Chapter 620: Argo!

In the bustling office, Thomas glanced over his meticulously organized schedule notebook before turning to Martin with an air of intrigue. "Did you hear? Svetlana's been diving into accent classes, and Natasha gave her a glowing recommendation to James Mangold's crew, the director our company's been courting. Still no word back, though."

Martin, familiar with Mangold, nodded thoughtfully. "Ah yes, Jolie did introduce me to him once. She had that memorable meeting after her win for 'Girl, Interrupted."

Thomas continued, his tone brimming with excitement. "And Marina? She aced the audition for a film and snagged a juicy supporting role with lines. She's gearing up for filming."

Martin inquired further, his curiosity piqued. "Any other surprises we should know about?"

Marina hesitated for a moment before revealing, "There's a whisper about a secret subplot involving a swallow. Only a select few are in the loop." Thomas furrowed his brows, clueless. "Nothing out of the ordinary," he concluded.

Martin nodded knowingly. "Let Natasha keep tabs on her."

"Sure thing," Thomas acquiesced, unable to contain his intrigue. "Is there something special about this Russian lady?"

Martin's response was cryptic. "She's... intriguingly unique."

Thomas mulled it over, recalling Marina's unassuming yet captivating presence. "There's something about her," he mused, noting her subtle allure.

Meanwhile, Detective Nicholson's return to Los Angeles sparked Martin's vigilance over Marina, but he postponed the hunt for now.

Thomas seized the moment to share some exciting news. "We've got a slew of new role offers flooding in, perfect timing for your visit. Take a gander; I won't clog your fax machine."

Martin, not yet eager to pursue Nicholson, nodded in agreement. "Alright."

Thomas eagerly presented a folder of promising projects, highlighting one in particular—a $150 million blockbuster titled "Gravity," helmed by acclaimed director Alfonso Cuarón, with Sandra Bullock set to star. "She's on the hunt for her co-lead," Thomas explained.

Martin scanned the details, recognizing it as a showcase for Bullock's talent. "It's essentially a one-woman show," he remarked, setting it aside. "Unless they flip the gender of the lead role."

But the idea didn't sit well with him. "Changing the protagonist's gender could dilute the emotional impact," he reasoned. "Men embody traits like resilience and strength inherently, which is more compelling than seeing a woman saving herself in space."

Though Thomas saw potential, Martin remained firm in his decision. With a silent nod, Thomas stowed away the project, awaiting the next round of selections.

As Hollywood's finest pitched their projects to WMA, Martin had first dibs. Having already sifted through one major contender, he eyed another from Sony Columbia Pictures—another $150 million spectacle directed by Roland Emmerich, known for his epic blockbusters.

Martin's familiarity with Emmerich's repertoire led him to dismiss the project, recognizing it as another grandiose spectacle he had seen before.

As they delved into the project proposals, Martin's eyes lit up at the mention of a tantalizing possibility. "If the protagonist leads a pack of stunning women in storming the White House, then count me in," he quipped with a wry grin.

Thomas, momentarily thrown off by the unconventional idea, spiraled into a brief bout of self-doubt. "Could my judgment really be that off? Are these projects not up to snuff?" he pondered aloud, furrowing his brows.

Martin's attention then shifted to the third project book, titled "Argo," which sought male leads. "Ah, 'Argo'—Graham King's venture," he remarked, reminiscing about his past encounters with King during the casting of "The Departed."

Curious about the project's origins, Martin turned to Thomas. "Do we have any background material on this?" he inquired.

Thomas snapped back to attention. "There's a copy of 'Wired Magazine' downstairs; it covers a piece on Tony Mendez," he quickly offered.

Martin flipped through the magazine, landing on the article about Mendez's daring CIA rescue mission during the Iranian revolution. Intrigued, he absorbed the details of how Mendez orchestrated the rescue by posing as a film producer scouting locations in Tehran.

Impressed by the audaciousness of the plan and the Hollywood connection, Martin nodded approvingly. "This is quite the story," he remarked, recalling vaguely the film adaptation he'd seen, known as "Argo" which had garnered critical acclaim and box office success.

Realizing the potential of "Argo" to resonate with the American audiences, Martin was intrigued. "Seems like the perfect fit," he mused, remembering that Ben Affleck had starred in the original film.

A flicker of relief washed over Thomas as Martin signaled his approval of the project. "At least I'm not completely off track," he muttered to himself, grateful for the validation.

As Martin perused the remaining project books, he returned them to Thomas, his focus now on "Argo." "Any word on the director?" he inquired.

Thomas shook his head. "Not yet."

Undeterred, Martin dialed Graham's number, eager for more insight. "Hey, Graham. Got a minute?" he greeted as the call connected.

Martin broached the subject of their previous collaboration before segueing into the topic at hand. "I'm considering 'Argo' for our next venture. Any thoughts?"

Graham, ever accommodating, responded warmly. "I'll make time for a project you're involved in," he assured, his enthusiasm evident.

Relieved by Graham's willingness to join forces once more, Martin expressed his gratitude. "Your expertise is invaluable," he acknowledged sincerely.

With their partnership solidified, Martin shifted gears. "By the way, about 'Argo'—are you still on the lookout for a leading man?" he inquired, his interest piqued.

Martin cut to the chase, his tone direct and intrigued. "You're intrigued, aren't you?"

Graham pondered for a moment before responding, "I'm out of town at the moment. When I return to LA, let's schedule a meeting?"

Martin agreed promptly. "Absolutely."

Having collaborated with Martin on "The Departed," Graham held him in high regard. "I'll bring a little something back with me as a token of appreciation. You just give me a call," he offered warmly.

With plans set, the two ended the call, leaving Thomas to swiftly instruct the new assistant to procure Tony Mendez's autobiography.

Putting the project book and magazine away, Martin made his intentions clear to Thomas. "I'll take charge of this project solo," he declared.

Thomas wasted no time, swiftly instructing the data team to close the project, ensuring Martin's preferences took top priority.

As the new assistant rushed to deliver Mendez's autobiography, Martin glanced at the time. "I'll be heading out," he announced to Thomas.

Seeing him off, Thomas bid him farewell, closing the door behind him as Martin made his way to his waiting car.

Once inside, Martin turned to his companion, Bruce, with a question. "Ever heard of Tony Mendez?"

Bruce nodded, recalling snippets of information. "Yeah, I've heard some whispers. Seems he's been involved in quite a few covert ops," he replied, starting the car and merging into traffic. "Back when I was stationed in the UK, there was talk of his exploits, especially in CIA circles."

Not one to shy away from a jab, Bruce added with a hint of jest, "Though compared to the MI6 boasting, the CIA's got its own brand of swagger. And don't even get me started on the Russians."

Martin chuckled at the banter. "Ah, the Russians and their swallows," he remarked cryptically, before dialing Detective Nicholson's number and directing Bruce towards the San Fernando Valley.

Arriving at a small studio in the Valley, Martin and Nicholson observed the crew from a nearby balcony, overlooking the bustling activity below.

"What's the latest?" Martin inquired, eager for updates.

Nicholson leaned in, sharing his findings. "I've been keeping tabs on Marina since my return from New York. We've even tapped into her phone calls."

Leonardo chimed in, adding, "She's been in touch with her uncle in Paris, mostly mundane stuff about life in LA."

Nicholson interjected, his tone grave. "Ordinary on the surface, but given the circumstances, it adds to our suspicions."

Martin nodded, taking in the scene below through a telescope. "And what do we know about this crew?"

Nicholson relayed his investigation. "'Canine Game'—a modest production, about a $3 million investment. Details are tightly guarded, but it seems to have a literary flair."

Leonardo offered an additional tidbit. "I've spotted two familiar faces among them."

Martin raised an eyebrow. "Who?"

Nicholson answered with a revelation. "Katherine Oxenberg and her daughter India—the same duo we encountered in New York."

Martin's intrigue deepened. "They're part of this crew too?"

Nicholson confirmed, "Katherine's producing, and India's one of the actors."

A sly smile crept onto Martin's lips. "Well, isn't this getting interesting?"