Chapter 22: Birds of a Feather

Filmmaking is not an easy task, and Murphy understood the importance of thorough preparation, especially when it came to finances.

Therefore, the next day, Murphy appeared on time at the agreed-upon club with Leon Ross, and since the conditions had been mostly settled beforehand, there wasn't much idle chatter between them.

On behalf of Kobe Bryant, Leon Ross handed Murphy a payment of one hundred thousand dollars; in return, Murphy handed over all the materials related to the photos and signed a confidentiality agreement.

Such transactions were common between media reporters and celebrities and were nothing extraordinary.

With the receipt of the hundred thousand dollars as agreed, Murphy was in good spirits. As he left, he shook hands with Leon Ross and said, "Please convey my regards to Mr. Bryant. If I have the chance, I'll definitely go see him play live."

Leon Ross replied without mincing words, "I hope you never get that chance."

With that, he left the room without looking back, showing no further interest in dealing with Murphy.

Observing Leon Ross's departure, Murphy shrugged and left as well. Despite Leon Ross's fury, Murphy didn't pay it much mind. He had asked Kara Feis to gather some information beforehand, and he had learned that the basketball department at CAA wasn't particularly significant. CAA placed more emphasis on American football in the sports agency field.

This wasn't surprising. American football was the primary sport in North America, with far more influence than the NBA or other sports leagues, and CAA's main business currently focused on the North American market.

However, Murphy didn't underestimate CAA's immense influence. For now, he was just a small fry, and in the eyes of CAA's titans, he was no different from the paparazzi found everywhere on the streets of Los Angeles. No one would pay too much attention to him. If he could enter Hollywood and gain some fame, then the impact of this incident would truly surface.

But Murphy didn't regret his actions. How could he accumulate the initial capital for development without resorting to some unconventional means?

At least he hadn't violated any laws.

"Since coming to this world, every pore of capital is dirty and blood-soaked."

With this thought in mind, Murphy left the club and drove to Channel 6 to continue participating in the production of the documentary. Similar to before, he played the role of a student, eagerly absorbing all the technical skills and experiences in post-production.

Located in the Los Angeles area where Hollywood was situated, Channel 6 may have been a humble television station, but the rigor and philosophy of post-production were impressive even to Murphy, a novice.

Indeed, he had gained much more insight than an average person, having studied and researched the latest film techniques and knowledge at a film school across the ocean. However, learning and practicing were two different realms. Excelling in one didn't guarantee success in the other.

With determination, Murphy put aside other thoughts for the time being and spent the next period of time peacefully in the post-production studio at Channel 6, constantly seeking advice from experienced individuals like Griffiths.

The documentary's production wasn't very challenging, and Murphy was aware that he would encounter many more problems when shooting his own films in the future.

The documentary simply compiled various video materials, and the editing process didn't take long. It was crucial to release the documentary soon, as the African American movement in Los Angeles couldn't continue indefinitely. Time was of the essence to make an impact with the documentary.

Two weeks later, as the hype surrounding the African American movement in Los Angeles began to subside, Channel 6 aired the documentary, "City of Sin," during prime time.

From the title, it was easy to discern the documentary's theme. This fifty-five-minute-long film was a compilation of criminal activities in the Los Angeles area, ranging from accidents, murders, drug deals, to armed robberies, illustrating how crime in Los Angeles had spread beyond localized areas and into every corner. It also subtly highlighted the tensions between minority ethnic groups and white people due to social injustices.

Among them, the highlights of the documentary were the Bill Road case and the shootout between Beverly Hills police and gangsters, both captured by Murphy. Although the footage wasn't particularly clear due to the equipment used, the raw and bloody gunfights were showcased almost entirely, evoking a significant response.

In particular, the scene where a black criminal was shot dead by white police officers without any resistance was indescribably shocking.

The footage shown in the news often had many sensitive or bloody scenes blurred out due to censorship, but the documentary had a broader scope...

Undoubtedly, the documentary garnered widespread attention, and Channel 6 quickly became the most popular local television station in the Los Angeles area.

The African American movement, which had just subsided, reignited due to the documentary's themes and the complete airing of Murphy's footage. Once again, large crowds gathered in front of Los Angeles City Hall and the county police station, providing the media with more material for coverage.

Channel 6 also partnered with a video distributor to release DVDs and videotapes of the documentary.

Although Murphy's footage was heavily featured, Channel 6 paid a certain copyright fee, and Murphy didn't benefit much financially. However, he was satisfied. After all, he had participated in the production of the entire documentary, learning a lot and gaining valuable experience.

More importantly, he had developed a closer relationship with Griffiths. If he encountered any editing problems in the future, he could turn to him for advice.

Although Griffiths was just one of the many unknown editors in the Los Angeles area, he was far more skilled than Murphy, a newcomer with almost no practical experience.

"Congratulations..."

At an Italian restaurant, Murphy sat in a window seat and raised his glass to Kara Feis across from him. "Congratulations on your promotion."

Kara Feis, dressed in a fitted casual suit with her curly blonde hair neatly tied back, raised her glass and clinked it with Murphy's before taking a sip. "Thank you!"

As they enjoyed their meal, Murphy casually asked, "How does it feel to be the news director at Channel 6?"

Previously, Kara Feis had been in charge of the evening and morning news programs, but now she was responsible for all the news at Channel 6.

Kara Feis tucked a loose strand of hair behind her ear and sighed with a hint of nostalgia. "It feels great not to have to work night shifts anymore!"

Picking up a small piece of steak with her fork, she put it in her mouth and chewed, then suddenly looked puzzled at Murphy's gaze.

"What's wrong?" Kara Feis thought she had something dirty on her face and reached for her purse to find a compact mirror. "Do I have something on my face?"

"No," Murphy shook his head gently. "I just find it strange that you're not wearing makeup today."

In his previous encounters with Kara Feis, she always wore a subtle but professional makeup look. Today was noticeably different; she had very light makeup on.

"Am I less attractive without makeup?" Kara Feis quipped.

"Of course not," Murphy admired her. "You look fresher and more natural this way, not as intimidating as when you wear your professional makeup."

"Really?" Kara Feis raised an eyebrow, looking both playful and sarcastic. "Do you think we have any relationship beyond work?"

"I thought we were already friends," Murphy

said lightly.

"Friends?" Kara Feis arched her lips, appearing both playful and mocking. "Do I have friends like you? Always bargaining with me every time..."

Murphy shrugged, spreading his hands. "Dear, work is work, and personal relationships are personal."

Unlike Ross, whom he had befriended in prison, Murphy couldn't quite describe the relationship between him and Kara Feis. They had met through work, grew closer due to similar ideologies, and especially after Murphy stopped providing news videos to Channel 6, their relationship had become even closer.

Actually, he understood that with the end of their final conflict of interest, there weren't as many reservations between them when they interacted.

Frankly speaking, Murphy thought a phrase from across the Pacific Ocean could aptly describe the friendship between him and Kara Feis: "Birds of a feather flock together."

As they chatted and ate, the atmosphere was unusually harmonious, especially when they laughed happily while discussing the spike in Channel 6's ratings since the Bill Road case and the documentary.

In such private settings, both Murphy and Kara Feis were proud and uninhibited, thinking only of the immense benefits they gained from each other, rather than abstract notions like journalistic ethics or social responsibility.

As the meal neared its end, Kara Feis took a big gulp of water, wiped her mouth, and suddenly changed the topic. "When will your plan start?"

"As soon as possible," Murphy replied, setting down his napkin. "I've learned a lot from this documentary..."

He tapped his head. "I already have a clear plan here."

Kara Feis asked again, "What about the funds?"

"After deducting the fees for the lawyer and other expenses," Murphy calculated in his mind, "there's still over three hundred thousand dollars."

Thinking about it, he furrowed his brow again. This amount was really too little for producing a film.

"I'll give you a piece of advice," Kara Feis said in a serious tone unlike before, "Don't invest all your money into it."