396-400

*Chapter 396: Perfect Match*

"Are you nervous?"

"About what?"

"Tom Hanks."

"And then?"

Edgar was at a loss for words.

Originally, Edgar was worried that Anson might be nervous and tried to comfort him, but instead, he found himself getting tangled up in Anson's response, left in a fog of confusion.

Edgar turned to look at Anson, "That's Tom Hanks we're talking about. I mean, he's one of only two actors in history to win back-to-back Oscars for Best Actor, and he's one of the most respected figures in the actors' guild. Plus, the scene you're about to shoot is... quite special."

Anson's eyes lit up. "Oh, Captain, so you actually read the script. I thought agents just skimmed through it."

Edgar was exasperated but couldn't help smiling at Anson's calm demeanor, even making jokes at this moment.

Anson didn't continue with the jokes. "If you're asking if I'm nervous about facing Tom Hanks next and needing to play a scene where I trick him?"

"The answer is yes."

"Yes, I'm very nervous."

"Oh God, what if I forget my lines? What if I get too nervous and give myself away? What if I keep messing up and the focus of the entire scene shifts to Tom, leaving me as a background prop, disrupting the rhythm of the whole scene?"

"Captain, I'm indeed nervous."

Anson was serious, and after his rapid-fire response, Edgar was left a bit stunned, regretting that he might have put too much pressure on Anson.

—It’s different, truly different.

To an outsider, a scene with two actors might just look like a conversation unless there's an outburst of emotions or overt acting, making it hard to notice the subtleties.

But that's not the case.

In a scene, there's a back-and-forth dynamic, where an actor's understanding of the character, the plot, the setting, and the lines holds a lot of power. If one actor throws out a "key" and the other fails to grasp it or misses the point, the entire scene can lose its balance, shattering the atmosphere the movie has built and pulling the audience out of the experience.

In reality, breaking the immersion is a minor issue; it just ruins the viewing experience. The real challenge is making the entire movie feel fake, even plastic, where one wrong piece of the puzzle drags down the whole film.

This isn't just a theory; it's happened more than once.

Acting in a scene isn't just about dialogue and interaction; it's also a form of sparring, where maintaining tension while blending harmoniously is crucial.

For Anson, this was a new challenge.

So far, in Friends, The Princess Diaries, and Spider-Man, the overall tone had been light-hearted, not requiring much of this "back-and-forth" dynamic.

In Spider-Man, Peter Parker's heart-to-heart scenes with Uncle Ben or Mary Jane had some nuance, but the focus was mostly on Anson, allowing him to explore on his own. It wasn't so much about the back-and-forth as it was about monologues, where the interplay between characters wasn't the focus of the camera.

Catch Me If You Can marked a turning point.

With veterans like Christopher and Natalie supporting Anson, he began to explore deeper into acting. Now, he was facing the challenge of acting directly opposite Tom Hanks, and moreover, Anson had to take control of the scene.

Without a doubt, this was a test.

Just imagining it in his head caused adrenaline to surge, like a tsunami taking over his brain. It was impossible not to be nervous.

But alongside the nerves came excitement and anticipation—

After all, it's not every day that you get to act in front of Tom Hanks.

On the set of The Princess Diaries, Anson had envied Anne for having the chance to act opposite Julie Andrews. Now, Anson had his own opportunity, and the thrill and excitement overshadowed the nervousness.

Honestly, his heart was racing. The distraction of Hayden's situation was a welcome one, helping him find his balance.

Too much nervousness was bad, and too much excitement was just as detrimental.

Edgar stared at Anson, "But?"

"But what?"

Edgar said, "From your tone earlier, it sounded like there was more to that sentence, so... but?"

Anson shrugged lightly and ignored Edgar, opening the car door and heading straight toward the set, leaving Edgar standing there.

Edgar: ??? That's it?

After a brief pause, Edgar couldn't help but chuckle.

At least Anson still had the energy to joke around and play pranks, which was a good sign, right?

Then Edgar realized that maybe he was more nervous than Anson.

As a rookie agent, hearing names like Steven and Tom still made him feel the pressure. These big shots could make them tremble in fear with just the lift of a finger.

But Anson, also a rookie, seemed to have shed his burdens once he got into character, not letting the aura of fame and glory cloud his focus, showing the professionalism of an actor. This pure dedication set them apart.

This was a good thing.

Edgar's racing heart gradually calmed down. Since Anson had already committed himself fully to his role, Edgar should fulfill his professional duties as well—

Step one, treat the entire crew to afternoon tea.

This wasn't about currying favor but keeping a promise.

With that, Edgar got out of the car and got to work.

Meanwhile, Anson walked briskly onto the set.

"But," there was indeed a turning point there, but he was an actor, and he needed to focus on his role, truly becoming Frank Jr.

In this scene, Frank Jr. faces off against Carl in pursuit, displaying an unbelievable calmness and composure. Not only does he remain unflustered, but he also confidently impersonates another law enforcement agent, managing to fool Carl right to his face before making a clean escape.

---

This composure and boldness truly showcase young Frank’s abilities. No wonder he made it onto the FBI’s most wanted list while still a minor—he’s definitely a force to be reckoned with.

So, if Anson were to lose his nerve and get thrown off balance because of Tom Hanks, this scene would be doomed to fail, maybe even turn into a disaster.

So, how did Anson handle it?

He got into character.

Before even arriving on set—or more accurately, on the way there—Anson began to slowly explore and half-pretend to get into the mindset of young Frank Abagnale.

Though not completely immersed in the character, he was gradually stepping into the role—

After all, young Frank is also an actor.

Was young Frank afraid?

No.

He was just as scared.

But young Frank knew from an early age that as long as you’re confident enough, as long as you’re convincing enough, people usually don’t dig deeper. They want to believe their eyes, believe anything. So, confidence is the first rule in making a lie believable.

From that moment on, young Frank started “playing” a role, just like an actor.

So for Anson, things became much simpler.

Young Frank was playing a role, and Anson was playing young Frank. He could even skip a step—Anson could directly play the role that young Frank was playing.

However, there was one more detail—Anson needed to capture young Frank’s anxiety and hesitation when playing his role—

This wasn’t difficult for him, since he was about to act in a scene opposite Tom Hanks, which is like young Frank facing off with an FBI agent. The anxiety and hesitation were naturally there.

Perfect. Everything fell into place seamlessly.

The performance had actually already begun.

Chapter 397: Taking It Seriously**

“Good afternoon.”

“Good afternoon.”

The crew was busy at work. They had rented an entire motel for filming, and everyone present on set was part of the crew—

Including the extras.

In Hollywood, being an extra is also a professional job. Although they don’t have agents, they maintain steady connections with casting companies and can continuously find work, making them semi-professional.

So, even when top stars like Steven Spielberg and Tom Hanks are around, they remain calm—no cheering, no crowding, and definitely no requests for photos or autographs. They stay composed.

Of course, that doesn’t stop them from talking.

When they saw Anson, the recent headline of negative news, they exchanged glances, and the atmosphere subtly shifted.

But Anson appeared particularly confident and relaxed—

All thanks to young Frank.

At this point in time, young Frank was in his prime, successfully forging checks and smoothly navigating relationships with various women, as if he were at the peak of his life, completely unaware that his “small-time” antics had caught the attention of the FBI.

Because of this, young Frank was confident—walking with his head held high, striding with purpose, as if he could embrace the whole world with open arms.

Anson was familiar with this. Before he turned twenty-five in his previous life, he had the same belief—that the future belonged to him, that he was invincible, and that with a long enough lever, he could move the earth.

Now, Anson was trying to get into that mindset.

He knew that when it came to acting, he was still a novice. Everything was new and unfamiliar, and he often couldn’t accurately grasp the nuances and feelings. It would take time to adjust and practice.

So, he’d been subtly fine-tuning his state of mind from the start—

Like the saying goes, “The early bird catches the worm.”

Even as the crew’s gazes quietly assessed him from all directions, Anson “filtered out” the negative emotions and bathed in their attention as if it were sunlight. He naturally assumed that the focus and attention were his due, and that being a little high-profile was only reasonable.

His steps were light and confident, even a bit longer than usual, giving his stride a youthful vigor.

—Slightly impatient.

Then, he saw Tom Hanks.

“Good afternoon, Tom,” he greeted first.

Unlike Anson, Tom seemed completely relaxed, as if he were just strolling in a garden. A toothpick dangled from his mouth, as if he had just eaten, and he was wearing a deep brown suit with the shirt and jacket unbuttoned. His laid-back, slightly disheveled demeanor perfectly matched the lazy California afternoon sun, making you want to lie down and take it all in.

This was far from the stern, proper, and serious Tom that Anson had imagined.

Or maybe it was just Tom being down-to-earth?

Tom was chatting with a crew member when he saw Anson, his expression brightened. “Hey, golden boy, finally, the day has come.”

He opened with a small joke.

Anson was about to respond, but Tom exaggeratedly blinked.

“Oh God, you better not throw up later. I really can’t handle that again. Please, think of my poor heart.”

Wait, what? The subtext was clearly that Anson might get so nervous he’d throw up. Obviously, Tom wasn’t planning to clean up after him.

Tom Hanks? The public’s image of the nice guy is actually a scene-stealer?

This...

Could it be?

If Anson had been nervous before, he might have really thrown up by now.

But—

Anson didn’t flinch. Instead, he looked thoughtful. “If this isn’t the first time, then before... was it Matt?”

Tom joked that Anson shouldn’t throw up from nerves, and Anson retorted by asking if Matt Damon had thrown up when they worked together on Saving Private Ryan.

One shot, one return.

Tom was clearly taken aback. He opened his mouth to reply, but then caught himself, looking back at Anson with a smile. His expression softened back to his usual kind demeanor, and he raised his right index finger, pointing playfully at Anson while gently shaking his head.

“You sly dog, setting a trap for me.”

“Whatever gossip you have with Matt, that’s your business. You young folks can love and fight all you want, but don’t drag this old man into it. I don’t want any part of that.”

A fox is still a fox—Tom instantly understood the deeper meaning behind Anson’s words.

But at the same time, Anson could also read the underlying message in Tom’s words—

Though he didn’t say it outright, it seemed Tom and Matt Damon were on good terms. A casual mention of “love and hate” implied that Tom thought Matt might be the victim, suggesting that Anson and Winona’s situation wasn’t as simple as it seemed.

Of course, Tom wasn’t accusing anyone. His stance was very subtle, revealed only through his casual remarks.

Originally, Anson was just making a light-hearted joke. If he hadn’t picked up on the subtext, it wouldn’t have mattered, but now that he had, he couldn’t ignore it.

So...

Anson raised his hands in a surrender gesture, “At best, you're just a bystander making a few comments, while I somehow get dragged into it. It’s like a shrimp watching whales fight—nobody cares about my feelings. I don’t even have a microphone.”

Tom paused, raising an eyebrow slightly.

He got the message.

Tom didn’t want to get involved—after all, it wasn’t his business. But after a moment of thought, he couldn’t resist asking, “Aren’t you and Winona friends?”

“Do you think a puppet has a voice at Paris Fashion Week?” Anson replied.

Lighthearted, but sharp.

People had forgotten one key detail:

Paris Fashion Week, Chanel runway.

Clearly, Anson had no say.

The invitation was a last-minute arrangement for the Dior show two days prior. Anson attended with Anna Wintour, and his seat was assigned by Karl Lagerfeld.

From start to finish, Anson and Winona’s encounter was purely coincidental.

So, the truth was actually quite simple.

Tom considered this, and his expression became one of keen interest.

He’d seen Anson’s charm before, which was why he supported Anson playing the role of young Frank. But today, he gained a new appreciation for Anson’s composure and wit, and his internal judgment shifted slightly.

When Tom looked at Anson again, there was a hint of amusement in his eyes. “Even Pinocchio had a voice.”

Anson spread his hands, “So, how does my nose look?”

If Pinocchio lied, his nose would grow.

Anson’s response was a challenge—had he lied?

“Ha.” Tom couldn’t help but laugh, taking another moment to study Anson, his laughter growing. “Hahaha.”

It had to be said, Anson was quite the character. His quick wit and humor were hard to overlook.

Now Tom finally understood why Jeff Robinov had a special regard for Anson. Earning the respect of these seasoned “foxes” wasn’t easy—

And Tom was among them.

Unconsciously, Tom started looking forward to the day’s shoot.

“I was worried you’d be nervous earlier, but now I see I was worrying for nothing.”

Chapter 398: The Hands-Off Boss

“Just a moment ago, I was worried you'd be nervous, but now I see I was worrying for nothing.”

Tom Hanks, chewing on a toothpick, had a faint smile on his face—a look that represented the quintessential American everyman. He wasn’t exaggerated or over-the-top, just back to his usual, familiar self.

Anson blinked in surprise.

Then, he couldn’t help but smile, “I’ve heard before that Mr. Hanks likes to joke around off-camera, that you’re nothing like the serious Forrest Gump. I was trying to imagine Tom Hanks as a mischievous prankster, and now I finally get it. No wonder people say you shouldn't trust Hollywood.”

At first, Tom couldn't help but smile, nodding in satisfaction as he heard the first part. Those who knew Tom were aware that this serious actor actually loved to play pranks, a sharp contrast to his public image.

But the second part?

Tom choked on his own saliva. “That conclusion took quite the turn, didn't it? That’s some world-class drifting you did there. Aren’t you worried about losing control?”

Anson maintained a calm expression.

Tom chuckled, “Alright, looks like I’ve got no one to blame but myself.”

He let out a small sigh.

“I just wanted to say, there's no need to be nervous. Just be yourself.”

“When Steven chose you for this role, it was because he believed you were the best fit. You did an outstanding job in New York, and it'll be the same here. No need to change anything—just stay true to yourself.”

“But clearly, I’m making myself look like an arrogant narcissist.”

Back in New York, even though Tom wasn’t on set, he still provided some help with the acting and filming. Now, in Los Angeles, he was doing the same, trying to ensure everything went smoothly.

Normally, Anson would have gone along with Tom’s words, maybe joked a bit, and then admitted his nervousness. But now that he was fully in character, it was different. Young Frank wouldn’t respond that way.

Anson lifted his chin slightly, “Just like every other actor.”

Tom opened his mouth, tilting his head as he thought for a moment, then smiled, “Yes, an actor’s essence.”

After a pause, he laughed again, “So, are you ready?”

Anson exhaled deeply, “Can I have a moment to prepare?”

Tom, “Of course.”

Anson gestured behind him, “I need to go to the bathroom and throw up first.”

With that, Anson turned and headed toward the trailer to change into his costume.

One second, two seconds—

Laughter erupted like thunder.

Tom turned to the side, “Did that kid just pull one over on me? Haha.”

Clearly, young Frank needed this kind of aura and confidence.

Anson had started to grasp the essence of it.

When Steven arrived on set, everything was ready to go. After a brief chat with Tom, he prepared to start filming.

Just as Steven was about to head to the monitors, Tom, a bit puzzled, asked, “Steven, aren’t you going to say something to Anson?”

Steven, “Say what?”

Tom was taken aback by Steven’s nonchalant expression, then laughed, “Never mind, never mind.”

Steven knew exactly what Tom meant. “Tom, I’ve told you before: once we start shooting, I don’t interfere. I have complete confidence in the actors’ abilities. You personally vouched for Anson, and now it’s time for you to face the choice you made. So, I’m not worried—not even a little.”

With that, Steven turned and walked away, leaving Tom standing there, dumbfounded. It took him a moment to snap out of it, “Hey, Director? You’re sure this is your movie, right?”

He was joking that Steven was acting like a hands-off boss.

But Steven didn’t respond, continuing to walk towards the monitors, his steps light. Though he didn’t say it outright, his excitement was clear.

The scene they were about to shoot involved FBI agent Carl arriving at a motel with two other agents. They’d received a tip about a suspicious check, which likely belonged to young Frank Abagnale.

Typically, bank fraud cases like this were handled in the office, so Carl requested backup. But his superiors, not taking it seriously, sent two agents who clearly didn’t care much, much to Carl’s frustration.

Upon arrival, Carl instructed the other agents to cover the exits while he went to the second floor alone to arrest the suspect.

The upcoming shoot would capture Carl and young Frank’s first confrontation.

Though the scene was continuous in the storyline, it required different angles, shots, and camera movements to film. Steven and his core team had set up on the first floor, clearing out the second-floor hallway and rooms to ensure smooth filming.

Steven had devised several shooting plans, eventually settling on one—

They would start with a follow-shot perspective, capturing the entire story arc while focusing on the tension between Carl and young Frank. The goal was to highlight the actors’ performances, immersing the audience in the cat-and-mouse excitement.

Then, based on the footage, they would fill in close-ups, wide shots, and other angles to create a complete atmosphere.

Steven was still Steven, a master craftsman controlling the entire process.

After working with directors like Garry Marshall and Sam Raimi, and now seeing Steven’s approach, it was clear just how different they were.

Finally, everything was ready. After a brief adjustment from New York to Los Angeles, the crew demonstrated their professionalism, meticulously preparing for the shoot. The burden, as always, fell on the actors—

Would Tom and Anson spark the magic?

Reflecting on Anson’s performance in New York, he had been surprisingly impressive. Whether it was working with veteran actors like Christopher and Natalie, or showcasing his intensity in the final scenes, Anson had exceeded expectations, raising anticipation even higher.

So, what about this time?

“Cut!”

This was the fourth NG (No Good) take, indicating some setbacks in the shooting progress.

It wasn’t bad, but it was all about the details—

The actors Anson and Tom still need to find their rhythm; the two of them just aren’t in sync yet, and the recent outtake was quite comical.

The cameraman needs to shoot handheld, but the focus here isn’t on capturing the realism of a documentary. Instead, the emphasis is on closely following the movement of the two characters. This places strict demands on the cameraman—not only must the camera remain steady, but the shooting path also needs to be 100% accurate.

There’s no room for error.

The cameraman is assisted by an assistant who holds onto the cameraman’s waist with both hands, controlling his movements and positioning to align perfectly with the shooting path.

The mistake happened right here: the cameraman’s movement deviated slightly from the planned route, resulting in the camera and Anson facing each other directly—

Anson unintentionally made eye contact with the camera.

So…

“Cut.”

That was an outtake.

Everyone on set was momentarily stunned, then burst into collective laughter, both on the first and second floors. Even the extras couldn’t help but laugh.

---

*Chapter 399: Outside the Camera*

The most notable difference between acting in movies and television versus stage plays is whether or not the actor can look directly at the audience.

In stage plays, actors need to make eye contact with the audience. This eye contact is part of the performance and contributes to the atmosphere of the theater, helping to effectively convey the power of the performance.

However, in movies and television, actors are not allowed to look directly at the camera. For beginners, one of the first rules is to avoid breaking the fourth wall, as this disrupts the audience's immersion and pulls them out of the viewing experience.

Of course, there are exceptions, like in The Big Short, where breaking the fourth wall to engage directly with the audience is intentional and part of the director's creative vision, using the fourth wall to achieve a different effect.

Just now, Anson made eye contact with the camera.

A retake was inevitable.

Steven's voice came through the intercom, "Anson, did you just make eye contact with me?"

Even though it wasn’t Anson’s fault, he didn’t shy away from taking responsibility. "To be honest, I made a deal with the devil for my soul, so did you see anything strange just now?"

Laughter erupted on set.

The assistant cameraman let out a long sigh of relief and sneakily turned to Anson with a grateful smile—it was actually his fault for not controlling the cameraman’s position, causing a slight deviation. But Anson took the blame without any argument.

Jokes aside, it was just a brief interlude.

Anson quickly refocused, adjusted his breathing, and calmed himself down.

Filming can be like this: the more nervous you get, the more mistakes you make, and the more mistakes you make, the more nervous you become, creating a vicious cycle that traps you in a downward spiral.

Initially, the nervousness had quietly settled in his heart, hidden beneath the surface. But after a series of retakes, whether or not the mistakes were his fault, the smooth flow of filming was disrupted, causing the nervousness to resurface.

So, what should he do?

He could take deep breaths, close his eyes, meditate, and calm his nerves, focusing his attention—this is one approach. But he had another idea:

Would Frank Jr. be nervous when he realized the FBI agents were closing in?

Of course. He’s also flesh and blood, an ordinary person—how could he not be nervous? But he controlled himself and displayed a calm demeanor.

Perhaps Anson could use this tension and chaos to perfectly embody Frank Jr.’s state, blurring the lines between the filming set and the movie’s fourth wall, freely switching between reality and fiction.

Building on the preparation so far today, he could delve even deeper.

This is what method acting is about, isn’t it?

Anson wasn’t sure how it would turn out, but instead of playing it safe and following the routine, he preferred to take a risk—

Don’t be afraid of making mistakes because making mistakes is better than being boring.

After all, Steven, as the director, hadn’t adjusted or directed his performance, leaving Anson and Tom to perform freely—this was a green light, right?

Taking risks in front of Tom Hanks?

Even better. When else would he have the chance to showcase his acting in front of such a big name? Besides, Tom is also an actor, a scene partner, not some deity to be worshiped from afar.

Anson felt a subtle thrill of excitement.

So, instead of calming his breath, Anson allowed himself to sink into the chaos, trying to maintain his balance amidst the disorder.

"Ready?"

"... Fifth take, action."

Anson entered the bathroom, stood in front of the mirror, adjusted his tie and hair, and quietly listened to the slate’s call to action from beyond the door. He didn’t rush; instead, he let himself immerse in this slightly tense, empty-headed state, with his fingertips tingling—

As if ants were crawling on them.

In fact, there was no camera in the bathroom because Steven wanted to create a contrast. The main perspective of this scene was from Carl, placing Frank Jr. in a mysterious position, gradually revealing Frank Jr.’s state through the interaction between the two characters.

So now, Anson was alone in the bathroom.

Even so, Anson still immersed himself in the role, even without the camera.

Focus.

Immerse.

Anson slowly settled down, unknowingly sinking into a brilliant golden light, and then he could feel the gold gradually turning into deep blue as the sunlight transformed into lake water, engulfing him.

His heart tightened.

Bang!

"FBI!"

The sound of the door being slammed open and the announcement of identity exploded simultaneously, like a sudden clap of thunder.

Involuntarily, Frank Jr. held his breath.

Instinctively, he glanced around. The bathroom had no windows or vents, with the only exit being the main door. He was now the fish in the barrel.

What should he do?

What to do, what to do, what to do?

Frank Jr. knew that the motel room was tiny, barely larger than a closet, and there wasn’t much space under the bed or in the wardrobe—no way to hide.

He now had two choices:

First, he could hope that the FBI wouldn’t bother searching the bathroom, assuming they’d overlook him out of carelessness.

Second, rather than relying on luck, he could take a risk and try to break through directly.

Thoughts raced through his mind.

In just a split second, he made his decision.

Taking a deep breath, he acted decisively and flushed the toilet.

Whoosh.

“FBI!”

The sound of the toilet flushing was immediately followed by shouts from outside the door.

But instead of panicking, he remained calm, turning on the faucet and washing his hands thoroughly, not missing a single spot.

“Come out of the bathroom!”

“Come out of the bathroom!”

The shouts grew louder and more urgent, tinged with anxiety and impatience rather than calm control.

Maybe—just maybe—this FBI agent wasn’t used to fieldwork. After all, white-collar crimes usually involve sifting through documents in an office rather than active field duty, meaning this agent likely lacked real-world experience.

Frank Jr.’s mind was racing. Then he straightened up, lifted his chin, and looked at his reflection in the mirror. He exaggerated a smile, then slowly let it relax into a more comfortable position before turning around.

He grabbed a towel, leisurely dried his hands, and opened the bathroom door.

The soft yellow light spilled out as Frank Jr. peeked outside. First, he saw the camera, then the tense, on-edge figure of a middle-aged man—

Suit. Shirt. Tie.

Those details weren’t important. What stood out was that the man wore glasses, giving him a bookish look, and he was also wearing a soft-brimmed, rounded hat.

No field agent would wear a hat. None.

It was too impractical, not suitable for movement or pursuit.

Finally, Frank Jr.’s gaze settled on the man’s taut, extended arm, with a gun aimed directly at him, the tension concentrated there.

Frank Jr. thought to himself, This guy’s a rookie.

The performance had begun even before the camera started rolling. By the time Frank Jr. entered the frame, the details had seamlessly blended into the atmosphere.

“Hands on your head,” the FBI agent barked, interrupting Frank Jr.’s thoughts. But this assertiveness only revealed his underlying insecurity.

Frank Jr. didn’t react to the command. Instead, he casually lifted his chin and gestured toward the office desk, “That’s the latest IBM electric typewriter...”

Even with a gun pointed at him, he remained unflustered.

Chapter 400: Deceiving Oneself

In one glance, Steven noticed Anson’s handling of eye contact in the scene—he was observing.

It was a two-step process. First, he observed the FBI agent's attire and actions. Then, he scanned the entire area. Although his gaze briefly met the camera, it wasn’t a mistake—in fact, Steven found it intriguing.

From the overall perspective, Frank Jr. was assessing the situation, evaluating the number of FBI agents, whether he was surrounded, and the urgency of the situation. Like a fox, he quickly took in the scene with a single glance.

This one observational look revealed Frank Jr.'s cunning and experience.

But if that was all there was to it, it would be excellent, but not exceptional.

The key was in that brief moment when Frank Jr. made eye contact with the camera.

In the context of the scene, Frank Jr. was surveying the situation, and his eyes inadvertently crossed paths with the lens. It seemed normal—none of the crew or the cameraman noticed anything unusual.

But imagine when the film is released, and the audience’s gaze inadvertently meets that of the protagonist. A sense of voyeurism is instantly created, as if they were secretly watching this chase unfold. The tension between Frank Jr. and Carl in their cat-and-mouse game would then escalate sharply.

Brilliant.

A stroke of genius.

If the audience doesn’t notice, they simply miss out on a moment that could enhance their viewing experience. But if they do catch it, the thrill doubles.

This is acting.

Perhaps after this sequence is finished, they should shoot a close-up to capture this fleeting detail.

Steven had to admit, Anson wasn’t the type of actor he usually preferred—too uncontrollable, often veering off course, which could be disastrous for a director like Steven. But at the same time, he couldn’t help but be curious about Anson’s performance—

It was like a guilty pleasure.

Knowing full well that too much sugar and fat could be bad for his health, Steven still couldn’t resist. After all, what’s life without a bit of sweetness?

Secretly, Steven found it a bit thrilling.

Quietly... he was drawn into the scene.

In front of the camera, no one noticed anything unusual; the performance continued seamlessly.

As soon as Frank Jr. entered the scene, he quickly assessed the situation and his position. Despite trying his best to stay calm, it was clear he was still nervous—after all, he’d never been in such a situation before. His reaction was slightly over the top—

He was interrupting.

“That’s the latest IBM electric typewriter…”

Carl remained on high alert, “Hands on your head!”

Frank Jr. tossed the towel aside and, mimicking the confident posture of a TV shopping channel host, advanced, forcing the tense FBI agent to retreat step by step. “It can change the print format in five seconds.”

Carl barked, “Shut up!”

Frank Jr. added, “It’s just a matter of highlighting a single character…”

He noticed—

The FBI agent was backing up.

Usually, an experienced detective would have taken control by now... right? He wasn’t sure, but the agent’s reaction gave him confidence. His panic and anxiety eased slightly, and his tone became more relaxed.

Tension—an underlying tension was building.

Viewers who are truly familiar with Tom Hanks would detect that his performance was slightly over the top, with his voice just a bit sharper, conveying a heightened sense of tension. It wasn’t overacting, but it added a touch of nervous comedic humor.

Back and forth.

Advance and retreat.

The two characters on screen were like dancers engaged in a tense tango, probing and countering each other's moves.

The camera struggled to keep up with their rapid movements. One second, Tom was in the frame, and the next, as the action shifted counterclockwise, the focus switched to Anson, who became the primary viewpoint.

Both actors were spinning, and the cameraman was trying to follow their movements. However, the actors moved just a bit faster, creating a dizzying effect that heightened the tension and sense of chaos.

Then—

Bang.

A loud noise broke the standoff, making hearts skip a beat.

The FBI agent, who had been retreating continuously, had nowhere left to go and collided with the dining table. The room service from the previous night, ordered by Frank Jr., rattled precariously.

A moment of surprise.

The tension escalated further.

Carl barked, “Hands behind your head! Put your hands—”

Frank Jr. ignored him, continuing to move counterclockwise toward the desk—just beside the dining table.

Carl circled around again, finding himself back in front of the camera.

The entire world seemed to be spinning.

Frank Jr. said, “He’s got over 200 checks, a gallon of India ink, and the sketches.”

Carl, on the brink of losing control, shouted, “Hands! Hands! Raise your hands!”

This scene was fresh and dynamic.

From Anson and Tom’s perspective, as well as from the perspective of the criminal and the agent, it was reminiscent of “Tom and Jerry,” with the mouse playfully teasing the cat.

Frank Jr. was calm, steady, and unflustered. Despite his attempts to disrupt the FBI agent’s rhythm, the chaos helped him regain his composure. His words became more relaxed, and his body language grew more expressive.

Carl was tense, anxious, and wary. Frank Jr.’s refusal to cooperate and constant interruptions prevented him from following through with his commands, forcing him to raise his voice until he was nearly shouting.

This scene, slightly discordant, still managed to produce an unexpectedly humorous effect.

Frank Jr. remained unfazed. His calm and collected demeanor made Carl look like a cat whose tail had been stepped on. He completely ignored the gun pointed at him. “Even the pay envelopes from Pan Am have his own address on them.”

The details—here, the details could be seen again—

His fingers were trembling slightly.

Frank Jr. was feeling the pressure. He had been trying to change the subject and distract Carl, but the FBI agent, despite his lack of field experience, remained alert and followed protocol, leaving Frank Jr. no opportunity to exploit. He needed to turn the situation around.

He needed proof—proof of his identity.

With trembling fingers, he grabbed an envelope, showcasing a burst of energy that revealed his true skills in forgery. He then presented the envelope to the FBI agent.

The perfect lie lies in 90% truth, 10% falsehood.

However, Carl still wasn’t buying it.

“Put it down!”

“Drop it!”

As Frank Jr.’s movements became more tense, Carl, fearing there might be a weapon inside the envelope, roared with fury, his nerves stretched to the breaking point, as if he might pull the trigger at any second.

What to do?

What to do, what to do, what to do?

Frank Jr. didn’t panic; instead, he offered a warm smile.

“Relax!”

Like a lion tamer, Frank Jr. spread his hands to show he was unarmed. Then, he lowered them, gently waving them as if calming a velociraptor. His composure, which could put even a dinosaur handler to shame, regained control of the situation.

“Relax!”

Each command was louder than the last as Frank Jr. turned the tables and asserted dominance over Carl.

With a confident, unruffled smile, he maintained his charm and poise, disarming Carl with his easygoing demeanor.

“You’re late.”

“I’m Allen, Barry Allen, from the United States Secret Service. Your boy just tried to jump out the window, but my partner apprehended him.”

Allen, Barry Allen—yes, the very same Barry Allen from “The Flash.”