Chapter 792: Fake!

20th Century, Fox Building

Ang Lee had just stepped into his office when producer Jill Netter approached him, a bright smile on her face. The air was charged with excitement and anticipation, an energy that both of them shared wholeheartedly.

"Morning, Ang," Jill greeted. "We've got some great news to start the day."

"Good morning, Jill," Ang replied, his own smile mirroring hers. He knew exactly what she was referring to. "Life of Pi" had released over the Thanksgiving weekend. While it hadn't clinched the top spot at the box office – that honor went to the latest installment of the Twilight saga – their film had still made an impressive $30.57 million in North America, including the holiday earnings.

"Can you believe it?" Jill continued. "As of yesterday, our North American box office has surpassed $60 million."

"And the buzz is incredible," Ang added. "The audience loves it, and the critics are giving us rave reviews. Our ratings are right up there with Argo."

Jill nodded, her excitement tempered with a touch of the pragmatism that made her an excellent producer. "If we play our cards right during awards season, we can recoup our entire investment just from the box office."

"Absolutely," Ang agreed. "The Oscars are crucial for us."

Ang leaned back in his chair. "Disney and David Fincher hosted three back-to-back screenings after Thanksgiving. Many of the older Academy members who live in Los Angeles attended."

Jill placed a reassuring hand on his desk. "Our screenings will start soon enough. We need to stay patient."

Ang gestured to the newspaper spread out on his desk. "Several precursor awards have already been given out. Lincoln isn't much of a threat; their focus is on Best Actor. The real competition for Best Director and Best Picture seems to be between David Fincher and Argo."

He paused for a moment, then added, "Our biggest competitor is definitely Argo."

Jill smiled, her confidence unwavering. "Don't worry. I've reached out to some key people. One of them, a retired fourth-class Marine, isn't in the best place right now."

Ang nodded, though a shadow of concern crossed his face. "Just remember, we target the film, not the individuals."

"Absolutely," Jill assured him. "Our focus is on Argo and its storyline, not the people behind it."

"We have twenty days before the ballots are issued," Ang reminded her. "We need to move fast."

---

Seattle, Washington

Ron Stern, a security guard by trade, clocked out from his shift and drove his worn-out car to a modest neighborhood. The car sputtered into a parking spot, but Ron didn't get out immediately. He rolled down the window and lit a cigarette, inhaling deeply as he tried to unwind.

The past few years had been tough. His wife had lost her job a year ago and now stayed home to care for their two children. His son, nearing thirty, was battling a drug addiction and relied heavily on Ron and his wife. His daughter, not yet twenty, was born with cognitive impairments. She had been somewhat independent in her early teens, but now she needed constant care.

Ron shouldered the burden of supporting his entire family. The weight of responsibility bore down on him, never relenting. As he exhaled a plume of smoke, he flipped down the sun visor and stared at an old photograph clipped there – a picture of six people, taken years ago after they had escaped Tehran.

There had been a time, shortly after his military service, when Ron felt on top of the world. But those days were long gone. As a retired fourth-class Marine Corps member, he hadn't received much support upon returning to civilian life. The best job he could find was as a security guard at a bank.

Years had passed in a blur of early mornings, long days, and late nights. Overtime at work was frequent, and when he finally got home, he faced the daunting task of helping with his children.

Life was relentless, but Ron pressed on, driven by the love for his family and the duty he felt towards them. He took one last drag of his cigarette, crushed it under his heel, and stepped out of the car, ready to face another night.

It was only during these precious moments in the car, right before heading home after work, that Ron could light a cigarette, let his mind wander, and truly relax. Here, he didn't have to think about the mortgage, the mounting living expenses, or the endless responsibilities. It was his brief sanctuary from reality.

Seattle in December was unforgivingly cold. As Ron took another drag, a man in a leather jacket emerged from a nearby car, his breath visible in the frosty air. He approached Ron with a purposeful stride.

"Mr. Stern, I'm Fords from Los Angeles. I called you yesterday," the man said, shivering slightly despite his jacket.

Ron recognized him immediately. "What do you want?" he asked, his voice flat but curious.

Fords rubbed his hands together, trying to ward off the chill. "Can we get in the car and talk?"

Ron gestured to the passenger seat, and Fords quickly climbed in. He pulled out an envelope and placed it on the armrest between them. "A little gift," he said, with a small, knowing smile.

Ron glanced at the envelope and saw the unmistakable green of banknotes peeking out. "What's this about?" he asked, suspicion creeping into his voice.

"I need a favor, Mr. Stern," Fords began, leaning in slightly. "You were involved in the Tehran incident, weren't you?"

Ron's eyes narrowed. "Yes, I was there. I attended the premiere of 'Argo' on the invitation of Martin Davis, David Fincher, and Tony Mendes."

"And they treated you well, didn't they? Luxury hotels, banquets, gifts..." Fords said, nodding as if to emphasize his point.

Ron nodded. "Yes, they did. I was there for three days and then came back."

Fords tapped the envelope with his fingers, a rhythmic, almost hypnotic motion. "The movie made millions, and yet here you are. The events you lived through were turned into a blockbuster, and they profited immensely."

Ron's expression hardened. "Tony saved my life. If you're here to say something against him, you can leave now. I won't hear it."

Fords quickly changed his approach. "I don't want to target Tony. I just want you to tell the truth about the movie."

He pushed the envelope closer to Ron. "You don't need to lie or make up stories. Just tell the media what really happened, and highlight the parts of the movie that were exaggerated."

Ron stared at the envelope, contemplating. "What's your goal?"

"To let the audience know the true events," Fords replied. "People deserve to know the facts."

Fords then pulled out another envelope, this one even thicker than the first. "I also know a very good rehabilitation center for your son. It's tough to get in, but I have a spot."

Ron's eyes softened slightly. "Just tell the truth and nothing else?"

"Exactly. You control what you say," Fords assured him, his tone almost pleading.

Ron took a deep breath and nodded. "Alright. But I will only do interviews in Seattle, nowhere else."

Fords smiled broadly, lifting his hand off the envelope. "Keep an eye on your phone. You'll hear from the rehab center soon. I'll be in touch after your son is settled."

Ron picked up the envelope, carefully inspecting the money inside. "I will."

Fords opened the car door and stepped out, hurrying back to his own vehicle. Ron watched him go, the weight of the envelopes in his lap, feeling the gravity of the decision he had just made.

Ron watched the Volvo drive away, its taillights disappearing into the dusk. He sighed, pocketed the envelope, and stepped out of his car, heading towards his house. As he approached the front door, his phone buzzed. It was the rehabilitation institution. They set up a meeting for the next day to discuss the details.

The meeting went well, and for the first time in a long while, Ron felt a genuine sense of relief. A few days later, once his son's arrangements were settled, Foster called again, setting up an interview with the media.

Just after the Christmas holiday, The Hollywood Reporter, the industry's most influential publication, featured a column report on its front page.

"The Exaggerations and Fiction of Argo!"

"Since its release in October, the film 'Argo' has received widespread acclaim and box office success, buoyed by its claim of being based on real historical events. But how truthful is the film? We sat down with Ron Stern, a former Marine who was there."

The article presented the interview in a gripping question-and-answer format.

Ron didn't hold back. He candidly described the discrepancies between his experiences and the film's portrayal. "No one chased us back then," he explained. "To the other side, there was no difference between 71 hostages and 65 hostages. The movie also severely downplayed the role of the Canadian diplomatic department. We weren't besieged in Tehran, and our airport boarding was smooth."

The list of inaccuracies seemed endless. When asked, "Mr. Stern, how much of the film do you think is true?" Ron responded, "At most 30%. The incident itself is real, and it was Tony who led us out of Tehran. I am deeply grateful to Tony, but the film added so many false elements that it feels disconnected from my actual experiences."

This bombshell report caused an immediate uproar. Ron Stern's interview was not only printed in newspapers but also broadcasted on television and posted on YouTube, quickly topping the trending lists.

Follow-up reports flooded in. Some newspapers, lacking credible sources, speculated wildly. One theory suggested that Iran had reached a secret deal with Ronald Reagan's campaign team to release the hostages in exchange for unfreezing $8 billion in Iranian assets. This view gained traction, painting the rescue as a staged act by the U.S. and Iran.

Other reports claimed that Iran made a deal with Washington, where the U.S. provided parts for Iran's F-14 Tomcat fighters, and the two sides orchestrated the whole affair.

The overarching goal of these stories was clear: if the historical event itself was dubious, how could the movie stand on solid ground?

If "Argo" were merely a commercial film, these controversies might not matter much. After all, successful commercial movies often face various criticisms – just look at "The Matrix," "Inception," or "Avatar," which have all been scrutinized for alleged plagiarism over the years.

But "Argo" claimed to be a true story. With its authenticity now under intense scrutiny, its chances of winning an Oscar were significantly jeopardized.