Inception (film)

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Inception is a 2010 science fiction action about a man skilled in the art of invading the dreams of others to steal their secrets, a process known as Extraction. To redeem himself, Dom Cobb must complete a very difficult and dangerous mission in which he plants an idea in another person's mind: Inception.

Written and directed by Christopher Nolan.


  • Dreams feel real while we're in them. It's only when we wake up that we realize something was actually strange.
  • There's something you should know about me. About inception.
  • You're asking me for inception. I do hope you understand the gravity of that request.
  • Downward is the only way forward.
  • Never recreate places from your memories, always imagine new places. Only use details. A street lamp or a phone booth. Never entire areas. Building a dream from your memory is the easiest way of losing your grasp on what's real and what is a dream.
  • She locked away a secret, deep inside herself: a truth that she once knew...but chose to forget.
  • An idea is like a virus. Resilient. Highly contagious. And even the smallest seed of an idea can grow. It can grow to define or destroy you.
  • Must have blown you off. That is unless her phone number really is only six digits. Funny way to make friends, someone stealing your wallet like that.
  • Strange weather. Isn't it?
  • Yeah. Well, I don't like trains.


  • Cobb! Wake me up! Wake me up!!
  • Wait, whose subconscious are we going into, exactly?
  • Mind telling your subconscious to take it easy?


  • You're waiting for a train. A train that will take you far away. You know where you hope this train will take you, but you don't know for sure. Yet it doesn't matter, because we'll be together.


  • Paradox. [drops a projection down a stairway]
  • How do I drop you without gravity?
  • Quick, give me a kiss.
  • Yeah, it was worth the shot.
  • There is nothing quite like it.


  • You mustn't be afraid to dream a little bigger, darling. [hefts a huge grenade launcher]
  • Your condescension, as always, is much appreciated, Arthur, thank you!


  • You remind me of someone... a man I met in a half-remembered dream. A man possessed of some radical notions.


  • [laughs] ..."Did you see that?" [everyone is asleep]
  • That many dreams within dreams is too unstable.
  • Oh, ha, bloody ha!

Robert Fischer[edit]

  • [handing his abductors his wallet; calmly] There's five hundred dollars in there. And the wallet's worth more than that. The least you could do is let me off at my stop.
  • [after narrowly escaping an avalanche] Couldn't someone have dreamt up a goddamn beach?!


[The first scene in limbo, Saito's dining room]
Saito: Are you here to kill me? [examines the totem top] I know what this is. I have seen one before, many many years ago. It belonged to a man in a half-remembered dream. A man possessed of some radical notion.

[Cobb is extracting an idea from Saito's mind]
Saito: [from behind Cobb] Turn around.
Mal: Put the gun down, Dom. [points her handgun at Arthur, her hostage] Please.
[Cobb slides his pistol across the table]
Saito: Now the envelope, Mr. Cobb.
Cobb: Did she tell you? Or have you known all along?
Saito: That you are here to steal from me? Or that we are actually asleep? I want to know the name of your employer.
[Mal holds her gun to Arthur's head]
Cobb: Ah, no use threatening him in a dream, right, Mal?
Mal: That depends on what you're threatening. Killing him will just wake him up. But pain – [suddenly shoots Arthur in the knee] Pain is in the mind. And judging by the decor, we're in your mind, aren't we, Arthur?
[Cobb suddenly shoots Arthur in the head, waking him]

[Cobb is speaking with Saito in his apartment]
Cobb: [holding Saito's gun in his lap] You came prepared.
Saito: Not even my head of security knows about this apartment. How did you find out?
Cobb: Very difficult for a man in your position to keep a love nest like this secret, particularly when there's a married woman involved.
Saito: She would never –
Cobb: Yet, here we are.

Saito: So, leave me and go.
Cobb: You don't seem to understand, Mr. Saito. The corporation that hired us, they won't accept failure. We won't last two days.
Arthur: [nervous] Cobb.
Cobb: Looks like I'm going to have to do this a little more simply. [throws Saito onto the floor] Tell us what you know! Tell us what you know now!
Saito: [touching the carpet and laughing] I've always hated this carpet. Stained and frayed in such distinctive ways. But very definitely made of wool. Right now... I'm lying on polyester. Which means, I'm not lying on my carpet in my apartment. You have lived up to your reputation, Mr. Cobb. I'm still dreaming.

Saito: [after Arthur suddenly disappears, having woken] A dream within a dream. I'm impressed. But in my dream, you play by my rules.
Nash: Ah, yes, but you see, Mr. Saito...
Cobb: We're not in your dream.
Nash: We're in mine.
[Saito's subconscious projections suddenly break into the room and attack Nash]

Arthur: What the hell was all that?
Cobb: I have it under control.
Arthur: I'd hate to see you out of control.

[Saito is sitting in a helicopter with Nash, Cobb's architect]
Saito: He sold you out. Thought to come to me and bargain for his life. So I offer you the satisfaction. [a gun is offered to Cobb]
Cobb: That's not the way I deal with things. [Nash is dragged from the helicopter] What will you do with him?
Saito: Nothing. But I can't speak for Cobol engineering.

Cobb: What do you want from us?
Saito: Inception. Is it possible?
Arthur: Of course not.
Saito: If you can steal an idea from someone's mind, why can't you plant one there instead?
Arthur: Okay, here's me planting an idea in your head: I say to you, "Don't think about elephants." What are you thinking about?
Saito: Elephants.
Arthur: Right. But it's not your idea because you know I gave it to you. The subject's mind can always trace the genesis of the idea. True inspiration is impossible to fake.
Cobb: That's not true.
Saito: [to Cobb] Can you do it?
Cobb: Are you offering me a choice? Because I can find my own way to square things with Cobol.
Saito: Then you do have a choice.
Cobb: Then I choose to leave, sir.

Saito: Mr. Cobb. How would you like to go home? To America, to your children?
Cobb: You can't fix that. No one can.
Saito: Just like inception?
Arthur: Cobb, come on.
Cobb: How complex is the idea?
Saito: Simple enough.
Cobb: No idea is simple when you need to plant it in somebody else's mind.

Cobb: [regarding Saito's job] If I were to do this, if I even could do it, I'd need a guarantee. How do I know you can deliver?
Saito: You don't. But I can. So, do you want to take a leap of faith? Or become an old man, filled with regret, waiting to die alone? [Cobb says nothing] Assemble your team, Mr. Cobb. And choose your people more wisely.

[Cobb meets in Paris with his father-in-law, Miles]
Cobb: You never did like your office, did you?
Miles: No space to think in that broom cupboard.

Cobb: [holding a bag] I brought these for you to give to the kids when you get a chance.
Miles: It'll take more than the occasional stuffed animal to convince those children they still have a father.

Miles: Come back to reality, Dom. Please.
Cobb: Those kids, your grandchildren, they're waiting for their father to come back home. That's their reality. And this job, this last job, that's how I get there. I would not be standing here if I knew any other way.

[Cobb meets with his new architect, Ariadne]
Miles: Ariadne. I'd like you to meet Mr. Cobb.
Ariadne: Pleased to meet you.
Miles: If you have a few moments, Mr. Cobb has a job offer he'd like to discuss with you.
Ariadne: A work placement?
Cobb: Not exactly.

Cobb: They say we only use a fraction of our brain's true potential. That's when we're awake. When we're asleep, our mind can do almost anything.
Ariadne: Such as?
Cobb: Well, imagine you're designing a building. You consciously create each aspect. But sometimes it feels like it's almost "creating itself", if you know what I mean.
Ariadne: Yeah, like I'm discovering it.
Cobb: Genuine inspiration, right? Now, in a dream, our mind continuously does this. We create and perceive our world simultaneously, and our mind does this so well that we don't even know it's happening. That allows us to get right in the middle of that process.
Ariadne: How?
Cobb: By taking over the creative part. Now this is where I need you. You create the world of the dream. We bring the subject into that dream, and they fill it with their subconscious.
Ariadne: How could I ever acquire enough detail to make them think it's reality?
Cobb: Well, dreams, they feel real while we're in them, right? It's only when we wake up that we realize something was actually strange.

Cobb: You never really remember the beginning of a dream, do you? You always wind up right in the middle of what's going on.
Ariadne: I guess, yeah.
Cobb: So how did we end up here?
Ariadne: Well, we just came from the... [she trails off, looking confused]
Cobb: Think about it, Ariadne, how did you get here? Where are you right now?
Ariadne: [realises] We're dreaming?
Cobb: You're actually in the middle of the workshop right now, sleeping. This is your first lesson in shared dreaming. Stay calm.
[As Ariadne's perception fails, the Paris street begins to explode and collapse]

Cobb: [to Arthur] Why don't you give us another five minutes.
Ariadne: Five minutes? But we were talking for at least an hour!
Cobb: In a dream, your mind functions more quickly. Therefore, time seems to feel slower.
Arthur: Five minutes in the real world gives you an hour in the dream.

[After Ariadne is stabbed by Mal in a dream]
Ariadne: That's some subconscious you've got on you, Cobb! She's a real charmer.
Arthur: Ah, I see you've met Mrs. Cobb.
Ariadne: She's his wife?
Arthur: Yeah.

Arthur: A totem. You need a small object, potentially heavy. Something you can have on you all the time that no one else knows.
Ariadne: Like a coin?
Arthur: No, it needs to be more unique than that. [shows her a small red die] This is a loaded die. [Ariadne reaches for it, he pulls his hand away] No, I can't let you touch it, that would defeat the purpose. See, only I know the balance and weight of this particular loaded die. That way, when you look at your totem, you know beyond a doubt that you're not in someone else's dream.

Cobb: [to Eames, regarding his gambling chips] Rub them together all you want, they're not going to breed.
Eames: You never know.

[Eames and Cobb are sitting in a bar in Mombasa]
Eames: The man at the bar.
Cobb: The price on my head, was it dead or alive?
Eames: Don't remember. See if he starts shooting.

[Arthur and Ariadne are walking up a wooden staircase]
Arthur: You're going to have to master a few tricks if you're going to build three complete dream levels.
Ariadne: What kind of tricks?
Arthur: In a dream you can cheat architecture into impossible shapes. That lets you create closed loops. Like the Penrose Steps. An infinite staircase. [The camera reveals they are walking on an impossible, looping staircase] See? Paradox.

[Cobb, Eames, Saito, and Yusuf enter a room with a dozen dreaming people]
Eames: Ten, twelve all connected by the machine.
Yusuf: They come every day to share the dream. [An old man slaps one of the dreamers, who does not wake] You see? Very stable.
Cobb: How long do they dream for?
Yusuf: Three, four hours, each day.
Cobb: Dream time?
Yusuf: With this compound? About 30 or 40 hours, each and every day.
Saito: Why do they do it?
Yusuf: Tell him, Mr. Cobb.
Cobb: After a while it becomes the only way you can dream.
Yusuf: Do you still dream, Mr. Cobb?
Eames: They come here every day to sleep?
Old Man: No. They come to be woken up. The dream has become their reality. Who are you to say otherwise?
Cobb: [to Yusuf] Let's see what you can do.

Eames: The vultures are circling. The sicker Maurice Fischer becomes, the more powerful Peter Browning becomes. I've had ample opportunity to observe Browning, adopt his physical presence, to study his mannerisms, and so on and so forth. Now, the first layer of the dream, I can impersonate Browning and suggest to Fischer's conscious mind. When we take him a level deeper, his own projection of Browning should – should feed that right back to him.
Arthur: So, he gives himself the idea.
Eames: Precisely. It's the only way it'll work. It has to seem self-generated.
Arthur: Eames, I am impressed.
Eames: [laughs] Your condescension, as always, is greatly appreciated, Arthur. Thank you.

[Ariadne approaches Cobb in the workshop]
Ariadne: Are you going under by yourself?
Cobb: No, I was just running some experiments. I didn't know anyone else was here.
Ariadne: I was working on my totem, actually.
Cobb: Here. [he offers his hand to take the chess piece, but Ariadne withdraws it] You're learning.
Ariadne: An elegant solution for keeping track of reality. Was it your idea?
Cobb: No, it was Mal's, actually. [showing his top] This one was hers. When it would spin in the dream it would never topple.

Ariadne: [explaining the "mazes" of Fischer's subconscious] Each level relates to the part of the subject's subconscious that we are trying to access. So, I'm making the bottom level a hospital so Fischer will find his father. I have a question about this layout –
Cobb: No, no, don't show me specifics. Only the dreamer should know the layout.
Ariade: Why is that so important?
Cobb: In case one of us brings in our projections. We don't want them knowing the details of the maze.
Ariadne: Which means, in case you bring Mal in. You can't keep her out, can you? You can't build because if you know the maze, she knows it. She'd sabotage the whole operation. Cobb, do the others know?
Cobb: No. They don't.
Ariadne: You've got to warn them if this is getting worse.
Cobb: No one said it's getting worse. I need to get home. That's all I care about right now.
Ariadne: Why can't you go home?
Cobb: Because they think I killed her. [stands to walk away] Thank you.
Ariadne: For what?
Cobb: For not asking if I did.

[The team devises the strategy for the inception]
Cobb: "I will split up my father's empire." Now, this is obviously an idea that Robert himself will choose to reject. Which is why we need to plant it deep in his subconscious. The subconscious is motivated by emotion, right? Not reason. Which is why we need to find a way to translate this into an emotional concept.
Arthur: How do you translate a business strategy into an emotion?
Cobb: That's what we're going to figure out. Fischer's relationship with his father is stressed, to say the least.
Eames: Can we run with that? We could suggest breaking up the company as a "screw you" to the old man.
Cobb: No, because I think positive emotion trumps negative emotion every time. We all yearn for reconciliation, for catharsis. We need Robert Fischer to have a positive emotional reaction to all this.
Eames: Well, why don't we try this? "My father accepts that I want to create for myself, not follow in his footsteps."
Cobb: That might work.
Arthur: Might? We need to do a little better than "might".
Eames: [turning towards him] Thank you for your contribution, Arthur.
Arthur: Forgive me for wanting a little specificity, Eames. [Eames looks confused, saying nothing] Specificity?!

[The team are standing in the first constructed dream level, an empty city]
Eames: On the top level, we open up his [Fischer's] relationship with his father. Say, "I will not follow in my father's footsteps". Then, the next level down, feed him "I will create something for myself". Then, by the time we hit the bottom level, we bring out the big guns:
Cobb: My father doesn't want me to be him.
Eames: Exactly.

Yusuf: The compound we'll be using to share the dream creates a very clear connection between dreamers whilst actually accelerating brain function.
Cobb: In other words, it gives us more time on each level.
Yusuf: Brain function in the dream will be about 20 times of normal. When you enter a dream within that dream, the effect is compounded. Three dreams is ten hours, is …
Eames: [interupting] I'm sorry, math was never my strong subject. So how much time is that?
Cobb: A week the first level down, six months the second level down, third level is …
Ariadne: Ten years. Who'd want to be stuck in a dream for ten years?
Yusuf: Depends on the dream.
Arthur: So, once we've made the plant, how do we get out? I'm hoping you have something more elegant in mind than shooting me in the head?
Cobb: A kick.
Ariadne: What's a kick?
Eames: This, Ariadne, would be a kick. [kicks Arthur's chair; Arthur flails but manages to right himself]
Cobb: It's that feeling of falling that jolts you awake. It snaps you out of the dream.
Arthur: Are we going to feel a kick with this kind of sedation?
Yusuf: Well, that's the clever part. I customize the sedative to leave inner ear function unimpaired. That way, however deep the sleep, the sleeper still feels falling, or tipping.
Cobb: The trick is to synchronize a kick that can penetrate all three levels.

[The team are discussing a method to get Fischer by himself]
Eames: We need at least a good ten hours.
Saito: Sydney to Los Angeles. One of the longest flights in the world. He makes it every two weeks.
Cobb: He must be flying privately.
Saito: Not if there was unexpected maintenance with his plan...
Arthur: It would have to be a 747.
Cobb: Why is that?
Arthur: Because on a 747 the pilot is up top, and the first class cabin is in the nose, so no one would walk through. But you'd have to buy out the entire cabin. And the first class flight attendant.
Saito: I bought the airline. [Everyone looks at him incredulously. Awkwardly;] It seemed neater.
Cobb: Looks like we have our ten hours.

[Ariadne has entered one of Cobb's hidden memories]
Mal: [turning towards Ariadne] What are you doing here?
Ariadne: [frightened] My name is –
Mal: I know who you are. What are you doing here?
Ariadne: I'm just trying to... understand.
Mal: How could you understand? Do you know what it is to be a lover? To be half of a whole?
Ariadne: No.
Mal: I'll tell you a riddle: you're waiting for a train, a train that will take you far away. You know where you hope this train will take you, but you don't know for sure. But it doesn't matter. How can it not matter to you where the train will take you? [she picks up a jagged wine glass]
Cobb: [behind Ariadne] Because you'll be together.
Mal: [upset] How could you bring her here, Dom?
Ariadne: What is this place?
Cobb: This is the hotel suite where we used to spend our anniversary.
Ariadne: What happened here?
[Mal suddenly dashes towards them, as Cobb and Ariadne throw themselves in the elevator]
Mal: You promised! You promised!
Cobb: Please! I need you to stay in here! Just for now!
Mal: You said we'd be together! You said we'd grow old together!
Cobb: [starting the elevator] I'll be back. I promise.
[After they awake in the real world]
Ariadne: Did you think that you could build a prison of memories to lock her in? Did you think you could contain her?

[Everyone has just entered Yusuf's dream, a city in a heavy downpour]
Arthur: You couldn't have peed before you went under?
Yusuf: Sorry.
Eames: A bit too much free champagne before takeoff, eh, Yusuf?
Yusuf: [deadpan] Ha ha bloody-ha.
Cobb: Well, we know he's going to be looking for a taxi in this weather.

[After a gunfight in the streets]
Arthur: You all right?
Eames: Yeah, I'm fine, I'm okay. [pause] And Fischer's okay. Unless he gets carsick.

[After Saito has been shot in the first dream layer]
Cobb: We got blocked by a freight train.
Arthur: [to Ariadne] Why'd you put a train crossing in the middle of a down-town intersection?
Ariadne: I didn't!
Arthur: Then where'd it come from?
Cobb: Let me ask you a question: why the hell were we ambushed? Those were not normal projections, they've been trained, for God's sake!
Ariadne: How could he be trained?
Arthur: Fischer has had an extractor teach his subconscious to defend itself. His subconscious has militarized. It should have shown in the research. I'm sorry.
Cobb: When why the hell didn't it?!
Arthur: Calm down.
Cobb: Don't tell me to calm down! This was your job, God damn it! This was your responsibility! You were meant to check Fischer's background thoroughly! We are not prepared to deal with this type of security!
Arthur: We have dealt with some security before! We'll be a little more careful, and we'll be fine!
Cobb: This was not a part of the plan! [on Saito] He's dying, for God's sake!
[Eames approaches with a gun and it aims it at Saito]
Eames: I'm putting him out of his misery.
Cobb: Don't do that! [shoves him back] Don't do that.
Eames: [exasperated] He's in agony. I'm waking him up.
Cobb: No. It won't wake him up.
Eames: What do you mean, "it won't wake him up"? If we die in a dream, we wake up.
Yusef: Not from this. [everyone looks at him] We're too heavily sedated to wake up that way.
Eames: So, what happens when we die?
Cobb: We drop into Limbo.
Arthur: [angry] Are you serious?!
Ariadne: Limbo?
Arthur: Unconstructed dream space.
Ariadne: Well, what the hell is down there?
Arthur: Just raw, infinite subconscious. Nothing is down there. Except for whatever that might have been left behind by whoever's sharing the dream who was trapped down there before. Which in our case, is just you.
Ariadne: But how long could we be stuck there?
Yusef: Not even think about waking up until –
Eames: How long?!
Yusef: Decades! It could be infinite! I don't know! [motioning to Cobb] Ask him, he's the one who's been there!
[Saito is moved upstairs]
Eames: Great. [to Cobb, sarcastic] Thank you. So, now we're in Fischer's mind battling his own private army. And, if we get killed, we'll all be lost in Limbo until our brains turn to scrambled egg. Hm?
[Cobb says nothing and walks away]

Arthur: So, you knew about these risks and you didn't tell us?
Cobb: There weren't meant to be any risks. I didn't know we'd be dealing with a load of gunfire.
Arthur: You had no right.
Cobb: This is the only way to go three layers deep.
Arthur: [turning on Yusef] And you! You knew about this and went along with it?
Yusef: [about Cobb] I trusted him!
Arthur: You trusted him? When he promised you half his share?
Yusef: No! [beat] His whole share. Besides, he said he'd done it before.
Arthur: What, with Mal? Because that worked so good?!
Cobb: It had nothing to do with you. I did what I had to to get back to my children.

[Fischer and "Browning" are speaking after being kidnapped]
"Browning": Those bastards have been at me for two days. They have someone with access to your father's office, and they're trying to open his safe. They thought I'd know the combination, but I don't know it.
Fischer: Well, neither do I.
"Browning": What? Maurice [Fischer's father] told me that when he passed, you'd be the only one able to open it!
Fischer: No, he never gave me any combination.
"Browning": Well, maybe he did. Maybe you just didn't know it was a combination.
Fischer: Well, what, then?
"Browning": I don't know, some meaningful combination of numbers based on your experiences with Maurice.
Fischer: [laughing] We, um, we didn't have many "meaningful" experiences together.
"Browning": Perhaps after your mother died.
Fischer: [sighs] After my mother died, you know what he told me? "Robert, there's really nothing to be said."
"Browning": Well, he was bad with emotion.
Fischer: [upset] I was eleven, Uncle Peter.

[Browning and Fischer are discussing Fischer senior's will]
Browning: It splits off the component businesses of Fischer-Morrow. It'd be the entire empire as we know it.
Fischer: Destroying my whole inheritance. Why would he suggest that, you think?
Browning: I just don't know. He loved you, Robert. In his own way.
Fishcer: In his own way? At the end, he called me into his deathbed, and he could barely speak. But he took the trouble to tell me one last thing. He pulled me close, and I could only make out one word: "Disappointed".

Ariadne: [to Cobb] You might have the rest of the team convinced to carry on with this job, but they don't know the truth.
Cobb: Truth? What truth?
Ariandne: The truth that, at any moment, you might bring a freight train through the wall. The truth that Mal is bursting through your subconscious, and as we go deeper into Fischer, we're also going deeper into you. And, I'm not sure we're gonna like what we find.

[Cobb finds his wife, Mal, sitting on a window ledge]
Cobb: Sweetheart, what are you doing?
Mal: Join me.
Cobb: Just step back inside, alright? Just step back inside now, come on.
Mal: No. I'm going to jump and you're coming with me.
Cobb: No, I'm not. You listen to me: if you jump, you're not gonna wake up, remember? You're going to die. Now, just step back inside so we can talk about this.
Mal: We've talked enough. [her slipper falls into the street below] Come out onto the ledge, or I'll jump right now.
Cobb: Okay. We're gonna talk about this, alright?
Mal: I'm asking you to take a leap of faith.
Cobb: No, honey. I can't. You know I can't do that. Take a second and think about our children. Think about James. Think about Philipa.
Mal: If I go without you, they'll take them away, anyway.
Cobb: What does that mean?
Mal: I filed a letter with our attorney explaining how I'm fearful for my safety. How you've threatened to kill me.
Cobb: Why would you do that? Why would you do this to me?
Mal: I love you, Dom. I've freed you from the guilt of choosing to leave them. We're going home. To our real children.
Cobb: No, no, no, Mal, you listen to me, alright? Mal, look at me, please!
Mal: You're waiting for a train...
Cobb: Mal, goddamn it! Don't do this!
Mal: ..A train that will take you far away..
Cobb: James and Phillipa are waiting for you!
Mal: ..You know where you hope this train will take you,..
Cobb: They're waiting for us!
Mal: ..But you can't know for sure..
Cobb: Mal, look at me!
Mal: ..But it doesn't matter...because you'll be together.
Cobb: Sweetheart, look at me! [Mal falls off the window ledge into the street below] Mal, No!! Jesus Christ!

Cobb: [to Eames] What did you get?
Eames: That boy's relationship with his father is even worse than we imagined.
Arthur: This helps us how?
Cobb: The stronger the issues, the more powerful the catharsis.
Arthur: How are you going to reconcile them if they're so estranged?
Eames: Well, I'm working on that, aren't I?
Arthur: Move fast. Projections are closing in quick. [he loads an assault rifle] We gotta break out of here before we're totally boxed in.

Cobb: We need to shift his animosity from his father to his godfather.
Ariadne: We're going to destroy his one positive relationship?
Eames: No, we repair his relationship with his father whilst exposing his godfather's true nature. We should charge Fischer a lot more than Saito for this job.

Ariadne: Who or what is "Mr. Charles"?
Arthur: It's a gambit designed to turn Fischer against his own subconscious.
Ariadne: And why don't you approve?
Arthur: Because it involves telling the mark that he's dreaming. Which involves attracting a lot of attention to us.
Ariadne: Didn't Cobb say never to do that?
Arthur: So now you've noticed how much time Cobb spends doing things he says never to do.

Ariadne: What's happening?
Arthur: Cobb's drawing Fischer's attention to the strangeness of the dream. Which is making his subconscious look for the dreamer. For me. [the projections begin staring at them] Quick, give me a kiss. [Arthur and Ariadne kiss]
Ariadne: [confused] They're still looking at us.
Arthur: Yeah, it was worth a shot. We should probably get out of here.

[Fischer and Cobb are speaking in the hotel bar]
Cobb: [as "Mr. Charles"] I specialize in a very specific type of security. Subconscious security.
Fischer: Are you talking about dreams? Are you talking about extraction?
Cobb: I am here to protect you... [the projections in the bar suddenly look at Cobb, and he glimpses images of his children through a window] ...Mr. Fischer, I am here to protect you in the event that someone tries to access your mind through your dreams. You're not safe here. They're coming for you. [rain suddenly begins pouring down outside] Strange weather, isn't it? You've actually been trained for this, Mr. Fischer. [chairs and glasses in the bar begin shifting sideways] Pay attention to the strangeness of the weather, the shift in gravity. None of this is real. You're in a dream. [the projections stare at Cobb again] Now, the easiest way for you to test yourself is to try and remember how you arrived at this hotel. Can you do that?
Fischer: Yeah, I, uh... [looks confused]
Cobb: Breathe, remember your training. Accept the fact that you're in a dream and I'm here to protect you. Go on.
Fischer: You're not real?
Cobb: No, no. [the projections ignore him again] I'm a projection of your subconscious. I was sent here to protect you in the event that extractors tried to pull you into a dream. And I believe that what's going on right now, Mr. Fischer.
Fischer: Yeah, okay. Can you get me out of here?
Cobb: Right away. Follow me.

[The team is entering Fischer's subconscious]
Ariadne: Wait, whose subconscious are we going into, exactly?
Cobb: We're going into Fischer's. But I told him it was Browning so he can be a part of our team.
Arthur: [amused] he's gonna help us break into his own subconscious.
Cobb: That's right.
Eames: Security is going to run you down hard.
Arthur: And I will lead them on a merry chase.
Eames: Make sure to be here in time for the kick –
Arthur: Go to sleep, Mr. Eames.

[Cobb watches through a window with a sniper rifle as Mal sneaks up on an unaware Fischer]
Ariadne: Cobb. No! She is not real!
Cobb: [hesitating] How do you know that?
Ariadne: She is just a projection. Fischer is real!
Mal: [to Fischer] Hello. [she shoots him in the chest]

Eames: What happened?
Ariadne: Mal killed Fischer.
Cobb: [about Mal] I couldn't shoot her. There's no use in reviving him. It's over.
Eames: So that it, then? We failed?
Cobb: We're done. I'm sorry.
Eames: Well, it's not me that doesn't get back to my family, is it? It's a shame, I really wanted to know what was going to happen in there. I swear we had this one.
Cobb: Let's set the charges.
Ariadne: Wait, there's still another way! We just have to follow Fischer down there.
Eames: Not enough time.
Ariadne: No, but there will be enough time down there, and we will find him! As soon as Arthur's music kicks in, use the defibrillator to revive him. We can give him his own kick down below. You get him in there (the vault). You blow the building, and we all ride the kick back up the layers.

Eames: Saito, I need you to take care of Fischer while I go set some charges, okay?
Saito: [smiling, quoting what Eames said earlier] "No room for tourists on these jobs."
Eames: Don't be silly.

Maurice Fischer: [in Robert Fischer's dream; on his deathbed] Dis... disa... disap...
Fischer: I know, Dad. I know you were disappointed that I couldn't be you.
Maurice Fischer: No. No, no. I was disappointed... that you tried.

[The last scene in limbo]
Saito: Have you come to kill me? I am waiting for someone.
Cobb: Someone from a half-remembered dream.
Saito: Cobb? [chuckles] Impossible. We were young men together. I'm an old man.
Cobb: Filled with regret.
Saito: Waiting to die alone.
Cobb: I've come back for you... To remind you.. Something... Something you once knew. That this world is not real.
Saito: To convince me to honour our arrangement.
Cobb: To take a leap of faith, yes. Come back. So we can be young men together again. Come back with me.

About Inception[edit]

  • Mr. Nolan doesn’t cater to the executives at some big company, he really does what he wants to with a film. He manages to do it within the current big system because he’s that good and he can, but ‘Inception’ and his films aren’t developed by committee. And it wasn’t him saying, ‘How am I going to make a big summer hit?’ ‘Inception’ was about him following his own fascinations.
  • The clash of objective reality with our subjective view of the world, that’s pretty interesting stuff. This is something I thought about doing for a very long time. I’ve been thinking about it off and on since I was about 16. It was the approach I wanted to take to an almost alternate reality — approaching the dream life as another state of reality. And one that in certain circumstances can be manipulated.


  • Your mind is the scene of the crime.
  • The dream is real.

External links[edit]

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