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Chapter 641: Unearthing the Treasure

They looked at each other in silence, not a single sound was made.

No one dared to speak.

Not even Heath.

It was the first time they'd seen Anson angry. There was no yelling or furious outburst; his calm words bloomed like a rare night flower, but the calmness in his tone sent a chill down their spines.

The first instinct was to shut up, making every effort to disappear, terrified that they'd accidentally meet Anson's deathly stare.

Eric was on the verge of tears.

Eric looked helplessly at Mackie, his mouth moving but no sound coming out, his puppy-dog eyes pitifully pleading with him.

But Mackie was in no shape to help Eric out.

Forcing himself, Mackie hesitantly called out, “Anson...”

The next second, Anson’s voice drifted over.

“So, what exactly are we waiting for?”

Mackie, “Huh?”

Anson’s smile curled up slightly, revealing a hint of menace. “Heh heh, Tommy, looks like we might need to settle our score again.”

Mackie: ...

Eric: “Anson, please don’t smile like that. I think I just peed a little.”

Pfft.

Rachel couldn’t hold back and burst out laughing—

The tension finally broke.

At this point, if they didn’t realize Anson was just joking, they’d be complete fools. Yet, his earlier display was so real, so terrifying, that both Mackie and Eric still couldn’t shake the lingering fear. They sneaked glances at Anson, hesitating, unsure of what to expect.

Anson glanced at them, “If rumors about me start spreading in Hollywood, I’ll know exactly where they came from.”

Mackie, “Heh heh.”

Anson, “Directors, this is your first time directing a movie, and it's my first time as a producer. We’re all bound to make mistakes.”

“So, making mistakes isn’t a problem. What’s important is learning from them.”

“Reshooting once or twice is no big deal; that’s just part of our job. But you can see that all three of us are getting a little tired, and our performance might get shaky. If you want the camera to capture everything clearly, you directors will need to plan things out carefully.”

“Don’t just shoot carelessly and waste great opportunities.”

“Think it through. What shots do you need to capture? How should the camera move? What scenes need to be reshot? Then we’ll start again and work efficiently to get it done.”

If shooting a movie could be done in one continuous take, wrapping up all the work in one go, acting would be so much easier. The actors would just need to deliver one perfect performance amid all the chaos.

But that’s not how it works.

Filming often involves repeated takes, switching between different angles, and carefully crafting each scene over and over again. The performance and the energy are broken into fragments, which the director pieces together like a Lego set.

For this reason, the British academy style doesn’t favor method acting—

Method acting demands that actors fully immerse themselves into the role, blurring the lines between reality and fiction. But this out-of-control state can’t always be harnessed at will. Each performance may end up being different, making it hard for the final cut to feel cohesive.

So, they lean toward the presentational style, where actors deliver precise, controlled emotions and performances while staying fully aware, doing exactly what the director needs.

But that’s a side note.

Different acting styles yield different results; there’s no one right answer, just the one that suits the actor.

Like what was happening now.

The three actors were fully immersed in their roles, capturing the essence of method acting. Even though each take might have slight differences in detail, their overall energy remained consistent, and they were able to slip back into character instantly.

The filming went smoothly.

From close-ups to extreme close-ups, various angles and compositions were used. After much thought, Mackie and Eric resumed filming, capturing all the details they were aiming for.

Until—

“Cut!”

Behind the monitor, Mackie jumped to his feet, beaming with excitement. He raised his hand and waved it through the air like a conductor finishing the final note of a symphony.

“Perfect!”

All eyes turned to the monitor. On the small screen, Anson’s handsome face, smeared with blood, appeared frozen in shock. His eyes, wide with confusion, glistened with tears that slipped from his lashes, mixing with the blood on his face as his soul seemed to fade away.

The impact was overwhelming.

It felt like magic.

Suddenly—

The entire crew erupted into applause.

They exchanged looks, their faces alight with joy and admiration. The initial indifference and casual approach most of the crew had when they joined had completely vanished. Slowly but surely, before anyone even realized it, they’d thrown themselves wholeheartedly into the project.

The filming was finally back on track.

Nearly everyone in the crew had thought this was a quick-money job, but after fully committing, they realized it was an unexpected treasure.

Leaving aside the directors’ skills and post-production work, the filming experience itself had been so captivating that it was impossible to stop.

Led by Heath and Rachel, the young actors showed immense professionalism and, more importantly, talent, diving deep into their scripts and roles. The set felt like a performance workshop at a film festival, buzzing with energy and enthusiasm.

Even the younger actors, like Aaron and Logan, picked up on the mood. They followed the lead of the older actors all day long, bringing a childlike wisdom to their roles, which added an extra layer of depth to their characters.

But at the core of it all, there was Anson.

For years, there had been endless rumors about Anson, who had become a star at a young age, soaring to fame. Many dismissed him as just another pretty face who charmed his way to the top. If that were true, why Anson and not one of the many other "pretty faces" in Hollywood?

Much like “The Butterfly Effect” as a strategic production choice and the filming of “The Elephant,” all of it was part of a calculated plan to polish Anson’s image step by step.

But it wasn’t until you worked with him firsthand that you realized he was far more than just a pretty face.

Indeed, in Hollywood, you should never trust the rumors. If even one-tenth of them are true, that’s already a stretch. At the end of the day, you have to experience things for yourself.

Bit by bit, the crew of “The Butterfly Effect” came together.

What started as a disjointed, half-hearted effort turned into a united front. The film’s production and atmosphere had transformed completely.

Originally, the filming schedule was set for forty days, but everything went much more smoothly than expected. In just twenty-five days, the entire movie had been shot, wrapping two weeks ahead of schedule.

Things couldn’t have gone better.

For Anson, it was his first time as a producer, and everything went smoothly. At least, the movie was already halfway to success.

Next up: post-production.

Chapter 642: Turning the Tide

Vancouver, known as the "Hollywood of the North," sat quietly, almost like a hidden paradise, providing a peaceful and isolated work environment.

Some might argue that Vancouver isn’t that remote or isolated. It’s still in North America, only a two-hour flight away from other major cities. Let’s not treat Vancouver like Alaska, as if it’s the end of the world.

However, the reality is that being away from Hollywood’s center makes Vancouver a much calmer and quieter place. The glitz and glamour of Tinseltown fade as you travel north, into the snowy kingdom of Canada.

While it’s not truly cut off from the world, it’s far enough to feel distant.

As Anson threw himself fully into the filming of The Butterfly Effect in Vancouver, Hollywood was undergoing a new wave of turmoil and transformation, with the film industry facing another round of disruptions. On the surface, it seemed to have nothing to do with Anson.

After all, Anson was still new to the game, not yet influential enough to shake the industry’s foundations. He wasn’t important enough to be involved in every little thing happening in Hollywood.

Yet, as the story unfolded, all roads somehow led back to Anson once again, proving once more that he was the hottest rising star in Hollywood.

It all revolved around the summer blockbuster season.

After a period of chaos and turbulence, this year’s summer release of Spider-Man exploded onto the scene, shattering records and rewriting history. The waves of excitement carried on through the summer, with Hollywood beaming with joy and celebration.

But that wasn’t enough.

For Hollywood and Wall Street, the success of one film or one summer isn’t worth getting excited about. They wanted a formula that could be replicated, something they could produce on a factory-like assembly line. What they needed were not just one or two successful films, but five, ten, or a hundred films in a row. Even before the summer season ended, their sights were already set on next year and the year after that.

And beyond.

They had their eyes on the fall release season, the holiday season, and the winter box office.

Traditionally, the fall season has always been quieter, coming right after the summer blockbusters. The audience’s excitement has usually waned by then, as students return to school and the market begins gearing up for the holiday rush. It’s typically the weakest time of the year for films, but that doesn’t mean the studios ignore the fall.

The studios are always thinking about how to spark the fall season.

This year, even before Spider-Man hit theaters, all the major studios were already preparing their lineups for the fall and holiday seasons, hoping to revitalize the market.

More precisely, they had a two-pronged approach.

On the one hand, their focus remained on the summer season, aiming for the prime spots and hoping for success during that time.

On the other hand, the studios were also prepared for the possibility that the summer might not deliver as expected. If the summer box office underperformed, what was their plan? Should they just stop working altogether?

Of course not.

The top studios are filled with sharp, capable leaders who don’t give up easily. Instead, they laid the groundwork step by step.

From their perspective, the film market wasn’t going to remain stagnant forever. In 2002, movies were still one of the most popular forms of entertainment, and audiences were bound to return to the theaters eventually. If it didn’t happen in the summer, it would be in the fall or during the holidays.

It was that simple.

So, they weren’t putting all their eggs in one basket.

The truly skilled strategists focused on the summer blockbusters, but they didn’t bet everything on them. They also had plans for the fall and holiday seasons.

As a result, the usually quiet and empty fall lineup received extra attention this year, with studios laying the groundwork early for the holidays.

The competition was fiercer than ever.

Warner Bros. came out strong with Harry Potter and the Chamber of Secrets, MGM had 007: Die Another Day, Paramount released Star Trek: Nemesis, Miramax had Gangs of New York, New Line Cinema brought The Lord of the Rings: The Two Towers, and Universal launched 8 Mile, among others.

The fall lineup was packed with heavy hitters, bombarding the market from all sides.

In terms of quality, quantity, excitement, and buzz, this fall season was no less significant than the summer.

Leading the charge was Warner Bros.

This summer, Warner Bros. had a quieter season. That’s not to say it was a failure—Scooby-Doo brought in $150 million, and Austin Powers in Goldmember raked in $210 million. Amid fierce competition, Warner Bros. still held its ground and didn’t fall behind.

But if you look closer, you’ll see that Warner Bros. took a step back in the summer season.

Typically known for its high-investment, high-return projects, Warner Bros. didn’t release any movies with a budget over $100 million this summer. Instead, they let films like Spider-Man and Star Wars: Episode II dominate the spotlight. Their focus was clearly on the latter half of the year. This strategy of shifting their efforts to a different time of year was a bold move.

With one of their own movies, Harry Potter, and another from New Line Cinema, The Lord of the Rings, Warner Bros. held their two strongest cards. They were hoping to open up a new path outside of the summer season and re-establish the market order amidst the chaos.

Now that’s true confidence.

When everyone else was playing it safe, sticking to the summer season, Warner Bros. boldly aimed to disrupt the market by focusing on other times of the year. After all, the recovery of the summer box office was still uncertain at that time.

If Warner Bros. succeeded, it would completely rewrite the North American film industry’s schedule, which had held steady for the past thirty years.

However.

The summer box office boomed, Spider-Man was a massive success.

As a result.

Warner Bros. and the rest of the projects lined up for the fall found themselves in an awkward position.

This summer saw unprecedented energy and record-breaking performances. The total box office revenue for the summer season hit new heights, meaning the fall season was once again under pressure.

Suddenly, the situation became urgent.

The outcome? Not great.

Leading the fall lineup was Harry Potter and the Chamber of Secrets, which had sky-high expectations. After all, Harry Potter and the Sorcerer’s Stone had been a box office juggernaut, rewriting the record books. However, this $100 million sequel fell short of expectations.

Not only did its opening weekend fail to make history, but poor word of mouth also caused its subsequent box office earnings to drop much more sharply than anticipated. It could even be called disastrous. After five weeks in theaters, its total gross barely reached $200 million.

By all standards, a $200 million box office gross is impressive. But by its fifth weekend, the film was only making $6 million over three days, meaning it wouldn’t come close to the $300 million mark.

Compared to last year’s Harry Potter and the Sorcerer’s Stone, which grossed $288 million in North America, this was a step backward. It was undeniably disappointing.

Even a Harry Potter film couldn’t change the market dynamic. Perhaps Warner Bros. had been too reckless?

But wait—what does all this have to do with Anson?

The reason is simple: Harry Potter and the Chamber of Secrets’ underperformance was only the beginning. Other films soon faced similar struggles, and soon, Anson would be drawn into the fray.

Chapter 643: Hitting a Wall Head-On

A unique year, a special setup—the fall and holiday movie seasons are showing a booming landscape. Hollywood’s major film studios have never been busier, with intense competition beneath the surface as they jostle for market dominance in ways beyond imagination.

Warner Bros. once again demonstrated its boldness and ambition.

However.

Despite its success, "Harry Potter and the Chamber of Secrets" failed to completely turn the tide. While the box office was still impressive, proving the franchise's staying power, it didn’t meet Warner Bros.' lofty expectations, leaving the result somewhat disappointing.

Especially against the backdrop of "Spider-Man" rewriting box office history.

Still, Warner Bros. needn’t panic, as "Harry Potter" wasn’t the only big-ticket film feeling the market's pull.

"007: Die Another Day" has grossed $138 million after four weeks, but its weekend earnings have already dropped to $7.8 million.

"Star Trek: Nemesis" earned just $18 million in its opening weekend, even losing to the rom-com "Maid in Manhattan."

"Gangs of New York," with a modest $9 million opening, screened in only 1,500 theaters—largely due to a lukewarm reception. Despite being directed by Martin Scorsese and featuring a star-studded cast with Daniel Day-Lewis, Leonardo DiCaprio, and Cameron Diaz, Miramax’s $100 million investment was clearly aiming for much more.

Disappointment. Underwhelming. Sluggish.

Quietly, this theme of unmet expectations has become the main narrative of the fall and holiday seasons.

Of course, it’s not all bad news—

"8 Mile," the semi-autobiographical film starring rapper Eminem, has emerged as a dark horse. Produced for just $40 million, it broke through the onslaught of big-name films to claim its share of the spotlight, amassing $110 million over six weeks—another small-budget win for Universal Pictures.

But that’s still not enough—not nearly enough.

With much anticipation and high hopes, the result?

That’s it?

All of Hollywood seemed deflated. While many quietly mocked Warner Bros.' over-optimism, the real power players lamented the studio's bold attempt, wishing it had succeeded.

They weren't worried about Warner Bros.' success. After all, if Warner Bros. cracked the code for the fall and holiday seasons, other studios would rush to join the fray—everyone would benefit.

In the midst of this collective sigh, the year 2002 was drawing to a close, with just one last wave left in the holiday season—

Christmas.

"The Lord of the Rings: The Two Towers" made its grand entrance.

Like the "Harry Potter" series, the first installment of "The Lord of the Rings" had made a successful debut the previous year, sparking a frenzy at the box office. Now, the sequel came with even higher expectations, further showcasing Warner Bros.' ambitious strategy.

The result?

The box office was solid, but still left a sense of unfinished business. It didn’t quite set the market on fire.

The film tried to capitalize on the holiday mood by opening early, premiering on a Wednesday to extend its opening stretch.

The weekend brought in $60 million, with a five-day opening of $100.2 million.

First, this is a cause for celebration. With Peter Jackson directing the movie on a modest $94 million budget, the box office numbers indicated that Warner Bros. and New Line Cinema would easily turn a profit, potentially even surpassing "Harry Potter."

But the results still didn’t live up to the expectations. It didn’t completely dominate the holiday season, and the five-day total was still below "Spider-Man’s" weekend debut. As they say, comparisons are painful, and you could practically hear the collective sighs of disappointment.

“See, it’s not so easy to replicate Peter Parker’s miracle.”

“I can’t believe they missed the mark.”

“So, where did it fall short? Warner Bros. had such high hopes, but it slipped through their fingers.”

“Was it too ambitious?”

“In the end, the holiday season just can’t compete with the summer.”

“So, should they admit defeat, or do they refuse to give up?”

Whispers and murmurs.

All of Hollywood had a strange vibe, but without a doubt, all eyes were focused on Warner Bros. and the holiday season—

And everyone was talking about it.

Even top franchises like "Harry Potter" and "The Lord of the Rings" couldn’t replicate the explosive energy "Spider-Man" brought to the summer. So, what does this mean?

One possibility is that the holiday season simply can’t compete with the summer. Maybe Warner Bros. should abandon its plan to open a new front in the holiday season.

Another possibility is that "Spider-Man’s" success is a one-off, unrepeatable. Just like it took five years after "Titanic" for another film to hit $600 million in North America, the market hasn’t reached that level yet, and studios should slow down.

So, is it the former or the latter? Or is there another explanation?

Amid this uncertainty, "Catch Me If You Can" premiered on Christmas Day.

This could be the moment to answer everyone’s questions and offer clarity.

While "Catch Me If You Can" is not "Spider-Man"—the two films are entirely different and incomparable—the context has led to endless speculation.

First, does "Spider-Man’s" success signal the rise of Anson?

Second, can Anson, who recently shook up the North American market, make a splash in the holiday season?

Third, with other films failing to change the game, can "Catch Me If You Can" save the day?

So many questions. So much speculation.

Maybe "Catch Me If You Can" isn’t "Spider-Man," but with a film this full of potential, featuring top-tier talent like Steven Spielberg, Tom Hanks, and Anson Wood, Hollywood has every reason to watch where its box office performance ends up.

It’s not just about DreamWorks or Warner Bros.—the entire industry is paying attention.

And so.

The rolling waves of anticipation reached a peak as the five-day box office numbers for "The Two Towers" were released—

“Sigh, here we go. It’s up to ‘Catch Me If You Can’ to provide the answer.”

“Not too long ago, Anson Wood cracked the summer code. Now, the holiday season challenge is right in front of him. Is it up to Anson again?”

“Anson Wood: Could he be the first true superstar of the new century?”

In 2002, Hollywood hadn’t yet fully embraced the era of franchise dominance. The town still believed in the power of movie stars.

From Tom Cruise to Brad Pitt to Will Smith and, finally, Leonardo DiCaprio, the entire 1990s were defined by the allure of these megastars, with each one capable of drawing millions of moviegoers into theaters just to see their films.

It was a golden age of star power.

But with the eventual decline of these stars and the rise of intellectual property, Leonardo DiCaprio became the last true movie star of the century’s end. Now, Hollywood was asking a new question:

Could Anson Wood become the first true superstar of the 21st century?

*Chapter 644: Sliding into Position*

In 2002, Hollywood was still in the era of mega-stars.

By all accounts, the success and glory of the summer box office had nothing to do with Anson; naturally, the bottlenecks and challenges of the holiday season were also unrelated to him.

Anson Wood, still a newcomer, was merely a pretty face, an idol, a pawn.

That’s why, when Anson took on a role in "The Elephant," it sparked a wave of mockery. The professionals saw through his ambition and advised him not to rush. When Anson produced "The Butterfly Effect," the ridicule resurfaced. Again, they saw his grand plans and warned him not to take such big leaps.

All of it was based on assumptions and prejudice.

Yet.

Just as circumstances create heroes, when time, place, people, and events align like gears in a machine, opportunities are born.

Hollywood still believed in mega-stars and was still looking for one. The solution to any challenge or problem was always a star. The question, however, was: who would that star be? Could it be Anson? Was Anson at that level yet?

Anson and "Catch Me If You Can" became a test for the holiday season—a test of Anson's potential and the box office's potential for success. It seemed like a mutual trial, but in reality, neither side was truly willing.

Yet, things happened anyway.

Just a month ago, the media had been criticizing Anson, calling him "ambitious beyond his ability," "calculating and manipulative," and "untalented with an insatiable appetite."

Then, in a quick turn of events, the question "Could the first mega-star of the new century be emerging?" was being linked to Anson, stirring Hollywood with curiosity.

As for Anson himself, he remarked: "None of this has anything to do with me."

And so.

Anson. Anson. Anson.

When Anson returned from the quiet, remote Vancouver back to the spotlight of Los Angeles, this was the scene that greeted him:

A dazzling world, overwhelming with the sheer volume of attention, all revolving around his name. The whole world seemed to be spinning, and yet he had no idea why.

Click. Click-click-click.

The flashbulbs burst like waterfalls, filling his ears with a constant roar. The arrival hall of the airport was jam-packed with crowds, barely any space left to move.

Clearly, Anson hadn't expected this.

Without a comparison, there’s no way to fully grasp it—Vancouver, by contrast, truly felt like the end of the world.

His first and only thought: Wow, that’s a lot of people.

Did they not have other things to do? Wasn’t Ben Affleck and Jennifer Lopez still capturing attention? Didn’t Mel Gibson have another DUI incident? Was there no new update on Brad Pitt and Jennifer Aniston’s marriage? Had Leonardo DiCaprio stopped creating drama for himself?

Thoughts like that ran through his head.

Peering through his sunglasses at the sea of people, he hesitated for a moment. Finally, he understood why Edgar had insisted on picking him up.

But where was the captain?

Scanning the flashes of cameras, Anson searched for Edgar among the chaos.

Then.

A tall, broad, pale figure emerged from the crowd, grabbing his attention.

Dressed in a black suit that didn’t quite fit—pants a bit too short, awkwardly revealing white socks. If it were Michael Jackson, this would be fashionable. But for an average person, it was simply comedic.

The young man’s baby face wore a nervous yet excited grin as he walked confidently toward Anson, brimming with self-assurance.

Wait, who was this?

At that moment, the guy's black shoes skidded across the glossy airport tiles like a spider on ice.

Screeech.

Suddenly, the baby-faced guy flailed his arms wildly, losing all sense of cool. The "Men in Black" agent vibe he’d been going for collapsed instantly, and every eye in the airport was now on him, watching in shock as he careened toward Anson like a runaway train.

"Oh, no, no!"

The baby-faced guy wailed.

Anson didn’t dodge. Instead, he took a step forward, spreading his arms, ready to catch this poor guy.

To his surprise, the baby-faced guy frantically waved his hands.

“No, no!”

He bent his knees, lowering his center of gravity, and at the last second, slid past Anson like a bowling ball.

The whole place fell silent.

A moment later, someone from the crowd shouted, “Safe!”

And with that, the entire hall burst into laughter.

Anson couldn’t hold back his smile either—his eyes and mouth curving into an amused grin. But he quickly moved forward, extending a hand to help the guy up.

“God, are you okay?”

The guy’s pale face flushed red with embarrassment. He awkwardly rubbed his head, and Anson tried to stop him but was a second too late—the guy’s perfectly styled hair, held up with gel, collapsed into a flat mess.

It was kind of funny.

The baby-faced guy noticed Anson’s hesitation, blinking innocently as if completely unaware of his hairstyle disaster.

Anson swallowed his words and shifted the conversation, “Everything alright? You hurt?”

The guy glanced down at himself and shook his head with such enthusiasm that it looked like his head might fall off. His large, clumsy frame shook like a giant gorilla.

Only now did Anson notice the guy was actually taller and broader than him, standing there like a giant Paddington Bear. But with that baby face, it was impossible to tell how old he was.

“…No,” the guy finally found his voice, blurting out a single word, “I’m fine. I’m okay. Don’t worry, Mr. Wood.”

Anson raised an eyebrow, “Mr. Wood?”

That title?

So, the guy wasn’t a paparazzo?

The baby-faced guy didn’t catch the subtext in Anson’s voice, staring back at him, confused. “Is Mr. Wood trying to hide his identity? But Mr. Wood’s face is like a calling card—no way anyone wouldn’t recognize it. If Mr. Wood wants to go undercover, James Bond-style isn’t going to cut it.”

The serious way he made this leap in logic left Anson speechless.

Before Anson could decide whether to explain, the guy’s phone buzzed in his pocket. He fumbled to pull it out.

“Mr. Cook,” he said, standing at attention, and then handed the phone to Anson with both hands.

Anson took it.

“Anson, I see you two. I’m outside, at the main entrance. You’d better hurry up. That kid’s there to help you.”

It was Edgar on the other end, brief and to the point. He hung up immediately after giving instructions.

Anson handed the phone back. “Your boss says we need to get going, or he might get a ticket.”

Casually, Anson made a light joke at Edgar’s expense.

But the baby-faced guy didn’t get it, nodding seriously. “That would be bad. We should hurry.”

Anson: …

He had a feeling that working with this guy was going to be... interesting.

*Chapter 645: Holding the Line*

The baby-faced man didn’t notice Anson’s joke at all. His expression suddenly turned serious as he spun around and carefully observed the reporters in front of him.

His stance was like that of a Terminator scanning for targets.

The atmosphere in the area noticeably tightened.

Then, without further hesitation, the baby-faced man turned to Anson. “Mr. Wood, follow me. I’ll protect you.”

Anson: ...

One second, he was like the Terminator, and now he’s a bodyguard? So, if baby-face is Kevin Costner, does that make Anson...?

But there was no time for jokes this time. Baby-face strode forward, clearing a path, and Anson quickly followed.

“Anson, do you have confidence in the holiday box office?”

“How much do you think it’ll make this time?”

“Was filming in Vancouver smooth?”

“What’s your next move? Rumor has it you’re preparing for an Oscar-level film. Is that true?”

“Would you consider starring in a rom-com?”

“Jennifer Lopez mentioned during the promotion of ‘Maid in Manhattan’ that if she had to pick a perfect prince, she thought you’d fit the image. How do you feel about that?”

“Do you believe ‘Catch Me If You Can’ will be a hit?”

One after another, a barrage of questions came at him like a tidal wave, instantly overwhelming Anson.

But baby-face, leading the way, cut through the chaos with the precision of a knife through butter. Gone was his earlier clumsy demeanor. His larger frame allowed him to push forward, parting the crowd with sheer force. The reporters fell back, creating a visible pathway, and for a moment, it was like Moses parting the Red Sea, revealing the tiled floor beneath.

Anson: ???

He was utterly confused, but effortlessly followed in baby-face’s wake, walking through the chaos unscathed.

“Anson...”

“Anson!”

“Peter Parker!”

“Wait!”

“Hey, hey!”

The chaotic noise trailed behind them, but nothing could stop Anson from continuing forward.

The car was ready.

Edgar opened the door for Anson. “Get in!”

Baby-face stopped, using his arms to shield Anson from the reporters, his serious expression unwavering as he watched Anson climb into the car. Once Anson was safely inside, he blocked the path behind them like a lone warrior facing an army.

Baby-face protected Anson as he got into the car, then quickly shut the door. Without missing a beat, he threw himself forward, pushing back the approaching crowd like a rugby player, effectively holding them off before swiftly jumping into the passenger seat.

The whole sequence of actions was fluid, clean, and efficient. If not for the small mishap at the end.

Just as baby-face tried to squeeze into the passenger seat, he lost his focus, thinking the danger had passed. He didn’t duck enough while getting into the car, and his head slammed into the roof.

Bang.

The dull thud sounded like wood hitting a gong.

Anson and Edgar both flinched, turning to stare in shock.

Completely unfazed, baby-face turned to Edgar, confused. “Mr. Cook, we can go now.”

Edgar: ... “Are you sure you’re okay?”

The impact had been so loud, they half expected to see the car roof dented. But baby-face just smiled brightly. “I’m fine. Mr. Wood, how about you? Did I do my job well?”

Anson blinked. “I’m fine. Everything’s... perfect.”

While saying this, he quietly pulled out a tissue and handed it over.

Baby-face looked puzzled. “To wipe off sweat? Oh my God, I must be drenched in sweat...”

Anson shook his head gently. “For the blood. You’re bleeding from your forehead.”

Baby-face: “Really?”

Anson: ...

Watching baby-face cheerfully wipe the blood from his forehead while smiling at the rearview mirror, Anson turned to Edgar. “Where did you find this gem?”

Though Edgar was still a bit shaken, he had adjusted faster than Anson. “Don’t ask me, ask Lucas.”

Anson paused. “My Lucas?”

Edgar nodded slightly. “If I hadn’t hired you a new assistant and security, Lucas probably would’ve stormed into the company to show me what a real security risk looks like.”

“Hah.” Anson laughed out loud. “Lucas talks a big game. He couldn’t even kill a mosquito.”

Edgar didn’t respond, just gave Anson a meaningful look in the rearview mirror before starting the car and driving away.

In the end, Anson couldn’t take it anymore—

Baby-face, looking awkward and clumsy, had tried to bandage his forehead but ended up wrapping himself like a mummy, wasting tissues left and right.

Unable to watch any longer, Anson stepped in to help.

However, as Edgar glanced at baby-face, then at Anson through the rearview mirror, he commented, “Are you sure? He’s starting to look like Frankenstein.”

Anson confidently retorted, “At least it’s better than a mummy.”

Without a first-aid kit in the car, they could only do a makeshift bandage for the wound. Anson sighed, doing what he could to help.

Anson looked at baby-face. “Noah, you good?”

Noah Newman nodded. “Mr. Wood, all good.”

As he spoke, the tissue loosely wrapped around his forehead flapped in the wind, making him look like the injured walnut from Plants vs. Zombies. But Noah’s eyes remained clear and determined as he stared straight ahead.

Anson blinked and silently looked out the window.

The journey wasn’t smooth—

The paparazzi were chasing them.

In the past, Anson had only seen such chases in movies or on the news, like the infamous O.J. Simpson highway pursuit or the tragic Princess Diana car crash. These stories had shrouded paparazzi chases in mystery.

Anson was surprised to find himself in one for the first time.

It made no sense. He had no scandals, no gossip, not even any noteworthy news. So what were they chasing?

Anson rolled down the window, greeting the paparazzi with a wave, and Edgar didn’t resort to any wild driving stunts. What should have been a tense chase turned into a leisurely afternoon drive, leaving the paparazzi baffled.

Confronted with such a laid-back Anson, they didn’t know what to do.

In the end, they arrived at Malibu, with the paparazzi watching as Anson’s car disappeared into the forest, out of sight.

The paparazzi were left empty-handed.

One by one, they started to question themselves: What just happened today? Why did it feel like they’d been taken for a ride?