C 8

Eddie read over the information his team had gathered, his expression growing darker with each passing word. The investigation into the Life Foundation was proving to be even more challenging than he had anticipated.

Initially, Eddie had assumed that the Life Foundation's unethical experiments were confined to exploiting the homeless of San Francisco, tricking them into signing misleading agreements for dubious drug trials. But the new intelligence revealed a much deeper conspiracy. 

The Life Foundation had now collaborated with the city government to create the "San Francisco Homeless Association," a partnership that provided cover for their actions. Funded entirely by the Life Foundation, this organization was portrayed to the public as a philanthropic initiative, but it was nothing more than a gilded cage for the city's homeless.

Under the guise of the "Home of the Homeless," the Life Foundation had herded nearly every homeless person in San Francisco into a remote area that was heavily monitored and patrolled.

These individuals, effectively imprisoned, had lost the freedom to leave or even move about freely. It was essentially a "prison" under another name, but cleverly designed to avoid scrutiny. For Eddie, it was an unsettling realization; this setup wasn't just an inconvenience for his team but a profound moral atrocity.

The Daily Bugle reporters stationed in San Francisco were facing an uphill battle. Surveillance cameras and regular patrols made it virtually impossible to infiltrate the "Home of the Homeless" or gather tangible evidence of wrongdoing. Days had passed, and yet the trickle of useful information was so meager that it would barely scratch the Life Foundation's reputation if published.

Eddie clenched his fists. "Carlton Drake…" he muttered under his breath. "You're one slippery opponent."

With nearly all of San Francisco's homeless population now isolated in the Home of the Homeless, the Life Foundation's grip on the city was firmer than ever. Public sentiment, largely misled by surface-level improvements in the city's appearance, was firmly in favor of the initiative. 

The local government, meanwhile, basked in the praise from citizens delighted with cleaner streets, while enjoying the Life Foundation's substantial political donations. And for Drake, it meant a steady and controlled supply of subjects for his human experiments—all without raising suspicions.

Eddie's phone buzzed with an incoming call. He picked up to hear the voice of Phil Urich, one of the Bugle's newer reporters. "Editor-in-Chief, the investigation has hit a dead end. We've tried everything, but with the Life Foundation's tight security and the cameras on every corner, we can't get close. The only way left is if we pose as homeless ourselves, sneak in, and try to document whatever we can from inside."

"No, it's too dangerous!" Eddie cut in immediately. "Risking one of our people going in blind isn't an option. Let's take a different approach. If we can't get any closer from the outside, we'll need to find a way in from within."

Phil paused, then replied, "You're suggesting we look for someone inside? Good idea. I'll start working on it."

"Hold on, Phil," Eddie cautioned, "don't rush this. We can't afford to tip our hand too early."

"Got it, boss. We'll proceed carefully," Phil promised before hanging up.

Meanwhile, on the West Coast, Anton was beginning the long-anticipated filming of his movie. The initial days were fraught with setbacks as the crew struggled with logistical issues, timing, and the usual teething problems of a new production.

Anton found himself frustrated by the details—actor coordination, lighting quirks, and props that didn't quite match his vision. However, he had hired professionals for a reason, and his crew's growing cohesion allowed them to quickly get back on track.

Once his assistant directors proved their reliability, Anton decided to divide and delegate. While he focused on scenes featuring the main character, his deputies took charge of supporting roles and the broader setup.

This two-pronged strategy not only expedited the process but also relieved Anton, allowing him to devote his energy to perfecting the scenes that mattered most.

Anton looked over Jim's projected timeline. The experienced producer had estimated a 120-day filming schedule, with an additional 90 days for post-production and special effects. In total, Jim expected the film to be complete in about 200 days—a reasonable time frame for a high-budget project.

But for Anton, who was impatient to reach the end goal, even this felt excruciatingly long.

"If I go with this timeline, it'll be half a year before I can redeem the Batman template," Anton mused. "That's way too long."

With this in mind, Anton pushed the team to increase their pace. By eliminating non-essential shots and sequences, he managed to compress the filming process further. Within a month, they had already completed nearly half of the movie.

Noticing Anton's frenetic approach, Jim voiced his concerns, but Anton stood firm. As both the film's investor and director, Anton had the final say, and Jim, after some heated exchanges, eventually conceded to Anton's vision.

Despite the rapid pace, Anton made sure to maintain quality. By the time the second month rolled around, he had nearly caught up with his ambitious goal. The special effects team was also brought in ahead of schedule to begin working in parallel with the ongoing filming, pushing the possibility of a three-month completion within reach.

Still, morale was mixed on set. Some crew members saw Anton as an inexperienced rich kid recklessly speeding through a process that should be handled with care.

Rumors circulated among the staff, with even the lead actress, who played Rachel, muttering her doubts during her late-night sessions with him. Anton shrugged off the complaints; he was determined to finish the movie in his own way.

After another grueling day, Anton wrapped up shooting and dismissed the crew, ignoring a request from the lead actress to "discuss the script." As he massaged his sore muscles, he noticed a missed call from Toby, the film's screenwriter.

He dialed Toby back. "Anton, the 'Batman Begins' novel draft is ready. I've sent it to your inbox. Take a look and let me know if there are any changes."

"Thanks, Toby. I'll check it right away," Anton replied, ending the call and quickly reviewing the manuscript. The storyline, dialogue, and pacing were excellent—Toby had exceeded expectations. Without hesitation, Anton decided to start promoting the novel immediately.

He placed a call to Eddie, who picked up almost instantly. "Hey, Anton. What's up?"

"I've just sent you the manuscript of 'Batman Begins.' We're going to serialize it in the Daily Bugle over the next 60 days," Anton instructed, his tone leaving no room for negotiation. "This is crucial for the film's promotion, so make sure it's top priority."

"Understood," Eddie replied, his tone weary yet obedient.

Noticing the fatigue in Eddie's voice, Anton remarked, "You sound like you haven't slept in days. What's going on? The Daily Bugle can't be that demanding, can it?"

…

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