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Inception (2010) Poster

(2010)

Goofs

Character error 

One newspaper article about the strained relationship between Maurice and Robert Fischer misspells "success" (with only one "c") and uses the phrase "eminent death" instead of "imminent death".
Dom slipped the sedative into Fischer's drink on the plane. The flight attendant, who was in on the plot, could have slipped it in beforehand, with much less chance of detection.
Dileep Rao drops his African accent in the first dream, after the team leaves the warehouse. He only has about 2 or 3 more lines in the movie, but he says them in his normal American accent.

Continuity 

The crew busts into room 528 by kicking the door down, which should damage the lock. In later scenes, the lock is fully functional.
In the falling van, Arthur is sleeping without the headphones that were placed on his head. The headphones reappear before the van hits the water.
When the rain-soaked cars enter the warehouse, the floor already has wet tire tracks, evidently from a previous take. Once they stop and the people exit, the floor behind the cab and back towards the door is dry.
In the first scene, Saito spins Cobb's totem clockwise. When the same scene is shown at the end of the movie, the totem spins anticlockwise (counterclockwise).
During various shots of the van falling off the bridge, the train on the adjacent bridge stops, moves at a decent rate of speed, and disappears between shots.
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In the warehouse scene between Cobb and Ariadne, a Nikon DSLR camera on a desk behind Cobb disappears and reappears between shots.
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When Arthur arrives in the hotel to get Cobb for their ride on the roof, it is dark outside. When they are out on the roof, it is around noon.
When Yusuf drives the white van with frequent jerks, the same shot of the dreaming passengers moving inside and trying to gain balance with one hand while dreaming is shown twice.
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Shots of the falling van are interspersed with several stages of the dreams. The van backtracks in several shots.
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Bullet holes and damage disappear in various shots of the falling van.
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Cobb and Ariadne are walking along the bridge and Cobb is explaining the importance of not building entire areas from memories. In the single shot of Cobb it's clear he's swinging both arms while walking. In the 2-shot he has his left hand in his pocket.
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When Saito enters the helicopter and tells Cobb about the inception plan, hard rain hits the helicopter window. Subsequent shots show no rain.
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When Arthur and Ariadne are looking at the hotel rooms in the second layer of dreams, Ariadne's bun keeps moving from the back of her head to the top of her head.
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The first time the cab is hit, the front grille with the Hyundai logo is smashed in, and disappears. The grille reappears in the next scene, and the car has less damage than before. In the warehouse scene, the grille disappears again.
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When the white van emerges from the warehouse, the passenger side mirror strikes the warehouse door. In the next shot of van's exterior, the passenger side mirror is fully extended and instead the driver's side mirror is flipped back. In subsequent shots, the correct mirror is flipped back.
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When Arthur puts the cab in reverse and rams a bodyguard/projection, the gun flies out of the victim's hand and falls a few feet away. In the next shot, the gun is next to the dead body.
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When the white van starts to cross the bridge there are several bullet holes in the back door and side panels. After the van crosses the safety bollards the bullet holes have gone.
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When Eames gets on the taxi after Robert in the rain, the scene outside the taxi with a red door, is different than the building stairs before taxi stops.
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When Eames and Saito are in the hotel elevator, Saito's right hand is on Eames' shoulder. His hand is in a different place just after the camera shows the mirror.
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When Eames is chasing the army vehicle on his snow-scooter he shoots one of the six man behind the army vehicle. In the next snow scene (after 2 minutes) there are again six man behind the army vehicle.
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At the café, when Ariadne adjusts her hair or picks up her coffee cup, her hand movements are out of sync from shot to shot.
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When Arthur is tying up the team in the hotel scene, Eames' arms are tightly bound to his sides. When Arthur is pushing them down the corridors, Eames' arms float freely. Then, in the shot looking down into the elevator, his arms are once again bound tightly.
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In the first dream sharing of Ariadne and Cobb, when Cobb wants her to think about how they ended up there, in the close shot Cobb hasn't crossed his arms. Then suddenly in the long shot he has crossed his arms, and in the next close shot they are un-crossed again.
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In the opening scene, when Saito is presented with Cobb's totem, it is shown upside down, immediately after being placed on the table properly.
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When Ariadne goes into Cobb's dreams, she is in the elevator and passes the train in limbo. Behind the train is a body of water and the a hilly landscape with houses, not the abandoned cityscape of Cobb's perception of limbo.
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When Eames is chasing down the Hummer with skiers trailing behind it, the number of skiers on the ropes alternates between five and six in different shots.
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When Saito is taken from the second level dream to the first level, the floor is linoleum tile. When they push him to the floor, it is carpeted.
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In the warehouse, while Cobb and the team are talk about the idea of inception, Cobb rolls up his sleeve, then starts rolling up the next sleeve. The camera cuts away, then moves back to Cobb, who is rolling up his sleeves again.
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When the helicopter sets down at the airport, there is lots of water on the ground, and the rotor makes large ripples on it. When Saito calls to Cobb asking him if he would like to go home, the water is gone. It reappears when the helicopter takes off again.
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When Ariadne is showing Cobb her dream level layouts a Nikon camera is visible besides Cobb at the desk he sits down at. The camera angle looks at Ariadne, then returns back to looking at Cobb and the camera on the desk is gone.
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In most of the shots of the hotel elevator opening its doors and letting people off, a mechanical bell is heard. However, in the second to last of these shots, an electronic bell is heard.
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Cobb stops the car in a crosswalk at an intersection to pickup Ariadne. As soon as she enters, the car is broadsided by a train, in the middle of the intersection.
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After Fischer is drugged on the flight, the attendant walks over to retrieve the briefcase from a compartment, before she does so she closes the curtain but in subsequent shots the curtain is open.
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When Ariadne is adjusting the large mirrors under the bridge, she walks past Cobb and stops in front of the mirror, but in the following shot she is much further away from Cobb than she previously was.
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Arthur fights a projection in the rotating hallway, and they slide into a room. When everything finally comes to a stop, and he shoots the projection, he curls up to his left. When he gets up, he straightens up from his right.
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Crew or equipment visible 

When Cobb confronts Mal at the hotel, in front of the open window with billowing curtains, a crew member's fingertips can be seen through the sheer fabric.
When Arthur arrives in the hotel to get Cobb for their ride on the roof, the reflection of the window reveals a moving boom pole, possibly a c-stand and the boom operator himself.
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Errors in geography 

During the chase sequence in Mombasa (filmed in Morocco), the cars' steering wheels are on the left. In Kenya, where Mombasa is located, steering wheels are on the right.
Saito's helicopter takes off from a rooftop in Tokyo, with the distinctive red and white Tokyo Tower in the background of several shots. But it lands moments later at the ultra-modern Farnborough Airport in England, more than 5,900 miles away.
After the initial dream sequence, on board the Bullet Train, Cobb states that he's "...getting off at Kyoto." In the next establishing shot, we can clearly see that the city Cobb is in is Tokyo (judging by the presence of Tokyo Tower). Kyoto is over 200 miles away from Tokyo.

Factual errors 

In Mombasa, the cars have yellow license plates in the front and back. Kenyan cars have white plates in front, and yellow plates in back.
Cobb tells Ariadne to draw a maze in two minutes that takes more than one minute to solve. She eventually draws a circular maze. The circular maze seems to be unsolvable by Cobb. However, it is solvable, and it would probably take most children less than a minute to solve.
The registration code for Fischer's private jet is shown as "VH-7JL", with the "VH" prefix indicating registry in Australia. However, in reality Australian aircraft registration codes cannot include numbers.
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Miscellaneous 

At 24mins, Cobb tests graduate student Ariadneby by asking her to design a maze. She eventually draws a circular one, which impresses Cobb.

A maze constructed out of concentric broken circles cannot accommodate any blind routes, and is therefore fundamentally flawed. You simply cannot make a maze out of this geometry.
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The van is falling at a much lower speed than the snow.
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Incorrectly regarded as goofs 

The characters dream during a 10-hour flight from Sydney to Los Angeles on a Boeing 747. In real life, a 747 flight from Sydney to LAX takes at least 13.5 hours. The characters need 10 hours to complete the inception, regardless of how long the flight takes.
When Ariadne and Cobb are at the café, a man in a yellow jacket passes behind Cobb. The camera switches back and forth between Cobb and Ariadne several times. When it switches back to Cobb, the man in the yellow jacket passes once again. The person in the jacket is a projection and based on what the movie explains, projections behave a lot like extras. This means the same projection may reappear like that.
On the flight from Sydney to LAX, a flight attendant gives Cobb a white I-94 immigration form, for people coming to the US on a visa. US citizens only need to fill out a smaller blue customs declaration form. Cobb clearly declines the white form. The flight attendant also offers Fischer an I-94. He takes it and sets it down. Fischer is an Australian citizen; his passport is visible when he sits down and Cobb looks at it. Australia is a member of the Visa Waiver Program, so Australians do not need a visa to visit the US. However, flight attendants regularly give immigration forms to passengers who don't need them. Plus, depending on Fischer's position in his father's company, his visit could require a B1 (visitor for business), L1 (intra-company transferee), or E1/E2 (treaty trader/investor) visa.
When the bus on the bridge hits the guardrail, it flies horizontally for some time, but the passengers immediately become weightless. That is correct; weightlessness is caused by acceleration, not speed. Falling is a vertical acceleration, and gravity will immediately cause the bus to fall as soon as it is no longer supported by the bridge.
When the train engine hits the cars, it is clearly affected by the mass of the cars it pushes, and its bouncing movements suggest some form of suspension (or rubber wheels). A real freight engine weighs more than 100 metric tons, far more than the cars it hits. It would not give way or bounce when hitting cars. However, the train appears in a dream, so the laws of physics may not apply. Further indication of this is that the train's wheels are shown running on non-existing rails in/under the asphalt. In real life it would not continue in a straight line.

Plot holes 

On the third dream level, before the kick, Cobb says they have an hour, and Arthur has three minutes. After they miss the kick, Cobb says they have 20 minutes. This would mean, by simple math, Arthur has 1 minute. That would mean Arthur would have to descend a floor, enter the room with the charges, retrieve the charges, have the fight with the projection, ascend a floor, bundle up the crew, get them to the elevator, get them in the elevator, set the charges, get back in the elevator, and blow it, only in 1 minute.
A big part of Cobb's motivation is his desire to see his children again, and Saito finally convinces Cobb to do the inception by promising to use his political connections to allow Cobb to return to the US. However, no thought is given to bringing Cobb's children to Europe to visit him.
At the beginning, we see the kick waking up Cobb only when he hits the water, but later we see Arthur waking up in the chair while he is falling. This is incoherent.
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When preparing for the job, Arthur proves he doesn't know how is it possible to penetrate three layers, but he previously advised Ariadne about building three dream levels, and it is revealed when the team is arguing in the garage that he knew about Cobb and Mal doing it in the past, so it is wrong that he shows any surprise.
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Only by assuming the fact that Saito woke up a time after Cobb disengaged him from the machine when they were trying to extract him means the dream can last more than the shared dream we can say Cobb and Saito keep sleeping once they've escaped Limbo until they naturally wake up (the only way the movie still has to make sense in this point), which yet brings the next question: if that is the case, why would anybody be afraid of being dropped into Limbo if escaping was so simple as shooting yourself? Here is a possible answer: maybe one doesn't know he is in Limbo if he accidentally falls there, except Cobb, who naturally entered once, but this is contradicted in the movie.
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If 1 minute in the first level equals 20 years in Limbo, Saito shouldn't be 90 years old there if he died just a minute before Cobb in the first level. They should have grown old the same number of years.
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The team needing at least ten hours in "reality" contradicts what Eames says in the first level ("I was supposed to have all night to crack this"), because "all night" in the first level is less than an hour in the plane.
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Why doesn't Fischer realize the same people who had him kidnapped helped him in his dreams (example: Saito), so they had to be the extractors and not his projections? You could answer that he doesn't have a good recall of what happened in the first level while he is down... but after he wakes up he seems to remember what happened down (he tells Browning/Eames what he's found out), so he would have to notice it now he fully remembers what happened in all three levels.
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If one can't even think about trying to escape from Limbo before the sedation eases (just as Yusuf says), then Cobb can't pretend to do it, because the fact that he is supposed to have fallen there again because of having died drown after 1 minute under the water in the first level indicates 2 minutes in this level equal the 40 years Saito has grown old in Limbo (for in the movie it seems Cobb has spent half the time he did in it), so in "real life" the sedation couldn't have eased when Cobb and Saito kill themselves.
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When Cobb and Mal are arguing he asks her: "If this is my dream why can't I control this?". Then she gives this answer: "Because you don't know you're dreaming!". But Mal doesn't think he can control her, for she thinks it's their (not his) dream.
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Early in the movie everyone who knows Dom acts like he's wanted for some heinous offense back in the US. (Miles says "I'd have thought after what you did they'd find a way to get you").

Later we find out that Dom is wanted for the murder of his wife. A simple "crime of passion" homicide is hardly a significant criminal issue - it's not even a federal crime. His passport could be flagged with the warrant, but it's not exactly the big huge "after what you did" Most Wanted problem they suggest.
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Cobb tells Fischer they are trying to steal something from his mind, but Fischer behaves after that as if the plot was simply about breaking the safe. What were the kidnappers supposed to pretend to extract him according to Cobb if it was all about the safe? You could say those are simply lies told by Cobb to mislead Fischer, and that's right, but... why does Fischer behavior contradict what they are telling him? Since that behavior is apparently necessary for the story to go on, we can only say that we are dealing with yet another plot hole.
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Revealing mistakes 

When Ariadne starts changing her first dream with Cobb, she steps over an invisible step (probably a part of a green screen) each time she moves a mirror.
When Ariadne is asked by Cobb to draw a maze she draws 2 that are easy to get out of, but she draws a 3rd that's impossible - the only two ways out of the maze from the center are dead ends.
One car explosion is shown twice. First, the car explodes in a fireball, filling the frame. Minutes later, the same car explodes in the same fireball, but as part of a bigger shot from further away, in the bottom half of the frame.
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When Fischer's cab is hijacked, numerous production markings are visible on the street.
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During the city bending scene, reflections in the windows show the buildings in place, not bending.
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When Saito uses his teeth to pull the safety pin from a fragmentation grenade (extremely difficult in real life) the safety lever remains in place even after the grenade is thrown several feet into the opening of a vent.
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When the avalanche starts after the first kick, smoke from the explosion that started it is visible above the cliff for a few seconds.
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When the van starts falling from the bridge it causes the dreamers to feel weightless in their dream, one level down. If so, it should have also affect them in the snowy mountains, but it doesn't.
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When the team busts into room 528 in the hotel, the door opens fractionally before Cobb's foot hits it in the POV shot.
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In the beginning when you see the old man sitting at the table, one of his guards brings him a top that they found with Cobb. He sets it down so it leans to the side with the bottom point touching the table. In the next frame, the longer top point is touching the table.
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The first car that blow up doesn't have an engine, radiator or fan installed. You can see the front right tire through the front grill.
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In the cut-away shot of Fischer's Maybach driving up to the foot of the stairs of a private jet during the initial description of the Sydney-LA flight, the car's rear number plate is shown is show as "63-AG-GW" in black on yellow, with the text "NEW SOUTH WALES". While the format and subtext are correct for that Australian state, the actual pattern of the number is not and should instead be "AG-63-GW".
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When Arthur blows up the elevator in the free-fall sequence, the fire billows away up the elevator shaft. However in free-fall, convection does not occur and therefore fire neither billows nor rises. (It goes without saying that this would have been an extremely challenging effect to film in actual free-fall.)
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In the bar of the hotel scene there's a glass frame that reflects the green screen of the principal window, you can see it in the background when Cobb says the line " pay attention to the strangeness of the weather".
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When Ariadne is folding the streets in Paris, as the camera pans you can see a white sky past the edge of one of the miniatures used in filming.
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Just after Cobb spins Mal's top and closes the safe door, the water in his cityscape is not moving or rippling. When he and Mal walk outside, the water in the background is stationary.
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Spoilers

The goof items below may give away important plot points.

Continuity 

When Cobb returns home at the end of the film, his children run toward him, and he picks up Phillipa. The scene cuts to Miles before cutting back to Cobb, who is now holding James.
When Cobb spins the totem in the final scene, 3 paint pens are in one glass on the table. When the camera moves back to the table a few seconds later, more paint pens are on the table.
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When Cobb dives to grab his pistol and shoot Arthur, it is not in the same position as it was when he surrendered it and slid it onto the table.
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After the van falls into the water, Fischer saves Peter Browning (actually Eames) from drowning in the van. Saito's eyes are wide open. Back inside the submerged van, when Arthur and Ariadne are breathing from the oxygen tank, Saito's eyes are closed.
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Crew or equipment visible 

During the zero-gravity fight, as Arthur chokes a projection, padding is clearly visible on the ceiling, to facilitate stunt work.
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Incorrectly regarded as goofs 

There are several valid reasons why Robert Fischer didn't bring a bodyguard on the 747 flight. He may like to keep a low profile. He may have thought it wasn't necessary, since he was in a secured first class compartment. Since he'd just become the heir to his father's company, he may not yet have recognized the need for a bodyguard when he traveled in public. Since his being on the 747 flight was a last minute move, very few people would have likely known about it and had very little time to do anything about it, including potential terrorists. Finally, since it turns out his mind was trained by another extractor, Fischer knew how to protect his subconscious if he ever was put under.
Even though it is not a legal requirement, some U.S Immigration officers will still occasionally stamp passports of U.S. citizens as shown when Dom reenters the U.S at LAX. Additionally, since the movie takes place sometime in the future, it is possible that the policy has changed.
When Cobb and Mal commit suicide in front of the train, they look young, although they have been in limbo for decades. This is deliberate, an artifact of Cobb's happy recollections. A later scene in which he reflects on their life together revisits this shot, and the actors are aged to show Cobb's corrected memory of the events.
When Saito is lying on his back after being shot in the chest, something that looks like a squib is visible under his shirt. Someone mentioned first aid earlier in the scene, so it may be a bandage on his wound.
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Plot holes 

The US government assumes that Dom killed Mal despite all the screaming that took place before her death above a city street (on which, there would be almost no chance that a pedestrian wouldn't walk by at some point), and the fact that Dom's fingerprints wouldn't be on any of the ransacked furniture in the hotel room. Even if Mal said she was scared, this evidence alone should have been enough to exonerate Dom.
Mal kills herself convinced she is in a dream. The dream worlds are limited in size and have defects to hide this, this is discussed in the story. Cobb should easily have been able to convince her that the world was large and complete and correct. Vice-versa, Mal should have been able to find faults to show Cobb. Whichever was correct.

Revealing mistakes 

When Cobb meets Saito in limbo, the full-eye contacts used to make Leonardo DiCaprio's and Ken Watanabe's eyes look glossy and bloodshot are visible in close-up shots.
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When Dom shoots Arthur to wake him from the first dream, Arthur has no bullet-hole in his forehead until he is shown lying on the ground.
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See also

Trivia | Crazy Credits | Quotes | Alternate Versions | Connections | Soundtracks

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