Chapter 382: Neurosis

"I'm not a softie; I'm tough!" A distraught cry echoed through the hospital ward. "I'm not a jerk; I'm Batman!"

Nolan stood outside the room, listening to Christian Bale's familiar voice. He found comfort in the fact that Christian Bale still recognized himself as Batman.

Parker wore a somber expression; Christian Bale had been awakened by nightmares once again. The previous day, Christian Bale had briefly woken up and discussed the situation with Parker. He believed that all the problems stemmed from Martin Davis.

However, Parker had consulted dozens of people from the crew, including actors and behind-the-scenes staff, and almost everyone attributed the issue to Bale himself. Since arriving in Atlanta, Martin had been friendly with everyone on set, while Bale often wore a scowl and displayed intermittent anger. When Christian Bale's wife visited the crew and had a falling out, it left a highly unfavorable impression of him.

One person might be mistaken, two could be, but could everyone be wrong?

Even Parker was now of the opinion that the primary problem lay with Bale. The trigger might have been Hebby's intention to divorce him and her public insult, which caused severe emotional distress.

Parker had read the script of "The Dark Knight," which portrayed Batman's mental state as unstable in the setting. He was pitted against a wildly insane and malevolent Joker. Given the consecutive hits to Bale's mental state, it wasn't unthinkable that he might develop some psychological issues.

While Nolan contemplated this, Bale's shouting reached their ears: "I am Batman! I am the symbol of justice! I want to take down the Joker! I'll defeat the evil clown!" The screenwriter following Nolan discreetly recorded all of Bale's outbursts with a high-quality tape recorder.

Nolan had a knack for sensing the silver lining in bad situations before they fully unfolded.

Parker remarked, "Bale is still deeply immersed in the role; he hasn't detached from it yet."

Nolan nodded casually and asked, "Has his family come over?"

"Sibi wants a divorce and won't come," Parker explained with a hint of frustration. "His parents are in the UK, and they don't have much contact."

Nolan suggested, "Let's go meet Martin."

The group ascended a floor and reached a ward where Nolan greeted Bruce, who was seated by the door. Bruce stood up and said, "Please wait a moment."

Bruce went inside, and a group of people emerged from the room, including the head of the local entertainment agency and Kelly Gray, the president of Gray Films. Greetings were exchanged on both sides.

Nolan and Parker entered Martin's hospital room.

Meanwhile, the screenwriter outside was intercepted by Bruce.

"Bruce...."

"Just wait," Bruce instructed, pointing to his pocket.

The screenwriter turned off the tape recorder, took a seat on the bench, and offered an apologetic smile, saying, "It's all part of the job, don't take offense."

Inside the ward, Nolan noticed that, in addition to Martin and his agent, Thomas, there was a young woman with a demeanor and style that suggested she wasn't an industry insider. Martin was sitting on the hospital bed, looking a bit weak but still cheerful. He greeted Nolan, "Director, I'm fine; no need to rush over."

Nolan introduced Parker, and Martin's expression shifted as he declared, "I've already made significant concessions in this matter. I haven't involved the police, and I won't back down any further."

Parker quickly responded, "Mr. Davis, I'm here to visit you and, on behalf of Bale, offer my apologies and discuss the next steps."

Martin glanced at Thomas and suggested, "You two can talk; I'm feeling dizzy and unwell."

Thomas approached Parker and suggested, "Shall we continue this discussion elsewhere?"

Parker agreed, saying, "Okay." He stood and followed Thomas out of the ward.

Elena brought Nolan a cup of English black tea and turned to Martin. "It's getting late. I'll head back now. If you need anything, don't hesitate to call."

Martin nodded slightly. "Just make sure Hall and Harris don't come over."

After Elena left the ward and closed the door, Nolan broached the topic. "Bale's mental state is quite unstable, and he can't apologize to you in person."

Martin shared, "I heard from Bruce that Bale is fervently stating that he wants to kill me."

Nolan corrected, "Actually, he's saying that Batman wants to eliminate the Joker."

Martin didn't dwell on the distinction. "I never provoked him, but he wanted to kill me."

Nolan inquired, "Have you thought about what happens next?"

Martin, with a composed demeanor, admitted, "No, Director, to be honest, I'm a bit uneasy, but it's nothing serious. I don't require hospitalization for observation. I'm staying in the ward just to avoid the public eye."

Nolan understood Martin's physical condition and added, "In our industry, it's impossible to remain hidden for long. But I'm curious, how do you think the crew is reacting to this?"

Nolan had already discussed this with Charles Rowan and replied, "According to our agreement, the crew can deduct part of Bale's completion bonus and provide you with an additional $2 million as a special subsidy."

Martin realized that the $2 million probably came from Bale's completion bonus and was aimed at keeping him from involving the police.

Nolan glanced at Martin and said, "If you have any objections, feel free to voice them."

Martin reflected on the crew and the film's reputation. "I think we should be cautious about disclosing this matter to the public. It might negatively impact the film's release."

Nolan felt relieved upon hearing this. Directing a film with a $180 million investment was an immense responsibility, and Nolan could personally feel the enormous pressure it brought.

He continued, "This incident had a significant impact on the crew. I've discussed it with Charles, Orlin, and Louise, and we've come up with a preliminary plan."

Martin adjusted his position for comfort. "I'd like to hear the details."

Nolan began, "Due to the unique character and plot design, both you and Bale were fully immersed in your performances. This deep immersion led to a shift from camaraderie to animosity, mirroring the relationship between Batman and the Joker. The hostility from the script transcended into reality, and we ended up fighting like the Joker and Batman."

He paused, then added, "The camera operator filmed the conflict between you and Bell unintentionally. I'll clarify some points beforehand: we can use this incident as a starting point, but the latter part of the altercation must be edited out."

Batman getting beaten by the Joker should remain undisclosed, and Martin was already aware of this.

After a moment of contemplation, Martin suggested, "I personally believe that the Joker and I should be the focus of the publicity."

Nolan had anticipated this. "The Joker is indeed the central character of the entire film."

Martin acted as if he were carefully weighing the idea, and Nolan gave him space, knowing Martin's penchant for promotional strategies.

After a prolonged silence, Martin proposed, "What if we spin it this way? My performance as the Joker was so convincing that, in order to maintain my condition, I didn't stay in clown character on set all the time. As a result, Bale, immersed in his role, mistook me for the clown from the movie and began attacking me, believing he was Batman."

Nolan captured the essence and rephrased it. "Because your Joker portrayal was so compelling, Bale, who was deeply engrossed in the role, confused you with the clown from the film while on set?"

Martin, not about to forgo what was rightfully his, affirmed, "Exactly, Bale was inadvertently drawn into the role by the clown on the set."

Nolan saw an opportunity for even more promotional material than he had initially thought and inquired, "Where is Bale?"

Martin was forthcoming with his insights, "The Joker I portrayed was so compelling that it not only pushed Batman to his limits in the film but also subjected the actor playing Batman to immense mental pressure due to the clown's madness and extreme evil. This resulted in some psychological issues."

He grinned, "Whether it's depression, neurosis, or other mental problems, the crew is more adept at handling these matters than me. They will surely find the most suitable solution for Blae based on his actual condition."

Nolan couldn't help but find it amusing, but he maintained his directorial persona, refraining from behaving like an actor. He replied, "Martin, you're right. The Joker is exceptionally outstanding, exuding flamboyance, evil, madness, and cruelty. He's reached unparalleled heights and profoundly affected the actors playing opposite him. Bale, bearing the spirit of Batman, has been under tremendous pressure, and if anything goes wrong, it's also due to your exceptional performance."

"I understand," Martin acknowledged. He too had been tormented by the Joker's character due to becoming overly engrossed in the role. He inquired, "Is Bale's condition severe?"

Nolan assured him, "The crew will ensure that they provide him with the best psychological and psychiatric support to help him return to normal as much as possible."

Secretly, Martin pondered that if Bale continued to exhibit eccentric behavior, it might not be detrimental to the film's commercial prospects.

At nearly the same moment, Nolan, known for his keen business acumen, had a similar thought. A neurotic Bale, a result of the intense Batman-Joker duel, might have more commercial appeal than a normal Bale.

However, neither Martin nor Nolan, despite their mischievous inclinations, voiced such ideas.

How could a reputable director and a respected actor harbor such devious thoughts? Any such scenario that arose during promotional activities was often the work of the marketing department.

On Martin's part, aside from Bruce, no one else knew about his actions.

Nolan was extremely pleased with the outcome of his discussion with Martin and held the young actor in high regard. He believed that Martin was a perfect fit for the role.

After their lengthy discussion, Nolan bid Martin farewell and departed.

There were no updates yet from Thomas and Parker, and it might take a few days.

Martin also deduced that the $2 million wasn't just compensation but also served as a fee to secure his cooperation in the film's publicity.

Nolan left Martin's ward, contacted the diligent screenwriter who accompanied him, and planned to visit Bale downstairs while Parker was away.

As they descended, Nolan asked the screenwriter, "Do you have the micro camera with you? Is it ready to use?"

The screenwriter patted his bag and replied, "Yes, it's right here. You can open it whenever you need."

Nolan contemplated the potential use of similar cameras for future promotions. Regarding the footage, he would negotiate if Bale was fully conscious later. Otherwise, they would seek authorization.

He whispered, "Capture Bale's current condition with the camera."

The screenwriter complied, noting the director's swift shift from pen to camera.