Chapter 863: Split Personality!

In Los Angeles, summer mornings are deceptive. As soon as the sun rises, the cool dawn air quickly gives way to a relentless, dry heat. Outside the Ritz-Carlton Hotel, a group of paparazzi huddles in the shade, their cameras poised, eyes fixed on the entrance. They're waiting with a mix of anticipation and boredom, fully aware of the tabloid gold that could step out at any moment.

The tip they received last night was juicy: Martin Davis, that ever-controversial actor, reportedly spent the night in the hotel alongside Anne Hathaway and Jessica Chastain. The claim was enough to rouse these seasoned photographers from their beds in the early hours, knowing that in Hollywood, scandal always sells, even if it's routine.

This isn't shocking news to them far from it. The entertainment industry's moral compass had long since shattered, and these photographers have seen it all. Scandals, affairs, betrayals, it's the same in every city where fame reigns. But they're here anyway, lenses ready, because even the banal can be lucrative with the right shot.

Soon enough, the hotel's grand doors swing open. There he is: Martin Davis, effortlessly cool in dark sunglasses, strolling out with Anne Hathaway on one arm and Jessica Chastain on the other. The trio is engaged in casual banter, laughing as they walk toward a sleek black car parked curbside. Their chemistry is palpable friendly or otherwise and the cameras immediately click into action. Flashbulbs go off like fireworks as the paparazzi capture every angle of this too-friendly gathering.

For all the frenzy, Martin's escapades aren't exactly headline material anymore. It's not that he isn't famous, he's just too consistently scandalous to shock anyone. The demand for his gossip has dwindled because there's simply too much of it. It's like an oversaturated market; even Hollywood can get bored of the same old drama. Now, if someone caught a squeaky-clean star like Tom Hanks in a compromising situation, that would be news. But Martin? His name alone triggers eye rolls rather than gasps.

As the trio slides into the car and drives away, the paparazzi quickly disperse, already typing out tweets and messages to media outlets. Within minutes, "Martin Davis spotted with Anne Hathaway and Jessica Chastain" is trending online, accompanied by predictable reactions: mock outrage, some envy, and mostly shrugs. The public knows Martin's game too well.

After dropping off his companions, Martin heads to a different destination: the Beverly Psychological Clinic. The stark shift from the playful morning to a psychological consultation hints at the duality that defines him. This isn't his first visit here. A few years back, during his transformative role as the Joker, he claimed he was grappling with deep psychological issues. In reality, those sessions were more of a pretense, a place where he could catch some sleep, away from the chaos of his own life. Dr. Laura, his long-time psychiatrist, knows this routine well.

In her sleek, modern office, Dr. Laura greets him with her usual professionalism. She adjusts her glasses and, with a half-smile, opens a cabinet to pull out a blanket. "I always have this ready for you, but you haven't been by lately."

Martin waves the offer away, his tone more serious this time. "I'm not here for the same old reason," he says, settling into the chair across from her. "This isn't about me; it's about the role."

Dr. Laura, intrigued, raises an eyebrow. "Another character like the Joker?"

"No," Martin replies, a hint of pride in his voice. "This time, it's a character with multiple personalities."

Laura leans back, her interest piqued. "Based on Billy Milligan, I assume?"

Martin nods, reaching into his bag to pull out a thick folder of documents. "I brought some of Billy's records," he says, sliding them across the table.

Dr. Laura doesn't even glance at them. "No need," she says, a knowing smile on her lips. "Billy Milligan's case is a cornerstone in psychiatric studies. Every psychiatrist in North America knows his story inside and out. I studied him in depth during my time in college."

Martin expected this. Billy Milligan's tale isn't just famous in psychology circles; it's inspired countless Hollywood characters, each grappling with fractured identities. "That's why I'm here," he says. "I need a deeper understanding of what it's really like to live with multiple personalities."

Despite having met Billy a few times in the past, Martin admits the interactions were brief and left much to be desired. "He's so far gone now, can't even get out of bed most days, let alone speak. I've met others too, but their conditions feel abstract. They don't give me that real sense of what it's like inside their heads."

Dr. Laura listens attentively, her clinical curiosity awakened. "Multiple personality disorder is complex, much more than just switching between identities. It's the blurred lines, the internal conflicts, the fractured memories…"

Their conversation continues, delving into the intricacies of psychology that make for brilliant performances and gripping stories. But for Martin, this is more than research. It's a chance to master yet another layered, troubled character—a role that will leave audiences questioning where his acting ends and reality begins.

The conversation gradually drifted into familiar territory for Laura, drawing upon her deep expertise in psychology. She leaned forward slightly, her eyes narrowing with curiosity. "When you say 'abstract,' what exactly do you mean?"

Martin paused to gather his thoughts. "I've observed patients with dual or even triple personalities. The differences between each persona aren't always that great; they're subtle and sometimes hard to distinguish. In real life, these differences might show up in their habits, preferences, or reactions, but translating that into a film, especially one that's only a couple of hours long, would likely confuse the audience. It's difficult to clearly portray those nuances on screen."

Laura's clinic, nestled in the heart of Beverly Hills, catered mostly to actors and entertainment professionals, so she was quick to grasp Martin's concern. "I'm no expert in acting," she began thoughtfully, "but when it comes to dissociative identity disorder, well, how should I put this? Everyone has different sides to their personality. Most of us control when to bring out those sides, choosing which 'face' to present based on the situation or the person we're interacting with."

Martin nodded in agreement. He knew all too well that Hollywood demanded a certain versatility, actors often had to juggle multiple personas just to navigate the industry's complexities. For many in the business, having multiple 'faces' wasn't just a disorder; it was a skill.

Laura continued, her tone more clinical. "In cases of dissociative identity disorder, those hidden sides don't stay hidden. They start to take on lives of their own. Over time, these aspects can become fully developed, with their own identities, motivations, and behaviors. It's rare for a personality to become entirely independent, but when it happens, the contrast between personalities becomes quite striking."

Martin's eyes lit up with understanding. "So, the other personalities in the patients I've observed might not have fully developed their own self-awareness yet?"

Laura nodded thoughtfully. "Exactly. Patients like Billy Milligan, with distinct and fully realized personalities, are exceptionally rare even within the spectrum of schizophrenia. Each of Billy's identities had its own sense of self, as well as clear, unique characteristics."

Intrigued, Martin probed further. "Would each personality have its own outward expressions, something the audience could easily pick up on?"

Laura's expression grew more serious. "That's precisely what I was getting at. If you want the audience to clearly differentiate between personalities, you should focus on how each persona manifests outwardly. From what I've seen, when personalities become fully formed, they develop distinct likes, dislikes, behaviors, and even worldviews. These differences extend from small things like clothing preferences or favorite foods to larger aspects like their emotional responses and outlook on life."

Martin mulled this over, speaking almost to himself. "So, the external traits are a reflection of the internal psyche. By emphasizing those outward differences, you can effectively communicate a completely distinct character."

Laura gave a small, knowing smile. "I'll leave the performance part to you."

"Thanks, this has been really helpful," Martin said sincerely.

Laura returned the smile and walked over to her filing cabinet. After a moment of searching, she pulled out a few folders. "I've got some case studies here, ones that have been cleared for public access. You might find them useful."

She hesitated, then added with a sigh, "I wish I could share some of the more fascinating cases, but confidentiality agreements prevent me from doing so. The families of those patients have insisted on privacy."

Martin leafed through the documents. His eyes stopped on one file detailing a particularly disturbing case, a murderer with multiple personalities. "These are exactly what I need," he murmured.

Laura leaned back in her chair. "Just make sure you return them before the year's out."

"I'll have them back by November," Martin assured her.

With David Fincher gearing up for production, Martin knew time was of the essence. The project was scheduled to begin shooting in early November, and every bit of research would be vital to his preparation.

Laura chuckled. "Before the end of the year," she reiterated with a playful sternness.

With that, Martin wrapped up the session and made his exit. Back at home, he dove into the materials Laura had provided. The case that caught his attention most involved a serial killer in Stockton, California, who had claimed six lives and left one survivor critically wounded.

The details were chilling. The killer targeted victims at random, striking under the cover of night. The randomness of the murders was particularly unnerving, none of the victims were connected in any way, making the motive nearly impossible to determine.

As Martin pored over the case, he found himself more and more immersed in the mindset of someone whose fractured identities could drive them to such extremes. The duality of light and darkness within a single person, the blurred lines between victim and perpetrator, and the terrifying unpredictability of it all, it was exactly the kind of role that would push his acting to the next level.

The man behind the murders was not the type you'd expect. He was a polished executive from a well-off family, the kind of person who lived comfortably in both his career and personal life. When news broke of his crimes, people were stunned. His lawyer, grasping for a defense, pushed for a psychological evaluation, which eventually revealed a chilling diagnosis, dissociative identity disorder. His second personality harbored violent, antisocial tendencies that had gone unnoticed by those around him.

In his everyday life, this man was gentle, polite, even charming, a "good guy" according to friends and colleagues. He wore the mask of normalcy so well that no one could have guessed he was capable of such horrors. How could someone who was so respected, so refined, become a cold-blooded killer?

Laura provided Martin with not just written reports, but also a series of photos. Two images in particular stood out, one of the man in his professional setting, sharply dressed in a suit, exuding calm authority, and another taken at the moment of his final arrest. In the latter, he looked wild, disheveled, his eyes empty, as if the person he once was had been replaced by something darker. Though the man was the same in both pictures, the expressions told the story of two completely different people or rather, two fragmented lives struggling for control.

These stark contrasts offered Martin valuable insights. The split between gentleness and violence wasn't just about behavior; it manifested in everything, from posture to facial expressions, from the way clothes were worn to the very energy the person radiated. For Martin, this was a key reference point for his own performance. The subtle yet impactful differences in appearance, demeanor, and expression would be crucial in bringing his character to life.

"Sometimes, winning an Oscar has more to do with the right makeup and styling than pure acting skill," Martin thought to himself, recalling examples like Charlize Theron's transformative role in 'Monsterp'. Despite her subsequent work, many knew her acting range was often average, yet, her physical transformation had been enough to secure the win.

Determined to dig deeper, Martin closely examined the information he had, then reached out to Thomas, his assistant. "Contact the prison," he instructed. "See if we can arrange a visit. I want to meet this guy in person."

The character Martin was set to play in 'Split' would be a blend of terrifying personalities, one of whom was a sadistic murderer. Although the film was loosely inspired by Billy Milligan's case, the script ventured far beyond real events, taking a darker, more sensational turn. Martin needed more than just theory; he needed to stare into the eyes of someone who'd truly embraced the abyss.

Thomas wasted no time and arranged the visit. Three days later, Martin found himself inside a state prison, face-to-face with the infamous killer. Clad in a plain prison uniform, the man still carried an air of elegance; gentle, articulate, completely at odds with his crimes. If you didn't know his history, you might have mistaken him for a professor or a banker.

What Martin really wanted was to catch a glimpse of the killer's darker side, the monster lurking beneath the surface. But time was limited, and prison regulations made it clear, no provocation, no attempts to trigger an emotional outburst. He had to settle for what he could observe during their brief, restrained conversation.

After a half-hour, Martin left the facility, the encounter swirling in his mind. As he got into the car, Thomas turned to him and asked, "How did it go?"

"I learned something, but not what I hoped for," Martin replied, frustration tinging his voice. "I didn't see the side I really wanted to study."

Thomas chuckled dryly. "You can't expect him to go on a killing spree right in front of you."

Martin leaned back, resting his arm on the chair. "I've seen that switch flip before. The sudden shift into violence, it's not something unique to him."

Thomas glanced at Martin, reminded of something most people in Hollywood conveniently forgot: Martin wasn't just an actor. He had a past, one marked by real violence, by lives taken, likely more than a few. It was a history that added a chilling authenticity to the roles he played, and it set him apart from the average Hollywood star.

As they drove back to Burbank, the car headed straight to Disney Studios, where preparations for 'Split' were already underway. David Fincher, the director known for his meticulous craft, had assembled his team and was ready to dive into production. Martin arrived at the office and was greeted by Fincher with a warm handshake.

"Congratulations, David. I heard 'House of Cards' shattered on-demand records on Netflix. Political thrillers have never looked so good," Martin said, genuinely impressed.

Fincher smiled modestly. "Netflix's model played a big part. The binge-watching culture worked in our favor, and the story had just the right mix of intrigue and power plays."

With the groundwork laid, both men turned their focus back to 'Split', eager to bring the twisted tale to life. For Martin, embodying a character torn between multiple realities would be a challenge he couldn't resist and he had all the dark inspiration he needed.

Martin leaned back, reflecting on the changing tides in the entertainment industry. "You know, TV networks used to draw out suspense by airing episodes weekly, but Netflix flipped the script by dropping entire seasons at once. It's like giving people the freedom to indulge in stories without interruption. That binge model just suits today's fast-paced lifestyle better."

David Fincher nodded in agreement. "If 'House of Cards' had been released on a weekly schedule, it would've still built solid word of mouth. But releasing it all at once allowed the momentum to skyrocket, it became a cultural phenomenon overnight."

Martin couldn't help but think ahead. "Netflix might be opening a new chapter for Hollywood altogether," he mused before steering the conversation back to the task at hand. "So, how's the preparation for 'Split' going?"

Fincher gave a concise update. "The sets are almost ready. We're keeping it focused, shooting everything here in Los Angeles. The film has a minimalistic, intimate scope; your role is central to everything."

Martin caught the subtle cue. "I've been gearing up for it. Just visited a state prison to meet a serial killer with dissociative identity disorder. Once I wrap up promotion for 'Interstellar', I'll dive deeper; visit more patients, get hands-on in therapy centers. I want to really immerse myself in this world."

Fincher's expression turned serious, signaling the weight of what was at stake. "This film is all about your character, not just the plot. So let's get real; are you aiming for another Oscar with this one?"

Martin's eyes gleamed with ambition. "Of course. I'd love to take home another Best Actor award."

Fincher, currently riding the creative peak of his career, appreciated Martin's drive. "As we discussed earlier, we're not showcasing all 24 personalities. That would be cinematic overkill, diluting the impact. The audience would lose track, and we'd end up with a chaotic mess."

"I completely agree," Martin responded. "I'm focusing on a few key personalities, making sure each one stands out with distinct characteristics. They need to feel like fully realized individuals, not caricatures."

Martin then shared the ideas he'd been developing over the past few days, detailing the nuances and complexities he planned to bring to the role. But Fincher, ever the meticulous director, had his reservations. "There's one aspect where our interpretations might differ," he began carefully. "While it's tempting to create stark, isolated personalities to wow the audience, remember, they're all fragments of a single person. The connections between them should still be felt."

Martin leaned in, processing Fincher's words.

"You need to strike a balance," Fincher continued, speaking from his directorial lens. "When you're portraying a personality, it should stand out and feel unique, but there must be an underlying thread linking them all. The audience should sense that these personalities aren't entirely separate, they're branches of the same tree, no matter how twisted. Your performance should reflect that subtle tethering, that internal conflict where one identity bleeds into the others."

Martin's mind was turning over the idea. "So, it's almost like a large-scale face-changing act," he mused, "where I'm me, but also not quite me."

Fincher's eyes twinkled in approval. "Exactly."

He leaned back in his chair, offering a word of reassurance. "Martin, you focus solely on embodying the character. Don't worry about the broader narrative, logic, or even the film's style. Louise and I have that covered."

Martin appreciated the trust. "I'll throw everything into shaping this role. If I push too hard or go overboard, don't hesitate to pull me back."

Fincher offered a confident smile. "I trust your instincts. This role is right in your wheelhouse." He then gave a brief overview of the film's direction. "I'm planning to shoot it as a dark, claustrophobic thriller, almost like a twisted locked-room mystery. The tension will hinge entirely on your performance."

Martin was already envisioning the approach. "You'll orchestrate the film's atmosphere, and I'll focus on bringing the character's inner chaos to life."

The conversation naturally shifted to more technical aspects of the production. With a November start date, Fincher, known for his painstaking attention to detail, had mapped out a 70-day shooting schedule. The timeline was ambitious but fitting for the project's complexity.

Not long after their meeting, Martin transitioned to promoting 'Interstellar' with Christopher Nolan's crew. Yet, even amid the whirlwind of media interviews and red carpets, his mind remained tethered to 'Split' to the dark, fractured soul he was preparing to bring to the screen, and to the intricate dance between chaos and control that would define his performance.