631-635

Chapter 631: The Flesh and Blood of Characters

Anson's mind was in turmoil.

Heath had thrown out a suggestion that effortlessly made the film’s stormy scenes flow more smoothly, more completely, more richly, releasing an incredible energy and breathing vivid life into the characters and plot.

Rachel was utterly stunned.

Heath was visibly excited.

However.

After the brief mental storm subsided, Anson grasped a thread of rationality.

"But, if we do that, Tommy's motivations and state of mind won't be complete."

Anson had found a blind spot.

Indeed, Heath's solution made Evan’s arc whole. But this method wasn’t fundamentally different from the way the two screenwriters had originally crafted the script; it was still using dramatic tension to cover up the narrative’s underlying flaws.

As long as there’s enough drama, the audience won’t notice the gaps in the narrative or the missing arcs.

Sure, you could do that.

And it would work! A hundred percent, no problem.

Plus, Tommy is a supporting character. Sacrificing the fullness of a supporting character's arc to make the protagonist Evan complete would already improve the film's quality.

Heath paused. "Isn't that enough?"

Anson looked at Heath with earnest eyes. "Is that the best we can do? Are you sure?"

Heath stared at Anson, the words rolling around in his throat, but for once, he swallowed them back and said nothing.

Rachel: She felt like Heath might swing at Anson any second now. Is this normal? Does she really not need to call for help?

But Anson wasn’t fazed. He changed the subject.

"Maybe we just need to slightly alter Tommy's state of mind."

"Tommy, who’s lived his entire life in hell, initially just wanted to teach Evan a lesson, make him back off, just like when they were kids."

"But standing in front of Evan and Keller, he suddenly realizes that Keller has always been protecting Evan. Keller used to protect him in front of their father, but now Keller is protecting Evan in front of him, which makes him deeply uneasy."

"And that's when a twisted thought pops into his head."

The words hung in the air—

Heath’s thoughts were back on track, running at full speed again.

And not just Heath—Rachel was finally keeping pace with the conversation.

With this change, in just this small scene, the arcs of Evan, Keller, and Tommy all become fuller and more complete.

For Keller, protecting her brother is instinctual. Falling in love with Evan and protecting him is the same. When her brother, in his confused state, shows up, her instinctive action is not just to protect Evan but also to prevent Tommy from making a mistake. She doesn’t want to see anyone get hurt.

But things don't go as she wishes.

Tommy misunderstands her intentions and sees her protection as a sign that she’s choosing Evan, so he ruthlessly attacks, leading directly to the ensuing tragedy where she sees the man she loves lose control and accidentally kill her brother.

In Keller’s world, her despair and breakdown are no less intense than anyone else's, which also becomes the reason Evan tries to go back in time to change everything once again.

At the same time, for Evan and Tommy, both of them experience rapid psychological changes during the brief, chaotic conflict. But now, their emotions are no longer one-dimensional—

It’s not just anger, not just impulsiveness, but a full and complex character arc.

In just one scene, all three characters would come to life in a complete and vivid way.

And all three actors would have a chance to shine within the limited space.

In an instant, ideas were surging.

Rachel: ...

A silent "Wow" echoed in her mind, but no sound escaped her lips.

Rachel hadn’t fully recovered from the chemistry of the first scene that felt almost too real, and now she was being swept up in a whirlwind of creative inspiration:

Who knew actors could interpret a story this way? Who knew characters could be developed like this? Who knew actors didn’t need to challenge the director or change the script to discover a whole new world within the confines of their roles? Who knew the world of acting had such depth?

Ideas were surging.

It was so explosive, so overwhelming, that even her praise felt cheap, stuck in her throat without a sound.

Just seconds ago, Rachel had thought Anson and Heath were both crazy. But now, she was being swept up in their storm of madness.

And yet, this feeling... wasn’t so bad. Rachel was starting to crave it, her thoughts scattering in the storm, pushing open the door to a whole new world.

Meanwhile, Heath was lost in thought, letting his inspiration grow.

Finally, he slowly looked up, a hint of admiration in his eyes—

Sure enough, he hadn't misjudged Anson.

When all of Hollywood was calling Anson a pretty face, an idol, a symbol, Heath always held a different view. He believed Anson was an actor with ideas, even though he hadn’t delved deep into it.

Anson taking on "Spider-Man" was like Heath taking on "10 Things I Hate About You"—starring in an idol movie didn’t mean the actor had no ideas.

So, when Anson invited Heath to collaborate, he agreed without hesitation.

Now it seemed his judgment was correct.

Heath felt a bit proud. He knew his instincts about people were spot-on.

But outwardly, Heath remained composed, quietly watching Anson. He didn’t comment or judge Anson’s elaborate speech, instead, he suddenly asked,

"Is that the best we can do? Are you sure?"

Using Anson’s own words against him, Heath had been planning this.

However, Anson wasn’t rattled. "No, I'm not sure, but I'm all ears."

After speaking, Anson even made an inviting gesture, his face showing genuine interest, putting Heath in an awkward position.

"Ahem."

Heath coughed twice to clear his throat.

"No need, I was just checking."

One sentence nearly made Rachel break character. She quickly lowered her head to hide her smile.

Heath was a little embarrassed.

No matter what the future holds, right now Heath was just a young man, stubbornly defending himself, trying to justify his stance.

"The script has limited space, and it doesn’t allow us to create more layers, or things would get chaotic. So, I think Anson’s interpretation is pretty solid."

After finishing, he gave a slight nod, as if to say, "I approve."

Rachel didn’t argue, her face full of obedience, tilting her head as if listening intently, then slightly raising her chin, showing a serious expression as if she was listening to a masterclass.

That expression successfully made Heath slightly uncomfortable.

Meanwhile, Anson’s eyes showed a trace of a smile, and he perfectly timed his words to ease Heath out of the situation.

"One step at a time."

"Shaping a character is like telling a story; it can't and shouldn’t be done all at once."

"Just like we were saying earlier."

"Evan always assumes the problem is somewhere else, so he keeps going back in time to solve it, hoping to find true happiness."

"But things don’t go as planned."

"Every time Evan goes back, it only leads to tragedy. Forget happiness—the situation only gets worse, more chaotic."

"Until finally, he realizes: What if he’s the root of the problem? What if there was never a problem to solve in the first place? What if the perfect life never existed at all?"

Chapter 632: The Hidden Core

"...What if he's the only flaw in perfection?"

Anson casually dropped a bombshell. The words themselves carried no power, but the emotional impact hidden within them was overwhelming. Heath and Rachel felt ripples of emotion resonate through their eardrums.

A loud hum filled the air.

Then, Heath murmured in a daze, "So he strangled himself with the umbilical cord."

McKee and Eric created four endings for the movie, each representing a different narrative direction and reflecting their varying interpretations of the story.

One of the endings depicts Evan, who, at the end of his endless loops, realizes that he cannot face the tragedies and pain. He comes to the conclusion that perfection doesn't exist at all—

Unable to endure the torment of despair and suffering any longer, he chooses a final, irreversible solution. Or perhaps, he believes that he is the root cause of all the pain. If he ceases to exist, everything else might fall back into place.

So, he returns to his mother's womb and strangles himself with the umbilical cord.

An end to it all.

Even when reading the script, you could deeply feel the helplessness and despair. The shock and emotional turmoil gradually hit you.

Now, after the brainstorming session, it felt like truly experiencing Evan's psychological journey, leading inevitably to that tragic ending. A sense of fatalism and inevitability crashed over Heath and Rachel like a tsunami, leaving them utterly defenseless.

Heath had thought he understood the essence of the story after reading the script multiple times. But now, he finally realized why Anson's performance had sparked such a wave of inspiration in his mind from the very first scene. His gaze toward Anson subtly changed, leaving him momentarily speechless.

"But..."

Heath began, though he didn't know what he intended to say. He fumbled for a transition, only to find himself standing there foolishly, lost in thought.

Anson didn't rush to speak but patiently waited—

Unfortunately... nothing followed.

Heath had nothing more to say, and neither did Rachel.

But Anson wasn't surprised. This was what made The Butterfly Effect so brilliant—it used a fatalistic tragedy to vividly display the helplessness and struggles of life before the audience. This was why the movie resonated so strongly among seasoned moviegoers, spreading through word-of-mouth.

Then.

"But," Anson continued, picking up where Heath had left off, "this still isn't the real ending."

Heath: "Huh?"

Rachel: "What?"

Anson didn't keep them in suspense.

"In the movie, the relationship between Evan and his father is the hidden core."

"In fact, the father also had the ability to go back in time. Evan goes back in time to seek happiness and to save everyone around him. But what about his father?"

"The answer lies in our previous conversation."

Rachel's eyes lit up. "Evan."

Anson nodded slightly. "If Evan dies in the womb, his mother will inevitably fall into depression, take up smoking and drinking, and eventually die of cancer. So the father repeatedly goes back to prevent this from happening, ensuring Evan is born and that his wife doesn't suffer."

"But once Evan is born, he goes through everything depicted in the movie, ultimately falling into despair and ending the cycle by dying in the womb."

"There's a detail in the movie: Evan's mother had two miscarriages before he was born. We can interpret this as the father failing twice to prevent Evan's demise. Both father and son are trapped in their own cycles."

"And then."

"The father realizes that the only way to break this endless cycle is for one of them to give up their obsession and stop trying to change the timeline."

"So, in the movie, the father tells Evan, 'You can't play God, son.'"

Ha.

Rachel gasped, covering her mouth in disbelief as she looked at Anson. Just when they thought the brainstorming session had ended, Anson casually dropped another bombshell, once again shattering their expectations.

And it wasn't just Rachel—Heath was equally stunned.

Despite his remarkable talent and maturity beyond his years, Heath was still just a young man. Standing before Anson, he was overwhelmed by the constant waves of shock and awe.

And so, he was swept away by the storm.

"See, that's how life is."

"We're always trying to chase perfection, to find the right answer, doing everything we can to avoid mistakes. If given the chance, we'd all try to correct our errors, believing that only perfection leads to happiness."

"But the truth is, we're not God. No one is perfect. Those mistakes, those pains, and those regrets are what shape us and make us who we are. It's precisely the things we've missed and the flaws in our lives that are the most precious parts of our existence."

"We all hope that life will only bring us joy and happiness, but the problem is that without loss, we wouldn't understand the happiness of having something. Without pain, we wouldn't grasp the purity of joy. Good and bad, light and dark, right and wrong—all these things are relative. Without one side of the equation, the other side would completely collapse."

"When we try to play God, when we try to create perfection, when we deny the dark in pursuit of the light—that's the true beginning of tragedy."

"That's the real core of the movie."

Starting with the butterfly effect, the film attempts to explore an attitude toward life—a way to face pain, setbacks, struggles, and challenges. At the same time, it also presents the right path to happiness.

This, in essence, is why Anson was drawn to the film and agreed to take the role—

He wouldn't live in the past.

To be precise, he would face and accept everything from the past, while seizing the present moment to shape the future, one "now" at a time.

The conversation finally ended there, with Anson choosing not to say more, letting the words' lingering impact spread and reverberate in the air.

Then.

Anson noticed someone looking at him and instinctively glanced over.

It was Heath.

Heath was quietly studying Anson with a probing gaze. Even when Anson noticed and looked back, Heath didn't shy away. He kept observing without any hesitation.

Anson: "Is there a flower on my face?"

Heath actually nodded. "No flower, but it's close enough. Are you sure you're only twenty? You don't look like it at all."

It wasn't just about the acting or the depth of understanding of the character and story. It was also a wisdom about life and fate that Heath found remarkable.

Anson chuckled, realizing what Heath meant.

Anson nodded back, looking calm. "Ah, you caught me. I actually still have a month until I turn twenty, so I guess I really don't look like it, right?"

His deadpan delivery left Heath momentarily stunned.

Pfft.

Rachel couldn't help but laugh, even though she tried hard to control herself. Her shoulders shook with laughter, and she beamed with delight.

Originally, Rachel had worried that Heath might get upset again, letting his pride get the best of him. But to her surprise, Heath also broke into hearty laughter, the kind that rang out across the whole set.

Anson: ???

Looking around at the crew casting curious glances their way, Anson rubbed his hands together with a genuinely curious expression.

"It seems I should take notes. This joke is definitely a hit. I should reuse it in the future."

Chapter 633: A Win-Win Situation

Haha, hahaha—

Heath laughed heartily, almost crowing. Anson's humor perfectly matched his style, and he couldn't stop his bright smile.

However.

After the laughter, Heath still didn't forget a key point.

"So, is this your character arc?"

Although they had just been discussing the film's theme, for actors, the theme is often presented through the protagonist. In other words, the character's growth arc carries the responsibility of showcasing the film's theme, and the actor's performance becomes a crucial part of the film's integrity.

Heath didn't forget this and brought the topic back to the actor's core work.

Anson was about to speak—

"Sorry."

A voice came from the bedroom doorway, interrupting Anson's response and drawing everyone's attention in the room.

It was Eric.

To be precise, it was McGee and Eric. The two directors entered the room one after the other, seemingly finally calming down and refocusing on the filming set.

Wait—

Perhaps, there was one exception: Heath.

Even though the two directors entered the room, Heath completely ignored them, staring intently at Anson, waiting for his answer.

That focused and burning gaze almost seemed to burn a hole in Anson's skin. If Anson didn't answer, he wouldn't care about any directors, he would chase Anson to the ends of the earth to wait for his response.

And he wasn't joking.

Anson was politely looking at Eric, waiting for the director to speak, but Heath's burning gaze startled him.

A shock.

An instinctive reflex, as if being stared at by a cheetah, he subconsciously looked over and saw the fanaticism in Heath's unmoving eyes. His heart skipped a beat, and he blinked involuntarily, taking a moment to realize what Heath's gaze meant.

He chuckled.

Despite the helplessness, it was also somewhat amusing. Anson pursed his lips, looked at Heath, and disarmed him with just one sentence.

"Let's discover it together."

He said.

Of course, Anson could answer Heath now and analyze his understanding of the character and the relationship between the character arc and the film's theme. But such words were often simple and pale, lacking visual impact.

Instead of doing that, it was better to be patient, follow Anson into the subsequent filming, observe, experience, feel, and discover. Heath could even enter Tommy's character world and interact with Anson in their scenes.

Obviously, this would be much more interesting.

Heath deeply agreed.

So, with just one sentence, Anson calmed Heath down. Heath stopped staring at Anson and finally turned to look at the two directors.

Then.

The corners of Heath's mouth twitched slightly, holding back laughter with a bit of difficulty.

Eric looked particularly comical, with both nostrils stuffed with tissues, causing him to breathe through his mouth like a goldfish. The tip of his nose and cheeks were slightly flushed, and his eyes still held traces of un dissipated shyness and panic, as if one could see the remnants of surging emotions.

A little pitiful, yet also a little funny.

"Cough!"

"Sorry for delaying the shoot because of me, it's entirely my fault. But fortunately, the commotion just now didn't affect our filming. Let's congratulate Anson and Rachel for their excellent work."

Undoubtedly, Eric was sincere, but his thick nasal voice resulted in a head voice, making his words slurred and unable to sound serious. He was using all his strength to barely control his laughter.

Not to mention Heath and Rachel, even McGee had turned his back to Eric, his shoulders shrugging forcefully, his hands clenched into fists. The tense muscles in his arms and fists were clearly visible, making it seem like he had been crying.

In fact, Anson was the same. As soon as he opened his mouth, the corners of his lips curled up slightly. He had to remind himself to focus on work to avoid breaking character.

"Director, for this scene, you didn't plan on doing it in one take, did you?"

Eric was taken aback, his face full of confusion, clearly not understanding Anson's meaning. He tried to speak but ended up gasping for air—

Like a bull.

That expression was truly hilarious.

Fortunately, McGee regained his focus here and quickly spoke up.

"No, no, no, of course not."

"A long take in one shot... that's too fancy."

Actually, what McGee wanted to say was that the technical and control difficulties were too high, and they couldn't handle it. Casually using a long take might expose their shortcomings. They weren't prepared to take risks and would rather shoot in a way they were familiar with. There was no need to humiliate themselves by exposing their weaknesses.

But with the words already on the tip of his tongue, McGee remembered that he was now a director and naturally had the authority and professional image of a director to maintain. He slammed on the brakes and controlled himself.

McGee turned around.

"We'll switch camera positions and shoot a few shots from different angles to complete the scene."

"What's wrong?"

Anson and Rachel exchanged glances, their attention drawn back.

But Anson wasn't going to dictate McGee and Eric's directorial work.

Indeed, the two directors lacked experience. They might be shooting a film in a television style, and they might miss the performance details of Anson and the others. If the directors couldn't capture the actors' performances, then even the most dedicated and invested acting would be in vain, unable to hit the mark.

However, Anson firmly remembered two things.

The first thing was that since he had chosen them as directors, he should trust them.

The second thing was that no one liked others lecturing them in their own field of expertise.

So, Anson was willing to give the two directors a chance first, and then gradually adjust and find the right approach during the collaboration process—

After all, Anson hadn't forgotten that he himself wasn't a professional director either. The shooting style he insisted on might be beneficial for the actors, but not necessarily for the film.

Collaboration still required mutual adaptation, not just imposing one's own ideas on others.

Therefore.

Anson didn't elaborate on his thoughts but instead guided them slightly.

"Rachel and I were just discussing which parts of this scene need close-ups and which parts need to accurately convey emotions in the frame, but we need to follow the director's instructions and see what the camera setup is for the next scene."

At the same time, he adopted a modest and inquisitive attitude, seeking the director's opinion.

At this moment, McGee visibly paused—

He only now remembered that in the first scene, there were indeed more things hidden in the eye contact and emotional flow between the two actors that they needed to capture and present with the camera.

Raising his head, McGee saw Anson and Rachel patiently waiting for an answer, and his thoughts naturally unfolded.

"I have some ideas, but why don't we try it together."

"The chemistry you two just displayed was excellent and very interesting. I like it. How about you and the camera try to interact freely, see what the camera can capture, and see what you can create together."

"How about it?"

This was the best-case scenario—

The actors trusted the directors, and the directors trusted the actors. Both sides sought chemistry through free expression. Undoubtedly, this was a win-win situation.

*Chapter 634: Actively Cooperating*

"The Butterfly Effect" officially begins filming—

It’s going smoother than expected.

Mackie and Eric, two rookie directors with a background in screenwriting, are figuring things out as they go.

They aren't complete outsiders without any vision for the film. During the long process of revising the script and waiting for their chance, they had imagined scenes more than once, building a movie world in their minds and converting their words into real images.

There’s still a gap between imagination and practice, but all they need is some time and patience. That’s it.

Filming and learning as they go.

Collaborating and studying along the way.

Surprisingly, things are slowly falling into place.

The most important and valuable aspect is that Mackie and Eric understand the importance of the actors. Anson’s respect and trust earned their cooperation, and they, in turn, are willing to give the actors more space to perform—

Not much, just enough.

The successful first scene gave Mackie and Eric more confidence, establishing a successful example and setting a benchmark for future collaboration.

Little by little, the two directors are also discovering some tricks.

For example, right now.

Up ahead, Anson and the other two actors are rehearsing their positions, demonstrating the flow of the scene's actions and emotions to ensure the accuracy of their performance.

This particular scene has been shot six times already with Anson, Heath, and Rachel. Apart from four NG (no good) takes, the other two went smoothly, and both directors believed they had captured it, but the actors disagreed, feeling it still wasn’t fluid enough.

Actually, this was the key scene they had discussed before—

Tommy comes to cause trouble and, in a fit of rage over Rachel defending Evan, loses control, attempting to kill Evan in a final, desperate move. Evan, furious, retaliates, and in the heat of the moment, makes a fatal mistake.

From a narrative standpoint, they had already sorted everything out. The emotional journey and transformation of the three characters formed a perfect loop. After much adjustment through performances, they successfully completed the scene.

At least twice.

So, what's missing?

"Don't look at me, I don't know either."

Eric was completely confused and glanced at Mackie for help. But clearly, Mackie was just as clueless, his face full of innocence.

Eric mumbled to himself.

Mackie didn’t pay attention to Eric and stayed focused.

He believed Anson wouldn’t insist without reason. If Anson was so adamant, there had to be a good cause. Moreover, Mackie had noticed something:

He had always stayed true to the characters, believing the camera should be used to showcase the storyline—such as character relationships or dramatic conflicts. This was his foundation as a screenwriter and one of his strengths as a director. He didn’t want to change that.

After all, trying to fly before you can even walk would only end in a disastrous fall, maybe even worse.

But now, he realized the camera could also be used to capture mood—

Explaining it in detail would be very complicated, but Mackie found a simple solution: just follow Anson with the camera. When the light locks onto Anson, the camera will naturally capture the details missing from the script, filling the gap between text and image.

More precisely, this applies not only to Anson but also to Heath and Rachel.

Mackie knew he wasn’t a professional. He didn’t know much about shot composition or camera angles. It seemed like his brain just didn’t work that way. But he knew, as long as he focused on the actors’ emotional states, that would be enough.

So, Mackie observed carefully, ensuring he wouldn’t miss the key.

Then—

"Eric..."

"Eric!"

"Get ready."

Mackie noticed Anson and the others had finished their conversation and quickly called for his partner.

"This time, pay attention to their eyes. Keep the camera movements smooth, and wherever their eyes lead, follow. Make sure the tension remains high."

Eric: …

To Eric, the actors' performance and the flow of the scene were already perfect. There was no need to waste more energy on it. Even if they continued filming, it wouldn't change much.

He was getting a bit lazy.

Mackie knew right away that Eric’s laziness was kicking in and gave the leg of his chair a kick.

"Eric!"

"Ah!"

"Focus!"

"...%@%#&$."

No one knew what Eric muttered under his breath. Mackie just looked up, meeting Anson’s gaze, and flashed him a smile, signaling "OK" with his hand.

"No problem, all set?"

Mackie cleared his throat and quietly said to his right,

"Eric, we were worried the actors wouldn’t put in the effort, and we were worried the crew wouldn’t cooperate. Before the film started, we imagined all kinds of worst-case scenarios. Now we’re practically living in our best-case scenario. We have the chance to make something truly exceptional."

Eric took a deep breath but didn’t respond directly.

"I’m awake. I’m awake!"

Mackie: …

One second, two seconds, the whole crew was ready—

Fully focused.

As Mackie had mentioned earlier, the crew had initially seemed somewhat lax, filled with concern.

From all appearances, this was likely just a small project that wouldn’t make much impact. Even having Anson involved wasn’t clear whether it was a good or bad thing. So, this was just a quick gig for them. They’d get it done and move on, not even acknowledging the movie afterward.

After all, Hollywood churns out hundreds of projects like this every year.

But reality turned out quite different.

Anson’s focus and dedication made the shooting process enjoyable. Not just Anson—other actors also showed their enthusiasm. Various members of the crew found spaces where they could truly shine. Before realizing it, they had already thrown themselves in 100%—

Putting in unimaginable effort and passion.

Maybe they should be more proactive.

Maybe teamwork could spark some real chemistry?

Maybe "The Butterfly Effect" wouldn’t become a project they wanted to forget.

Without a word, this sense of possibility began to grow, taking root and slowly changing their attitude. Things had already begun to shift.

Sometimes, work is just work. But other times, it’s more—a passionate pursuit, full of immersion and struggle.

This current scene they were shooting was a perfect example.

People couldn’t help but wonder what exactly Anson, Heath, and Rachel were looking for.

Lights, ready.

Sound, ready.

Camera, ready.

Everything was set.

"...Take seven, action."

Night, with total silence.

Evan was escorting Keller back to the dorm, both of them exhausted.

Everything was supposed to be fine. They had finally found long-lost happiness and joy. But Tommy, in his violent outburst, destroyed Evan’s car, stirring up old worries again.

Evan feared past tragedies would repeat themselves, but Keller didn’t understand. The shadows Evan described had never materialized. Seeing Evan’s anxiety, Keller also began to feel uneasy.

Tired. Confused.

And, worse, drained.

"...Tonight, I want to be alone."

Keller said, needing some quiet.

*Chapter 635: Shadowing Closely*

"...Tonight, I want to be alone."

Keller and Evan had dressed up meticulously for tonight's candlelit dinner, but now, their well-arranged formal attire felt more like a constraint.

The night was cool, with a slight chill.

The two were walking toward Keller's dorm. The entire campus was eerily quiet—no engine sounds, no chatter from students, nothing. The world seemed to have fallen silent, with only the night accompanying them on their journey.

Keller tried to lift her skirt, but her shoulders felt too weak to bear the weight, and her posture involuntarily slumped, gravity feeling sharper than ever.

Evan, however, wasn't paying attention to Keller. His focus was on their surroundings, constantly alert, fearing that Tommy might leap out from some shadowy corner, his body tense.

“No.”

“You can’t be alone. I’m staying with you.”

Evan was firm.

Keller sighed, slightly helpless.

She stopped and looked at Evan but didn’t get the response she expected. Evan neither acknowledged her nor planned to respond. Instead, he gestured for her to keep moving.

He was like Kevin Costner in The Bodyguard, protecting Whitney Houston.

Keller furrowed her brows slightly and dropped her head, reluctantly continuing to walk.

"Evan, I just... I don't want Tommy to see us together right now."

Moonlight pierced through the tall plane trees, flowing down at their feet. Keller's face flickered between light and shadow, revealing a hint of fragility and struggle, like a magnolia quietly blooming.

This time, Evan noticed.

He lowered his head, taking a closer look at Keller’s delicate profile.

Sigh.

He exhaled softly, troubled and conflicted.

“Keller.”

“I’ve already lost you once, and I don’t want to lose you again.”

That fragility, like a butterfly’s wings, would shatter with the slightest touch.

He lowered his gaze, and the shadows of his lashes trembled faintly under the trees.

He remembered their last meeting. After they parted, Keller had chosen to end her life, bringing everything to a complete stop.

Evan shivered, unsure if it was from fear or the cold.

However...

Different people don’t always share the same sorrows and joys.

Keller didn’t understand Evan’s words. “What do you mean, you lost me once? What are you talking about?”

Evan froze.

But Keller, confused and angry, continued, “Evan, you never lost me. What are you even saying?”

Evan looked at Keller, at a loss for how to explain, unsure where to begin. His steps slowed, letting her walk ahead, only to quickly catch up again, afraid that moving too slowly would mean losing her once more.

Keller glanced at Evan. “God, you've been acting so strange lately.”

Evan took a deep breath, glancing up at the sky, trying to change the subject. “Look, my car just got smashed to pieces. I’m a little on edge...”

Keller exhaled lightly. “Yeah, I know, but…”

“Your accent's changed. Even the way you walk is different…”

Keller was lost in her thoughts, noticing all the small details she hadn’t before. Evan, however, was startled.

“What? My walk is different?”

Keller didn’t notice his reaction, continuing her train of thought.

“What I mean is, at dinner tonight, you were so handsome and charming, but somehow… you didn’t feel like yourself.”

Now it was Evan’s turn to feel confused and a bit irritated.

He didn’t understand what had happened to him in this timeline. Ever since he’d traveled back through the diary, he’d been facing countless unsolvable mysteries. Every step he took, he was cautious, afraid of revealing his secret, terrified of making a mistake that could ruin everything.

And now?

Evan asked, "Can't I just be a little nicer to you?"

Moonlight gently fell on Keller’s lashes. She noticed the frustration in Evan’s voice. She looked up at him, the light and shadows playing across her face, revealing her internal struggle. She couldn’t quite describe the odd feeling she had, the words forming on her lips but stopping before they could come out.

Then...

"Wait..."

Out of the corner of her eye, Keller noticed something.

That triggered Evan’s alarm. He instinctively followed her gaze.

“Isn’t that your jacket?”

A lemon-yellow jacket lay flat on the ground, sleeves spread open.

Keller stared at the jacket, while Evan scanned the surroundings. The two walked together, and Evan finally, perplexed, picked up the jacket—

Nothing unusual.

Indeed, the jacket itself was fine, but the oak tree behind it, large enough for two people to wrap their arms around, served as a perfect natural hiding place.

Keller gasped, "Tommy!"

Tommy appeared.

Leaning lazily against the oak, his right hand braced on the tree, Tommy's body slouched, putting all his weight on it. In his left hand, he twirled a silver baseball bat, playing with it fluidly. His face and upper body were hidden in the shadows, making it impossible to read his expression.

In that moment, he took control.

His relaxed stance, the tension in his shoulders and arms, made it clear—like a cat playing with a mouse—he held all the power, looking down on the pair before him.

At a glance, Tommy noticed Keller’s movement—

Immediately, Keller reached out to pat Evan’s arm in warning, edging closer to him, as if Tommy might attack at any moment.

Heh.

Tommy let out a low chuckle from the back of his throat.

Almost simultaneously, Evan noticed Tommy. He quickly picked up the jacket, eyes locking onto the figure, ready for anything.

Eric, the director, recalled Mackie's advice: always follow the actors' eyes.

The camera focused on Anson and Rachel’s eyes. Eric captured the “action,” the tension and emotions flowing through their gaze. The camera became the audience's way to tap into the characters' relationships and the narrative's undercurrent.

The feeling was subtle.

Slowly, Eric began to taste the extreme tension pulling at the scene. His heart started to race before he even realized it:

Anson.

Though he made no significant moves, and there was no close-up, Anson still silently controlled the light and emotional flow, with the camera circling around him, unknowingly following his lead and centering him in the scene.

It was a brilliant experience.

It was as if an invisible spotlight constantly enveloped him.

Some people, it turns out, are born to be the camera’s favorite. Some people truly look different under the lights.

This was one of those moments.

When Anson looked at Heath—

Or rather, when Evan looked at Tommy, the camera shifted its focus with Evan’s gaze, landing on Tommy, then looking back at Keller and Evan through Tommy’s eyes.

A triangular standoff formed, with invisible tension spreading in the night air.

Tommy noticed Keller’s movement and Evan’s gaze. In just one glance, the answer he’d been searching for finally surfaced.

He chuckled softly.

Step by step, Tommy walked out of the shadows, swinging the baseball bat like a predator preparing to pounce.