1

00:00:53,345 --> 00:00:56,348

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 <i>IS</i>
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 <i>AM</i>
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 <i>YOUR</i> 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
<i>VERY</i> 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
♪ <i>NON! RIEN DE RIEN…</i> *

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
<i>OUT</i> 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 <i>YOUR</i> IDEA,

243
00:19:40,513 --> 00:19:42,849
BECAUSE YOU <i>KNOW</i>
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 <i>COULD</i> 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 <i>DID</i> 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 <i>YOUR</i> 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 <i>YOU</i> 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, <i>VERY</i> 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 <i>THEIR</i> REALITY.

334
00:24:21,127 --> 00:24:24,505
AND THIS JOB, THIS LAST JOB,
<i>THAT'S</i> 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 <i>HERE?</i>

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
<i>JUST</i> 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 <i>MRS.</i> 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 <i>YOUR</i> 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 <i>YOU</i> 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 <i>NEED</i> 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 <i>ISN'T</i> 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 <i>LOSING</i> 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 <i>CAN'T,</i> BUT HE <i>WON'T.</i>

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 <i>IS</i> 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 <i>POWERFUL</i> 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?
<i>VERY</i> 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 <i>CAN</i> DREAM.

690
00:43:14,426 --> 00:43:16,428
DO <i>YOU</i> 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>I</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 <i>NEED</i> 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
<i>SHOULD</i> FEED THAT
RIGHT BACK TO HIM.

768
00:47:42,901 --> 00:47:44,654
SO HE GIVES <i>HIMSELF</i>
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 <i>SHE</i> 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 <i>EXTREMELY</i>
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
<i>THIS,</i> 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
<i>AND</i> 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 <i>EVERYTHING</i>
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 <i>THESE.</i>

946
00:55:47,469 --> 00:55:50,181
THESE ARE <i>MY</i> 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 <i>HAVE</i> TO CHANGE.

960
00:56:47,238 --> 00:56:51,033
WELL, WHAT'S DOWN <i>THERE</i>
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 <i>ONE</i> 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
<i>THE</i> 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
<i>BEFORE</i> 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
<i>THIS</i> 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
[ <i>UP-TEMPO MUSIC PLAYING
ON RADIO</i> ]

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 <i>NOT.</i>
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 <i>YOU</i>
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
<i>DIDN'T</i> IT?
CALM DOWN.

1115
01:08:02,370 --> 01:08:04,122
<i>DON'T</i> 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 <i>NOT</i> PREPARED
FOR THIS TYPE OF VIOLENCE!

1120
01:08:11,004 --> 01:08:12,881
WE <i>HAVE</i> 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
<i>DON'T</i> 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 <i>WON'T</i> WAKE HIM UP?

1129
01:08:26,686 --> 01:08:27,604
IT <i>WON'T</i> 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
<i>NOTHING</i> 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 <i>YOU.</i>

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 <i>TRUSTED</i> 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 <i>WHOLE</i> 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 <i>THAT</i> 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 <i>WON'T</i> 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 <i>DO</i> 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>I'D</i> 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
<i>NOTHING</i> 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 <i>HAD</i> 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 <i>HEARD</i> 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 <i>OWN</i> 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 <i>THAT</i> 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 <i>REAL</i> 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 <i>ONE</i>
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 <i>THIS</i> 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 <i>IS</i> 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 <i>NOT</i> 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 <i>AGAIN.</i>

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 <i>SAW</i> 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
<i>WHOSE</i> 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 <i>YOU?</i>

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.
<i>WHAT</i> 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:
<i>IF YOU'D LIKE TO MAKE A CALL,</i>

1811
01:47:07,504 --> 01:47:08,631
<i>PLEASE HANG UP AND TRY AGAIN.</i>

1812
01:47:08,714 --> 01:47:10,591
<i>IF YOU NEED HELP, HANG UP…</i>

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 <i>NOT</i> 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 <i>ME</i> 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 <i>BE</i>
ENOUGH TIME DOWN THERE.
1862
01:53:54,161 --> 01:53:55,663
AND WE WILL <i>FIND</i> 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 <i>WAS.</i>

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 <i>HE</i> 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 <i>US.</i>

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 <i>AREN'T</i> 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 <i>KNOW</i> IT.

1965
02:02:10,824 --> 02:02:14,870
AND WHAT IF YOU'RE WRONG?
WHAT IF <i>I'M</i> WHAT'S REAL?

1966
02:02:14,953 --> 02:02:17,748
YOU KEEP TELLING YOURSELF
WHAT YOU <i>KNOW.</i>
1967
02:02:17,831 --> 02:02:21,752
BUT WHAT DO YOU <i>BELIEVE?</i>

1968
02:02:21,835 --> 02:02:23,754
WHAT DO YOU <i>FEEL?</i>

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 <i>CAN'T</i> 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 <i>THIS</i> 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…