> 01:08:52,379
WHICH, IN OUR CASE,
IS JUST YOU.
1143
01:08:52,462 --> 01:08:54,130
WELL, HOW LONG
COULD WE BE STUCK THERE?
1144
01:08:54,213 --> 01:08:55,423
CAN'T EVEN THINK
ABOUT TRYING TO ESCAPE
1145
01:08:55,506 --> 01:08:57,258
UNTIL THE SEDATION
HAS EASED.
HOW LONG, YUSUF?
1146
01:08:57,341 --> 01:08:58,510
DECADES.
IT COULD BE INFINITE.
1147
01:08:58,593 --> 01:08:59,553
I DON'T KNOW. ASK HIM.
1148
01:08:59,636 --> 01:09:00,929
HE'S THE ONE
WHO'S BEEN THERE.
1149
01:09:01,012 --> 01:09:02,722
LET'S JUST
GET HIM UPSTAIRS.
1150
01:09:04,057 --> 01:09:05,767
GREAT.
1151
01:09:05,850 --> 01:09:07,435
THANK YOU.
1152
01:09:07,518 --> 01:09:09,771
SO, NOW WE'RE TRAPPED
IN FISCHER'S MIND,
1153
01:09:09,854 --> 01:09:11,523
BATTLING HIS OWN
PRIVATE ARMY.
1154
01:09:11,606 --> 01:09:13,066
AND IF WE GET KILLED,
1155
01:09:13,149 --> 01:09:14,484
WE'LL BE LOST IN LIMBO
1156
01:09:14,567 --> 01:09:17,028
TILL OUR BRAINS TURN
TO SCRAMBLED EGG, HMM?
1157
01:09:23,785 --> 01:09:24,995
SOMEONE GOT FIRST AID?
1158
01:09:27,622 --> 01:09:28,832
SO, YOU KNEW
ABOUT THESE RISKS,
1159
01:09:28,915 --> 01:09:30,250
AND YOU DIDN'T TELL US?
1160
01:09:30,333 --> 01:09:31,626
THERE WEREN'T MEANT
TO BE ANY RISKS.
1161
01:09:31,709 --> 01:09:33,670
I DIDN'T KNOW WE'D BE DEALING
WITH A LOAD OF GUNFIRE.
1162
01:09:33,753 --> 01:09:34,880
YOU HAD NO RIGHT.
1163
01:09:34,963 --> 01:09:36,631
THIS WAS THE ONLY WAY
TO GO THREE LAYERS DEEP.
1164
01:09:36,714 --> 01:09:38,550
AND YOU.
1165
01:09:38,633 --> 01:09:39,927
YOU KNEW ABOUT THIS
AND WENT ALONG WITH IT?
1166
01:09:40,010 --> 01:09:41,135
I TRUSTED HIM!
YOU TRUSTED HIM?
1167
01:09:41,218 --> 01:09:42,345
WHEN? WHEN HE PROMISED
YOU HALF HIS SHARE?
1168
01:09:42,428 --> 01:09:44,598
NO. HIS WHOLE SHARE.
1169
01:09:44,681 --> 01:09:45,933
BESIDES, HE SAID
HE'D DONE IT BEFORE.
1170
01:09:46,016 --> 01:09:47,601
OH, HE'D DONE IT BEFORE.
WHAT, WITH MAL?
1171
01:09:47,684 --> 01:09:48,518
'CAUSE THAT WORKED
SO GOOD?
1172
01:09:48,601 --> 01:09:49,811
THAT HAS NOTHING
TO DO WITH IT.
1173
01:09:49,894 --> 01:09:51,813
I DID WHAT I HAD TO DO
TO GET BACK TO MY CHILDREN.
1174
01:09:51,896 --> 01:09:53,231
SO YOU LED US
INTO A WAR ZONE
1175
01:09:53,314 --> 01:09:54,190
WITH NO WAY OUT.
1176
01:09:54,273 --> 01:09:55,149
THERE IS A WAY OUT.
ALL RIGHT?
1177
01:09:55,232 --> 01:09:56,401
WE CONTINUE ON
WITH THE JOB,
1178
01:09:56,484 --> 01:09:57,986
AND WE DO IT
AS FAST AS POSSIBLE,
1179
01:09:58,069 --> 01:10:00,781
AND WE GET OUT USING THE KICK,
JUST LIKE BEFORE.
1180
01:10:00,864 --> 01:10:03,658
FORGET IT. WE GO ANY DEEPER,
WE JUST RAISE THE STAKES.
1181
01:10:03,741 --> 01:10:05,827
I AM SITTING THIS ONE OUT
ON THIS LEVEL, BOYS.
1182
01:10:05,910 --> 01:10:08,162
FISCHER'S SECURITY
IS SURROUNDING
THIS PLACE AS WE SPEAK.
1183
01:10:08,245 --> 01:10:10,707
10 HOURS OF FLIGHT TIME
IS A WEEK AT THIS LEVEL.
1184
01:10:10,790 --> 01:10:13,001
THAT MEANS EACH AND EVERY ONE
OF US WILL BE KILLED.
1185
01:10:13,084 --> 01:10:14,586
THAT I CAN GUARANTEE YOU.
1186
01:10:14,669 --> 01:10:16,630
WE HAVE NO OTHER CHOICE
BUT TO CONTINUE ON
1187
01:10:16,713 --> 01:10:18,339
AND DO IT
AS FAST AS POSSIBLE.
1188
01:10:20,257 --> 01:10:22,803
DOWNWARDS IS
THE ONLY WAY FORWARDS.
1189
01:10:22,886 --> 01:10:26,014
GET READY.
1190
01:10:26,097 --> 01:10:27,640
YOU, COME ON.
LET'S GO SHAKE HIM UP.
1191
01:10:32,395 --> 01:10:35,356
I'M INSURED AGAINST KIDNAPPING
FOR UP TO 10 MILLION.
1192
01:10:35,439 --> 01:10:37,233
THIS SHOULD BE VERY SIMPLE.
1193
01:10:37,316 --> 01:10:38,693
SHUT UP!
IT WON'T BE.
1194
01:10:38,776 --> 01:10:40,487
IN YOUR FATHER'S OFFICE,
BELOW THE BOOKSHELVES,
1195
01:10:40,570 --> 01:10:42,072
IS HIS PERSONAL SAFE.
1196
01:10:42,155 --> 01:10:43,865
WE NEED THE COMBINATION.
1197
01:10:43,948 --> 01:10:46,326
I DON'T KNOW ANY SAFE.
1198
01:10:46,409 --> 01:10:48,661
THAT DOESN'T MEAN
YOU DON'T KNOW THE COMBINATION.
1199
01:10:50,287 --> 01:10:52,206
TELL US WHAT IT IS.
1200
01:10:52,289 --> 01:10:55,043
I DON'T KNOW.
1201
01:10:59,756 --> 01:11:02,050
WE HAVE IT ON GOOD AUTHORITY
YOU DO KNOW.
1202
01:11:02,133 --> 01:11:04,427
YEAH? WHOSE AUTHORITY?
1203
01:11:04,510 --> 01:11:07,388
$500, THIS COST?
1204
01:11:07,471 --> 01:11:09,265
WHAT'S INSIDE IT?
1205
01:11:09,348 --> 01:11:11,518
CASH, CARDS, I.D…
1206
01:11:11,601 --> 01:11:13,186
AND THIS.
1207
01:11:17,899 --> 01:11:19,901
USEFUL?
1208
01:11:19,984 --> 01:11:21,862
MAYBE.
1209
01:11:21,945 --> 01:11:24,238
YOU'RE ON.
YOU'VE GOT AN HOUR.
1210
01:11:24,321 --> 01:11:26,908
AN HOUR?
1211
01:11:26,991 --> 01:11:29,243
I WAS SUPPOSED TO HAVE ALL NIGHT
TO CRACK THIS.
1212
01:11:29,326 --> 01:11:31,412
AND SAITO WASN'T SUPPOSED
TO BE SHOT IN THE CHEST.
1213
01:11:31,495 --> 01:11:32,747
YOU'VE GOT ONE HOUR.
1214
01:11:32,830 --> 01:11:35,125
NOW, GET US SOMETHING
USEFUL, PLEASE.
1215
01:11:37,835 --> 01:11:39,087
WHAT'S THAT?
1216
01:11:39,170 --> 01:11:40,337
GOOD AUTHORITY.
1217
01:11:43,841 --> 01:11:45,969
UNCLE PETER.
1218
01:11:46,052 --> 01:11:48,346
JUST…
JUST MAKE THEM STOP.
1219
01:11:48,429 --> 01:11:50,098
THE COMBINATION.
1220
01:11:50,181 --> 01:11:51,808
I DON'T KNOW IT.
1221
01:11:51,891 --> 01:11:54,602
WHY DOES BROWNING
SAY YOU DO?
I DON'T KNOW.
1222
01:11:54,685 --> 01:11:56,896
JUST LET ME TALK TO HIM,
AND I'LL FIND OUT.
1223
01:11:59,857 --> 01:12:02,068
YOU HAVE ONE HOUR!
START TALKING.
1224
01:12:03,402 --> 01:12:04,863
AHH.
YOU ALL RIGHT?
1225
01:12:04,946 --> 01:12:06,907
AAH.
1226
01:12:06,990 --> 01:12:08,407
YOU OKAY?
1227
01:12:11,828 --> 01:12:15,373
THOSE BASTARDS HAVE HAD AT ME
FOR TWO DAYS.
1228
01:12:15,456 --> 01:12:18,585
THEY HAVE SOMEONE WITH ACCESS
TO YOUR FATHER'S OFFICE,
1229
01:12:18,668 --> 01:12:20,754
AND THEY'RE TRYING
TO OPEN HIS SAFE.
YEAH.
1230
01:12:20,837 --> 01:12:22,380
THEY THOUGHT I'D KNOW
THE COMBINATION,
1231
01:12:22,463 --> 01:12:23,965
BUT I DON'T KNOW IT.
1232
01:12:24,048 --> 01:12:25,508
YEAH, WELL,
NEITHER DO I, SO…
1233
01:12:25,591 --> 01:12:26,927
WHAT?
1234
01:12:27,010 --> 01:12:28,803
MAURICE TOLD ME
THAT WHEN HE PASSED,
1235
01:12:28,886 --> 01:12:30,931
YOU WERE THE ONLY ONE
THAT WOULD BE ABLE TO OPEN IT.
1236
01:12:31,014 --> 01:12:33,558
NO, HE NEVER… HE NEVER
GAVE ME ANY COMBINATION.
1237
01:12:33,641 --> 01:12:35,602
MAYBE HE DID.
1238
01:12:35,685 --> 01:12:38,396
MAYBE YOU JUST DIDN'T KNOW
IT WAS THE COMBINATION.
1239
01:12:38,479 --> 01:12:40,732
WELL, WHAT, THEN?
I DON'T KNOW.
1240
01:12:40,815 --> 01:12:42,567
SOME MEANINGFUL COMBINATION
OF NUMBERS
1241
01:12:42,650 --> 01:12:46,070
BASED ON YOUR…
YOUR EXPERIENCES WITH MAURICE.
1242
01:12:47,822 --> 01:12:50,158
WE DIDN'T HAVE
VERY MANY, UM…
1243
01:12:50,241 --> 01:12:52,410
MEANINGFUL EXPERIENCES
TOGETHER.
1244
01:12:52,493 --> 01:12:54,411
PERHAPS
AFTER YOUR MOTHER DIED.
1245
01:12:57,332 --> 01:12:58,583
AFTER MY MOTHER DIED,
1246
01:12:58,666 --> 01:12:59,918
YOU KNOW WHAT HE TOLD ME?
1247
01:13:00,001 --> 01:13:03,630
"ROBERT,
THERE'S REALLY…
1248
01:13:03,713 --> 01:13:06,674
NOTHING TO BE SAID."
1249
01:13:06,757 --> 01:13:09,052
OH, WELL,
HE WAS BAD WITH EMOTION.
1250
01:13:09,135 --> 01:13:11,930
I WAS 11, UNCLE PETER.
1251
01:13:12,013 --> 01:13:13,098
HOW'S HE DOIN'?
1252
01:13:13,181 --> 01:13:15,475
HE'S IN A LOT OF PAIN.
1253
01:13:15,558 --> 01:13:17,393
WHEN WE GET DOWN
TO THE LOWER LEVELS,
1254
01:13:17,476 --> 01:13:19,020
THE PAIN WILL BE
LESS INTENSE.
1255
01:13:19,103 --> 01:13:21,148
AND IF HE DIES?
1256
01:13:21,231 --> 01:13:22,857
WORST-CASE SCENARIO?
1257
01:13:22,940 --> 01:13:26,778
WHEN HE WAKES UP,
HIS MIND IS COMPLETELY GONE.
1258
01:13:26,861 --> 01:13:28,571
COBB…
1259
01:13:28,654 --> 01:13:31,283
I'LL STILL HONOR
THE ARRANGEMENT.
1260
01:13:31,366 --> 01:13:32,617
I APPRECIATE THAT, SAITO.
1261
01:13:32,700 --> 01:13:34,661
BUT WHEN YOU WAKE UP,
1262
01:13:34,744 --> 01:13:36,496
YOU WON'T EVEN REMEMBER
THAT WE HAD AN ARRANGEMENT.
1263
01:13:36,579 --> 01:13:38,748
LIMBO IS GONNA BECOME
YOUR REALITY.
1264
01:13:38,831 --> 01:13:41,001
YOU'RE GONNA BE LOST
DOWN THERE SO LONG
1265
01:13:41,084 --> 01:13:43,086
THAT YOU'RE GONNA
BECOME AN OLD MAN.
1266
01:13:43,169 --> 01:13:44,838
FILLED WITH REGRET?
1267
01:13:44,921 --> 01:13:47,257
WAITING TO DIE ALONE.
1268
01:13:47,340 --> 01:13:49,176
NO.
1269
01:13:49,259 --> 01:13:51,469
I'LL COME BACK.
1270
01:13:51,552 --> 01:13:54,471
AND WE'LL BE YOUNG MEN
TOGETHER AGAIN.
1271
01:14:00,144 --> 01:14:01,855
BREATHE.
1272
01:14:01,938 --> 01:14:03,231
THESE PEOPLE
ARE GONNA KILL US
1273
01:14:03,314 --> 01:14:04,607
IF WE DON'T GIVE THEM
THE COMBINATION.
1274
01:14:04,690 --> 01:14:06,067
THEY JUST
WANT TO RANSOM US.
1275
01:14:06,150 --> 01:14:07,902
I HEARD THEM.
1276
01:14:07,985 --> 01:14:09,737
THEY'RE GONNA LOCK US
IN THAT VAN,
1277
01:14:09,820 --> 01:14:11,281
AND THEN DRIVE IT
INTO THE RIVER.
1278
01:14:11,364 --> 01:14:12,824
ALL RIGHT.
WHAT IS IN THE SAFE?
1279
01:14:12,907 --> 01:14:15,202
SOMETHING FOR YOU.
1280
01:14:15,285 --> 01:14:16,828
MAURICE ALWAYS SAID
1281
01:14:16,911 --> 01:14:19,873
IT WAS HIS MOST PRECIOUS GIFT
TO YOU…
1282
01:14:19,956 --> 01:14:21,708
A WILL.
1283
01:14:21,791 --> 01:14:23,417
MAURICE'S WILL
IS WITH PORT AND DUNN.
1284
01:14:23,500 --> 01:14:25,128
THAT'S AN ALTERNATE.
1285
01:14:25,211 --> 01:14:27,839
THIS WOULD SUPERSEDE THE OTHER
IF YOU WANT IT TO.
1286
01:14:27,922 --> 01:14:30,550
IT SPLITS UP THE COMPONENT
BUSINESSES OF FISCHER MORROW.
1287
01:14:30,633 --> 01:14:34,428
IT'D BE THE END OF THE ENTIRE
EMPIRE AS WE KNOW IT.
1288
01:14:34,511 --> 01:14:37,473
DESTROYING
MY WHOLE INHERITANCE.
1289
01:14:37,556 --> 01:14:40,310
WHY WOULD HE SUGGEST
SUCH A THING?
1290
01:14:40,393 --> 01:14:41,727
I JUST DON'T KNOW.
1291
01:14:43,813 --> 01:14:46,607
HE LOVED YOU, ROBERT.
1292
01:14:46,690 --> 01:14:48,360
IN HIS OWN WAY.
1293
01:14:48,443 --> 01:14:51,112
"IN HIS OWN WAY"?
1294
01:14:51,195 --> 01:14:53,656
AT THE END…
1295
01:14:53,739 --> 01:14:56,492
HE CALLED ME IN
TO HIS DEATHBED.
1296
01:14:56,575 --> 01:14:59,537
HE COULD BARELY SPEAK.
1297
01:14:59,620 --> 01:15:04,417
BUT HE TOOK THE TROUBLE
TO TELL ME ONE LAST THING.
1298
01:15:06,336 --> 01:15:08,629
HE PULLED ME CLOSE.
1299
01:15:10,673 --> 01:15:14,010
AND I COULD ONLY
MAKE OUT…
1300
01:15:14,093 --> 01:15:15,719
ONE WORD.
1301
01:15:18,722 --> 01:15:21,809
"DISAPPOINTED."
1302
01:15:27,190 --> 01:15:28,316
WHEN WERE YOU IN LIMBO?
1303
01:15:29,942 --> 01:15:31,736
YOU MIGHT HAVE THE REST
OF THE TEAM CONVINCED
1304
01:15:31,819 --> 01:15:33,071
TO CARRY ON
WITH THIS JOB,
1305
01:15:33,154 --> 01:15:34,281
BUT THEY DON'T KNOW
THE TRUTH.
1306
01:15:34,364 --> 01:15:35,782
TRUTH? WHAT TRUTH?
1307
01:15:35,865 --> 01:15:37,951
THE TRUTH THAT,
AT ANY MINUTE,
1308
01:15:38,034 --> 01:15:40,287
YOU MIGHT BRING A FREIGHT TRAIN
THROUGH THE WALL.
1309
01:15:40,370 --> 01:15:44,791
THE TRUTH THAT MAL IS BURSTING
THROUGH YOUR SUBCONSCIOUS.
1310
01:15:44,874 --> 01:15:47,294
AND THE TRUTH THAT,
AS WE GO DEEPER INTO FISCHER,
1311
01:15:47,377 --> 01:15:49,212
WE'RE ALSO GOING DEEPER
INTO YOU.
1312
01:15:49,295 --> 01:15:53,049
AND…I'M NOT SURE
WE'RE GONNA LIKE WHAT WE FIND.
1313
01:15:56,511 --> 01:15:58,388
WE WERE WORKING TOGETHER.
1314
01:15:58,471 --> 01:16:01,474
WE WERE EXPLORING THE CONCEPT
OF A DREAM WITHIN A DREAM.
1315
01:16:01,557 --> 01:16:03,017
I KEPT PUSHING THINGS.
1316
01:16:03,100 --> 01:16:05,395
I WANTED TO GO DEEPER
AND DEEPER.
1317
01:16:05,478 --> 01:16:07,230
I WANTED TO GO…FURTHER.
1318
01:16:07,313 --> 01:16:09,983
I JUST DIDN'T UNDERSTAND
THE CONCEPT
1319
01:16:10,066 --> 01:16:13,153
THAT HOURS COULD TURN
INTO YEARS DOWN THERE,
1320
01:16:13,236 --> 01:16:16,323
THAT WE COULD GET TRAPPED
SO DEEP THAT WHEN WE…
1321
01:16:16,406 --> 01:16:21,202
WHEN WE WOUND UP ON THE SHORE
OF OUR OWN SUBCONSCIOUS,
1322
01:16:21,285 --> 01:16:23,704
WE LOST SIGHT
OF WHAT WAS REAL.
1323
01:16:28,959 --> 01:16:32,130
WE CREATED, WE BUILT THE WORLD
FOR OURSELVES.
1324
01:16:32,213 --> 01:16:36,592
WE DID THAT FOR YEARS.
1325
01:16:36,675 --> 01:16:40,013
WE BUILT OUR OWN WORLD.
1326
01:16:40,096 --> 01:16:41,848
HOW LONG
WERE YOU STUCK THERE?
1327
01:16:41,931 --> 01:16:45,684
SOMETHING LIKE 50 YEARS.
1328
01:16:47,853 --> 01:16:51,024
JESUS.
1329
01:16:51,107 --> 01:16:53,443
HOW COULD YOU STAND IT?
1330
01:16:53,526 --> 01:16:57,113
IT WASN'T SO BAD AT FIRST,
FEELING LIKE GODS.
1331
01:16:57,196 --> 01:16:59,699
THE PROBLEM WAS KNOWING
THAT NONE OF IT WAS REAL.
1332
01:16:59,782 --> 01:17:02,035
EVENTUALLY,
IT JUST BECAME IMPOSSIBLE
1333
01:17:02,118 --> 01:17:04,037
FOR ME TO LIVE LIKE THAT.
1334
01:17:04,120 --> 01:17:05,496
AND WHAT ABOUT FOR HER?
1335
01:17:07,540 --> 01:17:10,460
SHE HAD LOCKED
SOMETHING AWAY,
1336
01:17:10,543 --> 01:17:14,255
SOMETHING
DEEP INSIDE HER.
1337
01:17:14,338 --> 01:17:17,384
A TRUTH THAT SHE HAD
ONCE KNOWN, BUT…
1338
01:17:17,467 --> 01:17:19,343
BUT CHOSE TO FORGET.
1339
01:17:22,305 --> 01:17:25,850
LIMBO BECAME HER REALITY.
1340
01:17:25,933 --> 01:17:28,228
WHAT HAPPENED
WHEN YOU WOKE UP?
1341
01:17:28,311 --> 01:17:29,979
WELL, TO WAKE UP
FROM THAT
1342
01:17:30,062 --> 01:17:32,482
AFTER… AFTER YEARS,
AFTER DECADES…
1343
01:17:32,565 --> 01:17:35,651
TO BECOME OLD SOULS
1344
01:17:35,734 --> 01:17:37,862
THROWN BACK INTO YOUTH
LIKE THAT?
1345
01:17:37,945 --> 01:17:40,490
I KNEW SOMETHING WAS WRONG
WITH HER.
1346
01:17:40,573 --> 01:17:43,826
SHE JUST
WOULDN'T ADMIT IT.
1347
01:17:43,909 --> 01:17:46,662
EVENTUALLY,
SHE TOLD ME THE TRUTH.
1348
01:17:46,745 --> 01:17:50,333
SHE WAS POSSESSED
BY AN IDEA…
1349
01:17:50,416 --> 01:17:56,130
THIS ONE VERY SIMPLE IDEA
THAT CHANGED EVERYTHING.
1350
01:17:56,213 --> 01:17:59,509
THAT OUR WORLD
WASN'T REAL.
1351
01:17:59,592 --> 01:18:03,263
THAT SHE NEEDED TO WAKE UP
TO COME BACK TO REALITY,
1352
01:18:03,346 --> 01:18:04,889
THAT…
1353
01:18:04,972 --> 01:18:07,808
IN ORDER
TO GET BACK HOME…
1354
01:18:07,891 --> 01:18:10,060
WE HAD TO KILL OURSELVES.
1355
01:18:16,733 --> 01:18:18,861
WHAT ABOUT YOUR CHILDREN?
1356
01:18:18,944 --> 01:18:20,863
SHE THOUGHT
THEY WERE PROJECTIONS,
1357
01:18:20,946 --> 01:18:22,449
THAT OUR REAL CHILDREN
WERE WAITING FOR US
1358
01:18:22,532 --> 01:18:23,741
UP THERE SOMEWHERE.
1359
01:18:23,824 --> 01:18:25,076
I'M THEIR MOTHER!
1360
01:18:25,159 --> 01:18:26,660
CALM DOWN.
1361
01:18:26,743 --> 01:18:28,079
DON'T YOU THINK
I CAN TELL THE DIFFERENCE?
1362
01:18:28,162 --> 01:18:29,872
IF THIS IS MY DREAM,
WHY CAN'T I CONTROL THIS?
1363
01:18:29,955 --> 01:18:31,332
BECAUSE YOU DON'T KNOW
YOU'RE DREAMING!
1364
01:18:31,415 --> 01:18:33,918
SHE WAS CERTAIN THERE WAS
NOTHING I COULD DO,
1365
01:18:34,001 --> 01:18:35,753
NO MATTER HOW MUCH
I BEGGED,
1366
01:18:35,836 --> 01:18:37,754
NO MATTER HOW MUCH
I PLEADED.
1367
01:18:40,383 --> 01:18:44,053
SHE WANTED TO DO IT,
BUT SHE COULD NOT DO IT ALONE.
1368
01:18:44,136 --> 01:18:46,806
SHE LOVED ME TOO MUCH,
SO…
1369
01:18:46,889 --> 01:18:50,601
SHE CAME UP WITH A PLAN
ON OUR ANNIVERSARY.
1370
01:19:16,168 --> 01:19:18,087
SWEETHEART,
WHAT ARE YOU DOING?
1371
01:19:18,170 --> 01:19:20,089
JOIN ME.
1372
01:19:20,172 --> 01:19:22,425
JUST… JUST STEP BACK INSIDE.
ALL RIGHT?
1373
01:19:22,508 --> 01:19:23,968
JUST STEP BACK INSIDE NOW.
COME ON.
1374
01:19:24,051 --> 01:19:25,845
NO.
1375
01:19:25,928 --> 01:19:28,389
I'M GOING TO JUMP,
AND YOU'RE COMING WITH ME.
1376
01:19:28,472 --> 01:19:30,433
NO, I'M NOT.
1377
01:19:30,516 --> 01:19:32,393
N-NOW, YOU LISTEN TO ME.
1378
01:19:32,476 --> 01:19:35,688
IF YOU JUMP, YOU'RE NOT
GONNA WAKE UP, REMEMBER?
1379
01:19:35,771 --> 01:19:37,106
YOU'RE GONNA DIE.
1380
01:19:37,189 --> 01:19:39,400
NOW, JUST…
JUST STEP BACK INSIDE.
1381
01:19:39,483 --> 01:19:41,027
COME ON.
1382
01:19:41,110 --> 01:19:43,029
STEP BACK INSIDE
SO WE CAN TALK ABOUT THIS.
1383
01:19:43,112 --> 01:19:45,406
WE'VE TALKED ENOUGH.
1384
01:19:46,156 --> 01:19:47,825
MAL.
1385
01:19:47,908 --> 01:19:50,119
COME OUT ONTO THE LEDGE,
OR I'LL JUMP RIGHT NOW.
1386
01:19:50,202 --> 01:19:51,245
OKAY.
1387
01:19:54,331 --> 01:19:57,585
WE'RE GONNA TALK ABOUT THIS.
1388
01:19:57,668 --> 01:19:59,462
ALL RIGHT?
1389
01:19:59,545 --> 01:20:02,382
I'M ASKING YOU
TO TAKE A LEAP OF FAITH.
1390
01:20:02,465 --> 01:20:04,425
NO, HONEY.
1391
01:20:04,508 --> 01:20:06,844
NO, I CA…
1392
01:20:06,927 --> 01:20:09,013
YOU KNOW I CAN'T DO THAT.
1393
01:20:09,096 --> 01:20:11,683
TAKE A SECOND,
THINK ABOUT OUR CHILDREN.
1394
01:20:11,766 --> 01:20:14,686
THINK ABOUT JAMES.
1395
01:20:14,769 --> 01:20:16,479
THINK ABOUT PHILLIPA NOW.
1396
01:20:16,562 --> 01:20:18,856
IF I GO WITHOUT YOU,
THEY'LL TAKE THEM AWAY ANYWAY.
1397
01:20:18,939 --> 01:20:20,692
WHAT DOES THAT MEAN?
1398
01:20:20,775 --> 01:20:22,443
I FILED A LETTER
WITH OUR ATTORNEY,
1399
01:20:22,526 --> 01:20:25,488
EXPLAINING HOW I'M FEARFUL
FOR MY SAFETY.
1400
01:20:28,865 --> 01:20:30,326
HOW YOU'VE THREATENED
TO KILL ME.
1401
01:20:33,162 --> 01:20:34,622
WHY DID YOU DO THIS?
1402
01:20:34,705 --> 01:20:36,082
I LOVE YOU, DOM.
1403
01:20:36,165 --> 01:20:38,834
WHY DID YOU…
WHY WOULD YOU DO THIS TO ME?
1404
01:20:38,917 --> 01:20:41,128
I'VE FREED YOU FROM THE GUILT
OF CHOOSING TO LEAVE THEM.
1405
01:20:41,211 --> 01:20:44,173
WE'RE GOING HOME
TO OUR REAL CHILDREN.
1406
01:20:44,256 --> 01:20:46,467
OH, NO, NO, NO. MAL,
YOU LISTEN TO ME, ALL RIGHT?
1407
01:20:46,550 --> 01:20:47,760
MAL, LOOK AT ME,
PLEASE?!
1408
01:20:47,843 --> 01:20:49,470
YOU'RE WAITING
FOR A TRAIN.
1409
01:20:49,553 --> 01:20:51,264
MAL, GODDAMN IT,
DON'T DO THIS!
1410
01:20:51,347 --> 01:20:54,100
A TRAIN THAT WILL TAKE YOU
FAR AWAY.
1411
01:20:54,183 --> 01:20:56,310
JAMES AND PHILLIPA
ARE WAITING FOR US!
1412
01:20:56,393 --> 01:20:58,062
YOU KNOW WHERE YOU HOPE
THIS TRAIN WILL TAKE YOU.
1413
01:20:58,145 --> 01:20:59,480
THEY'RE WAITING FOR US!
YOU CAN'T KNOW FOR SURE.
1414
01:20:59,563 --> 01:21:01,148
MAL, LOOK AT ME!
1415
01:21:01,231 --> 01:21:03,693
BUT IT DOESN'T MATTER.
MAL, GODDAMN IT!
1416
01:21:03,776 --> 01:21:05,695
BECAUSE YOU'LL BE TOGETHER.
MAL, LISTEN TO ME!
1417
01:21:05,778 --> 01:21:07,655
SWEETHEART!
LOOK AT ME!
1418
01:21:07,738 --> 01:21:09,490
MAL, NO!
1419
01:21:09,573 --> 01:21:10,949
JESUS CHRIST!
1420
01:21:14,995 --> 01:21:16,247
SHE HAD HERSELF
DECLARED SANE
1421
01:21:16,330 --> 01:21:17,665
BY THREE DIFFERENT
PSYCHIATRISTS.
1422
01:21:17,748 --> 01:21:19,459
IT MADE IT IMPOSSIBLE
1423
01:21:19,542 --> 01:21:22,044
FOR ME TO TRY TO EXPLAIN
THE NATURE OF HER MADNESS.
1424
01:21:22,127 --> 01:21:24,046
SO, I RAN.
1425
01:21:25,381 --> 01:21:28,008
RIGHT NOW…
OR NEVER, COBB.
1426
01:21:34,097 --> 01:21:36,643
JAMES! PHILLIPA!
1427
01:21:36,726 --> 01:21:38,686
COME ON IN! COME ON!
1428
01:21:38,769 --> 01:21:40,480
ALL RIGHT, LET'S GO.
1429
01:21:40,563 --> 01:21:42,649
I LEFT
MY CHILDREN BEHIND,
1430
01:21:42,732 --> 01:21:44,651
AND I'VE BEEN TRYING TO BUY
MY WAY BACK EVER SINCE.
1431
01:21:44,734 --> 01:21:47,320
YOUR GUILT DEFINES HER.
1432
01:21:47,403 --> 01:21:49,489
IT'S WHAT POWERS HER.
1433
01:21:49,572 --> 01:21:52,784
BUT YOU ARE NOT RESPONSIBLE
FOR THE IDEA THAT DESTROYED HER.
1434
01:21:52,867 --> 01:21:56,537
AND IF WE ARE GONNA SUCCEED
IN THIS…
1435
01:21:56,620 --> 01:21:58,998
YOU HAVE
TO FORGIVE YOURSELF…
1436
01:21:59,081 --> 01:22:01,709
AND YOU'RE GONNA HAVE
TO CONFRONT HER.
1437
01:22:01,792 --> 01:22:03,336
BUT YOU DON'T HAVE
TO DO THAT ALONE.
1438
01:22:03,419 --> 01:22:04,712
NO, NO, YOU'RE NOT…
1439
01:22:04,795 --> 01:22:06,297
I'M DOING IT
FOR THE OTHERS.
1440
01:22:06,380 --> 01:22:09,676
BECAUSE THEY HAVE NO IDEA
THE RISK THEY'VE TAKEN
1441
01:22:09,759 --> 01:22:11,719
COMING DOWN HERE
WITH YOU.
1442
01:22:16,181 --> 01:22:17,475
WE HAVE TO MOVE.
1443
01:22:17,558 --> 01:22:19,727
TIME'S UP.
1444
01:22:19,810 --> 01:22:21,729
ALL RIGHT.
I DON'T KNOW ANY COMBINATION.
1445
01:22:21,812 --> 01:22:23,147
NOT CONSCIOUSLY, ANYWAY.
1446
01:22:23,230 --> 01:22:25,107
HOW ABOUT INSTINCTIVELY,
HUH?
1447
01:22:25,190 --> 01:22:28,027
I GOT SOMEBODY STANDING IN
YOUR FATHER'S OFFICE RIGHT NOW
1448
01:22:28,110 --> 01:22:29,821
READY TO TAP IN
THE COMBINATION.
1449
01:22:29,904 --> 01:22:31,489
GIVE ME
THE FIRST SIX NUMBERS
1450
01:22:31,572 --> 01:22:33,366
THAT COME TO YOUR HEAD
RIGHT NOW.
1451
01:22:33,449 --> 01:22:36,118
I HAVE NO IDEA.
RIGHT NOW!
1452
01:22:36,201 --> 01:22:38,329
I SAID, RIGHT NOW!
RIGHT NOW!
1453
01:22:38,412 --> 01:22:40,790
FIVE, TWO, EIGHT…
1454
01:22:40,873 --> 01:22:42,207
FOUR, NINE, ONE.
1455
01:22:44,543 --> 01:22:47,213
YOU'RE GONNA HAVE
TO DO BETTER THAN THAT.
1456
01:22:47,296 --> 01:22:49,716
ALL RIGHT. BAG 'EM.
1457
01:22:49,799 --> 01:22:51,467
YOU'RE GOING FOR A RIDE.
1458
01:22:55,721 --> 01:22:57,598
WE'RE WORTH
MORE TO YOU ALIVE.
1459
01:22:57,681 --> 01:22:59,767
YOU HEAR ME?
1460
01:23:04,271 --> 01:23:05,689
WHAT'D YOU GET?
1461
01:23:07,566 --> 01:23:08,735
THAT BOY'S RELATIONSHIP
WITH HIS FATHER
1462
01:23:08,818 --> 01:23:09,777
IS EVEN WORSE
THAN WE IMAGINED.
1463
01:23:09,860 --> 01:23:11,237
THIS HELPS US HOW?
1464
01:23:11,320 --> 01:23:12,822
THE STRONGER THE ISSUES,
1465
01:23:12,905 --> 01:23:15,032
THE MORE POWERFUL
THE CATHARSIS.
1466
01:23:15,115 --> 01:23:17,785
HOW ARE WE GONNA RECONCILE THEM
IF THEY'RE SO ESTRANGED?
1467
01:23:17,868 --> 01:23:19,746
WELL, I'M WORKING ON THAT,
AREN'T I?
WORK FASTER.
1468
01:23:19,829 --> 01:23:22,248
THE PROJECTIONS
ARE CLOSING IN QUICK.
1469
01:23:22,331 --> 01:23:25,250
WE GOTTA BREAK OUT OF HERE
BEFORE WE'RE TOTALLY BOXED IN.
1470
01:23:31,674 --> 01:23:33,049
[ GUNFIRE,
BULLETS RICOCHET ]
1471
01:24:01,662 --> 01:24:05,415
WE MUSTN'T BE AFRAID TO DREAM
A LITTLE BIGGER, DARLING.
1472
01:24:21,473 --> 01:24:23,392
NOW WE NEED TO SHIFT HIS
ANIMOSITY FROM HIS FATHER
1473
01:24:23,475 --> 01:24:25,269
TO HIS GODFATHER.
1474
01:24:25,352 --> 01:24:27,020
YOU'RE GONNA DESTROY HIS ONE
POSITIVE RELATIONSHIP?
1475
01:24:27,103 --> 01:24:29,315
NO, WE REPAIR HIS RELATIONSHIP
WITH HIS FATHER
1476
01:24:29,398 --> 01:24:31,525
WHILST EXPOSING
HIS GODFATHER'S TRUE NATURE.
1477
01:24:31,608 --> 01:24:34,737
WE SHOULD CHARGE FISCHER
A LOT MORE THAN SAITO
FOR THIS JOB.
1478
01:24:34,820 --> 01:24:35,780
WHAT ABOUT HIS SECURITY?
1479
01:24:35,863 --> 01:24:37,531
IT'S GONNA GET WORSE
AS WE GO DEEPER.
1480
01:24:37,614 --> 01:24:40,326
I THINK WE RUN
WITH MR. CHARLES.
NO.
1481
01:24:40,409 --> 01:24:41,869
WHO'S MR. CHARLES?
BAD IDEA.
1482
01:24:41,952 --> 01:24:44,163
THE SECOND WE GET INTO THAT
HOTEL AND APPROACH FISCHER,
1483
01:24:44,246 --> 01:24:45,832
HIS SECURITY
IS GONNA BE ALL OVER US.
1484
01:24:45,915 --> 01:24:48,083
WE RUN WITH MR. CHARLES
LIKE WE DID ON THE STEIN JOB.
1485
01:24:48,166 --> 01:24:50,461
SO YOU'VE DONE IT BEFORE?
YEAH, AND IT DIDN'T WORK!
1486
01:24:50,544 --> 01:24:52,463
THE SUBJECT REALIZED
HE WAS DREAMING,
1487
01:24:52,546 --> 01:24:54,298
AND HIS SUBCONSCIOUS
TORE US TO PIECES.
1488
01:24:54,381 --> 01:24:56,550
EXCELLENT.
BUT YOU LEARNED A LOT, RIGHT?
1489
01:24:56,633 --> 01:24:58,511
I'M GONNA NEED
SOME KIND OF DISTRACTION.
NO PROBLEM.
1490
01:24:58,594 --> 01:25:01,096
HOW ABOUT A LOVELY LADY
WHO I'VE USED BEFORE?
1491
01:25:01,179 --> 01:25:03,265
LISTEN TO ME. YOU DRIVE
CAREFULLY, ALL RIGHT?
YEAH.
1492
01:25:03,348 --> 01:25:05,684
EVERYTHING DOWN THERE
IS GONNA BE UNSTABLE AS HELL.
1493
01:25:09,730 --> 01:25:11,273
DON'T JUMP TOO SOON.
1494
01:25:11,356 --> 01:25:13,442
WE ONLY GOT ONE SHOT AT
THAT KICK. WE GOTTA MAKE IT.
1495
01:25:13,525 --> 01:25:14,944
I'LL PLAY THE MUSIC
TO LET YOU KNOW IT'S COMING.
1496
01:25:15,027 --> 01:25:17,154
THE REST IS ON YOU.
1497
01:25:17,237 --> 01:25:18,363
YOU READY?
READY!
1498
01:25:20,323 --> 01:25:21,534
SWEET DREAMS.
1499
01:25:21,617 --> 01:25:24,203
AM I BORING YOU?
1500
01:25:24,286 --> 01:25:25,705
I WAS TELLING YOU
MY STORY.
1501
01:25:25,788 --> 01:25:28,040
I GUESS IT WASN'T
TO YOUR LIKING.
1502
01:25:28,123 --> 01:25:30,001
UH…
1503
01:25:30,084 --> 01:25:32,670
UM, I HAVE A LOT
ON MY MIND.
1504
01:25:32,753 --> 01:25:35,547
THERE GOES MR. CHARLES.
1505
01:25:40,010 --> 01:25:43,222
MR. FISCHER, RIGHT?
1506
01:25:43,305 --> 01:25:45,766
PLEASURE TO SEE YOU AGAIN.
ROD GREEN FROM MARKETING.
1507
01:25:45,849 --> 01:25:47,518
I…HMM.
1508
01:25:47,601 --> 01:25:48,644
AND YOU MUST BE?
1509
01:25:48,727 --> 01:25:49,979
LEAVING.
1510
01:25:53,899 --> 01:25:55,191
IN CASE YOU GET BORED.
1511
01:26:00,238 --> 01:26:01,949
SHE MUST'VE BLOWN YOU OFF.
1512
01:26:02,032 --> 01:26:03,409
THAT IS,
UNLESS HER PHONE NUMBER
1513
01:26:03,492 --> 01:26:04,576
REALLY IS ONLY SIX DIGITS.
1514
01:26:06,078 --> 01:26:08,330
FUNNY WAY TO MAKE FRIENDS,
1515
01:26:08,413 --> 01:26:11,959
SOMEONE STEALING YOUR WALLET
LIKE THAT.
1516
01:26:15,253 --> 01:26:17,381
GODDAMN IT. THE WALLET ALONE
IS WORTH AT LEAST FIVE…
1517
01:26:17,464 --> 01:26:18,799
ABOUT $500, RIGHT?
1518
01:26:18,882 --> 01:26:20,217
LISTEN,
DON'T WORRY ABOUT IT.
1519
01:26:20,300 --> 01:26:22,219
MY PEOPLE ARE ALREADY ON IT,
AS WE SPEAK.
1520
01:26:22,302 --> 01:26:24,055
WHO OR WHAT
IS MR. CHARLES?
1521
01:26:24,138 --> 01:26:26,640
IT'S A GAMBIT
DESIGNED TO TURN FISCHER
1522
01:26:26,723 --> 01:26:28,308
AGAINST
HIS OWN SUBCONSCIOUS.
1523
01:26:28,391 --> 01:26:30,269
AND WHY
DON'T YOU APPROVE?
1524
01:26:30,352 --> 01:26:31,979
BECAUSE IT INVOLVES TELLING
THE MARK THAT HE'S DREAMING,
1525
01:26:32,062 --> 01:26:34,398
WHICH INVOLVES ATTRACTING
A LOT OF ATTENTION TO US.
1526
01:26:34,481 --> 01:26:36,400
DIDN'T COBB SAY
NEVER TO DO THAT?
1527
01:26:36,483 --> 01:26:38,402
MM. SO NOW YOU'VE NOTICED
HOW MUCH TIME
1528
01:26:38,485 --> 01:26:40,863
COBB SPENDS DOING THINGS
HE SAYS NEVER TO DO.
1529
01:26:43,615 --> 01:26:45,367
MR. SAITO,
CAN I HAVE A MOMENT?
1530
01:26:45,450 --> 01:26:46,869
I-I'M SORRY, BUT…
1531
01:26:46,952 --> 01:26:48,161
HOLD ON! WAIT!
1532
01:26:48,244 --> 01:26:50,664
YOU LOOK A BIT PERKIER.
1533
01:26:50,747 --> 01:26:53,042
VERY AMUSING, MR. EAMES.
1534
01:26:59,214 --> 01:27:01,174
TURBULENCE ON THE PLANE?
1535
01:27:01,257 --> 01:27:02,802
NO, IT'S MUCH CLOSER.
1536
01:27:02,885 --> 01:27:04,636
THAT'S YUSUF'S DRIVING.
1537
01:27:12,561 --> 01:27:14,855
UH, I'M SORRY.
WHO DID YOU SAY YOU WERE?
1538
01:27:14,938 --> 01:27:16,899
ROD GREEN
FROM MARKETING.
1539
01:27:16,982 --> 01:27:19,484
BUT THAT'S NOT TRUE AT ALL,
IS IT?
1540
01:27:20,903 --> 01:27:24,448
MY NAME IS MR. CHARLES.
YOU REMEMBER ME, DON'T YOU?
1541
01:27:24,531 --> 01:27:27,367
I'M THE HEAD OF YOUR SECURITY
DOWN HERE.
1542
01:27:28,535 --> 01:27:30,162
GET OUT ON A DIFFERENT FLOOR
AND KEEP MOVING.
1543
01:27:30,245 --> 01:27:31,789
DUMP THE WALLET.
1544
01:27:31,872 --> 01:27:33,916
SECURITY WILL BE LOOKING
FOR THAT.
OKAY.
1545
01:27:33,999 --> 01:27:36,251
WE NEED TO BUY COBB
A LITTLE MORE TIME.
1546
01:27:39,963 --> 01:27:43,300
SECURITY, HUH?
1547
01:27:43,383 --> 01:27:45,260
YOU WORK FOR THE HOTEL?
1548
01:27:45,343 --> 01:27:47,054
NO, NO.
1549
01:27:47,137 --> 01:27:50,641
I SPECIALIZE IN A VERY
SPECIFIC TYPE OF SECURITY.
1550
01:27:50,724 --> 01:27:53,352
SUBCONSCIOUS SECURITY.
1551
01:27:53,435 --> 01:27:55,437
YOU'RE TALKING
ABOUT DREAMS?
1552
01:27:55,520 --> 01:27:57,106
ARE YOU TALKING ABOUT,
UM…
1553
01:27:57,189 --> 01:27:58,482
EXTRACTION?
1554
01:27:58,565 --> 01:28:01,735
I AM HERE TO PROTECT YOU.
YOU…
1555
01:28:01,818 --> 01:28:07,157
[ UTENSIL CLANKS,
INDISTINCT CONVERSATIONS ]
1556
01:28:13,705 --> 01:28:17,292
MR. FISCHER, I'M HERE TO
PROTECT YOU IN THE EVENT
1557
01:28:17,375 --> 01:28:20,046
THAT SOMEONE TRIES TO ACCESS
YOUR MIND THROUGH YOUR DREAMS.
1558
01:28:20,129 --> 01:28:23,215
YOU'RE NOT SAFE HERE.
1559
01:28:23,298 --> 01:28:25,467
THEY'RE COMING FOR YOU.
1560
01:28:37,980 --> 01:28:39,481
OHH!
1561
01:28:43,443 --> 01:28:45,946
STRANGE WEATHER,
ISN'T IT?
1562
01:28:49,992 --> 01:28:51,910
YOU FEEL THAT?
1563
01:28:53,578 --> 01:28:55,288
WHAT'S HAPPENING?
1564
01:28:55,371 --> 01:28:56,540
COBB IS DRAWING
FISCHER'S ATTENTION
1565
01:28:56,623 --> 01:28:57,958
TO THE STRANGENESS
OF THE DREAM,
1566
01:28:58,041 --> 01:28:59,543
WHICH IS MAKING
HIS SUBCONSCIOUS
1567
01:28:59,626 --> 01:29:00,961
LOOK FOR THE DREAMER.
1568
01:29:01,044 --> 01:29:02,588
FOR ME.
1569
01:29:02,671 --> 01:29:04,047
QUICK, GIVE ME A KISS.
1570
01:29:09,261 --> 01:29:11,513
THEY'RE STILL
LOOKING AT US.
1571
01:29:11,596 --> 01:29:13,933
YEAH,
IT WAS WORTH A SHOT.
1572
01:29:14,016 --> 01:29:15,851
WE SHOULD PROBABLY
GET OUT OF HERE.
1573
01:29:23,108 --> 01:29:27,570
[ DISTORTED,
SLOW-MOTION SOUNDS ]
1574
01:29:30,324 --> 01:29:32,785
YOU FEEL THAT?
1575
01:29:32,868 --> 01:29:35,537
YOU'VE ACTUALLY BEEN TRAINED
FOR THIS, MR. FISCHER.
1576
01:29:35,620 --> 01:29:38,207
PAY ATTENTION TO THE STRANGENESS
OF THE WEATHER…
1577
01:29:38,290 --> 01:29:39,499
THE SHIFT IN GRAVITY.
1578
01:29:39,582 --> 01:29:41,292
NONE OF THIS IS REAL.
1579
01:29:41,375 --> 01:29:42,627
YOU'RE IN A DREAM.
1580
01:29:46,882 --> 01:29:49,885
NOW, THE EASIEST WAY FOR YOU
TO TEST YOURSELF
1581
01:29:49,968 --> 01:29:52,179
IS TO TRY AND REMEMBER
HOW YOU ARRIVED AT THIS HOTEL.
1582
01:29:52,262 --> 01:29:53,889
CAN YOU DO THAT?
1583
01:29:53,972 --> 01:29:56,433
YEAH, I, I…
1584
01:29:56,516 --> 01:29:58,644
NOW, BREATHE, BREATHE.
REMEMBER YOUR TRAINING.
1585
01:29:58,727 --> 01:30:00,771
ACCEPT THE FACT
THAT YOU'RE IN A DREAM,
1586
01:30:00,854 --> 01:30:02,231
AND I'M HERE
TO PROTECT YOU.
1587
01:30:02,314 --> 01:30:03,606
GO ON.
1588
01:30:05,859 --> 01:30:07,443
MM-HMM.
1589
01:30:09,612 --> 01:30:12,241
YOU'RE NOT REAL?
1590
01:30:12,324 --> 01:30:13,826
NO, NO.
1591
01:30:13,909 --> 01:30:15,661
I'M A PROJECTION
OF YOUR SUBCONSCIOUS.
1592
01:30:15,744 --> 01:30:16,954
I WAS SENT HERE
TO PROTECT YOU
1593
01:30:17,037 --> 01:30:18,789
IN THE EVENT
THAT EXTRACTORS
1594
01:30:18,872 --> 01:30:21,041
TRIED TO PULL YOU
INTO A DREAM.
1595
01:30:21,124 --> 01:30:24,586
AND I BELIEVE THAT'S WHAT'S
GOING ON RIGHT NOW, MR. FISCHER.
1596
01:30:24,669 --> 01:30:26,005
YEAH.
1597
01:30:26,088 --> 01:30:28,132
OKAY.
1598
01:30:28,215 --> 01:30:31,301
OKAY.
1599
01:30:32,928 --> 01:30:34,013
CAN YOU GET ME
OUT OF HERE?
1600
01:30:34,096 --> 01:30:36,265
RIGHT AWAY.
1601
01:30:36,348 --> 01:30:38,432
FOLLOW ME.
1602
01:30:52,572 --> 01:30:53,865
HOLD ON A SECOND!
1603
01:30:58,912 --> 01:31:00,831
JESUS CHRIST!
WHAT ARE YOU DOING?!
1604
01:31:00,914 --> 01:31:03,416
THESE MEN WERE SENT HERE
TO ABDUCT YOU, ALL RIGHT?
1605
01:31:03,499 --> 01:31:06,002
IF YOU WANT MY HELP,
YOU HAVE TO REMAIN CALM.
1606
01:31:07,170 --> 01:31:09,839
I NEED YOU TO WORK WITH ME,
MR. FISCHER.
1607
01:31:21,226 --> 01:31:22,769
IF THIS IS A DREAM,
1608
01:31:22,852 --> 01:31:25,105
I SHOULD JUST KILL MYSELF
TO WAKE UP, RIGHT?
1609
01:31:25,188 --> 01:31:27,607
I WOULDN'T DO THAT
IF I WERE YOU, MR. FISCHER.
1610
01:31:27,690 --> 01:31:29,318
I BELIEVE
THEY HAVE YOU SEDATED,
1611
01:31:29,401 --> 01:31:30,736
AND IF YOU PULL
THAT TRIGGER…
1612
01:31:30,819 --> 01:31:32,863
YOU MAY NOT WAKE UP.
1613
01:31:32,946 --> 01:31:35,532
YOU MAY GO
INTO A FURTHER DREAM STATE.
1614
01:31:35,615 --> 01:31:38,118
NOW, YOU KNOW
WHAT I'M TALKING ABOUT.
1615
01:31:38,201 --> 01:31:42,122
YOU REMEMBER THE TRAINING.
1616
01:31:42,205 --> 01:31:44,541
REMEMBER WHAT I SAID
TO YOU.
1617
01:31:44,624 --> 01:31:46,584
GIVE ME THE GUN.
1618
01:31:58,472 --> 01:31:59,765
THIS ROOM
SHOULD BE DIRECTLY BELOW 528?
1619
01:31:59,848 --> 01:32:01,975
YEAH.
1620
01:32:10,442 --> 01:32:12,861
THINK, MR. FISCHER,
THINK.
1621
01:32:12,944 --> 01:32:15,322
WHAT DO YOU REMEMBER
FROM BEFORE THIS DREAM?
1622
01:32:15,405 --> 01:32:17,074
UH…THERE WAS, UM…
1623
01:32:17,157 --> 01:32:18,742
THERE WAS A LOT
OF GUNFIRE.
1624
01:32:18,825 --> 01:32:21,287
THERE WAS…RAIN.
1625
01:32:21,370 --> 01:32:23,872
UNCLE PETER.
1626
01:32:23,955 --> 01:32:25,791
OH, MY GOD,
WE'VE BEEN KIDNAPPED.
1627
01:32:25,874 --> 01:32:27,167
WHERE WERE THEY
HOLDING YOU?
1628
01:32:27,250 --> 01:32:29,795
UH…
1629
01:32:29,878 --> 01:32:32,339
THEY HAD US IN THE BACK
OF A VAN.
1630
01:32:32,422 --> 01:32:33,966
THAT EXPLAINS
THE GRAVITY SHIFTS.
1631
01:32:34,049 --> 01:32:36,427
YOU'RE IN THE BACK OF A VAN
RIGHT NOW. KEEP GOING.
1632
01:32:36,510 --> 01:32:38,971
IT HAD SOMETHING TO DO
WITH, UM…
1633
01:32:39,054 --> 01:32:42,641
SOMETHING TO DO
WITH A…A SAFE?
1634
01:32:42,724 --> 01:32:44,726
GOD, WHY IS IT SO HARD
TO REMEMBER?
1635
01:32:44,809 --> 01:32:47,813
IT'S LIKE TRYING TO REMEMBER
A DREAM AFTER YOU'VE WOKEN UP.
1636
01:32:47,896 --> 01:32:49,856
LISTEN,
IT TAKES YEARS OF PRACTICE.
1637
01:32:49,939 --> 01:32:52,401
YOU AND BROWNING HAVE BEEN
PULLED INTO THIS DREAM
1638
01:32:52,484 --> 01:32:55,028
BECAUSE THEY'RE TRYING TO STEAL
SOMETHING FROM YOUR MIND.
1639
01:32:55,111 --> 01:32:58,657
I NEED YOU TO FOCUS AND TRY
AND REMEMBER WHAT THAT IS.
1640
01:32:58,740 --> 01:33:00,117
WHAT IS IT, MR. FISCHER?
THINK!
1641
01:33:00,200 --> 01:33:02,077
OH, A C-COMBINATION.
1642
01:33:02,160 --> 01:33:04,537
THEY DEMANDED THE FIRST NUMBERS
TO POP INTO MY HEAD.
1643
01:33:04,620 --> 01:33:07,207
THEY'RE TRYING TO EXTRACT A
NUMBER FROM YOUR SUBCONSCIOUS.
1644
01:33:07,290 --> 01:33:08,750
IT CAN REPRESENT
ANYTHING.
1645
01:33:08,833 --> 01:33:11,211
WE'RE IN A HOTEL
RIGHT NOW.
1646
01:33:11,294 --> 01:33:12,712
WE SHOULD TRY HOTEL ROOMS.
1647
01:33:12,795 --> 01:33:15,090
WHAT WAS THE NUMBER,
MR. FISCHER?
1648
01:33:15,173 --> 01:33:17,717
TRY AND REMEMBER FOR ME.
THIS IS VERY IMPORTANT.
1649
01:33:17,800 --> 01:33:19,678
FIVE.
1650
01:33:19,761 --> 01:33:22,014
FIVE, TWO…
IT WAS SOMETHING…
1651
01:33:22,097 --> 01:33:23,514
IT WAS A LONG NUMBER.
1652
01:33:23,597 --> 01:33:25,017
WELL, THAT'S GOOD ENOUGH.
WE CAN START THERE. FIFTH FLOOR.
1653
01:33:25,100 --> 01:33:26,559
YEP.
1654
01:33:26,642 --> 01:33:27,727
SO DO YOU USE A TIMER?
1655
01:33:27,810 --> 01:33:29,980
NO, I HAVE TO JUDGE IT
FOR MYSELF.
1656
01:33:30,063 --> 01:33:32,274
WHILE YOU'RE ALL ASLEEP
IN 528,
1657
01:33:32,357 --> 01:33:34,026
I WAIT FOR YUSUF'S KICK.
1658
01:33:34,109 --> 01:33:36,487
WELL, HOW WILL YOU KNOW?
HIS MUSIC WARNS ME.
1659
01:33:36,570 --> 01:33:38,947
AND THEN WHEN THE VAN HITS
THE BARRIER OF THE BRIDGE,
1660
01:33:39,030 --> 01:33:40,615
THAT SHOULD BE
UNMISTAKABLE.
1661
01:33:40,698 --> 01:33:43,702
SO WE GET A NICE,
SYNCHRONIZED KICK.
1662
01:33:43,785 --> 01:33:46,788
IF IT'S TOO SOON,
WE WON'T GET PULLED OUT.
1663
01:33:46,871 --> 01:33:49,833
BUT IF IT'S TOO LATE,
I WON'T BE ABLE TO DROP US.
1664
01:33:49,916 --> 01:33:51,626
WELL, WHY NOT?
1665
01:33:51,709 --> 01:33:53,712
'CAUSE THE VAN
WILL BE IN FREE FALL.
1666
01:33:53,795 --> 01:33:55,797
CAN'T DROP YOU
WITHOUT GRAVITY.
1667
01:33:55,880 --> 01:33:57,299
RIGHT.
1668
01:34:02,137 --> 01:34:03,430
THEY'RE WITH ME.
1669
01:34:03,513 --> 01:34:04,764
GO ON.
1670
01:34:28,955 --> 01:34:30,541
MR. CHARLES.
1671
01:34:30,624 --> 01:34:32,084
DO YOU KNOW WHAT THAT IS,
MR. FISCHER?
1672
01:34:32,167 --> 01:34:33,752
YEAH, I-I THINK SO.
YEAH.
1673
01:34:33,835 --> 01:34:35,670
THEY WERE TRYING
TO PUT YOU UNDER.
1674
01:34:35,753 --> 01:34:38,424
I'M ALREADY UNDER.
UNDER AGAIN.
1675
01:34:38,507 --> 01:34:41,051
WHAT DO YOU MEAN,
A DREAM WITHIN A DREAM?
1676
01:34:41,134 --> 01:34:44,137
HEY.
I SEE YOU'VE CHANGED.
1677
01:34:44,220 --> 01:34:46,306
I'M SORRY?
1678
01:34:46,389 --> 01:34:48,933
OH, I'M SORRY.
I M-MISTOOK YOU FOR A FRIEND.
1679
01:34:50,644 --> 01:34:53,272
WELL, GOOD-LOOKING FELLOW,
I'M SURE.
1680
01:34:53,355 --> 01:34:54,398
AH.
1681
01:34:54,481 --> 01:34:56,066
NO, NO, NO, NO.
1682
01:34:56,149 --> 01:34:57,984
THAT'S FISCHER'S PROJECTION
OF BROWNING.
1683
01:34:58,067 --> 01:34:59,403
LET'S FOLLOW HIM
AND SEE HOW HE BEHAVES.
1684
01:34:59,486 --> 01:35:00,904
WHY?
1685
01:35:00,987 --> 01:35:02,531
BECAUSE HOW HE ACTS
WILL TELL US
1686
01:35:02,614 --> 01:35:04,074
IF FISCHER IS STARTING
TO SUSPECT HIS MOTIVES
1687
01:35:04,157 --> 01:35:05,158
THE WAY WE WANT HIM TO.
1688
01:35:10,372 --> 01:35:11,748
UNCLE PETER?
1689
01:35:11,831 --> 01:35:14,126
YOU SAID YOU WERE
KIDNAPPED TOGETHER?
1690
01:35:14,209 --> 01:35:15,919
WELL, N-NOT EXACTLY.
THEY… THEY ALREADY HAD HIM.
1691
01:35:16,002 --> 01:35:17,254
THEY WERE
TORTURING HIM.
1692
01:35:17,337 --> 01:35:18,796
AND YOU SAW THEM
TORTURE HIM?
1693
01:35:25,887 --> 01:35:28,307
THE KIDNAPPERS
ARE WORKING FOR YOU?
1694
01:35:28,390 --> 01:35:30,767
OH, ROBERT.
1695
01:35:30,850 --> 01:35:32,852
YOU'RE TRYING TO GET
THAT SAFE OPEN?
1696
01:35:32,935 --> 01:35:34,771
TO GET
THE ALTERNATE WILL?
1697
01:35:34,854 --> 01:35:37,316
FISCHER MORROW HAS BEEN
MY ENTIRE LIFE.
1698
01:35:37,399 --> 01:35:39,318
I CAN'T LET YOU
DESTROY IT.
1699
01:35:39,401 --> 01:35:41,987
I'M NOT GONNA THROW AWAY
MY INHERITANCE! WHY WOULD I?!
1700
01:35:42,070 --> 01:35:46,158
I COULDN'T LET YOU RISE
TO YOUR FATHER'S LAST TAUNT.
1701
01:35:46,241 --> 01:35:47,784
WHAT TAUNT?
1702
01:35:47,867 --> 01:35:49,953
THE WILL, ROBERT.
THAT WILL?
1703
01:35:50,036 --> 01:35:51,830
THAT'S HIS LAST INSULT.
1704
01:35:51,913 --> 01:35:55,959
A CHALLENGE FOR YOU TO BUILD
SOMETHING FOR YOURSELF
1705
01:35:56,042 --> 01:35:59,879
BY TELLING YOU YOU'RE NOT WORTHY
OF HIS ACCOMPLISHMENTS.
1706
01:36:05,427 --> 01:36:08,930
WHAT, BUT THAT… THAT HE WAS,
UM, DISAPPOINTED?
1707
01:36:09,013 --> 01:36:11,517
HMM?
I'M SORRY.
1708
01:36:11,600 --> 01:36:13,393
BUT…
1709
01:36:13,476 --> 01:36:15,312
HE'S WRONG.
1710
01:36:15,395 --> 01:36:18,106
YOU CAN BUILD A BETTER COMPANY
THAN HE EVER DID.
1711
01:36:18,189 --> 01:36:19,774
MR. FISCHER?
1712
01:36:19,857 --> 01:36:21,360
HE'S LYING.
1713
01:36:21,443 --> 01:36:23,236
HOW DO YOU KNOW?
1714
01:36:23,319 --> 01:36:24,737
TRUST ME, IT'S WHAT I DO.
HE'S HIDING SOMETHING,
1715
01:36:24,820 --> 01:36:26,281
AND WE NEED TO FIND OUT
WHAT THAT IS.
1716
01:36:27,657 --> 01:36:29,618
I NEED YOU TO DO
THE SAME THING TO HIM
1717
01:36:29,701 --> 01:36:31,286
THAT HE WAS
GOING TO DO TO YOU.
1718
01:36:33,747 --> 01:36:35,248
WE'LL ENTER
HIS SUBCONSCIOUS
1719
01:36:35,331 --> 01:36:36,999
AND FIND OUT WHAT
HE DOESN'T WANT YOU TO KNOW.
1720
01:36:38,460 --> 01:36:40,002
ALL RIGHT.
1721
01:36:45,925 --> 01:36:48,053
HE'S OUT.
WAIT.
1722
01:36:48,136 --> 01:36:49,346
WHOSE SUBCONSCIOUS
ARE WE GOING INTO EXACTLY?
1723
01:36:49,429 --> 01:36:50,930
WE'RE GOING
INTO FISCHER'S.
1724
01:36:51,013 --> 01:36:52,391
BUT I TOLD HIM
IT WAS BROWNING'S
1725
01:36:52,474 --> 01:36:54,685
SO HE'D COME BE A PART
OF OUR TEAM.
1726
01:36:54,768 --> 01:36:58,188
HE'S GONNA HELP US BREAK
INTO HIS OWN SUBCONSCIOUS.
THAT'S RIGHT.
1727
01:36:58,271 --> 01:37:01,024
SECURITY'S GONNA RUN
YOU DOWN HARD.
1728
01:37:01,107 --> 01:37:03,402
AND I WILL LEAD THEM
ON A MERRY CHASE.
1729
01:37:03,485 --> 01:37:05,070
JUST BE BACK
BEFORE THE KICK.
1730
01:37:05,153 --> 01:37:06,738
GO TO SLEEP, MR. EAMES.
1731
01:37:09,949 --> 01:37:13,202
YOU GOOD?
1732
01:37:15,497 --> 01:37:17,624
HEY. YOU READY?
1733
01:37:17,707 --> 01:37:19,209
YES, YES.
I'M… I'M FINE.
1734
01:37:19,292 --> 01:37:20,876
I'M… I'M READY.
1735
01:37:32,639 --> 01:37:35,058
COBB?
1736
01:37:35,141 --> 01:37:36,560
COBB.
1737
01:37:36,643 --> 01:37:37,935
WHAT'S DOWN THERE?
1738
01:37:41,189 --> 01:37:43,734
HOPEFULLY, THE TRUTH
WE WANT FISCHER TO LEARN.
1739
01:37:43,817 --> 01:37:46,027
I MEAN,
WHAT'S DOWN THERE FOR YOU?
1740
01:37:55,787 --> 01:37:58,080
OHH!
1741
01:38:19,394 --> 01:38:20,978
WHOA!
1742
01:38:42,584 --> 01:38:43,585
OHH!
1743
01:40:22,224 --> 01:40:23,810
DID YOU SEE THAT?
1744
01:40:42,704 --> 01:40:45,081
EAMES, THIS IS YOUR DREAM.
1745
01:40:45,164 --> 01:40:46,875
I NEED YOU TO DRAW THE SECURITY
AWAY FROM THE COMPLEX.
1746
01:40:46,958 --> 01:40:47,958
YOU UNDERSTAND?
1747
01:40:48,041 --> 01:40:49,252
WHO GUIDES FISCHER IN?
1748
01:40:49,335 --> 01:40:51,129
NOT ME.
1749
01:40:51,212 --> 01:40:52,923
IF I KNOW THE ROUTE,
EVERYTHING COULD BE COMPROMISED.
1750
01:40:53,006 --> 01:40:54,257
I-I DESIGNED THE PLACE.
1751
01:40:54,340 --> 01:40:55,592
NO, YOU'RE WITH ME.
1752
01:40:55,675 --> 01:40:57,761
I COULD DO IT.
1753
01:40:57,844 --> 01:41:00,054
ALL RIGHT. YOU BRIEF HIM
ON THE ROUTE INTO THE COMPLEX.
1754
01:41:00,137 --> 01:41:02,432
FISCHER,
YOU'LL BE GOING WITH HIM.
1755
01:41:02,515 --> 01:41:04,476
ALL RIGHT.
WHAT ABOUT YOU?
1756
01:41:04,559 --> 01:41:05,644
YOU KEEP THIS LIVE.
1757
01:41:05,727 --> 01:41:07,646
I'LL BE LISTENING
IN THE WHOLE TIME.
1758
01:41:07,729 --> 01:41:09,355
THE WINDOWS ON THAT UPPER
FLOOR ARE BIG ENOUGH
1759
01:41:09,438 --> 01:41:11,441
FOR ME TO COVER YOU FROM
THAT SOUTH TOWER. YOU SEE IT?
1760
01:41:11,524 --> 01:41:13,401
YEAH.
YOU'RE NOT COMING IN?
1761
01:41:13,484 --> 01:41:15,111
IN ORDER TO FIND OUT
THE TRUTH ABOUT YOUR FATHER,
1762
01:41:15,194 --> 01:41:16,655
YOU'RE GONNA NEED TO
BREAK INTO BROWNING'S MIND
1763
01:41:16,738 --> 01:41:19,324
ON YOUR OWN.
1764
01:41:19,407 --> 01:41:20,491
COME ON, FISCHER!
1765
01:42:16,213 --> 01:42:18,884
SOUND THE ALARM!
SOUND THE ALARM!
1766
01:42:18,967 --> 01:42:19,759
GO, GO, GO!
1767
01:42:19,842 --> 01:42:21,552
MOVE!
1768
01:42:22,720 --> 01:42:24,263
GO!
1769
01:42:39,445 --> 01:42:40,445
SOD IT!
1770
01:42:51,206 --> 01:42:53,418
I HOPE YOU'RE READY.
1771
01:42:53,501 --> 01:42:58,006
[ "NON JE NE REGRETTE RIEN"
PLAYS ]
1772
01:43:02,301 --> 01:43:03,803
NO, IT'S TOO SOON.
1773
01:43:09,934 --> 01:43:11,728
COBB, DO YOU HEAR THAT?
1774
01:43:11,811 --> 01:43:13,939
I first noticed it
about 20 minutes ago.
1775
01:43:14,022 --> 01:43:15,356
I THOUGHT IT WAS
THE WIND UP HERE.
1776
01:43:15,439 --> 01:43:17,859
YEAH, I HEAR IT.
IT'S MUSIC.
1777
01:43:17,942 --> 01:43:19,611
SO, WHAT DO WE DO?
1778
01:43:19,694 --> 01:43:21,278
WE MOVE FAST.
1779
01:43:27,076 --> 01:43:28,285
YUSUF IS 10 SECONDS
FROM THE JUMP.
1780
01:43:31,246 --> 01:43:32,456
WHICH GIVES ARTHUR
THREE MINUTES.
1781
01:43:34,333 --> 01:43:37,211
HEY!
THAT'S HIM!
1782
01:43:37,294 --> 01:43:39,089
WHICH GIVES US WHAT?
60 MINUTES.
1783
01:43:39,172 --> 01:43:40,673
CAN THEY MAKE THAT ROUTE
IN UNDER AN HOUR?
1784
01:43:40,756 --> 01:43:42,634
THEY STILL HAVE TO CLIMB DOWN
TO THE MIDDLE TERRACE.
1785
01:43:42,717 --> 01:43:44,426
WELL, THEN, THEY NEED A NEW
ROUTE, A MORE DIRECT ROUTE.
1786
01:43:56,522 --> 01:43:57,690
IT'S DESIGNED
AS A LABYRINTH.
1787
01:43:57,773 --> 01:43:59,275
THERE MUST BE ACCESS ROUTES
1788
01:43:59,358 --> 01:44:00,777
THAT CUT THROUGH THE MAZE,
RIGHT?
1789
01:44:00,860 --> 01:44:01,903
EAMES?
1790
01:44:24,800 --> 01:44:26,385
DID EAMES
ADD ANY FEATURES?
1791
01:44:26,468 --> 01:44:27,846
I DON'T THINK
I SHOULD TELL YOU.
1792
01:44:27,929 --> 01:44:29,764
IF MAL FINDS OUT, THEN…
WE DON'T HAVE TIME FOR THIS!
1793
01:44:29,847 --> 01:44:30,932
DID HE ADD ANYTHING?
1794
01:44:32,391 --> 01:44:34,310
HE ADDED AN AIR-DUCT SYSTEM
THAT CAN CUT THROUGH THE MAZE.
1795
01:44:34,393 --> 01:44:35,812
GOOD.
EXPLAIN IT TO THEM.
1796
01:44:35,895 --> 01:44:36,979
Saito?
GO AHEAD.
1797
01:44:47,990 --> 01:44:48,990
AH!
1798
01:45:03,923 --> 01:45:05,507
LOOK.
1799
01:45:09,302 --> 01:45:11,889
PARADOX.
1800
01:46:21,834 --> 01:46:24,045
WHAT WAS THAT?
THE KICK.
1801
01:46:24,128 --> 01:46:26,422
COBB! COBB,
DID WE MISS IT?
1802
01:46:26,505 --> 01:46:28,298
YEAH, WE MISSED IT.
1803
01:46:28,381 --> 01:46:30,384
MAN.
1804
01:46:30,467 --> 01:46:33,596
COULDN'T SOMEONE HAVE
DREAMT OF A GODDAMN BEACH?!
1805
01:46:33,679 --> 01:46:36,348
HUH?
MM-HMM.
1806
01:46:36,431 --> 01:46:37,850
What the hell
do we do now?!
1807
01:46:37,933 --> 01:46:39,811
WE FINISH THE JOB
1808
01:46:39,894 --> 01:46:41,520
before the next kick.
WHAT NEXT KICK?
1809
01:46:41,603 --> 01:46:43,314
WHEN THE VAN HITS THE WATER.
1810
01:47:05,794 --> 01:47:07,421
Female computerized voice:
IF YOU'D LIKE TO MAKE A CALL,
1811
01:47:07,504 --> 01:47:08,631
PLEASE HANG UP AND TRY AGAIN.
1812
01:47:08,714 --> 01:47:10,591
IF YOU NEED HELP, HANG UP…
1813
01:47:10,674 --> 01:47:14,553
HOW DO I DROP YOU
WITHOUT GRAVITY?
1814
01:47:17,098 --> 01:47:19,516
ARTHUR HAS A COUPLE MINUTES,
AND WE HAVE ABOUT 20.
1815
01:47:42,248 --> 01:47:44,666
YOU OKAY?
1816
01:47:48,796 --> 01:47:51,841
RUN! TURN AROUND!
MOVE TO BASE!
1817
01:47:51,924 --> 01:47:54,135
MOVE TO BASE!
1818
01:47:57,096 --> 01:47:58,306
THERE'S SOMETHING WRONG.
1819
01:47:58,389 --> 01:47:59,807
THEY'RE HEADING YOUR WAY
LIKE THEY KNOW SOMETHING.
1820
01:48:02,017 --> 01:48:04,896
JUST… JUST BUY US MORE TIME,
ALL RIGHT? COME ON!
1821
01:48:04,979 --> 01:48:06,356
ON MY WAY.
1822
01:48:06,439 --> 01:48:07,940
COME ON! MOVE!
1823
01:49:45,913 --> 01:49:48,791
THAT'S THE ANTECHAMBER
OUTSIDE THE STRONG ROOM.
1824
01:49:48,874 --> 01:49:50,793
DOES THE STRONG ROOM
HAVE ANY WINDOWS?
1825
01:49:50,876 --> 01:49:52,628
NO, I MEAN, IT WOULDN'T BE
VERY STRONG IF IT DID.
1826
01:49:52,711 --> 01:49:54,629
WELL, LET'S HOPE FISCHER
LIKES WHAT HE FINDS IN THERE.
1827
01:49:56,549 --> 01:49:58,550
ARE THOSE PROJECTIONS JUST
A PART OF HIS SUBCONSCIOUS?
1828
01:49:58,633 --> 01:50:00,386
YES.
1829
01:50:00,469 --> 01:50:01,971
ARE YOU DESTROYING THOSE PARTS
OF HIS MIND?
1830
01:50:02,054 --> 01:50:03,264
NO, NO.
THEY'RE JUST PROJECTIONS.
1831
01:50:29,290 --> 01:50:30,624
WE'RE HERE.
1832
01:50:30,707 --> 01:50:32,084
YOU'RE CLEAR, BUT HURRY.
1833
01:50:32,167 --> 01:50:33,335
THERE'S AN ENTIRE ARMY
HEADED YOUR WAY.
1834
01:50:59,403 --> 01:51:01,155
I'M IN.
1835
01:51:06,743 --> 01:51:07,828
THERE HE IS!
1836
01:51:50,663 --> 01:51:51,956
THERE'S SOMEONE ELSE
IN THERE.
1837
01:51:52,039 --> 01:51:53,165
FISCHER, IT'S A TRAP.
GET OUT!
1838
01:51:54,542 --> 01:51:56,793
COME ON.
COME ON, A LITTLE LOWER.
1839
01:52:02,174 --> 01:52:05,136
COBB. NO.
1840
01:52:05,219 --> 01:52:07,179
SHE… SHE IS NOT REAL.
1841
01:52:07,262 --> 01:52:08,973
HOW DO YOU KNOW THAT?
1842
01:52:09,056 --> 01:52:10,600
SHE'S JUST A PROJECTION.
1843
01:52:10,683 --> 01:52:12,725
FISCHER.
FISCHER IS REAL!
1844
01:52:16,438 --> 01:52:18,899
HELLO.
1845
01:52:22,861 --> 01:52:25,989
EAMES! EAMES,
GET TO THE ANTECHAMBER NOW!
1846
01:53:09,617 --> 01:53:10,576
WHAT HAPPENED?
1847
01:53:10,659 --> 01:53:13,412
MAL KILLED FISCHER.
1848
01:53:15,205 --> 01:53:17,375
I COULDN'T SHOOT HER.
1849
01:53:17,458 --> 01:53:19,335
LOOK, THERE'S NO USE
IN REVIVING HIM.
1850
01:53:19,418 --> 01:53:21,379
HIS MIND'S ALREADY
TRAPPED DOWN THERE.
1851
01:53:21,462 --> 01:53:22,672
IT'S ALL OVER.
1852
01:53:22,755 --> 01:53:25,924
SO THAT'S IT, THEN?
WE FAILED?
1853
01:53:26,007 --> 01:53:28,677
WE'RE DONE. I'M SORRY.
1854
01:53:32,681 --> 01:53:34,683
WELL, IT'S NOT ME THAT DOESN'T
GET BACK TO MY FAMILY, IS IT?
1855
01:53:35,684 --> 01:53:37,102
IT'S A SHAME.
I REALLY WANTED TO KNOW
1856
01:53:37,185 --> 01:53:39,980
WHAT WAS GONNA HAPPEN IN THERE.
I SWEAR WE HAD THIS ONE.
1857
01:53:40,063 --> 01:53:41,231
LET'S SET THE CHARGES.
1858
01:53:43,858 --> 01:53:45,193
NO, THERE'S STILL ANOTHER WAY.
1859
01:53:46,320 --> 01:53:48,280
WE JUST HAVE TO FOLLOW
FISCHER DOWN THERE.
1860
01:53:48,363 --> 01:53:50,408
NOT ENOUGH TIME.
1861
01:53:50,491 --> 01:53:54,078
NO, BUT THERE WILL BE
ENOUGH TIME DOWN THERE.
1862
01:53:54,161 --> 01:53:55,663
AND WE WILL FIND HIM.
1863
01:53:55,746 --> 01:53:57,915
OKAY, AS SOON
AS ARTHUR'S MUSIC KICKS IN,
1864
01:53:57,998 --> 01:53:59,875
JUST USE THE DEFIBRILLATOR
TO REVIVE HIM.
1865
01:53:59,958 --> 01:54:02,628
WE CAN GIVE HIM HIS OWN KICK
DOWN BELOW.
1866
01:54:02,711 --> 01:54:04,589
LOOK, YOU GET HIM IN THERE.
1867
01:54:04,672 --> 01:54:08,300
AS SOON AS THE MUSIC ENDS,
YOU BLOW UP THE HOSPITAL,
1868
01:54:08,383 --> 01:54:11,637
AND WE ALL RIDE THE KICK
BACK UP THE LAYERS.
1869
01:54:11,720 --> 01:54:14,348
WELL, IT'S WORTH A SHOT,
1870
01:54:14,431 --> 01:54:17,268
IF SAITO CAN HOLD THE GUARDS OFF
WHILE I SET THE CHARGES.
1871
01:54:17,351 --> 01:54:18,893
SAITO WILL NEVER MAKE IT,
WILL HE?
1872
01:54:20,895 --> 01:54:22,565
COBB, COME ON.
WE'VE GOTTA TRY THIS.
1873
01:54:22,648 --> 01:54:24,275
GO FOR IT.
1874
01:54:24,358 --> 01:54:25,859
BUT IF YOU ARE NOT BACK
BEFORE THE KICK,
1875
01:54:25,942 --> 01:54:27,445
I AM GONE
WITH OR WITHOUT YOU.
1876
01:54:27,528 --> 01:54:28,903
SHE'S RIGHT.
SHE'S RIGHT.
1877
01:54:33,950 --> 01:54:36,412
CAN I TRUST YOU TO DO
WHAT NEEDS TO HAPPEN HERE?
1878
01:54:36,495 --> 01:54:38,414
I MEAN, MAL'S GONNA
BE DOWN THERE.
1879
01:54:38,497 --> 01:54:40,458
I KNOW WHERE TO FIND HER.
SHE'LL HAVE FISCHER.
1880
01:54:40,541 --> 01:54:41,542
HOW DO YOU KNOW?
1881
01:54:41,625 --> 01:54:44,295
BECAUSE, SHE WANTS ME
TO COME AFTER HIM.
1882
01:54:44,378 --> 01:54:47,130
SHE WANTS ME BACK DOWN THERE
WITH HER.
1883
01:55:13,657 --> 01:55:15,116
YOU ALL RIGHT?
1884
01:55:21,456 --> 01:55:23,417
THIS IS YOUR WORLD?
1885
01:55:23,500 --> 01:55:25,670
IT WAS.
1886
01:55:25,753 --> 01:55:27,755
THIS IS WHERE SHE'LL BE.
1887
01:55:27,838 --> 01:55:30,424
COME ON.
1888
01:56:15,385 --> 01:56:17,388
SAITO.
1889
01:56:17,471 --> 01:56:20,224
SAITO.
1890
01:56:20,307 --> 01:56:22,059
I NEED YOU… I NEED YOU
TO TAKE CARE OF FISCHER
1891
01:56:22,142 --> 01:56:23,519
WHILE I GO SET
SOME CHARGES, OKAY?
1892
01:56:23,602 --> 01:56:25,479
NO ROOM FOR TOURISTS
ON THESE JOBS.
1893
01:56:29,650 --> 01:56:30,692
DON'T BE SILLY.
1894
01:56:37,741 --> 01:56:40,118
[ TONE SOUNDS,
BULLETS RICOCHET ]
1895
01:57:02,432 --> 01:57:05,436
YOU BUILT ALL THIS?
1896
01:57:05,519 --> 01:57:06,771
THIS IS INCREDIBLE.
1897
01:57:06,854 --> 01:57:08,272
WE BUILT FOR YEARS.
1898
01:57:08,355 --> 01:57:10,858
THEN WE STARTED IN
ON THE MEMORIES.
1899
01:57:17,739 --> 01:57:19,825
THIS WAY.
1900
01:58:00,699 --> 01:58:02,493
THIS WAS OUR NEIGHBORHOOD.
1901
01:58:02,576 --> 01:58:05,746
PLACES FROM OUR PAST.
1902
01:58:05,829 --> 01:58:07,748
THAT WAS
OUR FIRST APARTMENT.
1903
01:58:07,831 --> 01:58:10,083
THEN WE MOVED TO THAT BUILDING
RIGHT THERE.
1904
01:58:10,166 --> 01:58:12,711
AFTER MAL BECAME PREGNANT,
THAT BECAME OUR HOME.
1905
01:58:12,794 --> 01:58:15,255
YOU RECONSTRUCTED
ALL OF THIS FROM MEMORY?
1906
01:58:15,338 --> 01:58:17,675
LIKE I TOLD YOU,
WE HAD LOTS OF TIME.
1907
01:58:17,758 --> 01:58:19,259
WHAT IS THAT?
1908
01:58:19,342 --> 01:58:22,638
THAT'S THE HOUSE
MAL GREW UP IN.
1909
01:58:22,721 --> 01:58:24,264
WELL,
WILL SHE BE IN THERE?
1910
01:58:24,347 --> 01:58:27,351
NO. COME ON.
1911
01:58:27,434 --> 01:58:29,060
WE BOTH WANTED
TO LIVE IN A HOUSE,
1912
01:58:29,143 --> 01:58:30,729
BUT WE LOVED THIS TYPE
OF BUILDING.
1913
01:58:30,812 --> 01:58:33,982
IN THE REAL WORLD, WE'D HAVE
TO CHOOSE, BUT NOT HERE.
1914
01:59:14,439 --> 01:59:16,608
HOW ARE WE GONNA BRING
FISCHER BACK?
1915
01:59:16,691 --> 01:59:19,152
WE'RE GONNA HAVE TO COME UP
WITH SOME KIND OF A KICK.
1916
01:59:19,235 --> 01:59:21,071
WHAT?
1917
01:59:21,154 --> 01:59:22,990
I'M GONNA IMPROVISE.
1918
01:59:23,073 --> 01:59:25,283
LISTEN, THERE'S SOMETHING
YOU SHOULD KNOW ABOUT ME.
1919
01:59:25,366 --> 01:59:27,285
ABOUT INCEPTION.
1920
01:59:39,923 --> 01:59:42,885
AN IDEA IS LIKE A VIRUS.
1921
01:59:42,968 --> 01:59:44,762
RESILIENT.
1922
01:59:44,845 --> 01:59:47,222
HIGHLY CONTAGIOUS.
1923
01:59:47,305 --> 01:59:50,642
AND THE SMALLEST SEED
OF AN IDEA CAN GROW.
1924
01:59:50,725 --> 01:59:53,812
IT CAN GROW TO DEFINE…
1925
01:59:53,895 --> 01:59:56,773
OR DESTROY YOU.
1926
01:59:58,900 --> 02:00:02,613
THE SMALLEST IDEA,
SUCH AS…
1927
02:00:02,696 --> 02:00:06,075
"YOUR WORLD IS NOT REAL."
1928
02:00:06,158 --> 02:00:09,369
SIMPLE LITTLE THOUGHT
THAT CHANGES EVERYTHING.
1929
02:00:09,452 --> 02:00:12,957
SO CERTAIN OF YOUR WORLD.
1930
02:00:13,040 --> 02:00:15,125
OF WHAT'S REAL.
1931
02:00:15,208 --> 02:00:17,628
DO YOU THINK HE IS?
1932
02:00:17,711 --> 02:00:22,007
OR DO YOU THINK HE'S AS LOST
AS I WAS?
1933
02:00:22,090 --> 02:00:24,092
I KNOW WHAT'S REAL, MAL.
1934
02:00:26,636 --> 02:00:28,263
NO CREEPING DOUBTS?
1935
02:00:28,346 --> 02:00:31,224
NOT FEELING PERSECUTED,
DOM?
1936
02:00:31,307 --> 02:00:32,893
CHASED AROUND THE GLOBE
1937
02:00:32,976 --> 02:00:35,854
BY ANONYMOUS CORPORATIONS
AND POLICE FORCES?
1938
02:00:35,937 --> 02:00:39,066
THE WAY THE PROJECTIONS
PERSECUTE THE DREAMER?
1939
02:00:39,149 --> 02:00:42,694
ADMIT IT.
1940
02:00:42,777 --> 02:00:45,781
YOU DON'T BELIEVE
IN ONE REALITY ANYMORE.
1941
02:00:45,864 --> 02:00:47,992
SO CHOOSE.
1942
02:00:48,075 --> 02:00:50,243
CHOOSE TO BE HERE.
1943
02:00:50,326 --> 02:00:52,620
CHOOSE ME.
1944
02:00:55,165 --> 02:00:57,584
AAH!
1945
02:00:57,667 --> 02:00:58,710
UNH!
1946
02:01:17,520 --> 02:01:19,314
YOU KNOW
WHAT I HAVE TO DO.
1947
02:01:19,397 --> 02:01:21,108
I HAVE TO GET BACK
TO OUR CHILDREN
1948
02:01:21,191 --> 02:01:22,484
BECAUSE YOU LEFT THEM.
1949
02:01:22,567 --> 02:01:25,320
BECAUSE YOU LEFT US.
1950
02:01:25,403 --> 02:01:27,238
YOU'RE WRONG.
I'M NOT WRONG.
1951
02:01:27,321 --> 02:01:29,658
YOU'RE CONFUSED.
1952
02:01:29,741 --> 02:01:33,495
OUR CHILDREN ARE HERE.
1953
02:01:33,578 --> 02:01:35,706
AND YOU'D LIKE TO SEE THEIR
FACES AGAIN, WOULDN'T YOU?
1954
02:01:35,789 --> 02:01:37,499
YES…
1955
02:01:37,582 --> 02:01:39,876
BUT I'M GONNA SEE THEM
UP ABOVE, MAL.
1956
02:01:53,056 --> 02:01:55,642
"UP ABOVE"?
1957
02:01:55,725 --> 02:01:58,062
LISTEN TO YOURSELF.
1958
02:01:58,145 --> 02:02:00,064
THESE ARE OUR CHILDREN.
1959
02:02:00,147 --> 02:02:02,107
WATCH.
1960
02:02:02,190 --> 02:02:03,942
JAMES? PHILLIPA?
1961
02:02:04,025 --> 02:02:06,153
DON'T DO THIS, MAL.
PLEASE.
1962
02:02:06,236 --> 02:02:07,571
THOSE AREN'T MY CHILDREN.
1963
02:02:07,654 --> 02:02:08,947
YOU KEEP TELLING
YOURSELF THAT,
1964
02:02:09,030 --> 02:02:10,741
BUT YOU DON'T BELIEVE IT.
NO, I KNOW IT.
1965
02:02:10,824 --> 02:02:14,870
AND WHAT IF YOU'RE WRONG?
WHAT IF I'M WHAT'S REAL?
1966
02:02:14,953 --> 02:02:17,748
YOU KEEP TELLING YOURSELF
WHAT YOU KNOW.
1967
02:02:17,831 --> 02:02:21,752
BUT WHAT DO YOU BELIEVE?
1968
02:02:21,835 --> 02:02:23,754
WHAT DO YOU FEEL?
1969
02:02:23,837 --> 02:02:27,382
GUILT.
1970
02:02:27,465 --> 02:02:29,801
I FEEL GUILT, MAL.
1971
02:02:29,884 --> 02:02:32,679
AND NO MATTER WHAT I DO,
NO…
1972
02:02:32,762 --> 02:02:35,140
NO MATTER
HOW HOPELESS I AM,
1973
02:02:35,223 --> 02:02:37,308
NO MATTER HOW CONFUSED,
1974
02:02:37,391 --> 02:02:39,686
THAT GUILT
IS ALWAYS THERE,
1975
02:02:39,769 --> 02:02:41,980
REMINDING ME
OF THE TRUTH.
1976
02:02:42,063 --> 02:02:44,398
WHAT TRUTH?
1977
02:02:46,026 --> 02:02:49,863
THAT THE IDEA THAT CAUSED YOU
TO QUESTION YOUR REALITY
1978
02:02:49,946 --> 02:02:52,157
CAME FROM ME.
1979
02:02:54,450 --> 02:02:58,288
YOU PLANTED THE IDEA
IN MY MIND?
1980
02:02:58,371 --> 02:03:01,541
WHAT IS SHE TALKING ABOUT?
1981
02:03:01,624 --> 02:03:04,669
THE REASON I KNEW
INCEPTION WAS POSSIBLE
1982
02:03:04,752 --> 02:03:07,505
WAS BECAUSE I…
I DID IT TO HER FIRST.
1983
02:03:07,588 --> 02:03:09,800
I DID IT TO MY OWN WIFE.
1984
02:03:09,883 --> 02:03:11,509
WHY?
1985
02:03:11,592 --> 02:03:14,012
WE WERE LOST IN HERE.
1986
02:03:14,095 --> 02:03:19,475
I KNEW WE NEEDED TO ESCAPE,
BUT SHE WOULDN'T ACCEPT IT.
1987
02:03:22,312 --> 02:03:24,648
SHE HAD LOCKED
SOMETHING AWAY,
1988
02:03:24,731 --> 02:03:28,359
SOMETHING…
SOMETHING DEEP INSIDE.
1989
02:03:28,442 --> 02:03:31,155
THAT TRUTH
THAT SHE HAD ONCE KNOWN,
1990
02:03:31,238 --> 02:03:33,573
BUT CHOSE TO FORGET.
1991
02:03:33,656 --> 02:03:36,076
AND SHE COULDN'T
BREAK FREE.
1992
02:03:38,494 --> 02:03:42,166
SO I DECIDED
TO SEARCH FOR IT.
1993
02:03:42,249 --> 02:03:45,502
I WENT DEEP INTO THE RECESS
OF HER MIND
1994
02:03:45,585 --> 02:03:47,462
AND FOUND
THAT SECRET PLACE.
1995
02:03:47,545 --> 02:03:49,256
AND I BROKE IN…
1996
02:03:49,339 --> 02:03:52,383
AND I PLANTED AN IDEA.
1997
02:03:52,466 --> 02:03:55,595
A SIMPLE LITTLE IDEA
THAT WOULD CHANGE EVERYTHING…
1998
02:04:01,184 --> 02:04:04,229
…THAT HER WORLD
WASN'T REAL.
1999
02:04:15,740 --> 02:04:19,827
THAT DEATH
WAS THE ONLY ESCAPE.
2000
02:04:26,500 --> 02:04:28,544
YOU'RE WAITING
FOR A TRAIN.
2001
02:04:30,422 --> 02:04:34,092
A TRAIN THAT'LL TAKE YOU
FAR AWAY.
2002
02:04:34,175 --> 02:04:37,345
YOU KNOW WHERE YOU HOPE
THIS TRAIN WILL TAKE YOU.
2003
02:04:39,806 --> 02:04:41,933
BUT YOU CAN'T KNOW
FOR SURE!
2004
02:04:43,143 --> 02:04:44,353
YET IT DOESN'T MATTER!
2005
02:04:44,436 --> 02:04:46,855
NOW, TELL ME WHY!
2006
02:04:46,938 --> 02:04:48,648
BECAUSE YOU'LL BE TOGETHER!
2007
02:04:52,819 --> 02:04:55,113
BUT I NEVER KNEW
THAT THAT IDEA
2008
02:04:55,196 --> 02:04:57,657
WOULD GROW IN HER MIND
LIKE A CANCER,
2009
02:04:57,740 --> 02:04:59,909
THAT EVEN
AFTER SHE WOKE…
2010
02:05:02,829 --> 02:05:04,998
THAT EVEN AFTER
YOU CAME BACK TO REALITY…
2011
02:05:08,376 --> 02:05:10,920
…THAT YOU'D CONTINUE TO
BELIEVE YOUR WORLD WASN'T REAL.
2012
02:05:13,756 --> 02:05:16,134
THAT DEATH
WAS THE ONLY ESCAPE.
2013
02:05:16,217 --> 02:05:19,179
MAL, NO! JESUS!
2014
02:05:19,262 --> 02:05:21,431
YOU INFECTED MY MIND.
2015
02:05:21,514 --> 02:05:23,058
I WAS TRYING TO SAVE YOU.
2016
02:05:23,141 --> 02:05:24,475
YOU BETRAYED ME.
2017
02:05:24,558 --> 02:05:26,895
BUT YOU CAN MAKE AMENDS.
2018
02:05:26,978 --> 02:05:28,772
YOU CAN STILL
KEEP YOUR PROMISE.
2019
02:05:28,855 --> 02:05:32,401
WE CAN STILL BE TOGETHER,
RIGHT HERE,
2020
02:05:32,484 --> 02:05:34,694
IN THE WORLD
WE BUILT TOGETHER.
2021
02:06:28,873 --> 02:06:37,798
[ "NON JE NE REGRETTE RIEN"
PLAYS ]
2022
02:06:56,901 --> 02:06:58,528
COBB,
WE NEED TO GET FISCHER.
2023
02:06:58,611 --> 02:07:00,364
YOU CAN'T HAVE HIM.
2024
02:07:00,447 --> 02:07:03,367
IF I STAY HERE,
WILL YOU LET HIM GO?
2025
02:07:03,450 --> 02:07:04,658
WHAT ARE YOU
TALKING ABOUT?
2026
02:07:08,413 --> 02:07:11,041
FISCHER IS ON THE PORCH.
2027
02:07:11,124 --> 02:07:12,542
GO CHECK HE'S ALIVE,
ARIADNE.
2028
02:07:12,625 --> 02:07:14,252
COBB, YOU CAN'T DO THIS.
2029
02:07:14,335 --> 02:07:17,338
GO CHECK HE'S ALIVE RIGHT NOW.
DO IT.
2030
02:07:33,354 --> 02:07:35,940
HE'S HERE! AND IT'S TIME,
BUT YOU HAVE TO COME NOW!
2031
02:07:36,023 --> 02:07:37,650
TAKE FISCHER WITH YOU,
ALL RIGHT?
2032
02:07:37,733 --> 02:07:39,486
YOU CAN'T STAY HERE TO BE
WITH HER.
2033
02:07:41,321 --> 02:07:43,281
I'M NOT.
2034
02:07:43,364 --> 02:07:45,075
SAITO'S DEAD BY NOW.
2035
02:07:45,158 --> 02:07:46,701
THAT MEANS
HE'S DOWN HERE SOMEWHERE.
2036
02:07:46,784 --> 02:07:48,453
THAT MEANS
I HAVE TO FIND HIM.
2037
02:07:50,413 --> 02:07:52,123
I CAN'T STAY
WITH HER ANYMORE
2038
02:07:52,206 --> 02:07:53,833
BECAUSE SHE
DOESN'T EXIST.
2039
02:07:53,916 --> 02:07:57,295
I'M THE ONLY THING YOU DO
BELIEVE IN ANYMORE.
2040
02:07:58,879 --> 02:08:02,008
I WISH.
2041
02:08:02,091 --> 02:08:07,180
I WISH MORE
THAN ANYTHING, BUT…
2042
02:08:07,263 --> 02:08:09,307
I CAN'T IMAGINE YOU
WITH ALL YOUR COMPLEXITY,
2043
02:08:09,390 --> 02:08:11,935
ALL YOUR PERFECTION,
ALL YOUR IMPERFECTION.
2044
02:08:12,018 --> 02:08:14,104
YOU ALL RIGHT?
YEAH.
2045
02:08:14,187 --> 02:08:16,481
LOOK AT YOU.
2046
02:08:16,564 --> 02:08:18,775
YOU'RE JUST A SHADE.
2047
02:08:18,858 --> 02:08:22,320
YOU'RE JUST A SHADE
OF MY REAL WIFE.
2048
02:08:22,403 --> 02:08:25,156
AND YOU WERE THE BEST
THAT I COULD DO, BUT…
2049
02:08:25,239 --> 02:08:28,743
I'M SORRY,
YOU'RE JUST NOT GOOD ENOUGH.
2050
02:08:28,826 --> 02:08:31,120
DOES THIS FEEL REAL?!
AAH!
2051
02:08:32,872 --> 02:08:35,208
WHAT ARE YOU DOING?!
IMPROVISING.
2052
02:08:43,924 --> 02:08:46,677
NO, NO! NO!
2053
02:08:46,760 --> 02:08:49,805
IN THERE, NOW.
GO. GO, GO, GO.
2054
02:09:32,599 --> 02:09:36,520
I WAS DIS…
2055
02:09:36,603 --> 02:09:40,231
I WAS DIS… DISA…
2056
02:09:40,314 --> 02:09:41,525
I KNOW, DAD.
2057
02:09:41,608 --> 02:09:43,067
DISA…
2058
02:09:48,448 --> 02:09:53,411
I KNOW YOU WERE DISAPPOINTED
I COULDN'T BE YOU.
2059
02:09:53,494 --> 02:09:55,038
NO.
2060
02:09:55,121 --> 02:09:57,415
NO, NO, NO.
2061
02:09:57,498 --> 02:10:00,960
I WAS DISAPPOINTED…
2062
02:10:01,043 --> 02:10:03,837
THAT YOU TRIED.
2063
02:11:49,402 --> 02:11:51,237
THAT'S THE KICK, ARIADNE!
2064
02:11:51,320 --> 02:11:52,363
YOU HAVE TO GO NOW!
2065
02:12:05,585 --> 02:12:08,713
DON'T LOSE YOURSELF!
FIND SAITO AND BRING HIM BACK!
2066
02:12:08,796 --> 02:12:09,963
I WILL!
2067
02:12:34,906 --> 02:12:39,952
[ DISTORTED,
SLOW-MOTION SOUNDS ]
2068
02:12:50,003 --> 02:12:52,923
YOU REMEMBER
WHEN YOU ASKED ME TO MARRY YOU?
2069
02:12:53,006 --> 02:12:54,967
YES.
2070
02:12:55,050 --> 02:12:58,011
YOU SAID YOU DREAMT
THAT WE'D GROW OLD TOGETHER.
2071
02:12:59,972 --> 02:13:02,308
BUT WE DID.
2072
02:13:02,391 --> 02:13:05,019
WE DID.
2073
02:13:05,102 --> 02:13:07,271
YOU DON'T REMEMBER?
2074
02:13:10,316 --> 02:13:15,112
I MISS YOU MORE
THAN I CAN BEAR, BUT…
2075
02:13:15,195 --> 02:13:19,033
WE HAD OUR TIME
TOGETHER.
2076
02:13:19,116 --> 02:13:22,537
AND I HAVE TO
LET YOU GO.
2077
02:13:22,620 --> 02:13:27,040
I HAVE TO LET YOU GO.
2078
02:14:16,382 --> 02:14:18,300
I'M SORRY, ROBERT.
2079
02:14:45,118 --> 02:14:46,871
YOU KNOW, THE WILL MEANS
2080
02:14:46,954 --> 02:14:49,833
THAT DAD WANTED ME
TO BE MY OWN MAN…
2081
02:14:49,916 --> 02:14:53,461
NOT JUST TO LIVE FOR HIM.
2082
02:14:53,544 --> 02:14:57,506
THAT'S WHAT I'M GONNA DO,
UNCLE PETER.
2083
02:15:05,932 --> 02:15:07,475
WHAT HAPPENED?
2084
02:15:07,558 --> 02:15:08,601
COBB STAYED.
2085
02:15:08,684 --> 02:15:10,019
WITH MAL?
2086
02:15:10,102 --> 02:15:11,270
NO, TO FIND SAITO.
2087
02:15:13,188 --> 02:15:14,523
HE'LL BE LOST.
2088
02:15:17,109 --> 02:15:19,278
NO, HE'LL BE ALL RIGHT.
2089
02:15:34,835 --> 02:15:37,755
HAVE YOU COME TO KILL ME?
2090
02:15:41,968 --> 02:15:44,053
I'M WAITING FOR SOMEONE.
2091
02:15:49,182 --> 02:15:51,560
SOMEONE FROM
A HALF-REMEMBERED DREAM.
2092
02:15:53,771 --> 02:15:56,107
COBB?
2093
02:15:57,858 --> 02:15:59,569
IMPOSSIBLE.
2094
02:15:59,652 --> 02:16:03,823
WE WERE YOUNG MEN
TOGETHER.
2095
02:16:03,906 --> 02:16:06,993
I'M AN OLD MAN.
2096
02:16:07,076 --> 02:16:10,454
FILLED WITH REGRET.
2097
02:16:12,873 --> 02:16:17,503
WAITING TO DIE ALONE.
2098
02:16:17,586 --> 02:16:20,965
I'VE COME BACK FOR YOU.
2099
02:16:23,634 --> 02:16:27,847
TO REMIND YOU…
OF SOMETHING.
2100
02:16:30,891 --> 02:16:35,271
SOMETHING YOU ONCE KNEW.
2101
02:16:35,354 --> 02:16:39,066
THAT THIS WORLD
IS NOT REAL.
2102
02:16:43,737 --> 02:16:48,576
TO CONVINCE ME TO HONOR
OUR ARRANGEMENT?
2103
02:16:48,659 --> 02:16:52,079
TO TAKE A LEAP
OF FAITH, YES.
2104
02:16:57,501 --> 02:16:59,419
COME BACK…
2105
02:17:01,547 --> 02:17:05,592
…SO WE CAN BE YOUNG MEN
TOGETHER AGAIN.
2106
02:17:08,428 --> 02:17:10,389
COME BACK WITH ME.
2107
02:17:13,767 --> 02:17:15,602
COME BACK.
2108
02:17:24,904 --> 02:17:27,197
Flight attendant:
HOT TOWEL, SIR?
2109
02:17:27,280 --> 02:17:30,910
WE'LL BE LANDING IN LOS ANGELES
IN ABOUT 20 MINUTES.
2110
02:17:30,993 --> 02:17:33,495
DO YOU NEED
IMMIGRATION FORMS?
2111
02:17:34,538 --> 02:17:36,666
THANK YOU.
2112
02:17:36,749 --> 02:17:39,002
HOT TOWEL, SIR?
2113
02:17:39,085 --> 02:17:40,461
UH, NO.
2114
02:17:40,544 --> 02:17:42,295
DO YOU NEED
IMMIGRATION FORMS?
2115
02:18:53,284 --> 02:18:55,119
WELCOME HOME, MR. COBB.
2116
02:18:55,202 --> 02:18:57,163
THANK YOU, SIR.
2117
02:19:41,081 --> 02:19:43,333
WELCOME.
2118
02:19:43,416 --> 02:19:45,169
THIS WAY.
2119
02:20:06,273 --> 02:20:09,693
JAMES? PHILLIPA?
2120
02:20:12,863 --> 02:20:14,698
LOOK WHO'S HERE.
2121
02:20:19,119 --> 02:20:21,580
HEY.
2122
02:20:21,663 --> 02:20:23,833
HEY, GUYS!
DADDY!
2123
02:20:23,916 --> 02:20:25,876
HEY! HOW ARE YOU?
2124
02:20:25,959 --> 02:20:27,878
DADDY!
HOW ARE YOU?
2125
02:20:27,961 --> 02:20:30,173
LOOK WHAT
I'VE BEEN BUILDING!
2126
02:20:30,256 --> 02:20:32,091
WHAT ARE YOU BUILDING?
2127
02:20:32,174 --> 02:20:34,051
WE'RE BUILDING A HOUSE
ON THE CLIFF!
2128
02:20:34,134 --> 02:20:35,845
ON THE CLIFF?
2129
02:20:35,928 --> 02:20:38,055
COME ON,
I WANT YOU TO SHOW ME.
2130
02:26:48,341 --> 02:26:50,802
[ "NON, JE NE REGRETTE RIEN"
PLAYS ]
2131
02:26:58,685 --> 02:27:04,066
* NON, RIEN DE RIEN *
2132
02:27:04,149 --> 02:27:09,697
* NON, JE NE REGRETTE RIEN *
2133
02:27:09,780 --> 02:27:15,202
* NI LE BIEN QU'ON M'A FAIT *
2134
02:27:15,285 --> 02:27:21,208
* NI LE MAL
TOUT ÇA M'EST BIEN ÉGAL *
2135
02:27:21,291 --> 02:27:26,422
* NON, RIEN DE RIEN *
2136
02:27:26,505 --> 02:27:31,635
* NON, JE NE REGRETTE RIEN *
2137
02:27:31,718 --> 02:27:37,182
* CAR MA VIE, CAR MES JOIES *
2138
02:27:37,265 --> 02:27:41,227
* AUJOURD'HUI *