Entertainment: Starting as a Succubus, Taking Hollywood by Storm

Martin assessed his haul: 70 crates of gold from Gaddafi and Saif al-Islam, valued at roughly $3.8 billion. Add in the antiques and artworks, and the total neared $10 billion, not counting the funds siphoned from Saif's anonymous accounts.

A fortune of ill-gotten gains.

With a wave, Martin distributed $50 million among Satan and the soldiers involved in the operation. The mercenaries, thrilled, preferred cash—gold, art, and antiques were too cumbersome to fence and risked drawing attention from Gaddafi's loyalists.

Martin had no plans to sell the items, storing them in his private vault. Gaddafi's wealth staggered him. This haul alone approached $10 billion, and that was just the movable assets. Including the family's industries and offshore accounts, Gaddafi's greed justified his end.

…

After Gaddafi's death, NATO and the U.S. swiftly recognized the Transitional Government's legitimacy. Oil giants from both nations flooded Libya, eyeing its resources like predators. France's Total, Britain's BP, the U.S.'s Texas Oil Group, and Martin's Campbell Oil Company joined the fray.

Martin, unsatisfied with his windfall, aimed to bleed Libya further. If someone's going to profit, might as well be me. With Obama in power, Martin leveraged his "reliable" support. Obama, while careful not to alienate Texas Oil, subtly favored Campbell Oil.

As a result, Campbell Oil secured a unique edge: Martin was named "U.S.-Libya Liaison and Political Observer," making him a prime target for flattery by Libya's new government officials.

Martin didn't go himself, sending David Scott instead. Scott, a man driven by ambition and money, arrived in Tripoli and was swarmed with invitations to lavish banquets. He quickly bonded with Libya's power players.

Two weeks later, Campbell Oil acquired a 50% stake in Sharara, Libya's largest oil field. The other half remained with the new government, a pattern applied to all Libyan oil fields.

Sharara, rich and easily accessible, was not only Libya's biggest but also North Africa's largest, ranking 15th globally. This acquisition catapulted Campbell Oil past Texas Oil, making it the world's top oil company.

Martin's wealth surged, solidifying his status as the world's richest man.

…

While mainstream media buzzed about Campbell Oil's Sharara deal, Martin returned to Los Angeles, diving into post-production for The Avengers and occasionally visiting the Hunger Games set to check on Jennifer Lawrence.

"What's for dinner tonight, honey?" Jennifer asked.

"How about French cuisine?"

"Ooh, a treat! I love it."

Jennifer bounced around Martin like an excited fawn, vibrant and cheerful.

The Hunger Games director Gary Ross sometimes half-joked, "Martin, stop coming around. Every time you show up, Jennifer can't stay in character. She's too happy, and I need her stern and tough."

Gary, a former screenwriter, had directed films like Seabiscuit, though with modest box-office success. His debut was Pleasantville, starring Martin's friend Tobey Maguire. Directing a big-budget commercial film like The Hunger Games was new territory, so Gary recruited his friend Steven Soderbergh as second-unit director, specifically for action sequences.

Martin knew Soderbergh but was seeing him on set for the first time. Soderbergh, a "quick draw," filmed all the action scenes in under a month. No small-timer, he'd won the Palme d'Or for Sex, Lies, and Videotape and an Oscar for Traffic. Joining The Hunger Games as second-unit director was a step down, but he did it for Gary.

While Gary worked, Martin and Soderbergh chatted in the studio.

"Didn't expect Gary to rope you in," Martin said, though he knew the original timeline.

Soderbergh laughed. "Well, Gary and I are friends. I've known him since his screenwriting days. We've collaborated for 15 years, and he's helped me out plenty."

"I remember it was April," Soderbergh continued. "Gary called, saying his second-unit team would start in August. He asked if I was free to help. Said he trusted me more than some unfamiliar director. I told him, 'Sure, no problem.' I'd just wrapped Contagion and was prepping Magic Mike. Thought it'd be fun, so I signed on."

Martin nodded. "Last time I was here, it looked like you were mimicking Gary's directing style."

"Exactly," Soderbergh said. "Keeps the film's style consistent. It's Gary's movie—I'm just assisting. The goal is you can't tell which parts I directed. That's why Gary picked me; he knows I'm disciplined enough to match his vision."

Martin smiled. "You're a true friend."

He meant it.