[Anyone on either side of Mal's room (7.05) will hear a voice calling "Dom?" After a moment, Mal knocks over her communicator, switching it on, and the Barge video feed is treated to a dining-table's-eye-view of a pretty woman looking worriedly around what appears to be the living room of a creatively- and eclectically-decorated Southern California
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He looks at his communicator, then pockets it without going through the recent entries. He'd rather not be distracted by the Barge's dramatics today, but it doesn't hurt to keep the device on hand in case he runs into trouble. With that done, he locks his door and heads up to the deck.
He recognizes her the instant he sees her. How can he forget? All the dreams they shared, even after her death... Arthur stares, disbelieving, a sick feeling rising up inside of him. She can't be here. She's a projection, Cobb's memory, a violent shadow of the woman he knew. How many times had she hurt him, just to hurt Cobb?
He casts a look behind him, then around, as if expecting to see Cobb. He slides his hands into his pockets, feeling for his die, trying to discern whether this is reality or not. He doesn't have time to pull it out and check, however, but just feeling its weight against his fingers is a small reassurance.
"What're you doing, Mal?" he asks, his voice hard, cautious, as he comes closer to the woman.
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There are two possibilities. One: this is a projection of the dreamer whose dream she now inhabits. Or two: this really is Arthur; darling Arthur, doing what he does best, keeping things moving smoothly, looking out for Cobb-
She slides back down from the railing, smoothing out her skirt, and edges back half a step.
"Arthur," she says, her tone colourless. "I might ask the same of you."
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"A job," he says tersely. He looks at Mal, then the railing behind her. "Do you know why you're here?"
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"He's not here," is all Arthur can say for now. "I know what it looks like, but this isn't a dream, Mal," he offers, after a beat. However, he doesn't sound entirely sure of himself. He tries to keep that small seed of doubt out of his voice, but Mal knows him; she's known him for a long enough time that she might be able to catch on to the uncertainty when most others wouldn't.
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Oh, how many times had she heard that sentence in the last year? And to hear it from Arthur, and to hear it with that uncertainty he was so clearly trying to hide-and suddenly she's sure now that this must be the real Arthur, because no one else, not even Dom, could have reproduced that pitch of his voice in a projection-well, this is hilarious. She starts to laugh.
"This?" She points out to the swirling void beyond the railing. "This isn't a dream? Oh, Arthur, you never were good at jokes. Tell me, who is the architect? Have you gone to fantasy novelists now?"
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"There's no architect, just..." He looks up, like he's searching for the man. "The Admiral. Nobody's seen him." He pulls his eyes down to level them at Mal again. "If you jump, you won't wake up, and you won't go deeper. Every time you die, you'll wake up here, again, and you'll hurt. Think of it as the ultimate closed loop."
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"Mal, listen to me. He's not here," he repeats evenly. "And this isn't a dream." Still uncertain, but less so than before. "You passed by people, didn't you? Did they seem hostile, suspicious?"
...okay, considering the people on the Barge, this is probably not the best route to take.
"You build an environment like this, and the projections are going to notice. They're going to look for the dreamer. Whose subconscious would even accept this reality?"
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"You'd be surprised what patients can accept when they've been prepared for it," she replies shortly, and there's a you-ought-to-know-that tone there. Not that Arthur had worked with the clinical cases as much as she had. "Just tell me the truth, Arthur. Where is my husband? What has he talked you into now?"
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He keeps his mouth closed for a moment, then answers reluctantly. "Inception." He's never had to lie to Mal before, and trying to almost feels like he'd be lying to Cobb. "He talked me into performing an inception with him. Or trying to, anyway."
If he'd known what Cobb had done to Mal, his answer would probably be different. As it is, he still believes that inception is largely impossible. Sure, most of them planted the idea and made the kick, but he won't believe it's truly possible until he sees the results in Fischer, himself.
"It didn't go well. He's..." Arthur stops, glances away again. "Lost. I made a deal to get him back. That's why I'm here."
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And the rest of what he says just ... oh, she understands inception, of course, and the theory behind it, and the difficulty of the process, but ... "Lost?" she says, dread in the pit of her stomach. Then: "How can you being here help him?"
She still suspects that Dom must be here, somewhere. But she's also starting to think that if she expects to get anywhere with Arthur, she probably needs to at least pretend that she's following him in the mad tales he's spinning. Let him think she's believing him.
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...
Yeah, this is stupid. There's no way Mal's going to buy any of this.
"I know it sounds completely insane."
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"Yes," she says, and maybe there's just a bit of the old humour about her eyes and mouth, where there hasn't been a proper smile in far too long. "It does sound insane."
But if there's anything slightly true, or supposed to be slightly true, about this ludicrous line of merde, that raises one very significant question:
"So what am I doing here, then? According to this Admiral's plan?"
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"You're dead. And you don't know why you're here. Statistically speaking, that makes you one of the people up for a second chance." But now the question is: why is Mal an inmate? He knows what happened, how she framed Cobb, but in a way it feels like the Admiral's condemning her as cut from the same cloth as the genocidal nutcases and killers. "You'll be assigned a warden-- like a case worker, not a jailer. They'll help you sort out... whatever it is you need. When you're finished here, you can go back home." To Cobb and James and Philippa is the conclusion he wants to make explicit, but he doesn't. He doesn't really know what happens to inmates, despite the promises made.
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She turns away from Arthur, hugging herself and looking back out over the rail into the void. She's trembling, but she doesn't seem to be aware of it; she's too lost in her own thoughts. None of this is right, none of it. That leap from the dream ... no, someone must have put her under before she could really jump, for real, then drew her down into another dream space, from which she'd leapt into this, perhaps some other dreamer's Limbo-yes, surely that must be it. She can't be dead. She can't.
She can feel sobs of frustration rising in her throat. "I just want to go home," she whispers. She turns to Arthur, her eyes starting to brim with tears. "And I must work with this ... this warden? Do I have any choice in who it is?" There's a dread now, of a stranger, one who could be a projection, or perhaps another dreamer. This is madness, she thinks for what is possibly the hundredth time since she woke up in that terrible room.
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