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[Scene cuts to all team members waking up on the plane, Saito gives a look of appreciation to Cobb for going into Limbo to pull him out. [The plane is about to land] Cobb looks at Saito to see if he will honor the agreement. Saito makes a phone call. Each team member passes through customs, Cobb goes last; Cobb is able to safely walk through without being arrested. Miles is at pickup to take Cobb home.]
Miles: Welcome. This way.
[Cobb has a look of joy finally going back home. Cobb arrives home happy to see his children, but after thinking about the events of the day, decides to check his reality one last time with the spinning top, [As the top spins] Cobb see's his children outside as they usually appear in his dreams but now visibly older.]
Miles: James? Phillipa? Look who's here [Unlike in his dreams. The kid's look up and see their father and run to him]
Cobb: Hey...Hey, guys! Hey! How are you?
Phillipa: DADDY! DADDY!
James: DADDY!
[Cobb runs to embrace his children. Miles smiles as he goes inside]
Cobb: How are you?
James: Look what I've been building.
Cobb: What are you building.
James: We're building a house on the cliff!
Cobb: On a cliff? Come on...I want you to show me. Can you show me?
James: Let's go.
Phillipa: Come on, Daddy!
[Scene transitions back over to the spinning top...still...spinning...but...just as the top begins to topple, the scene cut's to black. [movie ends] ]
Miles: Welcome. This way.
[Cobb has a look of joy finally going back home. Cobb arrives home happy to see his children, but after thinking about the events of the day, decides to check his reality one last time with the spinning top, [As the top spins] Cobb see's his children outside as they usually appear in his dreams but now visibly older.]
Miles: James? Phillipa? Look who's here [Unlike in his dreams. The kid's look up and see their father and run to him]
Cobb: Hey...Hey, guys! Hey! How are you?
Phillipa: DADDY! DADDY!
James: DADDY!
[Cobb runs to embrace his children. Miles smiles as he goes inside]
Cobb: How are you?
James: Look what I've been building.
Cobb: What are you building.
James: We're building a house on the cliff!
Cobb: On a cliff? Come on...I want you to show me. Can you show me?
James: Let's go.
Phillipa: Come on, Daddy!
[Scene transitions back over to the spinning top...still...spinning...but...just as the top begins to topple, the scene cut's to black. [movie ends] ]
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[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 I met in a half-remembered dream. A man possessed of some radical notion.
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 I met in a half-remembered dream. A man possessed of some radical notion.
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[The last scene in limbo, Saito's dining room]
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 honor our arrangement...
Cobb: ...To take a leap of faith, yes. Come back. So we can be young men together again... Come back with me...Come Back.
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 honor our arrangement...
Cobb: ...To take a leap of faith, yes. Come back. So we can be young men together again... Come back with me...Come Back.
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[The team are discussing a method to get Fischer by himself]
Eames: He hasn't got any surgery scheduled, no dental, nothing.
Cobb: Wasn't he supposed to have a knee operation?
Eames: Nothing. Nothing that they'll put him under for, anyway. 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 were unexpected maintenance with his plane...
Arthur: It would have to be a 747.
Cobb: Why is that?
Arthur: Cause on a 747 the pilots 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 10 hours...Ariadne? Terrific work, by the way.
Eames: He hasn't got any surgery scheduled, no dental, nothing.
Cobb: Wasn't he supposed to have a knee operation?
Eames: Nothing. Nothing that they'll put him under for, anyway. 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 were unexpected maintenance with his plane...
Arthur: It would have to be a 747.
Cobb: Why is that?
Arthur: Cause on a 747 the pilots 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 10 hours...Ariadne? Terrific work, by the way.
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[The team are standing in the first constructed dream level, an empty city]
Eames: On the top level, we open up his relationship with his father. Say, "I will not follow in my father's footsteps". Then, the next level down, we feed him "I will create something for myself". Then, by the time we hit the bottom level, we bring out the big guns:
Cobb: My father doesn't want me to be him.
Eames: Exactly.
Eames: On the top level, we open up his relationship with his father. Say, "I will not follow in my father's footsteps". Then, the next level down, we feed him "I will create something for myself". Then, by the time we hit the bottom level, we bring out the big guns:
Cobb: My father doesn't want me to be him.
Eames: Exactly.
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[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. 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 here to figure out, right. Now Robert's relationship with his father is stressed, to say the least.
Eames: Well can we run with that? We could suggest him breaking up his fathers company as a "screw you" to the old man.
Cobb: No, cause 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: Alright, well, try this? "My father accepts that I want to create for myself, not follow in his footsteps."
Cobb: That might work.
Arthur: Might? Were gonna 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?!
Cobb: Inception's not about being specific. When we get inside his mind, we're gonna have to work with what we find.
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. 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 here to figure out, right. Now Robert's relationship with his father is stressed, to say the least.
Eames: Well can we run with that? We could suggest him breaking up his fathers company as a "screw you" to the old man.
Cobb: No, cause 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: Alright, well, try this? "My father accepts that I want to create for myself, not follow in his footsteps."
Cobb: That might work.
Arthur: Might? Were gonna 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?!
Cobb: Inception's not about being specific. When we get inside his mind, we're gonna have to work with what we find.
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[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.
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.
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[laughs] ..."Did you see that?" [everyone is asleep]
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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.
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Ariadne, do you remember how we came here? We always find ourselves in middle of the dream. Most of us, don't remember how our dreams started, it requires years of practice.
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Cobb! Wake me up! Wake me up!!
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Downward is the only way forward.
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Dreams feel real while we're in them. It's only when we wake up that we realize something was actually strange.
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How do I drop you without gravity?
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Mind telling your subconscious to take it easy?