Chapter 586: Dark Places!

Gillian Flynn arrived just in time, and Martin had just finished his meal. As he delicately placed his knife and fork down, he reached for a napkin to dab his mouth and inquired, "Have you been working on something new lately?"

Ever since completing the script for "Gone Girl," Gillian Flynn had been keeping herself occupied. While she had followed the crew to Cape Gee Lado for filming, she rarely made appearances on set.

"I'm accustomed to staying busy, incapable of sitting idle," she admitted with a smile. "While 'Gone Girl' gains popularity, I'm eager to release a new work as soon as possible. I'm still a struggling writer."

The cafeteria was sparsely populated, and Gillian's words had caught the attention of those nearby. Martin suggested, "Would you prefer we find a quieter spot to chat?"

Jillian nodded, "Certainly."

They left the bustling restaurant and made their way to the coffee shop on the same floor, eventually settling into a secluded booth.

Gillian retrieved a printed manuscript and handed it to Martin, saying, "The new work is titled 'Dark Place,' and it maintains a similar style to my previous one." Martin observed, "I can infer that from the title." He began perusing the pages.

This was a novel with a female protagonist. In her childhood, the heroine had witnessed the brutal murder of her mother and sister, accusing her brother of the heinous crime. However, as an adult, she began to suspect that something was amiss.

Martin, who had scrutinized "Gone Girl" meticulously, couldn't recall any connections between the two stories. He put aside his attempt to link them and focused on the novel.

Upon finishing the relatively thin manuscript, Martin asked, "Are you aiming to delve into the societal questions surrounding young children giving evidence, which have garnered attention in recent times?"

Gillian affirmed, "Yes, those elements are present."

Martin nodded thoughtfully and continued reading. Perhaps because "Gone Girl" had set such a high standard, or maybe because "Dark Place" was still a work in progress, Martin didn't find it particularly outstanding.

Once Gillian saw Martin closing the manuscript, she couldn't contain her curiosity, asking, "What did you think?"

Martin, ever sincere, responded, "Personally, I prefer 'Gone Girl.' It had that exhilarating quality when I was writing it."

Gillian was well aware of her strengths and weaknesses, acknowledging, "The previous book drew inspiration from real-life cases and Agatha Christie's experiences, which enriched my writing."

Martin handed the manuscript back to Gillian, saying, "You should complete it first."

Gillian smiled, "Alright."

Martin exited the coffee shop, headed upstairs, and returned to his room. Just as he was about to step into the shower, he heard a knock on the door.

He peered through the peephole and opened the door. Léa Seydoux didn't wait for Martin to step aside; she promptly entered the room.

For her role as Margot, she had her long hair chopped into a medium-length bob. Apart from the difference in hair color, she bore a striking resemblance to the image Martin remembered from "Adele's Life."

Yet, her allure, that distinct French sensuality, blazed like an irresistible flame.

For Martin, this encounter was a stark contrast to his time with Charlize.

...

In the coffee shop downstairs, Gillian carefully stowed away the manuscript and waited for a while. Her agent arrived and took a seat across from her, inquiring, "How did the conversation go? What did Martin say?"

Gillian replied honestly, "Martin wants to wait until the novel is complete."

The agent furrowed their brow and questioned, "What about when you discussed 'Gone Girl'?"

Gillian vividly recalled the first time she had discussed her previous book with Martin. "He showed tremendous interest from the very beginning," she remarked. "He had some insight into Agatha Christie's unique experiences, so when he learned that Amy employed similar tactics to get back at Nick, he was immediately intrigued."

She paused thoughtfully and added, "I distinctly remember Martin diving into the first half of the novel. It was then that he decided to secure the film and television adaptation rights and arrange for a meeting to discuss collaboration."

The agent chimed in, "It would be best for you to complete the novel first, leaving the publication and adaptation rights to me."

He specifically assured Gillian, "With 'Gone Girl' already ranking among the top three on the New York Times bestseller list and the high likelihood of success for the film adaptation by Martin and David Fincher, there's no need to fret about the adaptation rights."

Gillian concurred, saying, "I'll strive to finish the novel before the movie's release and ensure it's out in time for the film's premiere. If it manages to make it back onto the bestseller list, the rights can fetch a handsome sum."

"Gone Girl" had been a debut work, and even though Gillian had signed compensation agreements with Davis Studio and secured a share of the adaptation rights from the Writers Guild, her earnings were not as substantial as they would be once she became a recognized name.

The agent offered his counsel, "While it's true that Martin played a significant role in your success, business matters are just that—business. We don't need to be tied exclusively to Martin. There are numerous Hollywood production companies eager to collaborate with you. Many have reached out, expressing their desire for partnerships."

After some contemplation, Gillian said, "You can maintain contact with them, and we'll patiently await the release of 'Gone Girl.'"

The agent concurred, "As long as Martin can steer the film to commercial triumph, your value and the worth of your upcoming book will soar."

Nevertheless, she added, "If Martin's offer aligns with our needs, we should prioritize collaboration with him." Having once worked as an entertainment reporter, Gillian understood the unpredictable nature of Hollywood, and Martin's track record made him a relatively dependable choice.

She reflected, "Martin used to reside across from me in the Cotis community. I witnessed his journey firsthand, his rise from a third-rate actor to the top-tier superstar he is today."

On what appeared to be an otherwise serene weekend, the film crew's surroundings were far from quiet. Gillian Flynn's visit to Martin, and their conversation, had piqued the interest of a certain individual.

In the world of Hollywood, insider information could be a valuable commodity.

In the bustling cafeteria, Foster, a production assistant, abandoned his meal and hurried to a secluded spot. He retrieved his mobile phone and dialed a number in Los Angeles.

As the connection was established, he spoke urgently, "Mills, it's me. I've got something that requires immediate attention."

Mills, on the other end, responded lazily, "I'm in the middle of enjoying wine and the company of beautiful women. It can wait until tomorrow."

Foster glanced around cautiously, ensuring privacy, then raised his voice, "This is a money-making scoop, Mills. If we play our cards right, we're talking about tens of thousands of dollars each!"

"Just a moment," Mills said after a brief pause. The background noise faded, leaving only Mills's voice, filled with intrigue. "What's this lucrative scoop?"

Foster didn't reveal everything upfront but dropped a hint, "Remember when I came to Missouri, you mentioned keeping an eye out for certain people? Well, it's about Martin Davis, especially concerning his new movie project."

Mills emphasized, "That's it! Once you confirm your information, I can sell it for a hefty sum!"

He knew the art of making an impression. "My friend, regardless of how much money we make from this, we'll split it right down the middle!" Foster exclaimed enthusiastically.

Foster ceased his idle chatter and got to the point. "Tonight, Martin Davis is in discussions about a new film project. The author of 'Gone Girl,' Gillian Flynn, has penned a fresh masterpiece, and Martin is exploring the possibility of adapting it."

Mills couldn't contain his excitement and inquired eagerly, "Are you absolutely certain?"

Foster reassured him, saying, "I witnessed it with my own eyes and ears. There's no room for doubt."

Mills promptly hung up the phone and reached out to a contact named McDonald, a member of the assistant team for Jon Berg, the newly appointed president of Warner Pictures.

The two arranged to meet at a Starbucks in Burbank.

McDonald, sporting a sharp suit, couldn't conceal the pride that radiated from him. He had hitched his wagon to the right boss, and his stature within Warner Pictures had risen accordingly.

Upon spotting Mills, he cut to the chase. "Any news on the task you were assigned?"

Mills couldn't help but find the tone off-putting. This was supposed to be a straightforward transaction, not a discussion of subordinates and superiors. Slightly dissatisfied, Mills reminded him, "I've delivered results here, but what about the reward you promised?"

McDonald's brow furrowed. "Let's discuss the results first."

Mills divulged a bit more. "I've got concrete intel. Martin Davis is busily working on a new project, still in the planning stages."

McDonald inquired directly, "Is it an original work or an adaptation?"

Mills remained silent, simply gazing at him with a knowing smile.

McDonald had the authority to authorize activity funds, so he promptly produced his personal checkbook. He wrote two checks in succession and slid them across the table.

Mills glanced at the checks and remarked, "This information is worth half a million dollars! Given our friendship, you should at least hand over a hundred thousand."

McDonald's anger flared. "Are you kidding me?" He retorted, exasperated. "It's just information!"

Mills stated firmly, "Indeed, it's just information, but it pertains to the project that Martin Davis is planning!" He drummed his fingers on the table, underscoring each point. "Picture this—the mastermind behind this project is none other than Martin Davis!"

McDonald lifted his coffee cup to his lips and took a sip.

Mills pressed on, "You work at Warner, and you've got more insight into Martin Davis than I do. He's been in partnership with Warner for years. Which of his films hasn't performed splendidly at the box office? How many haven't made tens of millions in profit?"

He scoffed, "Considering the potential tens of millions in profits, isn't this crucial information worth at least a hundred grand?"

McDonald set the coffee cup down. "I can only go as high as ten grand!"

Mills shook his head. "You're disrespecting Martin Davis and the legendary success he embodies!"

"Wait for me a moment," McDonald said, standing up and leaving the coffee shop to make a call.

Mills waited patiently, ready to seek out other interested parties if McDonald refused to meet his terms.

There was no doubt that in Hollywood, there were companies willing to pay handsomely for projects that had captured Martin Davis's attention!

After a brief wait, McDonald returned and asked, "Are you sure Martin Davis hasn't secured the project he's keen on yet?"

Mills responded, "He hasn't moved that swiftly, but you seem indecisive. If that's the case, who knows?"

McDonald nodded thoughtfully. "A hundred grand is too much. I can only offer fifty thousand dollars."

Mills stood up and shook his hand enthusiastically. "Deal!"

Payment promptly changed hands, and McDonald obtained the crucial information. He immediately reported it to Jon Berg, who instructed him to catch a night flight to Missouri that very night.