text / (UK) Christopher Nolan
translation / Zhu Yumo, Nie Liang, Li Ershi, the
camera fades in:
Breaking Dawn. Rough waves.
The waves washed a bearded man onto the sand of the beach. He lay there.
The cry of a child made him look up: a little blond boy crouched with his back to us, watching the tide engulf the Shajian castle. A little blond girl is with him. The unshaven man tried his best to greet them, but they ran away without seeing their faces. He collapsed on the beach.
The barrel of a rifle was digging through the back of the unshaven man. A Japanese security guard looked down at him and then yelled at his colleague who was leaning on the jeep on the coast. Behind them is a cliff, and a Japanese castle stands above the beach.
Interior view, a luxurious restaurant in a Japanese castle.
Security guards waited later . A waiter reported to an elderly Japanese man sitting at the table. He turned his back to us.
Waiter (in Japanese): He is in a coma. But he keeps calling your name. And... (to the security) come up soon.
Security (in Japanese): He only carried this...
He put a pistol on the table. The old Japanese continued to eat.
Security: ...and this.
The security guard placed a small top made of tin and lead beside the gun. The old man stopped eating and picked up the little spinning top.
Old Japanese (in Japanese): Bring him here. Also bring some more food.
Interior view, same as above. Later, the
old man watched the unshaven man devouring food. The old man pushed, and the pistol slid towards him along the tabletop.
Old Japanese (in English): Are you here to kill me?
The unshaven man looked up at him, then at the food again.
The old Japanese used his thumb and index finger to pinch the spinning top.
Old Japanese: I know what it is.
He put it on the table and spins it—it spins gracefully on the shiny ebony...a spinning top.
Old Japanese: I have seen one before. Many, many years ago... The
old Japanese stared at the spinning top, a little lost.
Old Japanese: It belongs to a person, I met in a dream, in a dream that I vaguely remembered... The
camera moved closer to the top of the elegant spinning top...
Old Japanese: He was a man with crazy thoughts...
Old Japanese Staring at it, passing by...
Cobb (voice-over): What is the most resilient parasite?
Inside, the same luxurious restaurant. In the evening (several years ago)
, Cobb was talking in the voiceover. He was 35 years old, handsome and well-dressed. A young Japanese man named Saito eats while listening.
Cobb: Bacteria? Virus?
Cobb signaled the rich dinner with his wine glass.
Cobb: Intestinal parasites?
Saito's fork stopped in mid-air. Cobb smiled. Another man appeared at the dining table, named Arthur. He intervened in order to straighten out the speech.
Arthur: What Mr. Cobb wants to say is...
Cobb: An idea.
Saito looked at Cobb with curiosity.
Cobb: Very tough and very infectious. Once thoughts occupy the mind, it is almost impossible to eradicate it. People can hide it, ignore it—but it just stays there.
Saito: But surely---will be forgotten...?
Cobb: Information, that's it. But an idea? A fully formed and thoroughly understood idea? It will insist on... (tapping its forehead) rooted here, somewhere in it.
Saito: So that someone like you can steal it?
Arthur: Yes. In the dream state, your conscious defense will be weakened, and your thoughts can be easily stolen. This is the so-called "Inception".
Cobb: By the way, Mr. Saito, we can train your subconscious to defend against the most skilled dream thief.
Saito: How can you do it?
Cobb: Because I am the most skilled dreamer. I know how to search your mind and find your secret. I know these tips. I can teach you these tips. Even if you are asleep, your defense will not decrease.
Cobb leaned forward and faced the gaze that met Saito.
Cobb: If you need my help, you must be completely honest with me. I need to understand your thoughts in my way, knowing you better than your wife, better than your personal doctor, and better than anyone else. (Pointing to the surroundings) Suppose this is in your dream. You have a safe that hides secrets. I need to know what is hidden in that safe. In order to work effectively, you must treat me as your own person.
Saito smiled slightly at this. He got up. A bodyguard opened the double-folded door and led him to a luxurious party.
Saito: Gentlemen, enjoy your night. I will consider your suggestions.
They watched Saito leave. Arthur turned to Cobb, looking anxious---
Arthur: He saw it through.
Cobb motioned for silence. There was a shock. They hold the glass firmly. Cobb stared at his watch—his stopwatch was frozen.
Arthur: What happened above?
Dirty bathroom, during the day (it feels like at different times)
Cobb sat in a chair at the end of the steam room and fell asleep. The chair is placed on the cupboard. The ends of the legs of the chair are flush with the edge of the bathtub.
A sweaty man (about 40 years old) looked at Cobb in the distance. His name is Nash. The roar of the explosion in the distance penetrated the entire room. Nash walked to the window, opened a corner of the curtain, and saw outside: the city was in a chaotic situation—the streets were full of rioters—beating, smashing, and burning.
Nash checked Cobb's left wrist: on his watch, there were two thin yellow tubes stuck with tape. Nash looked at Cobb's watch—the second hand was abnormally slow.
Nash followed the pipe and saw a silver box placed at Arthur's feet: Arthur was asleep in an armchair. The tube was connected to the box and Arthur's wrist.
Nash followed the other pipes connected to the box, and they passed under the door to the bedroom. Through the crack in the door, Nash saw Saito asleep on a bed with the tube running to his wrist. Boom --- a nearby explosion.
Interior view, bullet-head high-speed rail carriage, during the day (it feels like a different time)
Nash fell asleep. The train bumped on a section of uneven track, and Nash's head hit the window glass. A Japanese man named Toda (18 years old) looked at Nash nervously. He looked at Nash's wrist: Two yellow tubes connected Nash with the other three men on the train. These three were: Cobb, Arthur, and Saito.
Toda checks his watch: The second hand accurately records the flow of real time. Another train whizzed past from the opposite direction—Toda's eyes moved to Nash's sleeping face—
Nash's expression was a little convulsive as the train moved.
Interior view, dirty bathroom, time continues
to explode again - Nash looks at Cobb who is sleeping.
The exterior scene, the Japanese castle, the roof of the terrace, and the
slight vibration spread throughout the castle at night . Cobb and Arthur steadied themselves against the wooden guardrail. A few tiles and some porcelain stone dust fell off. Below them, a black sea roared. Other guests meandered on the huge rugged stairs.
Arthur: Saito saw through. He is playing tricks on us.
Cobb: I can get it here. The information is in the safe — as soon as I mentioned the secret, he looked there.
Arthur nodded. Then, crossing Cobb's shoulder, he saw a man.
Arthur: What is she doing here, Cobb?
Cobb turned around and saw a beautiful woman, elegantly dressed, looking into the depths of the sea. Her name is Mar. Cobb watched her.
Cobb: You go back to the room first. I'll take care of the rest.
Arthur: Of course you will handle it. We have work to do here.
Arthur and Mar passed by, shaking their heads at the same time. She approached Cobb. They looked at the cliff under their feet. A gust of wind rolled up her hair.
Mar: If I jump down, can I still live?
Cobb: If you go directly to the sea, it might be possible. Mar, why are you here?
She turned to look at him, somewhat delighted.
Mar: I think maybe you miss me...
She laughed. He leaned forward, looking confused.
Cobb: I miss you. But I won't believe you anymore.
She looked up at him with a charming look.
Mar: So what?
Interior, Japanese castle, bedroom suites, later
Marr while watching a Francis Bacon's paintings, while sipping champagne.
Mar: Looks like Arthur's taste.
Cobb looked through the window and watched the security guards walking back and forth on the lower floor of the castle.
Cobb: Actually, Mr. Saito prefers British painters after World War II.
He turned to Mar and put on a pair of black leather gloves.
Cobb: Will you sit down?
Mar lowered her body very gracefully and sat down on a leather chair with a backrest and armrests. Cobb approached, took out a long piece of black rope, and bent his knees under Mar's feet. She looked down at him.
Mar: Tell me...
Cobb tied the rope around the leg of the chair.
Mar: Do the children miss me?
Cobb stopped. He let his gloved fingers touch her ankle lightly. He looked up at her.
Cobb: You can't imagine.
Mar looked away, looking very uncomfortable. Cobb got up and straightened the rope while leaning back towards the window.
Mar: What are you going to do?
Cobb threw the rope out the window ---
Cobb: Breathe some fresh air.
He grabbed the rope and tested it. The chair plus the weight of Mar's sitting on it can hang.
Cobb: Please sit down.
As soon as he finished speaking, he jumped down. Mar stared at the open window in a daze.
Exterior view, the wall of a Japanese castle. Time continues.
Cobb slides down the wall and quickly jumps through the window. He stopped under a special window. He took out the glass cutter.
Suddenly he started to fall.
Interior view, Japanese castle, suite bedroom, time continues to
empty chairs sliding on the floor --- stuck under the window.
Exterior scene, the wall of the Japanese castle, time continues.
Cobb suddenly stopped 15 feet from the window sill. He looked up at the bedroom window, shook his head, and then began to climb back up.
Interior, Japanese castle, kitchen, later
Cobb quietly from the darkness of the kitchen and down to the windowsill. He drew the pistol from his waist, and as he walked through the room, he poured a bullet into the barrel of the gun.
Interior view, Japanese castle, lobby, time continues.
Cobb slid towards a guard in the darkness. He was standing at the beginning of the huge staircase...
What did the guard hear—turned around—staring at the darkness Searching everywhere...
Cobb flashed out from the shadows, silently loaded the pistol, and aimed --- thunder --- shot in the head --- the guard fell down... but Cobb quickly passed by and shot him. Catch it, kneel on the floor and slide, while laying down the guard quietly on the floor.
Interior view, Japanese castle, restaurant time, continue
Cobb walked to a painting. His trained hands quickly moved the painting away from the wall, revealing a safe. Cobb fiddled with the dial, opened the safe, took out an envelope from it, and quickly tucked it into his belt, and then took out an identical envelope from the inside.
The lights are all on. Cobb remained motionless.
Saito (voice-over): Turn around.
Cobb turned around. Standing at the far end of the house was Saito. Standing next to him is Mar, holding a gun in his hand. She smiled at Cobb.
Mar: Put down the gun, Dom.
Cobb remained motionless. Mar gestured outside—two guards dragged Arthur into the house. Mar pointed a gun at his head.
Mar: Please.
Cobb placed the gun on his end of the long table and threw it along the lacquered ebony wood. The gun stopped in the middle of the table.
Saito: Take out the envelope now, Mr. Cobb.
Cobb reached around his waist, took out one of the envelopes, and slid down the table. He stepped back and raised his hand at the same time.
Cobb: She told you? Or did you always know?
Saito: Know you came here to steal my things? (Pause) Or know that we are actually in a dream?
Arthur gave Cobb a look of "I told you a long time ago."
Saito: I want to know the name of your employer.
Mar's loaded gun was against Arthur's temple.
Cobb: It's useless to threaten him in a dream.
Mar: It depends on what you threaten. Killing him will only bring him back... but the pain? Pain will stay in the mind.
Mar lowered the gun and fired a shot at Arthur's foot---Arthur fell and screamed---Mar looked at Cobb with a cold face.
Mar: And, judging from the decoration, we are in your dreams, right, Arthur?
Cobb watched Arthur's pain. Mar aimed at Arthur's other foot...
Cobb jumped to the table and quickly slid across its smooth surface—he grabbed the gun——shooted between
Arthur's eyes—— Arthur fell to the ground. The whole house suddenly began to be shaken by the huge earthquake—Cobb rushed to the door—Arthur stared at the ceiling and died.
Interior, dirty bathroom, during the day
Arthur woke up from the chair when he opened his eyes --- he grabbed the tubes on his wrist and untied them ---
Nash: What are you doing? ! This is too fast—
Arthur hurriedly opened the silver box on the bathroom floor, and some liquid splashed out of the pipe.
Arthur: I know! Before they wake up, we must reconnect the loopback knot!
Arthur grabbed the box and pushed open the door leading to the bedroom—following the pipe to the place where it was connected to Saito's wrist. Saito was lying on the bed, still awake. Saito rolled over.
The interior view, the corridor of the
Rimu Castle, Cobb strode up the stairs with difficulty in the evening , and the buildings around him began to sway, shake up and down, the doors were deformed, and fell one after another —
interior view, Japanese castles, restaurants, time continues
Saito and Saito The security guards panicked. Mar calmly shuttled among the destroyed buildings, picked up the envelope, turned and handed it to Saito.
Mar: He almost succeeded, a little bit.
Exterior scene, Japanese castle, huge stairs, time continues,
Cobb rushes up the stairs, and pulls out the second envelope —
interior scene, Japanese castle, restaurant, time continues
Saito tore open the envelope and took out a stack of paper. He looked at Mar and fell into a panic. He turned to face the security guard——
Saito: Stop him!
Mar was very confused and looked at the stack of paper: there was no word on it. Mar smiled and became more excited.
Interior view, Japanese castle, huge stairs, time continues to
Cobb while running up the stairs, while reviewing the printed materials from the reader's envelope.
Interior view, a partially destroyed room in the hotel. During the day,
Arthur opened the silver suitcase: inside were entangled pipelines, syringes, and dose controllers. Arthur hurriedly glanced at Saito's disturbed expression, his hand moved quickly on the machine control buttons.
Arthur: I don't think I can do it anymore! Wake up Cobb!
Interior, dirty bathroom, time continues
Nash turned to Cobb, raised his hand to slap his face.
Interior view, Japanese castle, huge stairs,
something that fell at night damaged the road on the side, Cobb fell...
Interior view, Japanese castle, restaurant,
the ceiling above Saito's head collapsed at night- when he looked up, A pile of rocks fell one after another, crushing him.
In the interior, the partially destroyed room in the hotel,
Saito's eyes blinked and opened during the day . He woke up.
Interior view, dirty bathroom, time continues
Nash continues to slap Cobb with his palm —
Nash: He can't wake up!
Interior view, a partially destroyed room in the hotel, time continues
Arthur squatting next to Saito, connecting the second pipe.
Arthur: Put him down!
A crisp sound: Arthur looked up and found Saito pointing a gun to his head, a finger to his lips, motioning to stop making noise...
Interior view, dirty bathroom, time went on
Nash put his hand on Pushing Cobb's forehead back - we saw Cobb sitting in a chair in slow motion and starting to fall backwards.
Interior view, Japanese castle, huge stairs, at night
Cobb tried his best to calm himself, flipping through the last page quickly. He stared at the paper with a bewildered face--the security guards fired shots as they rushed up the stairs, and the bullets shot around him.
Interior view, dirty bathroom, daytime
Cobb fell onto the water in slow motion—as he continued to fall, the water covered his head.
Interior view, Japanese castle, huge stairs, at night
Cobb's gaze left the paper. When he looked up, the water broke through all the windows, and the flood sank to the bottom and flooded the entire hall ---
Cobb was instantly flooded from all directions Engulfed---He was either pushed deep or pulled onto the water. We couldn't tell for a while...
He broke through the water, struggling to breathe the air from the bathtub---
Interior view, dirty bathroom, daytime
Cobb woke up, breathing air quickly, while looking for his direction.
Saito broke into the bathroom and knocked Nash down --- Cobb jumped up from the bathtub, splashing water in the bathroom momentarily. Cobb flew into Saito and slammed him against the door—the gun fell to the ground, and Cobb's fist pressed against Saito's chin. The fight soon ended.
Interior, part of the destroyed room inside the hotel, later
Cobb sat whole body wet, but very calm, Saito put his hand on the gun. Nash twisted Saito's arm behind him. The sound of the riot outside got louder and louder.
Cobb: You came prepared.
Saito: I brought the gun because even the person in charge of my safety did not know this apartment. How did you discover it?
Arthur stood in front of the window, watching the violent clashes intensified outside.
Cobb: It is still very difficult for a high-ranking person like you to hide the love nest completely as a secret...especially when a married woman is involved.
Saito: She won't reveal...
Cobb: But, we came anyway.
Saito was silent.
Cobb: I'm caught in a dilemma.
Saito: You got what you wanted.
Cobb: That's not all. The most important information is not on it, right, Mr. Saito?
Arthur looked at Cobb with a worried look.
Arthur: They are getting closer, Cobb.
Interior view, bullet train carriage,
Toda puts a pair of earphones on Nash's ears during the day , and then takes out an MP3 player.
Interior view, partly destroyed room in the hotel, during the day
Saito's eyes looked at the floor.
Cobb: You kept some things, because you know the purpose of our trip is...
Cobb provoked Saito's jaw with the barrel.
Cobb: Why did you let us get involved?
Saito smiled, defiantly provocative. The sound of the riot echoed up the stairs...
Saito: This is a test.
Cobb: What to test?
Saito: It doesn't matter. You failed.
Cobb: We have stolen all the information you put there.
Saito: But your trick is too obvious.
Interior view, bullet-head high-speed rail carriage. During the day,
Toda opened a silver suitcase, revealing complex syringes, dosage controllers and other mechanical devices --- there are four metering controllers indicating that it is counting down.
Toda waited until the first countdown showed "30", and then he pressed the MP3 play button - he raised the volume while watching Nash's sleeping face...
the sound coming from the headphones on Nash's head : This is "No, I don't regret it at all" sung by Edith Piaf (Note 1).
The interior
scene , the partially destroyed room in the hotel. During the day, a strange and heavy and deep music sounded from the distant background. It sounded like the horn of a lucky party...
Saito: Don't bother me, go quickly.
Cobb: You know, the company that hired us will not accept our failure. We can't last two days...
The music slowly coming from a distance became louder and louder, and then shouts rushed upstairs. Arthur looked at his watch. Its slow second hand ticked the time while responding to the loud music.
Arthur: Hurry up, Cobb.
Cobb: So now we have to use simple and primitive methods -
Cobb grabbed Saito and pressed him to the ground, the gun pressed against his cheek. Saito stared into Cobb's eyes—provoking him whether he dared to pull the trigger. Saito blinked and looked away with a shame on
his face--- when he realized something, he started to laugh.
Saito: I always hate the carpets here.
Cobb glanced at the carpet, then returned.
Saito: It's dirty and tattered, but it's very special...
Cobb looked up at Nash, and he shrugged with a helpless look on his face.
Saito: But it is indeed a woolen blanket. And now I am lying on a piece of polyester fiber.
Cobb stared at Nash.
Interior scene, bullet-head high-speed rail carriage,
Toda saw the first row of numbers jump to zero during the day - he raised his eyes and looked at Arthur, his body moved slightly.
Interior view, a partially destroyed room in the hotel. During the day,
Saito turned over from the carpet and looked up at Cobb.
Saito: That means I am not lying on my carpet or in my apartment... (smiling) You really deserve a reputation, Mr. Cobb... I'm still dreaming.
Cobb looked at Arthur, but Arthur was gone.
Interior view, bullet-head high-speed rail carriage,
Arthur's eyes opened during the day and he woke up. He tore off his pipe.
Toda: How's it going?
Arthur: Not good.
Arthur checked the remaining three countdowns.
Interior view, a partially destroyed room in the hotel. During the day,
Saito stood up and looked at Cobb with appreciation.
Saito: This is a dream in a dream --- I can understand it.
Cobb put down his gun. Looks like a complete failure. He checked his watch. The music rang again, and the rioters banged against the door.
Interior view, bullet-head high-speed rail carriage, when
Arthur saw the next data jump to zero during the day , he put the tube into the suitcase.
Interior view, a partially destroyed room in the hotel, and
there was another bang on the door during the day — Saito now regained his confidence, and he walked towards Cobb. Nash is behind Saito.
Saito: But in my dream, I have to play according to my rules...
Nash: Ah, yes, but you know, Mr.
Saito — Saito turned to Nash —
Cobb: We are not with you In my dream —
Saito turned to Cobb again, but the material has disappeared —
Nash: We are in my dream.
Saito turned to Nash again—the door knocked over from the door, the rioters rushed into the house, the crowd swallowed Nash...but Nash also disappeared. The music stops. Saito and the rioters stood there, silent. The light gradually dimmed---
Interior view, bullet-head high-speed rail carriage, during the day
Nash opened his eyes and woke up.
Arthur (voice-over): Damn it!
Nash blinked. Arthur stood in front of him, looking very angry.
Arthur: How could you get the carpet wrong? !
Nash: It's not my fault!
Arthur: You are a designer —
Nash: I never thought he would rub the carpet with his cheek!
Cobb pulled Arthur away from Nash.
Cobb: Let's go.
Arthur: And you—what the hell is going on?
Cobb: I have a way to control it.
Arthur: I hate seeing the loss of control———
Cobb: We don't have time to do this anymore-I'm going to get off in Kyoto.
Arthur: Why? He doesn't check every car.
Cobb: I can't stand the train.
Arthur walked to the suitcase and adjusted the turntable.
Arthur: I can let him stay down for an extra minute —
Arthur pressed a button — a piston collapsed. Cobb pulled the tape off Saito's wrist and rolled up his tube. Arthur quickly closed the silver suitcase. Toda opened the door of the carriage ---
Cobb: Let's take care of ourselves.
Arthur and Nash walked out of the car door and ran in different directions along the corridor. Cobb threw a thick roll of cash to Toda, then looked at Saito, he was about to wake up. Cobb is gone.
Location, Japanese countryside, time continues the
bullet bullet high-speed train speeding through the lush countryside.
Interior view, bullet-head high-speed rail carriage. During the day,
Saito slowly woke up. He looked around the carriage, and only Toda was reading a comic. Saito looked down at his wrist and saw a small mark. He rubbed it with his hands and smiled.
Location, Tokyo, the dusk
camera sweeps over the vast city, and then zooms to a height. A helicopter appeared and was flying towards a landing platform on the top of the building.
Interior view, Tokyo, apartment, time continues to
Cobb sitting there waiting for others. He checked his watch and did not rest for a moment. He took out a gun, checked the loaded bullets, and put the gun on the table in front. He took out a tin-lead alloy spinning top and turned it on the table... He carefully examined the spinning spinning top---when he stared at it, the voice of the freight car became stronger and stronger---the spinning top began to swing. Steady, then tilted to one side---the sound of the train also stopped. The phone rang — Cobb grabbed the phone —
the voice of the children (from the phone): Hi, Dad! Hi, Dad.
Cobb: Hey, Xiaojiafu. howare you guys?
The children's voice (from the phone): Okay. Okay, I think.
Cobb closed his eyes and tried to imagine what the children looked like: Insert in the middle: Cobb's memory-a little blond boy (3 years old), with his back to us, crouched in the garden, watching Looking at something in the grass...
Cobb: Who said it was okay? Is it you, James?
James (from the phone): It's me. When will you come home?
Cobb: I can't, not yet.
Inserted in the middle: A little girl with blond hair (5 years old), same faceless, squatting beside him with James...
James (from the phone): Why?
Cobb: How do you say it, James, as I told you — I left home because I want to work...
Little girl (from the phone): Grandma said you will never come back.
Cobb paused and took a breath. Inserted in the middle: James and Philippa, their faces are invisible. They looked up from the grass and heard someone calling them—they ran across the garden and disappeared from our eyes...
Cobb: Philippa, Can you ask grandma to listen to the phone —
Philippa (from the phone): She is shaking her head.
Cobb was a little anxious, as if he was about to smash the phone.
Cobb: Well, we have to hope that grandma is wrong, okay?
James (from the phone): Dad?
Cobb: Say it?
James (from the phone): Is mom with you?
Cobb looked like he had been slammed---middle insertion: Cobb's memory---Mar appeared, the wind blew her hair, smiling calmly...
Cobb: No, no. We talked about, James. Mom is gone.
James (from the phone): Where did you go?
Grandma's voice (over the phone): It's time to go, children. Say goodbye ---
Cobb: I will bring the gift to grandpa, okay? You have to be good---
Cobb stared at the hanging phone. Then he drank his drink - at this time there was a knock on the door. Cobb grabbed the spinning top, the gun—walked to the door—opened the door: Arthur was seen in the crack of the door.
Arthur: Our vehicle has reached the top of the building.
Cobb nodded. He walked back to get the bag. Arthur watched.
Arthur: Cobb... Are you okay?
Cobb raised his head.
Cobb: It's okay, what's the matter?
Arthur: In the dream...Mar appeared like that...
Cobb: Yeah. I'm sorry for your legs.
Arthur: Things will get worse in the future, right?
Cobb: All you want is an apology, Arthur. Where is Nash now?
Arthur: It hasn't appeared yet. Do you want to wait for him?
Cobb (shaking his head): Two hours ago, we should have handed over Saito's expansion plan to the "Kobor Engineering Company". Now they know that we have failed. We'd better disappear right away.
Interior view, corridor, time continues
Cobb and Arthur walk towards the elevator.
Arthur: Where are you going?
Cobb: Buenos Aires. I can take refuge there. After things calm down. Maybe take a closer look at what work you can do. How about you?
Arthur: Back to the United States.
Cobb: Of course. Say hello to me.
Arthur looked at Cobb, nodded, sympathetic.
Location, the helicopter landing platform on the roof, the
helicopter is parked there at night , the propeller is spinning. When Cobb and Arthur walked to the cabin door, the cabin door opened. Cobb stepped into the leather padded cabin. He was stunned.
Interior scene, the helicopter on the landing platform, time went on,
Nash was beaten like a blood man, sitting a little farther away, with a look of depression as if drinking too much. Sitting next to him is Saito. He nodded to Cobb politely.
Saito: He betrayed you. He wanted to take refuge in me and bargain with his own life...
Saito's bodyguard handed Cobb a gun.
Saito: So I can satisfy you.
Cobb: This is not the way I act.
Saito: Do you still want to work with him?
Cobb shook his head. Saito's bodyguard dragged Nash out of the helicopter. Saito motioned to Cobb and Arthur to sit down. The helicopter flew up. Cobb watched Nash being dragged from the landing platform.
Cobb: What would you do with him?
Saito: Not very good. But I cannot represent your friend of "Kobol Engineering Company".
Saito watched the city slowly slip by.
Cobb: What do you want from us?
Saito: Implant ideas.
Arthur frowned. Cobb was expressionless.
Saito: Is it possible?
Arthur: Of course impossible.
Saito: Since you can steal ideas from other people's minds, why can't you put them in the other way?
Arthur: Okay, now I want to plant an idea: I say to you, "Don't think about elephants." (Saito nods) What are you thinking now?
Saito: Elephant.
Arthur: Yes, but it is not your own thoughts, because you know this is what I gave you.
Saito: You can implant your thoughts into your subconscious -
Arthur: The subject's mind can always trace the source of that thought. Real inspiration cannot be faked.
Cobb: No, it's not like that.
Saito: Can you do it?
Cobb: I don't want to do it.
Saito: In exchange, I can provide information that someone pays you to steal.
Cobb: Are you giving me a chance? I can figure out a way to settle the matter with the "Kobol Company".
Saito: So, you can indeed make a choice.
Cobb: Then I choose to leave.
Location, airport, the
helicopter later parked next to a private jet.
Interior view, helicopter, time continues
Saito points to the plane.
Saito: Tell the crew where you want to go and they will arrange and plan your itinerary on the way.
Cobb and Arthur looked at each other. Then they walked to the cabin door.
Saito: Mr. Cobb... I can offer you one more thing. (Cobb stops) Do you want to go home? Back to the United States. With the kids.
Cobb turned to Saito.
Cobb: You can't do that. No one can do it.
Saito: It's like implanting ideas.
Cobb thought about it. Arthur patted his arm.
Arthur: Cobb, let's go —
Cobb: How complicated is that idea?
Saito: Simple enough.
Cobb: There is no such thing as a "simple idea", if you want to plant it in other people's minds.
Saito: My main competitor is an old man whose health is deteriorating now. His son will soon inherit and control his company. I need him to make a decision to split his father’s industrial empire. This is a confrontation and challenge to his own interests.
Arthur: Cobb, we should avoid something like this.
Cobb: Assuming I am willing to do it, assuming I can do it... How do I know you can cash it out?
Saito: You don't know. But I can. How do you say, do you want a leap in faith, or wait for you to grow old in the future, full of regrets, waiting for death in loneliness?
Cobb looked at Saito and nodded slightly.
Saito: Gather your crew, Mr. Cobb. Be wise in your selection this time.
Interior view, private jet, later
Cobb leaned back in his seat. Arthur picked the salad and looked angry.
Arthur: I know how much you want to go back to your home ---
Cobb (sharply): No, you don't understand.
Arthur: But this can't be done.
Cobb: It can be done. You need to go deep enough.
Arthur: You don't even know! ———
Cobb: I have done it before.
Arthur was taken aback. Cobb turned to the window.
Arthur: Did it succeed?
Cobb (quietly): Yes.
Arthur: Who did you do to?
Cobb looked at Arthur and said nothing. Arthur shrugged.
Arthur: Then why did we fly to the quinoa?
Cobb: We need a new designer.
Interior view, School of Architecture, lobby. In the morning,
Cobb had a shopping bag in his hand and his eyes stretched out to the amphitheater: no students, only a wrinkled old professor bowed on a pile of books.
Interior scene, lecture theatre, time continues.
Cobb (voice-over): You never liked your office.
Professor Myers raised his head, searched with slanted eyes, and recognized Cobb.
Miles: There is no room for thinking in such a broom cabinet.
Cobb walked down the stairs, past rows of empty wooden seats.
Miles: Is it safe for you to come here?
Cobb: The extradition between Meiwei and Fawei is a bureaucratic nightmare.
Miles: I think they might change their style in your case.
Cobb handed Miles the shopping bag.
Cobb: Can you bring these to the kids?
Myers: Just by giving away some stuffed animal toys occasionally, I want to make sure that the children believe they have a father.
Cobb: I understand. I think you can talk to Mary about taking the kids on vacation. Somewhere I can meet them ---
Miles: Why does she listen to me?
Cobb: You have been married for 20 years.
Miles: She blames me as much as you.
Cobb: Doesn't she understand that the children need me?
Miles: No, she understands. We all understand. Go back to America and take responsibility, Dom. Talk about what Mar has done.
Cobb: Be realistic, Stephen. They will never understand - they will just lock me up and throw away the keys. Or worse.
Miles: Do you think what you are doing will help solve your case?
Cobb: Lawyers never pay for themselves. This is what I have. This is what you taught me.
Miles: I never taught you to be a thief.
Cobb: No, you taught me to control other people's minds. But since Mar's accident, I can no longer use all of the legal methods to use my skills.
Miles looked at Cobb.
Miles: Why are you here, Dom?
Cobb moved slightly.
Cobb: I found my way home. A job. Work for very powerful people. If I finish successfully, I can go home. But I need help.
Miles realized something.
Miles: My God. You are here to lead my smartest and best student.
Cobb: If your students are good enough, you have to let them make their own choices. You know I can provide ---
Miles: Money?
Cobb: No, it's not just money: an opportunity to build a cathedral and build an entire city — and things that have never existed before, and that can't exist in the real world...
Myers: Everyone dreams, Cobb. Designers naturally want to make their dreams come true.
Cobb: It's not like you said before. You told me that in the real world I would build rig development bases and gas stations. You said that once we have mastered the dream sharing method, we have a new set of construction methods and can show people our creativity. You tell me that this will set me free.
Miles looked at Cobb with a sad look.
Miles: Sorry, I was wrong.
Cobb: No, you are not wrong. Your idea is about pure creativity. We just used the wrong place.
Miles: Now you want me to find someone for you to follow you into the illusion.
Cobb: They won't really participate in the work, they just design the structure, and then teach the dreamer what level of environment there will be.
Miles: You can design it yourself.
Cobb: Mar won't let me do it.
Miles looked at Cobb with a look of horror.
Miles: Please come back to reality, Dom.
Cobb: Do you want to know what is true, Stephen? Your grandson is looking forward to their father coming home. This job—the last job—can help me realize my dream of returning home.
Myers lowered his head and fiddled with the pages of the book involuntarily.
Cobb: If there is another way, I won't stand here. I can go home. But I need a designer as good as me before.
Miles looked into Cobb's eyes and decided.
Miles: I have a better one.
Interior, corridor,
where Miles and Cobb stood later , a large group of students just finished class.
Miles: Ariadney...
a young woman with a book in her hand turned around. She is Ariadni.
Miles: Let me introduce Mr. Cobb to you.
She glanced at him quickly, then stretched out her hand.
Ariadni: Nice to meet you.
Myers: If you have time, Mr. Cobb has a job offer and would like to talk to you.
Ariadney: Internship or something?
Cobb (smiling): Not exactly.
Location, School of Architecture, roofs, later
Ariadne against the railings overlooking Paris. She opened a sandwich and watched Cobb pull out a chart paper book and a pen. This is what he offers. She took a bite of the sandwich.
Cobb: This is a test.
Ariadney (mouth full of food): Are you not going to tell me something?
Cobb: Before I describe this work, I must understand that you can do it.
Ariadney: Why?
Cobb: Strictly speaking, this is illegal work.
Ariadney frowned.
Cobb: Give you two minutes to design a maze that takes one minute to solve.
Ariadney took the chart book and pen. Cobb looked at his watch.
Cobb: Start.
She began to draw lines in the grid and build a maze.
Cobb: Stop.
Ariadne returned the chart book and pen to Cobb. He looked at the chart book, then stared into her eyes, and pointed out the solution. She was taken aback. Cobb tore off the paper and returned the chart book to her.
Cobb: Come again.
She traced the straight line and concentrated on...
Cobb: Stop.
She handed the Cobb chart book, a little smug. Cobb solved the mystery quickly, just like before. His smile disappeared.
Cobb: You must...
She grabbed the chart book, a little desperate... But this time she turned the chart book over and started drawing on the blank back. Cobb looked at it, a little surprised. When he saw her drawing circles, she created a maze based on concentric circles, and he smiled.
Ariadney handed back the chart book with a provocative expression. Cobb picked up the pen and began to explore the maze. This time he was fascinated and nodded.
Cobb (calculating the maze): More designs like this.
Location, Paris, narrow street,
Arthur stopped at the door of a warehouse during the day . Refer to the paper in hand.
Interior, studio, time continues
a huge, dusty warehouse. The sliding door opened with a clatter. Arthur went in and looked around with an admiring expression.
Interior view, same as above, time continues
Arthur drags the recliner to the center of the room. He set up a table, lined up several silver suitcases, opened them, arranged the pipelines and mechanical devices...
Exterior view, a cafe in Paris,
Cobb and Ariadney were sitting at the table outside the house during the day .
Cobb: Some people say that we only use part of the true potential of the brain... but people say that when we are awake. However, in sleep, the brain has extraordinary functions.
Ariadney: For example?
Cobb: How do you imagine a building? You will consciously create all aspects of it...At some stage, you will be a little confused... But sometimes, when your imagination is flying ---
Ariadne: I am discovering it.
Cobb: That's right. Real inspiration.
Cobb leaned forward and began to draw on the paper tablecloth.
Cobb: In a dream, your brain will keep doing this...
Cobb drew a circle of two arrows.
Cobb: We create while perceiving our world. Our brains are so good that we don't even know that our brains are making such creations. This is why we can shorten the whole process...
Ariadni: How to do it?
Cobb: Create this part through direct intervention.
Cobb drew a straight line between the two arrows.
Cobb: This is where you get involved. You create the world of dreams. We bring the subject into the dream, and then let him use his subconscious mind to enrich the whole dream.
Ariadni: Does this mean you want to fool him and make him treat his dreams as real life?
Cobb (nodding): But we are here, we don't want him to realize that he is dreaming.
Ariadney: How can I get enough details to make him believe it is true?
Cobb: When we dream, we feel very real. Only when we wake up, we will realize that things are strange.
Ariadni pointed around them with her fingers——
Ariadni: But all these real-life textures——stones, textiles, cars...the crowd...Your mind can't create all of this.
Cobb: Yes, every time you dream. Let me ask you a question: You never remember when the dream started, did you? You only start to show up when things are in the middle.
Ariadni: I guess so.
Cobb: So... how did we end up in this hotel?
Ariadni: Before we came here, it was...
Ariadni was a little lost and confused.
Cobb: How did we get here? Where are we now?
Ariadney thought, couldn't remember. The scene began to vibrate slightly.
Ariadney: Oh, my God. We are dreaming.
Cobb nodded. The vibrating rumble is also constructed.
Cobb: Keep calm. We are actually dreaming in the studio. This is your first lesson in sharing dreams, remember?
Ariadney looked around, her mind spinning. Cobb is ready ---
The hotel began to fall apart completely. The outward explosion was connected to the inward explosion. There were fragments of furniture and walls everywhere, and the crowd blew up. Ariadne wondered why such a huge destruction quickly appeared around them. The cloth protects his head so as not to be injured by the debris. She saw him————
Ariadni (screaming amidst the noise): If this is just a dream, why do you want to protect yours————
Ariadni was overturned from her position by a huge blast wave- -
interior, studio, daytime
Cobb (voice-over): because it was never just a dream.
Ariadney turned to listen to Cobb's voice. They both sat on the deck chairs. Arthur looked at them from a distance.
Cobb: A face pierced by broken glass would hurt to death, wouldn't it? Although we are in a dream, it is true.
Arthur: That's why the military has developed a dream sharing system so that soldiers have a place to choke each other's throat, stab each other with knives, shoot bullets, and wake up.
Ariadni: What does the designer have to do with this?
Cobb: Someone must design the dream. (To Arthur) Give us another five minutes.
Ariadney: We just slept for five minutes? We talked for at least an hour...
Cobb: When you are dreaming, your mind works faster, so time seems to pass more slowly.
Arthur: Five minutes in the real world is equivalent to an hour in a dream.
Cobb: Let's see how much trouble you can cause in five minutes.
Location, the same Parisian streets, during the day
Ariadney and Cobb walk along the crowded streets together. Cobb looked around at the streets and cafes, full of joy.
Cobb: The environment is good. You already have a coffee shop, the basic layout...you forgot the bookstore, but there should be everything else here.
Ariadne looked at the passing pedestrians.
Ariadney: Who are these people?
Cobb: They are all projections of my subconscious mind.
Ariadney: Yours?
Cobb: Of course - you are the dreamer, and I am the subject of the dream. My subconscious is flooding your world. This is a way for us to get the subject's thoughts-his brain created these people, so theoretically, we can talk to his subconscious mind.
Ariadni: Have you experienced anything else?
Cobb: Architecture. Build a bank vault or a prison, some safe places, so that the subject's mind will want to put the information to be protected in it.
Ariadni: Then you broke in to steal this information.
Cobb: That's it.
Ariadni was curious about the details on the street.
Ariadni: I like the accurate perception of these things—(stomping) there really is weight, you understand? I originally thought that the space in the dream was only related to the visual image, but now it looks more like it is related to the feeling. The question is, what will happen if you want to violate the laws of physics...
She stares at the street intensively. The street begins to fold in half—every side of the building is folded inward to form an inner urban cube. The gravity of the earth acts on its own plane alone. Ariadney looked up and down at the crowd on the opposite surface of the city. Cobb watched her excitement.
Ariadney: Pretty spectacular, isn't it?
Cobb (calmly): Yeah, that's it.
They continued to move forward, and Ariadne noticed more and more "projections" staring at her.
Ariadney: Why are they staring at me?
Cobb: Because you are changing things. My subconscious senses that others are building this world. The more things you change, the faster these "projections" will gather towards you.
Ariadney: Gathering?
Cobb: They felt the heterogeneity of the dreamer, just like aggressive white blood cells fighting infection.
Ariadni: Will they attack me?
Cobb: Actually, only attacking you.
They continued walking along the street, and then came to another level where gravity works. They took another level and continued to walk until they came to a river. As Ariadni walked over, there were footsteps on the slate, and she led Cobb onto a small breakwater. She was engrossed in her thoughts, pillars appeared on the river, a bridge began to rise from the breakwater, and began to stretch to the opposite bank. They walked on the bridge, and the bridge began to extend. Cobb has seen this.
Cobb: It's beautiful... but if you continue to change things...
the person on the opposite bridge glared at Ariadni. When several people passed by, they bumped into her shoulder.
Ariadni: Please tell you that subconscious recognition is too nervous?
Cobb: This is why it is called the "subconscious." I did not control it.
The bridge now crosses the Seine. Cobb was amazed.
Cobb: Arched stone bridge... Iron pillars...
Cobb stopped, thinking about something, and suddenly remembered.
Camera insertion: Mar, with her hair blowing in the wind, she turns to Cobb, smiling, and then laughing. He smiled right. They are standing on the same bridge.
Cobb: I know this bridge. This place is
real—( sternly) This is not what you imagined, it is what you remember... Ariadney (nodding): I pass this place every day when I go to school. A bridge.
Cobb: Don't use memory to create a place, imagine a new place every time.
Ariadni: You have to extract from what you know -
Cobb (nervous): Just use small pieces - such as a street lamp, telephone booth, some kind of brick - not the whole environment.
Several people around responded to Cobb's attitude...
Ariadni: Why not? Because you use memory to build dreams, you will be easily lost, and you will not be able to distinguish what is reality and what is dream?
Ariadney: Have you encountered such an experience?
Cobb said nothing. He stood there, staring at Ariadney. People around her surrounded the place where she stopped, full of hostility.
Cobb: Listen, it’s not about me —
Cobb reaches out to grab Ariadni’s arm and turns her around to face him —
Ariadni: Is that why you need it? Why am I here to make your dreams?
A passerby grabbed Ariadni by the shoulder—
Cobb: Let go of her—
more people joined in. Some dragged Ariadni, some grabbed Ariadni's arms — Cobb separated the crowd — — the crowd pushed him away — Cobb saw someone passing through the crowd, straight Ariadni, who is in a difficult situation --- she is Mar. Mar started striding over - Ariadney stared at her with a flustered expression.
Ariadney: Wake me up, Cobb.
Mar came over and took out a big knife.
Cobb: Mar, don't!
Ariadney: Wake me up!
Mar stabbed Ariadni's body with a knife, and Ariadni screamed---
Interior view, studio. During the day,
Ariadni woke up with shortness of breath. Arthur walked towards her————
Arthur: It's okay.
Ariadni: Why can't I wake up by myself?
Arthur: The only way to wake up from a dream is to die in a dream.
Cobb sat on the couch opposite and tore off the tube from his hand.
Cobb: She needs a totem.
Ariadney: What?
Arthur: Totem is a kind of personal worship. It's just a little thing that can always follow you, and no one else knows it.
Cobb stood up and Ariadney stared at him, a little angry. He walked to the bathroom.
Ariadney: Your subconscious mind is really powerful, Cobb. (Shouting following him) She is such a beautiful woman!
Arthur: It sounds like you met Mrs. Cobb.
Ariadney (surprised): Is she his wife?
Arthur nodded and tore off Ariadney's tube.
Arthur: Look, totem. You need a small object, which is actually a bit heavy ...
Interior view, studio, bathroom, time continues.
Cobb took out his tin-lead alloy spinning top and turned it on a marble table...
Interior view, studio, As time went on,
Ariadney looked at Arthur, a little surprised and confused.
Ariadney: Like a coin?
Arthur: It's too common. Your totem should have the weight and movement that only you know.
Interior, studio, bathroom, time continues.
Cobb has been staring at the spinning top and it starts to spin slower and slower, and he is about to stop. His expression also begins to become more and more weird...
Interior, studio, time continues
Ariadni : What is yours?
Arthur: A dice filled with lead.
Ariadney stretched out her hand to get it---Arthur flashed over and sat aside---
Arthur: I can't let you touch it. This is a very crucial point. No one else knows its smoke volume and balance point.
Ariadney: Why?
Arthur: When you examine your own totem...
Interior view, studio, bathroom, time continues
Cobb's spinning top starts to shake and stops.
Arthur (Voiceover): You know, in this way, you don't have any doubts, you won't be in someone else's dream.
Cobb grabbed the top like a drowning straw grabbing a life-saving straw.
Interior, studio, time continues
Ariadni thinking about what just said.
Ariadni: For me, this is not a problem.
Arthur: Why not?
Ariadney: Arthur, maybe you can't see what happened there? Or maybe you don't want to see it. But Cobb's problem is that he wants to bury his problems there. I didn't intend to open my mind to people like him.
Ariadni stood up and walked away.
Cobb (voice-over): She will be back.
Arthur turned around. Cobb was standing at the door of the bathroom.
Cobb: I haven't encountered any enrollment so fast before. Now reality can no longer satisfy her. When she comes back, she will be asked to build a maze.
Arthur: Where are you going?
Cobb: I'll talk to Ames.
Arthur: Ames? But he is in Mombasa, Kenya. That is the base of the Kobol Company.
Cobb: The risk is worth taking.
Arthur: There are many other thieves.
Cobb: We don't just need thieves. We need a pretender.
Interior view, Mombasa, gambling cave,
crowded with people during the day , smoky, people coming and going. A westerner (40 years old), wearing a shabby suit, is engrossed in a game of dice. He is Ames. He fiddled with his last two chips.
Cobb (Voiceover): No matter how hard you rub it, you won't be famous.
Ames raised his head to meet Cobb.
Ames: You will never know.
Ames throws his last bargaining chip. The dice are rolling...
Cobb: What to drink?
Ames lost.
Ames: Your treat.
Cobb followed Ames. Ames magically made two stacks of chips and placed them in front of the cash exchange. Cobb took one from above and squinted at the embossed name on it.
Cobb: Your spelling hasn't improved much.
Ames grabbed the chip and handed it to the cash changer.
Ames: Get out.
Cobb: How is your handwriting?
Ames took his money and looked at Cobb with a smile.
Ames: Omnipotence.
Interior, Mombasa, street, time continues
Ames leads Cobb on a quiet street.
Ames: There is news that you are not welcome in this place.
Cobb: Really?
Ames: The Kobol Engineering Company is bidding to buy your head on the neck. It's really a big price.
Cobb: You won't betray me.
Ames looked at Cobb, feeling a little offended.
Ames: Of course I will.
Cobb (smiling): If you know what I'm peddling, you won't.
Exterior view, the balcony of
a cafe, and later a crumbling balcony overlooking a broken street. Ames toasted and swigged.
Cobb: Implant ideas.
The Eames cup stopped in the air before it was raised to the lips.
Cobb: Don't be annoying to tell me that it's impossible.
Ames: It is entirely possible. It's just too damn difficult.
Cobb: This is what I said to Arthur repeatedly.
Ames: Arthur? Do you still work with that stubborn guy?
Cobb: He has his expertise.
Ames: His specialty is the best. But he has no imagination. If you want to implement the implantation of ideas, you need imagination.
Cobb: Have you done it before?
Ames: Yes and no. We tried. The idea was in place, but it didn't work.
Cobb: Are you not deep enough?
Ames: It's not just a matter of depth. You need the simplest version of mind—the kind that can grow naturally in the subject's mind. Very delicate art.
Cobb: That's why I am here.
Ames: What kind of idea do you need to implant?
Cobb: We want the heir to a large company to break down his father's empire.
Ames: You see, you can think about it from a variety of political motivations, antitrust sentiment, and so on. The key point is what prejudices your subject has — you must figure out the most basic.
Cobb: For example?
Ames: Relationship with his father. (Drinking a glass of wine) Do you have a pharmacist?
Cobb shook his head.
Ames: There is a personal choice here. His name is Yusuf. He used his own formula to synthesize medicine.
Cobb: Then let's watch him go.
Ames: After you get rid of your tail. (Cobb reacts) The man behind you at the bar wears a blue tie. He came in two minutes after we came here.
Cobb: From Koboer Engineering Company?
Ames: They almost controlled Mombasa.
Cobb looked out to the balcony.
Cobb: You interrupt me. See you downstairs in half an hour.
Ames: Come back here again?
Cobb: They don't even dream of it.
Ames drank, got up, and walked to the businessman.
Ames: Freddie!
The businessman looked up, a little embarrassed.
Ames: Freddie Symonds, it turned out to be you!
Cobb rolled over the balcony blankly and suddenly jumped into the crowd in the street below.
Ames (with a stiff expression): Oh, no, I've admitted the wrong person.
Location, Mombasa, street, time continues.
Cobb stands up and pushes into the crowd — a few faces staring at him — he continues walking, trying to avoid others' eyes as much as possible — turning a corner, There was another person stalking him standing there.
Cobb (smile to ease the atmosphere): Is there something?
The second person to follow: We need ---
Cobb hits head-on to the second person who is following, pushes him away and runs --- the
first person to follow rushes out of the bar, sees Cobb realizes it, and runs away Come and catch him --- Cobb bit his scalp and rushed forward, smashing away from the dense crowd, and flashing out a way, he just bumped
into the crowd of locals... He walked into a dark and dark house. In the coffee shop crowded with customers, he quickly scanned the table inside...The first person to follow came in and saw him. An African blocked Cobb's way frontally, and talked about him in Swahili forever-Cobb recognized his choice... The first person to follow took out his gun-Cobb Meng He jumped up, stepped on the table, flew out from the open window, and disappeared into the alley outside...
Cobb looked back and forth... Then he ran to the left into a narrow and crowded alley-the alley But there is a dead end at the end. Faces in the crowd began to stare at Cobb—the people began to surround him——Cobb looked back at the path he walked——the two stalkers stood there and pulled out. He took the gun—
Cobb saw a small gap between the two buildings at the narrow end of the alley—he squeezed in—but got stuck in the
middle ... someone in the crowd bent over. I wanted to catch Cobb while he was struggling to squeeze through the gap... Cobb moved a little bit, but the people who chased him quickly came to him... The crowd covered him... He managed to escape. He fell hastily on the second street and quickly slipped out of sight.
Cobb jumped up abruptly when he was at a market stall. Two more people were following, and they ran towards him. Cobb ran away, but an oncoming car blocked his way — the door opened — Saito sat in the back seat of the car.
Saito: Do you need a ride, Mr. Cobb?
Cobb: What are you doing in Mombasa?
Saito: I will protect my investment.
Location, coffee shop, later
Ames stood on the sidewalk. The car stopped. Cobb beckoned from the rear window. Ames looked at Saito and walked back to Cobb.
Ames: Is this what you use to flick your tail?
Cobb (shrugs): This tail is different.
Interior, studio,
Arthur is sitting at a table during the day , manipulating a set of mechanical devices. A small cough made him look up: Ariadni was standing there.
Arthur: He said you will come back.
Ariadney: I can't try to come.
Arthur: But all this is indeed extraordinary.
Ariadni: No paper, no pen... There is no barrier between you and nature, pure creation.
Arthur picked up his mechanism.
Arthur: Let's take a look at paradoxical architecture, right?
Ariadne nodded, took off his jacket ---
interior, Penrose stairs, later
Arthur led the Ariadne walked into the atrium of a huge glass and steel office complex along the busy stairs.
Arthur: If you want to build a three-layer complete dream, you must master some tricks.
As they passed by, a secretary dropped some paper...
Ariadni: What kind of trick?
They came a ninety-degree turn, and then went on down a flight of stairs.
Arthur: In your dreams, you can fool architectural structures and shape them into impossible shapes. That allows you to create closed routes, just like the impossible stairs named "Penrose", which are endless stairs.
Ariadni was stunned---they went back to the point where they had just started, where the secretary picked up the dropped paper.
Ariadni was stunned by the incredible construction of the stairs.
Arthur: I see...
Arthur stopped her gently... They stood on the highest stairs, and then there was a huge drop that connected the next flight of stairs.
Arthur: Paradox. Such a closed route will help you hide the boundaries of the dreams you create.
Ariadni: How big should these dream layers be?
Arthur: It can be any size, from the floor of a building to the entire city. But they must be complex enough so that we can escape those "projections."
Ariadney: A maze.
Arthur: And the more complicated the maze...
Ariadni:... The more time we have to deal with the "projection".
Ariadney looked around. She saw people staring at Arthur.
Ariadni: My subconscious seems to be much more civilized.
Arthur: Wait and see, they will also become hideous. No one likes to see other people churning in their heads.
Ariadney: Cobb can no longer dream, can he?
Arthur: I don't know if he can, but he doesn't want to. He thought it would be safer if he didn't know those designs.
Ariadney: Why?
Arthur: He didn't want to tell me. I think it's because of Mar. I think her control is getting stronger and stronger.
Ariadni: His ex-wife?
Arthur: She is not his predecessor.
Ariadney: Are they still together?
Arthur turned to Ariadney with a gentle expression.
Arthur: No, no. She is dead, Ariadney. All you see there is his projection of her.
Ariadni: What is she like in real life?
Arthur (calmly): She is cute.
Location, Mombasa, old city, roof, during the day
Saito put a file in front of Cobb: there are photos, documents. After Cobb looked through it, he passed them to Ames.
Saito: Robert Fisher, 32 years old. He is the heir to Fish Morrow Energy Group.
Cobb: What is your holiday with this fisher?
Saito: This is not your concern.
Cobb: This is not your usual corporate espionage, Mr. Saito. This time it was "implantation of ideas." The seeds of ideas we plant will grow in this man's mind. This will change everything about him. This idea may define what kind of person he becomes.
Saito looked at Cobb.
Saito: My original advice to you is that you don't have to be so vigilant and alert all the time.
Cobb: Then you need a new original plan, Mr. Saito.
Saito pondered Cobb's words and shrugged.
Saito: Fish Morrow has taken control of everything. Our company is finally able to compete with it, but our competitiveness has faded. Soon they will be able to control half of the world's energy supply. They will also have the power to threaten the government and monopolize policies. In fact, they became the new superpower. The world relies on Robert Fisher to change his mind.
Ames: This is the task we want to participate in. What is the relationship between Robert Fisher and his father?
Saito: Rumor has it that their relationship is very complicated.
Cobb: But we can't just work on rumors, Mr. Saito.
Ames singled out a photo: a famous executor (68 years old).
Ames: Can I get close to this person? Browning. Old Fish's right-hand man. Little Fish's godfather.
Saito: It should be possible. As long as you can get a proper referral letter.
Ames: The referral letter can be regarded as my specialty, Mr. Saito.
Location, Mombasa, old building, later,
Ames led Cobb and Saito, came to a door along a bumpy road.
Interior view, stairwell, time continues, the
paint on the stairs is a little off, and flies are flying. They came to a dusty glass door reinforced with wire mesh. Ames opened the door——
Interior view, pharmacy, time continued
The wooden shelves in the house are stacked on top of each other, with hundreds of dusty bottles of various shapes and colors on them. At the far end, a nearly 40-year-old man stood up from behind the table and greeted the people who came in. He is Yusuf.
Yousef: Come in, come in.
Ames held Yusuf's hand. Yusuf stopped beside Cobb.
Yusuf: Ah, hello, Mr. Cobb. I've been admiring the name for a long time. (Pointing to the chair) Please sit down.
Yusuf drove the cat away from the chair Saito was going to sit on.
Yusuf: Damn cat!
Yusuf walked to a shelf and reached for the bottle on it. There are no labels on the bottles.
Youssef: I think you are dreaming with "Somnesin", Mr. Cobb?
Cobb: You are we
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