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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 bring his father. You know, I--Actually, I have a question about this layout –
Cobb: No, 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: You mean in case you bring Mal in. You can't keep her out, can you?
Cobb: Right.
Ariadne: You can't build because if you know the maze, then she knows it. Well, 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 rather I did.
Cobb: No, 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: You mean in case you bring Mal in. You can't keep her out, can you?
Cobb: Right.
Ariadne: You can't build because if you know the maze, then she knows it. Well, 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 rather I did.
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Ariadne: [to Cobb] When were you in Limbo?...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 minute, you might bring a freight train through the wall. The truth that Mal is bursting through your subconscious, The truth that 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: We were working together. We were exploring the concept of a dream within a dream. I kept pushing things. I wanted to go deeper and deeper. I wanted to go further. I just didn't understand the concept that hours could turn into years down there...that we could get trapped so deep that when we...when we would up on the shore of our own subconscious, we lost sight of what was real. We created. We built the world for ourselves. We did that for years. We built our own world.
Ariadne: How long were you stuck there?
Cobb: ...Something like 50 years.
Ariadne: Jesus. How could you stand it?
Cobb: It wasn't so bad at first, feeling like gods.The problem was knowing that none of it was real. Eventually, it just became impossible for me to live like that.
Ariadne: And what about for her?
Cobb: She had locked something away, something deep inside her. A truth that she had once known, but chose to forget. Limbo became her reality.
Ariadne: What happened when you woke up?
Cobb: Well, to wake up from that after years, after decades. To become old souls thrown back into youth like that? I knew something was wrong with her. She just wouldn't admit it. Eventually, she told me the truth. She was possessed by an idea. This one very simple idea that changed everything. That our world wasn't real. That she needed to wake up to come back to reality...that in order to get back home...we had to kill ourselves.
Ariadne: What about your children?
Cobb: She thought they were projections. That our real children were waiting for us up there somewhere.
[Mal yelling to try and convince Cobb they are still dreaming as Cobb carries the children into the next room. "Mal": I'm their mother!. "Cobb": Calm down . "Mal" Don't you think I can tell the difference. "Cobb": If this is my dream, why can't I control this? "Mal": BECAUSE YOU DON'T KNOW YOUR DREAMING.]
Cobb: She was certain there was nothing I could do no matter how much I begged, no matter how much I pleaded. She wanted to do it, but she could not do it alone. She loved me too much, so she came up with a plan on our anniversary.
Cobb: Truth? What truth?
Ariandne: The truth that, at any minute, you might bring a freight train through the wall. The truth that Mal is bursting through your subconscious, The truth that 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: We were working together. We were exploring the concept of a dream within a dream. I kept pushing things. I wanted to go deeper and deeper. I wanted to go further. I just didn't understand the concept that hours could turn into years down there...that we could get trapped so deep that when we...when we would up on the shore of our own subconscious, we lost sight of what was real. We created. We built the world for ourselves. We did that for years. We built our own world.
Ariadne: How long were you stuck there?
Cobb: ...Something like 50 years.
Ariadne: Jesus. How could you stand it?
Cobb: It wasn't so bad at first, feeling like gods.The problem was knowing that none of it was real. Eventually, it just became impossible for me to live like that.
Ariadne: And what about for her?
Cobb: She had locked something away, something deep inside her. A truth that she had once known, but chose to forget. Limbo became her reality.
Ariadne: What happened when you woke up?
Cobb: Well, to wake up from that after years, after decades. To become old souls thrown back into youth like that? I knew something was wrong with her. She just wouldn't admit it. Eventually, she told me the truth. She was possessed by an idea. This one very simple idea that changed everything. That our world wasn't real. That she needed to wake up to come back to reality...that in order to get back home...we had to kill ourselves.
Ariadne: What about your children?
Cobb: She thought they were projections. That our real children were waiting for us up there somewhere.
[Mal yelling to try and convince Cobb they are still dreaming as Cobb carries the children into the next room. "Mal": I'm their mother!. "Cobb": Calm down . "Mal" Don't you think I can tell the difference. "Cobb": If this is my dream, why can't I control this? "Mal": BECAUSE YOU DON'T KNOW YOUR DREAMING.]
Cobb: She was certain there was nothing I could do no matter how much I begged, no matter how much I pleaded. She wanted to do it, but she could not do it alone. She loved me too much, so she came up with a plan on our anniversary.
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Ariadne: I guess I thought that the dream space would be all about the visual, but it's more about the feel of it. My question is what happens when you start messing with the physics of it all?
[Ariadne folds the city in on itself]
Ariadne: It's something isn't it
Cobb: Yes, it is
[Projections start to stare at Ariadne as they walk by]
Ariadne: Why are they all looking at me?
Cobb: Cause my subconscious feels that someone else is creating this world. The more you change things, the quicker the projections start to converge on you.
Ariadne: Converge?
Cobb: They sense the foreign nature of the dreamer. They attack, like white blood cells fighting an infection.
Ariadne: What, they're gonna attack us?
Cobb: No, no....Just you.
[Ariadne creates a bridge]
Cobb: This is great, but I'm telling you, if you keep changing things like this...
[One of Cobb's projections bumps into Ariadne]
Ariadne: Jeez, mind telling your subconscious to take it easy?
Cobb: It's my subconscious. Remember? I can't control it.
[Ariadne comes to a stop, Pulls two mirrors together and creates a pathway]
Cobb: Very impressive. [Cobb starts to realize the location]. I know this bridge. This place is real, isn't it?
Ariadne: Yeah, I cross it every day to get to the college.
Cobb: Never re-create places from your memory. Always imagine new places.
Ariadne: You gotta draw from stuff you know, right?
Cobb: [Cobb starts to become nervous] Only use details. A streetlamp or a phone booth, Never entire areas.
Ariadne: Why not?
Cobb: Building a dream from your memory is the easiest way to lose your grasp on what's real and what is a dream.
Ariadne: Is that what happened to you?
Cobb: Listen to me. [Cobb grabs Ariadne, All projections stop and stare] This has nothing to do with me, understand?
Ariadne: Is that why you need me to build your dreams?
[Projections start to converge on Ariadne, Cobb tries to fight them off]
Cobb: Hey, get off her. Back up. Back up
[Projections separate Ariadne from Cobb]
Ariadne: Hey. [Ariadne begins to yell for cobb] COBB! COBB!
Cobb: GET OFF OF HER!
Ariadne: LET ME GO! LET ME GO!
Cobb: MAL! MAL!
Ariadne: COBB! WAKE ME UP!
[Cobb's projection of his wife, walks up and stabs Ariadne, waking her up]
[Ariadne folds the city in on itself]
Ariadne: It's something isn't it
Cobb: Yes, it is
[Projections start to stare at Ariadne as they walk by]
Ariadne: Why are they all looking at me?
Cobb: Cause my subconscious feels that someone else is creating this world. The more you change things, the quicker the projections start to converge on you.
Ariadne: Converge?
Cobb: They sense the foreign nature of the dreamer. They attack, like white blood cells fighting an infection.
Ariadne: What, they're gonna attack us?
Cobb: No, no....Just you.
[Ariadne creates a bridge]
Cobb: This is great, but I'm telling you, if you keep changing things like this...
[One of Cobb's projections bumps into Ariadne]
Ariadne: Jeez, mind telling your subconscious to take it easy?
Cobb: It's my subconscious. Remember? I can't control it.
[Ariadne comes to a stop, Pulls two mirrors together and creates a pathway]
Cobb: Very impressive. [Cobb starts to realize the location]. I know this bridge. This place is real, isn't it?
Ariadne: Yeah, I cross it every day to get to the college.
Cobb: Never re-create places from your memory. Always imagine new places.
Ariadne: You gotta draw from stuff you know, right?
Cobb: [Cobb starts to become nervous] Only use details. A streetlamp or a phone booth, Never entire areas.
Ariadne: Why not?
Cobb: Building a dream from your memory is the easiest way to lose your grasp on what's real and what is a dream.
Ariadne: Is that what happened to you?
Cobb: Listen to me. [Cobb grabs Ariadne, All projections stop and stare] This has nothing to do with me, understand?
Ariadne: Is that why you need me to build your dreams?
[Projections start to converge on Ariadne, Cobb tries to fight them off]
Cobb: Hey, get off her. Back up. Back up
[Projections separate Ariadne from Cobb]
Ariadne: Hey. [Ariadne begins to yell for cobb] COBB! COBB!
Cobb: GET OFF OF HER!
Ariadne: LET ME GO! LET ME GO!
Cobb: MAL! MAL!
Ariadne: COBB! WAKE ME UP!
[Cobb's projection of his wife, walks up and stabs Ariadne, waking her up]
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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.
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.
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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.
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.
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Arthur: Our rides on the roof.
Cobb: Right.
Arthur: Hey are you okay
Cobb: Yeah. Yeah, I'm fine. Why?
Arthur: Well, down in the dream, Mal showing up
Cobb: Look, I'm uh, sorry about your leg. Won't happen again.
Arthur: It's getting worse, isn't it?
Cobb: One apology's all you're getting alright Arthur?...Where's Nash?
Arthur: He hasn't shown. You wanna wait?
Cobb: No. We were supposed to deliver Saito's expansion plans to Cobol Engineering two hours ago. By now, they know we failed. It's time we disappear.
[Both walk up to rooftop]
Arthur: Where you gonna go?
Cobb: Buenos Aires. I can lie low there, maybe sniff out a job when things quiet down. You?
Arthur: Stateside.
Cobb: Send my regards.
[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: Right.
Arthur: Hey are you okay
Cobb: Yeah. Yeah, I'm fine. Why?
Arthur: Well, down in the dream, Mal showing up
Cobb: Look, I'm uh, sorry about your leg. Won't happen again.
Arthur: It's getting worse, isn't it?
Cobb: One apology's all you're getting alright Arthur?...Where's Nash?
Arthur: He hasn't shown. You wanna wait?
Cobb: No. We were supposed to deliver Saito's expansion plans to Cobol Engineering two hours ago. By now, they know we failed. It's time we disappear.
[Both walk up to rooftop]
Arthur: Where you gonna go?
Cobb: Buenos Aires. I can lie low there, maybe sniff out a job when things quiet down. You?
Arthur: Stateside.
Cobb: Send my regards.
[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.
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Arthur: Someone got First Aid? [Lays Saito on table, then turns to Cobb] 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.
Eames: So you led us into a war zone with no way out?
Cobb: There is a way out. We continue on with the job, and we do it as fast as possible and we get out using the kick, just like before.
Eames: Forget it. We go any deeper, we just raise the stakes. I am sitting this one out on this level boys.
Cobb: Fischer's security is surrounding this place as we speak. Ten hours of flight time is a week at this level. That means each and everyone of us will be killed. That I can guarantee you. We have no other choice but to continue on and do it as fast as possible. Downwards is the only way forwards. [To Eames] Get ready. [To Arthur] You, come on. Let's go shake him up.
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.
Eames: So you led us into a war zone with no way out?
Cobb: There is a way out. We continue on with the job, and we do it as fast as possible and we get out using the kick, just like before.
Eames: Forget it. We go any deeper, we just raise the stakes. I am sitting this one out on this level boys.
Cobb: Fischer's security is surrounding this place as we speak. Ten hours of flight time is a week at this level. That means each and everyone of us will be killed. That I can guarantee you. We have no other choice but to continue on and do it as fast as possible. Downwards is the only way forwards. [To Eames] Get ready. [To Arthur] You, come on. Let's go shake him up.
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Arthur: Three layers down, the dreams are gonna collapse with the slightest disturbance.
Yusuf: Sedation. For sleep, stable enough to create three layers of dreaming, we'll have to combine it with an extremely powerful sedative.
Yusuf: Sedation. For sleep, stable enough to create three layers of dreaming, we'll have to combine it with an extremely powerful sedative.
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Arthur: What the hell was all that?
Cobb: I have it under control.
Arthur: I'd hate to see you out of control.
Cobb: I have it under control.
Arthur: I'd hate to see you out of control.
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Cobb: [to Eames, regarding his gambling chips] Rub them together all you want, they're not going to breed.
Eames: You never know.
Cobb: Let me get you a drink.
[Eames loses his money] Eames: You're buying.
Eames: You never know.
Cobb: Let me get you a drink.
[Eames loses his money] Eames: You're buying.
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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.
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.
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Cobb: I have a test for you.
Ariadne: You're not gonna tell me anything about this first?
Cobb: Before I describe the job, I have to know you can do it
Ariadne: Why?
Cobb: It's not, strictly speaking, legal...You have two minutes to design a maze that it takes one minute to solve.
[Ariadne draws a maze] Cobb: Stop...[Cobb solves puzzle quickly].....Again.
[Ariadne draws a new maze] Cobb: Stop...[Cobb solves puzzle again].....You're gonna have to do better than that
[Ariadne flips over notepad and draws a difficult maze] [Cobb is confused on where to start] Cobb: That's more like it.
Ariadne: You're not gonna tell me anything about this first?
Cobb: Before I describe the job, I have to know you can do it
Ariadne: Why?
Cobb: It's not, strictly speaking, legal...You have two minutes to design a maze that it takes one minute to solve.
[Ariadne draws a maze] Cobb: Stop...[Cobb solves puzzle quickly].....Again.
[Ariadne draws a new maze] Cobb: Stop...[Cobb solves puzzle again].....You're gonna have to do better than that
[Ariadne flips over notepad and draws a difficult maze] [Cobb is confused on where to start] Cobb: That's more like it.
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Cobb: Inception. Now, before you bother telling me it's impossible, let me.
Eames: No, it's perfectly possible. It's just bloody difficult.
Cobb: Interesting. Because Arthur keeps telling me it can't be done
Eames: Hmm. Arthur. You still working with that stick in the mud?
Cobb: He is good at what he does, right?
Eames: Oh, he's the best but he has no imagination
Cobb: Not like you
Eames: Listen, if you're gonna perform inception, you need imagination.
Cobb: Let me ask you something. Have you done it before?
Eames: We tried it. Uh, we got the idea in place, but it didn't take
Cobb: You didn't plant it deep enough?
Eames: No, it's not just about depth. You need the simplest version of the idea in order for it to grow naturally in your subject's mind. It's a very subtle art. So, what is this idea that you need to plant?
Cobb: We need the heir of a major corporation to dissolve his father's empire
Eames: Well you see right there you have various political motivations and anti-monopolistic sentiments and so forth. But all of that stuff, it's um.... It's really at the mercy of your subject's prejudice, you see? What you have to do is start at the absolute basic.
Cobb: Which is what?
Eames: The relationship with the father. [Cobb gives a look of approval]. Do you have a chemist?
Cobb: No, not yet
Eames: Right. Okay, well, there's a man here, Yusuf. He, uh, formulates his own versions of the compounds
Cobb: Why, don't you take me there?
Eames: Once you've lost your tail. The man at the bar.
Cobb: Cobol engineering. That price on my head, was that dead or alive?
Eames: Don't remember. Let's see if he starts shooting.
Cobb: Run interference. I'll meet you downstairs in the bar in, say, uh, say half an hour?
Eames: Back here?
Cobb: It's the last place they'd suspect
Eames: [Chuckles] All right.
Eames: No, it's perfectly possible. It's just bloody difficult.
Cobb: Interesting. Because Arthur keeps telling me it can't be done
Eames: Hmm. Arthur. You still working with that stick in the mud?
Cobb: He is good at what he does, right?
Eames: Oh, he's the best but he has no imagination
Cobb: Not like you
Eames: Listen, if you're gonna perform inception, you need imagination.
Cobb: Let me ask you something. Have you done it before?
Eames: We tried it. Uh, we got the idea in place, but it didn't take
Cobb: You didn't plant it deep enough?
Eames: No, it's not just about depth. You need the simplest version of the idea in order for it to grow naturally in your subject's mind. It's a very subtle art. So, what is this idea that you need to plant?
Cobb: We need the heir of a major corporation to dissolve his father's empire
Eames: Well you see right there you have various political motivations and anti-monopolistic sentiments and so forth. But all of that stuff, it's um.... It's really at the mercy of your subject's prejudice, you see? What you have to do is start at the absolute basic.
Cobb: Which is what?
Eames: The relationship with the father. [Cobb gives a look of approval]. Do you have a chemist?
Cobb: No, not yet
Eames: Right. Okay, well, there's a man here, Yusuf. He, uh, formulates his own versions of the compounds
Cobb: Why, don't you take me there?
Eames: Once you've lost your tail. The man at the bar.
Cobb: Cobol engineering. That price on my head, was that dead or alive?
Eames: Don't remember. Let's see if he starts shooting.
Cobb: Run interference. I'll meet you downstairs in the bar in, say, uh, say half an hour?
Eames: Back here?
Cobb: It's the last place they'd suspect
Eames: [Chuckles] All right.
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Cobb: They say we only use a fraction of our brain's true potential. Now 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 creating 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...Let me ask you a question. 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 tries to dodge some of the debris]
Ariadne: If it's just a dream then why are you--?
[Debris falls on Ariadne waking her up]
[Now both awake]
Cobb: Because it's never just a dream is it? And a face full of glass hurts like hell. When you're in it, it feels real
Arthur: That's why the military developed dream sharing. It was a training program for soldiers to shoot and stab and strangle each other..and then wake up.
Ariadne: How did architects become involved?
Cobb: Well, someone had to design the dreams, right?[to Arthur] Why don't you give us another five minutes.
Ariadne: Wha, Five minutes? 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.
Cobb: Why don't you see what you can get up to in five minutes?
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 creating 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...Let me ask you a question. 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 tries to dodge some of the debris]
Ariadne: If it's just a dream then why are you--?
[Debris falls on Ariadne waking her up]
[Now both awake]
Cobb: Because it's never just a dream is it? And a face full of glass hurts like hell. When you're in it, it feels real
Arthur: That's why the military developed dream sharing. It was a training program for soldiers to shoot and stab and strangle each other..and then wake up.
Ariadne: How did architects become involved?
Cobb: Well, someone had to design the dreams, right?[to Arthur] Why don't you give us another five minutes.
Ariadne: Wha, Five minutes? 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.
Cobb: Why don't you see what you can get up to in five minutes?
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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: 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.