As Mollie said to Dailey in the 1890s: "I am told that there are five other Mollie Fanchers, who together, make the whole of the one Mollie Fancher, known to the world; who they are and what they are I cannot tell or explain, I can only conjecture." Dailey described five distinct Mollies, each with a different name, each of whom he met (as did Aunt Susan and a family friend, George Sargent). According to Susan Crosby, the first additional personality appeared some three years after the after the nine-year trance, or around 1878. The dominant Mollie, the one who functioned most of the time and was known to everyone as Mollie Fancher, was designated Sunbeam (the names were devised by Sargent, as he met each of the personalities). The four other personalities came out only at night, after eleven, when Mollie would have her usual spasm and trance. The first to appear was always Idol, who shared Sunbeam's memories of childhood and adolescence but had no memory of the horsecar accident. Idol was very jealous of Sunbeam's accomplishments, and would sometimes unravel her embroidery or hide her work. Idol and Sunbeam wrote with different handwriting, and at times penned letters to each other.The next personality Sargent named Rosebud: "It was the sweetest little child's face," he described, "the voice and accent that of a little child." Rosebud said she was seven years old, and had Mollie's memories of early childhood: her first teacher's name, the streets on which she had lived, children's songs. She wrote with a child's handwriting, upper- and lowercase letters mixed. When Dailey questioned Rosebud about her mother, she answered that she was sick and had gone away, and that she did not know when she would be coming back. As to where she lived, she answered "Fulton Street," where the Fanchers had lived before moving to Gates Avenue.Pearl, the fourth personality, was evidently in her late teens. Sargent described her as very spiritual, sweet in expression, cultured and agreeable: "She remembers Professor West [principal of Brooklyn Heights Seminary], and her school days and friends up to about the sixteenth year in the life of Mollie Fancher. She pronounces her words with an accent peculiar to young ladies of about 1865." Ruby, the last Mollie, was vivacious, humorous, bright, witty. "She does everything with a dash," said Sargent. "What mystifies me about 'Ruby,' and distinguishes her from the others, is that she does not, in her conversations with me, go much into the life of Mollie Fancher. She has the air of knowing a good deal more than she tells.
Research on organised abuse emphasises the diversity of organised abuse cases, and the ways in which serious forms of child maltreatment cluster in the lives of children subject to organised victimisation (eg Bibby 1996b, Itziti 1997, Kelly and Regan 2000). Most attempts to examine organised abuse have been undertaken by therapists and social workers who have focused primarily on the role of psychological processes in the organised victimisation of children and adults. Dissociation, amnesia and attachment, in particular, have been identified as important factors that compel victims to obey their abusers whilst inhibiting them from disclosing their abuse or seeking help (see Epstein et al. 2011, Sachs and Galton 2008). Therapists and social workers have surmised that these psychological effects are purposively induced by perpetrators of organised abuse through the use of sadistic and ritualistic abuse. In this literature, perpetrators are characterised either as dissociated automatons mindlessly perpetuating the abuse that they, too, were subjected to as children, or else as cruel and manipulative criminals with expert foreknowledge of the psychological consequences of their abuses. The therapist is positioned in this discourse at the very heart of the solution to organised abuse, wielding their expertise in a struggle against the coercive strategies of the perpetrators. Whilst it cannot be denied that abusive groups undertake calculated strategies designed to terrorise children into silence and obedience, the emphasis of this literature on psychological factors in explaining organised abuse has overlooked the social contexts of such abuse and the significance of abuse and violence as social practices.
There were other strange signals and signs. Another day, suddenly felt an almost overwhelming urge to travel to Balitmore. I wanted to 'kidnap' a helicoper fly it there if I didn't drive the there', she explains. 'I had no idea where I was to go, only that I was certain I would know my destination as I encountered signs and certain landmarks along the way. I was not even certain who I was to meet, or what my mission was, but I felt I must go.' Beginning to heal by this time with Talbon's help, she resisted that urge. Yet she sensed she would be summoned for three more Cat Woman missions: two in 1999 and one in 2000.As for the code words for activating her, those had been erased from Cheryl's conscious memory. Buried deep in her unconscious mind, however, the words, when called up, cause her to react as her programmers want her to. Though she can't remember the activation codes, Cheryl knows her handlers said the same things every time. 'I'm working on unblocking the words in therapy. Once I know what the words are, I can learn how to stop their effect on me. I did it already when I learned the control code. Standing in front of a mirror, I said the control code words over and over until I was completely desensitised to them. That's what I have to do for the activation code words... but I have not been able to recall all of them as yet.' Dr. Talbon was struck by another very important thing. 'It all hung together. The stories Cheryl told - even though it was upsetting to think people could do stuff like that - they were not disjointed. They were not repetitive in terms of "I've heard this before". It was not just trying consciously or unconsciously to get attention. She'd really processed them out and was done with them. She didn't come up with it again [after telling the story once and dealing with it]. Once it was done, it was done. And I think that was probably the biggest factor for me in her believability. I got no sense that she was using these stories to make herself a really interesting person to me so I'd really want to work with her, or something.