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Answer: Murdering his wife

Although invading people's dreams and stealing information are illegal acts that Cobb commits, the police are only after him because he's accused of murdering his wife, Mal. It's found out in the film that Mal actually killed herself and framed Cobb to make it look like a homicide. Mal did this in hopes that it would help convince Cobb to commit suicide with her.

Answer: Cobb's former architect

Nash is Cobb's architect in the beginning of the film, when the two of them (with Arthur) try to perform an extraction on Saito. Cobb's father-in-law, named Miles, then helps Cobb out by providing him with a new architect, Ariadne. The "forger" in the inception plot is Eames. Eames transforms into Browning in the first dream layer and into a young blonde woman in the second dream layer.

Answer: Cobb had performed it once before on Mal.

Cobb performed inception on Mal in limbo and planted the idea that the world they were in wasn't real. This was so they could escape back to the real world, but the plan backfired. Mal still thought her world was fake, even once they had returned to reality.

Answer: Cobb's projection of Mal could potentially ruin their plans.

Cobb explains to Ariadne that if he knows the layout of the dream, his projection of Mal will know it, too. And if she knows, she'll make the job extremely difficult and may even ruin their plans. Mal almost does ruin their plans, later in the movie, when she shoots Fischer in the third dream layer.

Answer: disappointed

Fischer reveals this to "Browning" (really Eames) in the first dream layer. He says that he thinks that his father doesn't love him; he's only disappointed in him. However, in the third dream layer, Fischer's dying father tells him that he's disappointed that Fischer tried to be like him.

He wants his son to be his own man. This is the moment that successfully plants the idea that Fischer should break up his father's empire.

Answer: "we'll be together"

This line is repeated several times throughout the film by both Cobb and Mal. It is originally mentioned by Cobb when he and Mal are about to get run over by a train together.

Answer: bishop

Totems are helpful objects that can determine whether or not one is dreaming and if one is in another person's dream or their own. The idea of a totem was established by Mal, who had created her own spinning top that spun forever when in a dream. Cobb uses Mal's spinning top as his own totem, and Arthur's totem is a loaded die. Ariadne then stays up late one night, building her totem, which is seen as a shiny yellow bishop piece.

Answer: Yusuf's in the first dream layer

It is part of the plan for Yusuf to drive the van off the bridge to establish a kick in the first dream layer. But, in the second dream layer, Arthur faces a major problem. The van is falling, which means the second dream layer faces a lack of gravity.

A kick is sparked by a falling motion, so Arthur "improvises" by using an elevator to initiate a falling feeling. And in the fourth dream layer, Ariadne pushes Fischer off a building and she herself also jumps off, to initiate a kick. But, she had no plan whatsoever beforehand. And when Cobb asks her what she is doing, Ariadne even answers back saying that she's "improvising".

Answer: False

Ariadne meets Cobb's dead wife in the first dream that Cobb ever brings her into, where Cobb takes Ariadne to what seems like a café in Paris. Mal comes into the dream after Ariadne uses a bridge from her memory that reminds Cobb of Mal. Mal then stabs a then detained Ariadne in the head, waking her up and quickly bringing the dream to an end.

Answer: To rescue Saito

Saito is stuck in limbo, after dying earlier in the movie. Cobb tells Ariadne that he's staying back, not to be with Mal, but instead to rescue Saito. And he isn't lying. Cobb then tells Mal that she's not his wife and that she's just a shade of his wife.

He lets her go and goes on to search for Saito. Saito is later found by Cobb, as an elderly man in limbo. But, do the two of them get out? That's all based on how the viewer interprets the ending.