791-795

*Chapter 791: Nonsense*

Anson had no idea that, during their brief meeting, countless thoughts had crossed Kate's mind. However, he could sense her sincerity and focus.

After a small joke, Anson didn’t continue beating around the bush. “This is our third meeting.”

Technically, it was the third meeting between Joel and Clementine.

Not the first, nor the second, but the third.

Kate didn’t hide her surprise. “What?”

After a pause, she repeated, “What?”

“Wait, in the whole movie, didn’t they just reunite once?”

Anson shook his head. “Remember the beach house?”

Kate was stunned.

When Memento came out, one of the reasons Charlie Kaufman considered leaving the Eternal Sunshine of the Spotless Mind project was because both films centered on memory. Another reason was that both films used nonlinear storytelling, rearranging the sequence of events through film techniques.

In fact, Charlie Kaufman and Christopher Nolan didn’t know each other, nor had they heard of each other’s script ideas, but Charlie was still concerned about overlapping themes.

Of course, they didn’t. Memento and Eternal Sunshine of the Spotless Mind are entirely different films.

In Eternal Sunshine of the Spotless Mind, Charlie Kaufman completely scrambled the timeline and maintained this throughout, representing the chaotic nature of memory and how memories resurface in the brain during the process of forgetting.

To be precise, Joel and Clementine meet three times, and each time, they fall in love.

The first time they meet is during a beach vacation.

They happen upon each other on the beach, start talking, and embark on an adventure together to an abandoned beach house. But Joel hesitates.

He doesn't dare leave his comfort zone and retreats, stopping in the face of Clementine's impulsive adventure and fleeing in embarrassment.

That was just a brief afternoon.

The second time they meet, neither remembers their previous encounter, but they are still drawn to each other and fall in love again, this time establishing a real relationship.

As the initial passion fades, they start arguing and drifting apart, until Clementine decides to visit a clinic to erase her memories of Joel.

After learning the truth, Joel, in anger, also opts to have his memories of Clementine erased.

The third meeting happens after both have erased their memories, when they coincidentally run into each other again on a train between Long Island and New York, and once again, fall in love.

This is somewhat similar to 50 First Dates, a film Anson turned down. Both films deal with the theme of memory failing or being erased, but despite that, two people who are deeply in love meet and fall for each other again. At the core, both films are about a belief in fated love.

Twenty years later, such romantic films are almost extinct, as love is no longer seen as a belief. The evolution of society has drastically changed people's perceptions and attitudes toward love. Yet, even now, these hopelessly romantic films remain a beautiful sight on the big screen.

Returning to Eternal Sunshine of the Spotless Mind.

In the film, the narrative timeline is completely scrambled, constantly jumping between time and space. It bounces back and forth, with the third meeting and the current timeline as a reference, interspersed with flashbacks to the second meeting, creating a kaleidoscopic effect that dazzles the viewer.

When the movie was released, many audience members exclaimed that it was a "mind-bender." If you didn't stay focused throughout, you could easily get lost.

Even viewers who watched the full movie felt that way, so it’s no wonder Kate, who hadn’t read the complete script, was confused.

Kate looked at Anson with suspicion.

“So you're saying they met once, but because Joel backed out, nothing happened. Then when they met again, Clementine still fell in love with him? And then, on top of that, they fall in love again the third time they meet?”

“Damn.”

“What kind of charm does Joel have that makes Clementine fall for him over and over again?”

“I can understand Joel falling for Clementine repeatedly—her free spirit, her wildness, her romanticism. It's hard not to be drawn to that. But what about Joel?”

“It doesn't make sense.”

Just like that, Kate got to the heart of the matter—

Which is also what Eternal Sunshine of the Spotless Mind tries to explore: a fated love.

Strictly speaking, it is logical. Countless love stories are built on the push and pull of destiny. Those separations and heartaches eventually guide the two people back together, which undoubtedly carries immense power.

But a truly great love story doesn’t just rely on “fate” to bind two characters together. It conveys a deeper resonance and connection at the soul level. Films like When Harry Met Sally, Sleepless in Seattle, and The Notebook all do this.

They are destined to fall in love, but not merely because of fate. It’s about the resonance of their souls.

This is precisely the part missing from Eternal Sunshine of the Spotless Mind. After the shock and emotional impact, there’s a lack of lingering resonance.

Never underestimate that lingering feeling. It's often the reason why audiences come back to savor a movie, chew over it, or return to the cinema for another watch. It’s also what turns a film into a classic after years of refinement.

Anson thought that it would be hard to fix this with the script alone. Charlie’s screenplay was already packed with so much. Adding anything else would just make it too bloated. But the actors could make up for this through their performances.

And it seemed Anson and Kate shared the same thought.

Anson didn’t hesitate and said, “That’s the actor’s job—to discover the charm of the characters and create that spark between them.”

Kate gave him a slightly hesitant look, sizing him up. “You’re not just making this up, are you?”

Anson didn’t rush to deny it. He spread his hands and said, “It’s a possibility.”

So straightforward, so sincere. Kate hesitated for a moment longer. “So, what’s your take on it?”

Indeed, in the story of Eternal Sunshine of the Spotless Mind, it wasn’t easy.

Charlie Kaufman’s original intention was to create two characters who were polar opposites, yet kept falling in love with each other due to fate. Joel and Clementine’s personalities were entirely different, even opposites.

The brilliance of the script lies in how it avoids one key moment—how does love actually happen during the first meeting?

Love at first sight?

The film leaves it ambiguous.

In their second meeting, the script doesn’t show how they fell in love. In their third meeting, the film uses the idea of "déjà vu" to explain their attraction. As the story progresses, this idea of fate makes sense.

But the foundation of fate—the first time they fall in love—is never clearly shown in the movie.

That’s why Anson felt the actors should fill in this gap.

Coincidentally, this is something Anson needed his scene partner to help with. Or, looking at it from another angle, the process of Anson and Kate discussing and debating this is exactly how Joel and Clementine generate their chemistry.

*Chapter 792: A Lifelong Lesson*

“Things should be seen as two sides of the same coin.”

“For Joel, he longs for adventure, but deep down, he’s always lacked a sense of security. That’s why he stays in his comfort zone, quietly watching from the sidelines.”

“He noticed Clementine immediately.”

“Her boldness, her passion, her flamboyance, her freedom, her untamed spirit—all of it drew his gaze like flames, impossible to look away from, a natural attraction.”

“But Clementine has always been searching for security. Like a bird with no feet, always flying and never able to land, because landing would mean the end of her life. She can only find brief moments of rest in the wind's embrace.”

“When she noticed Joel’s gaze, she felt warmth and safety. Almost instinctively, she moved closer to him.”

“Two souls, completely different, seeking the missing pieces of themselves in the other, tightly holding on, hoping to become whole.”

“However…”

“This is where the tragedy lies.”

“It’s not a fate-bound tragedy like Romeo and Juliet, tied to something they can’t escape. It comes from within.”

“Joel can never quite keep up with Clementine’s rhythm and energy. He instinctively tries to bind her, to pull her back into his safe harbor.”

“Clementine, on the other hand, always resists any constraints, craving freedom and adventure. She cannot bear Joel’s attempts to bind her, and so she escapes that harbor time and again to breathe fresh air.”

“They both long for something they can’t have but can never abandon who they truly are.”

“To me, that’s the real tragedy. In the end, what defeats us is often ourselves—not family, not society, not financial crises, not even marriage, but the lifelong challenge of confronting ourselves.”

“That’s why every time they meet, they’re drawn to each other, an instinctive longing. But every encounter ends the same way: in tragedy.”

“Like moths to a flame.”

“This is what Charlie’s scripts are always trying to explore, trying to dig into. The source of every person’s tragedy is often themselves, and the one who imprisons and binds us is still ourselves—a shadow we can never escape.”

He spoke at length, rambling on.

Anson didn’t even realize that once he started talking, he couldn’t stop. All the thoughts in his head over the past few days poured out.

This is why he loves Charlie Kaufman’s scripts. It’s also why he loves Eternal Sunshine of the Spotless Mind. It’s not just about love or tragedy—it’s about reflecting on life itself. Charlie’s scripts have a power to them, stronger even than the visuals of the film.

But, when actors and directors collaborate, they can make that script shine with unbelievable brilliance.

Then…

Anson noticed Kate’s gaze. She was calmly and steadily looking at him, her eyes fixed on him.

Anson, feeling slightly uncomfortable, cleared his throat softly. Standing in front of “Ruth”—Kate Winslet—he found himself unusually flustered.

But he gathered his courage and looked back at Kate.

A smile appeared on Kate’s lips. “I like you.”

Completely out of the blue.

Anson froze, his heart skipping a beat.

Kate’s smile grew wider. “I hope you don’t take offense at my earlier nonsense. I’m serious—I like you.”

“I like your charm, and now, I also like your professionalism as an actor.”

Ha.

Kate’s smile bloomed like a rose on a glacier, proud and radiant.

“If that’s the case, then the ending is a tragedy, isn’t it?”

“Clementine can never be bound, and Joel will never dare take that step and spread his wings. Even if they meet countless times, they’ll always end in tragedy, like an endless Möbius strip.”

“So, does Charlie believe in love, or doesn’t he?”

Anson thought about it and believed that, at his core, Charlie doesn’t believe in love. It’s not because he has something against love, but because at heart, he’s a pessimist. Not just about love, but about life and everything else. Deep down, he believes the universe ends in endless darkness.

You only need to look at Charlie’s later career as a writer and director to see it.

But for now, Charlie hadn’t yet gone that far. Although Eternal Sunshine has a tragic tone, the movie still ends on a hopeful note.

Rather than a typical Hollywood happy ending, it’s more like a seed left behind, waiting for hope and dreams to take root.

At this point in his life, Charlie still hoped for miracles in the real world, to prove his pessimistic thoughts wrong—that love still has hope, and life still has meaning. It’s almost like a heartfelt prayer.

Anson thought for a moment and gave his answer.

“He wants to believe.”

Kate looked curiously at Anson.

Anson carefully chose his words, recalling the script’s current state.

“Actually, the script’s ending is already written. What’s troubling Charlie is the climax in the third act, where the story and characters peak. He’s been rewriting it over and over.”

“Charlie envisions that in the last of Joel’s fading memories, he finally finds a place where a trace of Clementine still exists.”

“In that place, Clementine is constantly calling out for Joel to come to Montauk.”

“So…”

“At the end, Joel finally takes that step. He bravely leaves his comfort zone, breaking away from his routine, and catches a train to Montauk.”

At that moment, Anson and Kate were on a platform headed west to Manhattan; the opposite platform, where Kate had just disembarked, led east towards Montauk—the farthest point on Long Island. There, at the end of the island, was a lighthouse.

For Joel, it wasn’t the end of the world, but it was still an adventure.

“And then, on the train, he meets his sun once again.”

Anson finished, looking at Kate.

Kate slowly processed everything, her mouth gradually opening in shock. “You’re saying their third meeting wasn’t an accident?”

The first meeting was pure coincidence.

The second meeting was a chance encounter.

But the third meeting was Joel, after receiving a message from his memory, bravely leaving his comfort zone and creating their reunion.

They took fate into their own hands.

In that moment, all the romance and purity, all the heartbreak and sorrow, exploded and unfolded.

In other words, the beginning of the film is actually the ending, making the entire movie a circular narrative.

Kate shivered, unable to tell if it was from the cold or from the overwhelming thoughts storming in her mind.

She looked back at Anson.

She knew Anson wasn’t just a pretty face, but now she realized she had underestimated him.

A pretty face?

Ha! Don’t let his youthful good looks fool you—otherwise, you’ll be the fool, left hurt in the end.

Chapter 793: The Subtle Boundary

"... This project is great, everything about it is great; but the only concern is the choice of the lead actor. There are already rumors circulating, and it seems like it's between Jim Carrey and Anson Wood."

"If it's Jim Carrey, that would be perfect. But if it's Anson Wood... Kate, I suggest you think twice. The value of the project might be completely different."

When considering her next project, Kate's agent had been skeptical. A script like Eternal Sunshine of the Spotless Mind, which didn’t follow the usual rules, indeed required some caution.

But unexpectedly, it was the cautious choice of Anson that helped Kate land the role. Even Kate's agent was shocked and torn—

On one hand, they still didn’t think Anson was the best choice. On the other hand, they couldn’t deny the gratitude owed to him for “recognizing” Kate.

It was a little shameful.

Kate’s agent believed that turning down the project would be the best move—sticking to their belief and avoiding being in Anson’s debt.

However, the final decision was in Kate’s hands.

And Kate accepted.

Kate held no bias against Anson. After all, she herself had been a victim of Hollywood’s prejudices, navigating a career that was stuck in a middle ground for years. But even Kate had to admit, standing face to face with Anson and engaging in conversation, she realized she was still somewhat influenced by those biases—

Her expectations weren’t high.

Yet.

In front of her, Anson, when discussing the script and the character, radiated a kind of joy and excitement—a wholehearted passion and energy that was far from the stance of a mere idol. On the contrary, Kate could sense his deep love for the script and acting.

Moreover, Anson, like Houdini, kept pulling tricks from his hat—first a dove, then flowers, and even the grand illusion of human transformation. He kept surprising, dragging the audience into a magical world with his unexpected and whimsical performances.

It was truly eye-opening—

Indeed, people shouldn’t be judged by appearances.

Kate liked Anson.

Not in the romantic sense, but a kind of admiration, respect, and also a curiosity—

Was Anson’s passion that of a fan or that of an actor?

A fan’s passion is merely theoretical. No matter how many films they’ve watched or how much they know, fans often fail when it comes to actually creating a movie—

Because they lack imagination.

An actor’s passion, on the other hand, is wholly invested in the performance, interpreting and embodying the script and character through their perspective. Regardless of talent, they approach acting with a unique vision, always striving to add distinctive colors to the role, continuously growing along the way.

There is a subtle boundary between the two—intangible, indescribable, but undeniably real. And the final outcome is often drastically different.

Kate’s expectations of Anson were steadily rising, not because of Hollywood’s praise or rumors, but because of her own experience.

Kate liked magic, but she loved the sense of wonder magic could bring. She wouldn’t mind experiencing more of that excitement.

“So,”

“You're saying the first two encounters were fate, and the third was an opportunity they created?”

Anson shrugged lightly. “In a way, the third was still fate, because Joel didn’t know Clementine would be on that train. And the memory cues and intuitive hints are still another form of fate.”

“But.”

“You’re right, yes. We can see the third meeting as an inevitable outcome of coincidence and choice—Joel and Clementine’s choice.”

Kate smiled. “Just like Casablanca.”

Anson paused for a beat, then caught on, “Of all the gin joints in all the towns in all the world, she walks into mine.”

They understood each other in an instant.

Kate exaggeratedly raised her shoulders. “Out of all the trains and platforms in New York, you just happened to be on this one.”

Ha-ha, ha-ha-ha—

Anson burst into laughter, pointing to the station sign, “If I’m not mistaken, the set is at this stop, and we’re almost out of time for our appointment.”

Kate placed a finger to her lips, “Shh.”

Ha-ha, the laughter couldn’t stop.

The image of Kate before him was slowly overlapping with the one in Anson’s mind.

Compared to the fully beaming Anson, Kate remained calm, with just a light smile.

“I like it. Charlie is truly Charlie.”

So, Kate had to thank Anson. She knew she couldn’t pass up this project.

“For an actor, performing isn’t an issue. But the real question is, how do you help the audience distinguish? Oh, that’s a tough one.”

“Look, although the three encounters happen at different times, from the script’s perspective, the characters don’t change much. Clementine is still Clementine, and Joel is still Joel. This isn’t a script that focuses on character arcs.”

“Actors can show emotional changes, but they can’t make the audience feel the shift in time and space.”

At once, Kate’s attention was focused on the performance.

Anson had thought about this issue before.

In the original Eternal Sunshine of the Spotless Mind, this was addressed through the changing colors of Clementine’s hair, each color representing a different time period.

It helped both the audience and the director/editor to distinguish the timelines.

But the problem is—

What about Joel?

As Kate mentioned, this film focuses on emotional states, without character arcs. The only emotional thread comes from Joel’s perspective—showing how we struggle with love and how we should confront the scars and pain of memories.

Naturally, the different stages and feelings between the three encounters should also leave marks on Joel.

In the original film, Jim Carrey didn’t fully convey this. The timeline distinction was left entirely to Clementine.

So when Clementine wasn’t on screen, it became difficult for the audience to accurately tell the time—a key element in the film's mind-bending narrative.

Of course, this could be interpreted as the director’s intent—to confuse the timeline, highlighting Joel’s lost state in his memory, using Clementine as a fixed point. But Anson had a different idea.

If Joel’s emotional state could be subtly shown through changes in his clothing, hairstyle, or beard, it would not only mark the timeline but also reveal how Clementine had quietly influenced his life, setting the stage for the final act.

Undoubtedly, this would make the emotions richer and more complete.

This was the first acting lesson Anson learned from his cameo on Friends—simple, fundamental, yet effective.

*Chapter 794: Details in Focus*

In a romance film, showing only one side of the emotional journey creates an imbalance. After all, a relationship requires two people to spark the chemistry. Otherwise, it’s just one-sided love or a secret crush.

Moreover, the narrative focus of Eternal Sunshine of the Spotless Mind is on Joel.

So, Anson believed that Joel, like Clementine, should experience subtle changes throughout different periods.

Of course, in terms of personality, Clementine is ever-changing, with mood swings as unpredictable as London weather—experiencing all four seasons in one day. Her changes are vibrant and colorful. But Joel is not like that. He is conservative, rigid, and unchanging. Any significant change in Joel would contradict his character.

Anson was aware of this.

The changes in Joel should be subtle—small, almost imperceptible adjustments.

This way, the film can maintain its “mind-bending” quality. On a first watch, the audience is often focused on the story itself and may overlook these details, making the timeline seem confusing. Only when they calm down and fully immerse themselves will they discover these hidden details, like pieces of a puzzle that complete the full picture of the story.

This posed a challenge.

Additionally, Anson noticed something about Kate’s hairstyle.

Unlike Clementine’s bold and distinct hair color from the past, Kate’s current hairstyle was rebellious and full of personality, but it didn’t help the audience identify the character easily.

From Kate’s performance so far, Anson wondered:

Was it because Charlie hadn’t finished writing the script yet? Maybe Charlie hadn’t clarified his ideas, and the script didn’t give the stylist enough direction. Perhaps Kate hadn’t fully grasped the character either, so she relied on her intuition and was still exploring, leaving the styling vague.

Now, Kate gave Anson an inspiration.

Maybe these two problems could be solved together.

Anson looked at Kate, "Have you seen Dead Ringers?"

Dead Ringers was a 1988 film directed by David Cronenberg and starring Jeremy Irons. It focused on twin brothers who, despite being two distinct individuals, were mentally intertwined.

When they both fell in love with the same actress, the connection between the brothers began to fracture, causing them to wither both physically and spiritually. Eventually, they rediscovered each other through destruction and rebirth.

In the film, Jeremy Irons played both brothers. To help the audience distinguish between them, the stylist put great effort into the details of their suits. Jeremy Irons’ nuanced and brilliant performance further emphasized the differences between the two characters, offering viewers a unique experience.

After the movie’s release, a friend of Cronenberg’s asked him, “Oh, Jeremy Irons’ performance was amazing, but who was the other actor?”

That was the highest praise for Jeremy.

In the film, the older brother’s suit was always clean and tidy, with cool tones and no extra accessories, often accompanied by a three-piece set for formal occasions. The younger brother’s suit, on the other hand, was often paired with a sweater, slightly warmer in tone, and devoid of ties, cufflinks, and other details, highlighting his bookish nature.

Even with the same traditional suit, subtle differences could create distinct characters.

As Anson spoke, Kate immediately visualized the concept.

Then Kate looked at Anson, "So you plan to show Joel’s changes through variations in his suit?"

Anson nodded, "I still need to discuss it further with the stylist, but I think the tie and sweater could be a good starting point—focusing on colors, styles, and combinations."

These details might not be obvious but would always be present.

"Interesting." Kate smiled, her eyes showing admiration. "Since you’ll use clothing to show Joel’s changes, I’ll need to avoid repetition with Clementine, or it might visually overwhelm the audience and make it harder to distinguish her character."

"How about…"

She paused briefly.

"Hair color—what do you think?"

Without Anson needing to explain, Kate had already found her own inspiration.

"Look, Clementine has a free-spirited soul, and her hair color reflects her mood."

"Did you know? Statistics show that over 60% of women change their hairstyle when they want to change their mood, and the extent of the change reflects the intensity of their emotions."

"If it’s just trimming the ends or adjusting bangs, that’s a daily mood shift. But changing the color signals a desire for more significant change. And if she goes for a complete transformation—like cutting long hair short—well, that probably means her life has undergone a major shift."

This was new information for Anson.

Curious, he asked, "What about women with hundreds of wigs?"

Kate smiled, "They’re probably trying to hide their true emotions, not wanting anyone to see their vulnerability."

Anson replied, “Wow.”

Kate smirked, "I know you men think we’re from Venus, but honestly, we’re not that hard to figure out." She winked, her expression suggesting, This is a big secret—I’ve helped you this far. The rest is up to you when you’re wooing women.

Just as a smile spread across Anson’s face, Kate shifted to the next topic.

"Since they meet three times, let’s treat them as three distinct periods."

"Actually, in a long-term relationship, it’s unlikely that Clementine wouldn’t change her hair color at all, considering how her mood shifts daily. But to avoid confusing the audience, we’ll have to sacrifice that realism for the film’s sake. It’s a small regret, but it can’t be helped."

Anson thought it over and replied, "Not necessarily."

Kate looked intrigued.

Anson continued, "Throughout their relationship, Clementine can keep her red hair, but at different times, she could use different shades of red—light red, orange-red, bright red, and so on. When she’s passionate, the color could be more vibrant, and when she’s going through tough times, it could become more muted."

Like a barometer for her emotions.

Kate shot back, “Do you think I’m a neon light, changing at will? Do you know how painful it is to dye hair, not to mention how damaging it is? By the time we finish filming, I’ll be bald!”

Anson: …

Did she just flip the switch from friendly to mad? Or was that a joke?

"Uh… sorry?" Anson hesitated.

Kate stared at him for a moment, the tension thick in the air. Just as it seemed things would turn awkward, she broke the silence.

"But I like it."

“Clementine is exactly the type of woman who’s hard to pin down. I think you’ve captured the essence of her character. See? Our little session paid off.”

*Chapter 795: A Dazzling Display*

Kate beamed with a bright smile.

Anson: …

After waiting for Kate to finish speaking, this time it was Anson who fell silent.

Kate looked at the bewildered and at-a-loss Anson, feeling a bit uneasy. She began to worry whether her prank had gone too far. After all, Anson had always behaved politely, clearly a good kid...

Then, without any warning, Anson turned around, took off running, and disappeared in a flash before Kate could even blink, leaving her standing there in complete shock. Her mind, which had been racing, suddenly froze, stuck in a daze.

What... just happened?

Just then, Anson reappeared.

He returned after sprinting off, coming to a sudden halt right in front of Kate.

Catching his breath slightly, Anson asked, "Is it too late to run away now?"

Kate was stunned, her frozen brain finally catching up—she had been outwitted!

To think, she had just been worrying about Anson.

Ha, haha.

A smile crept up to the corners of her mouth, but Kate held herself back, maintaining a serious and solemn expression as she nodded gravely.

"Yes, you missed your chance."

The two exchanged a look, and the laughter began to flicker in their eyes.

Then, Anson spoke first.

"I was just thinking, maybe red is a good idea."

Kate was puzzled.

Anson elaborated.

"The first time they meet, it's blue, symbolizing tragedy. Joel flees, unable to summon the courage to follow Clementine on her adventure."

"The second time, it's red, symbolizing passion. They can't resist the pull of attraction and fall in love, and Clementine's emotions fully bloom."

Now, Kate understood. "At the same time, red can also symbolize life, fire. They burn through their lives for this love, like moths to a flame. Once their energy is exhausted, they lose the ability to communicate or recover, so Clementine chooses to erase her memory."

"Hey, the idea of red fading is a good one."

"And finally, the third encounter is green, representing rebirth."

"After a great fire consumes everything, those emotions stubbornly sprout anew, even if they've forgotten everything, they still can't help but fall in love again."

"No one knows whether it's a tragedy or a comedy."

Kate followed Anson's train of thought, her mind working quickly, then paused briefly in reflection.

Suddenly, all those emotional fragments that had felt disjointed now connected in a surprising and coherent way.

Her entire expression brightened, her excitement and joy shining through, making her appear so real and alive.

"What do you think?"

Basking in Kate's expectant gaze, Anson responded with a smile.

"Perfect."

Kate let out a hearty laugh, not caring about her image. "Nothing is perfect in this world. But anyway, thank you."

She paused, then collected herself, stepping forward a bit and extending her right hand, repeating herself seriously.

"Thank you."

Kate had been repeatedly reading through the script recently, but always felt that some pieces of the character puzzle were missing. Now, she finally felt that the block in her chest had been lifted, and she could walk into the set confidently, without fear of under-preparing or messing up her performance. The connection between character and plot, performance and story, had finally clicked into place, giving the actor the freedom to shine.

Anson could sense Kate's sincerity. He shook her right hand and said, "The honor is mine."

Kate didn’t let go right away but gave his hand a firm shake. She stared straight at Anson, triggering a memory in his mind—

"So, do you need me to teach you how to spit?"

That iconic scene from Titanic.

Kate froze, then failed to suppress her amusement, both disgusted and entertained. "I did not see that coming. Oh my God, I swear I didn't expect that at all."

"You're probably the first person to bring up that spitting scene in front of me. Do you know? No one ever wants to talk about that scene, not even Leo, haha."

"You're a funny guy."

For years, just like Leonardo, Kate hadn't been fond of people bringing up Titanic, as if it were the only film in their entire careers. Yet in social settings, it was hard to avoid.

But now, when Anson brought it up, Kate didn’t mind at all.

And so, with light laughter, the two walked side by side, chatting casually as they made their way toward the set.

...

Grant felt a wave of nausea—

Looking back, it seemed that Anson leaving wasn't such a good thing after all. They had practically kicked the lead actor out onto the street, and it was raining no less.

Just imagine, the hottest actor in Hollywood at the moment, wandering the streets like a homeless person after being kicked off set.

God!

Grant's scalp tingled.

This anxiety only grew as time passed.

Because Anson still hadn't shown up. Grant had looked downstairs, even out on the balcony, but the place was empty. He had no idea whether Anson had gotten lost or disappeared entirely.

Without meaning to, his mind began conjuring up all kinds of awful scenarios.

Like Anson slipping and having an accident in the rain.

Or maybe he’d stormed off, quitting the production in a fit of rage.

Or worse, the director showing up only to find that the lead actor had been scared away.

Negative thoughts sprouted like seeds, growing quickly into towering trees, filling Grant's mind. He could already see the media swarming, sharks smelling blood in the water, circling the production. And in this imagined chaos, the director was preparing to throw Grant to the sharks.

Creak.

The door opened.

Grant jolted, turning reflexively toward the sound, only to see Anson smiling brightly. He was so shocked and surprised that he nearly cried out—

Ah.

Grant had to clasp his hands over his mouth just to contain himself.

"Hey, carry on. We just needed a place to get out of the rain for a bit."

Anson flashed a smile, and Kate poked her head around the doorframe, playfully waving.

"Good morning!"

The next second, Kate noticed Grant's tear-filled eyes. She blinked.

"I know you’re moved to see me, but no need to be that moved, right? What, did you grow up watching Titanic too?"

In a rare mood, Kate teased herself with a joke.

Grant had no idea how to explain, his mind a jumble of thoughts. He simply nodded, wiped away the tears, and then burst into sobs.

Kate froze, looking over at Anson. "Should I give him a hug?"

Anson wore an innocent expression, clearly trying to distance himself from the situation. "Kate, Kate, Kate, look at you. You’ve gone and scared the poor kid to tears. This is no good at all."

Kate: ???