(ominous music)
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(dark music)
- That's a big mistake. That's a very big mistake.
If you ever wanna see your mom's basement again,
you Cheeto hacker freak,
you better start talkin'.
How did you get into the database?
Give me the codes!
Who hired you?
Tell me the name of your employer.
'Cause we'll beat it out of you.
I'll get names, I'll get dates.
I'll drag anything I want out of you.
No one you're protecting is worth that.
So what do you say?
Are you gonna cooperate with us?
- Uh, okay. Um, hold on.
- Was something wrong? - No, no, it was fine.
But could you just, you know,
add some more spice?
- Spice?
- Yeah! You know, spice it up!
Forget about just reciting the line.
- [Narrator] By now you've probably gathered,
this is an audition.
Even good actors have bad days.
- Well, do you understand what I'm telling you or not?
- Yeah, no, I understand. - Okay, so, come on.
Do it again.
- Tell me who you're working for!
Tell me who you're working for, now!
- Uh, uh, okay. All right, all right.
- [Casting Director] We'll be in touch.
- Is there anything else you want me to do?
- [Filmmaker] No, we've heard enough.
Thank you.
- Okay.
(water drips)
(water splashes)
(upbeat swing music)
- [Narrator] Welcome to Hollywood.
Meet Tyler Stevens, a struggling actor.
He's 25 years old, which means he's at that age where he's
beginning to question if it's ever gonna happen for him.
He's become bitter and irritable.
His authentic charm is beginning to wane
as the fishes of doubt spider whip through his subconscious.
- So what I actually ordered was double-sided prints.
What you guys printed was one side.
There's supposed to be a resume on the back?
- [Clerk] Um, okay.
- [Narrator] He encounters many obstacles along his journey,
yet he continues, nonetheless.
Aggressively adhering to his health routines,
forced positivity, and networking.
- [Passenger] Are you Tyler?
- Yeah. - Great.
- [Narrator] He finds work where he can,
but he only takes jobs that don't interfere
with his rigorous audition schedule.
After hundreds of cattle calls,
the stars are gone from his eyes.
Many of his peers would've given up by now,
but there's something about Tyler
that's just a little bit more stubborn.
- I sent you an email last week,
but just in case you didn't get it, it's Tyler Stevens
underscore Acting at Gmail dot com.
- [Narrator] And who am I you might ask?
A booming voice from the sky?
Maybe I'm his conscience.
A silent narrator guiding him
incalculably closer to his destiny.
Tyler Stevens first crossed my radar
at a local film festival last summer.
He had starred in a short film that was
not entirely remarkable, aside from its lead.
And that's where this story begins.
(upbeat dance music)
- Hey, man! Glad you're able to make it!
- Yeah, thanks, guy. Thank you for the invite.
- Yeah.
- Oh and thank you for the filmmaker pass.
- Yeah, absolutamente. (chuckles)
Anyway, I'm gonna go, uh, mingle. Work the room.
I suggest you do the same.
Business cards and cocktails is the name of the game.
- [Narrator] No, I'm not that guy.
I'm actually not any of these people.
I wasn't there that night.
But it's the short film Tyler was in that soon came
to the attention of a certain casting director in Hollywood.
Marcy Whitman.
But he didn't know that yet.
The truth is, no amount of networking
can out-compete sheer happenstance.
The collision of talent and luck.
Speaking of networking...
- Jerry Thomas.
I'm sorry, I'm sure you get this a lot,
but you're Jerry Thomas.
- I am. Guilty.
- (chuckles) Do you mind?
- Oh, please, sit down. - I'm an actor.
- [Narrator] This guy's a former child actor.
Just in case you were wondering.
He was famous for that hit show
"Meet the Chadwicks" I believe it was called.
Did a few after-school specials.
He wasn't quite one of the Coreys, but almost.
- Look, I just wanted to say I'm a huge fan.
I loved Meet the Chadwicks as a kid.
I'm sure you get that a lot, too.
- [Narrator] Tyler's fishing for connections here,
and he's not gonna get very much.
A couple of nuggets of wisdom and a pat on the back,
but he's hoping just one person will give him the big break
that he so desperately needs.
- Look, I get you probably feel stuck right now, man.
You wanna break out, get out. Get your name out.
I mean, it's about...
Well, the question really is, like,
I mean, is it really what you wanna be doing?
Is it really you?
And if so, then great, man. Chase your dreams.
And do what you love.
- But just out of curiosity, I mean, what's it like?
- What's it like, being famous?
Look, man. I'm gonna be honest with you.
It's just another form of captivity.
You're just upgrading your cage.
(Tyler chuckles) No, I'm serious.
You're stuck now. You'll be stuck then.
But for different reasons.
- Hey. You all set?
- Yes.
Uh, well, look, I actually have to head out.
I have a plane to catch, but um,
it was nice talking with you, Tyler, and hey,
best of luck to you.
- Thanks.
- Take care.
(crickets chirp)
(door locks)
(Tyler sighs)
(Tyler clears his throat)
(Tyler hums melodically)
(Tyler clears his throat)
(Tyler vocalizes)
- "You can reach out or touch. It is a virus.
And it'll spread through this city like you've never seen.
And yes, you can quote me on that, sir.
And yes, you can quote me on that, sir."
(sighs) (sullen music)
(microwave hums)
(ominous tones)
(wind chimes ring) (gasps and pants)
(pants) (suspenseful music)
(muffled rattling)
Hello?
(lock clacks)
What the hell?
(loud thud)
(groans)
(pants)
(heavy knocks) (pants)
(thuds)
This can't be happening.
(suspenseful music)
(switch clicks)
(door closes)
(tense music)
(doors and drawers thud and clunk)
(hammering thuds)
(wood snaps and clatters) (hammering thuds)
Let me out!
Let me out of here!
Let me out!
(breathes sharply)
(yells)
(wood clatters)
(yells)
(breathes sharply)
(ominous tones)
It's always the same. (somber music)
Every time I go to sleep, I'm in that place.
I used to think it was a nightmare.
It's not that.
- [Psychiatrist] When did it start?
Do you remember the first time?
- No.
I keep asking myself that.
It's like deja vu.
Like the chicken and the egg.
I don't remember.
- Does it have something to do with "The Box?"
- It has everything to do with that.
- [Psychiatrist] Tell me.
- [Narrator] Lewis slowly stirs.
Sits up.
He glances outside, hopes to catch a glimpse
of the future through the window pane.
This is the language of a screenplay.
Does an actor become the role he is playing,
or does the role become him?
(door opens)
- [Landlord] Hey!
Stevens.
Hey. Your rent, man.
- Look, I know, I know.
I'll have it to you by the end of the day. I promise.
- You're a month overdue.
- It won't happen again, I swear.
- [Landlord] Today. Five P.M.!
- Yeah, I will!
- [Clerk] No, (scoffs) no. This isn't gonna work.
- [Tyler] What's wrong?
- This suit is worn.
- What do you mean? What're you talkin' about?
- There's marks on it and some of the tags are missing.
- [Narrator] The suit, you may have noticed,
is from the festival.
He took care to only wear it for that one night
and he made sure to keep the receipt, not that it helped.
- Please. I need the money.
Can't you give me something for it?
I paid $400 for this thing.
I don't even have that kind of money, all right?
Look, I need-
- Sir! - Look.
- No, it's not gonna happen, okay? We can't return the suit.
(trash can clunks)
- [Phone] You have one new voice message.
- [Marcy] Hi, this is Marcy Whitman,
calling for Tyler Stevens.
You auditioned a few weeks ago for the lead role
in a feature that I'm casting titled "The Box."
I'm calling to let you know that we'd like you
to come back in for a second audition.
Give me a call back at your earliest convenience.
Thank you so much, we look...
(phone rings) (Tyler clears his throat)
(phone rings)
Hello.
- Hi, Marcy? This is Tyler Stevens calling you back.
- [Marcy] Tyler, yes! Did you get my voicemail?
- Yeah, I did. I did.
- [Marcy] So, we're advancing you to the next stage,
and we'd like to have you in for a callback.
If you're still interested in the role?
- Yes, absolutely. - Okay, great.
So, the sooner the better. Things are moving pretty fast.
What's your schedule look like for the next few days?
- I'm pretty flexible. - Are you free tomorrow?
- Sure. - Okay, tomorrow.
How does 1 P.M. sound?
- Perfect, yeah.
- [Narrator] There's no sound in the English language
more appealing to an actor than the word callback.
After the festival, Marcy Whitman contacted Tyler
and invited him to audition.
Now she was asking him back for a second round.
This was his chance.
(printer bleeps)
(printer whirs) (somber music)
- "What's that you say?
Lewis.
My name's Lewis.
That's right.
I've done this before.
Was I as scared the first time as I am now?
What's there to be scared of?
I'm the only one here.
What's that you say?
Lewis. (echoing chatter)
My name's Lewis.
My name is Lewis.
I've done this before.
That's right.
Was I as scared the first time as I am now?
What's there to be scared of? I'm the only one here.
(heavy thud)
Maybe I'm afraid to be alone.
(ominous tones)
(gasps and pants) (wind chimes ring)
Come on, come on, come on, come on.
There's gotta be somethin'.
There's gotta be somewhere to...
(mumbles)
Something, something, um...
A knife, a knife. Give me a knife, give me a knife!
(wind chimes ring)
What is this?
(chuckles)
Anything I want.
Give me a sledgehammer. (wind chimes ring)
(suspenseful music)
(hammer clangs and thuds)
Give me a blowtorch!
(blowtorch hisses)
(ax clangs and thuds)
(drill buzzes)
(saw blade whines)
(thud) (plaster crumbles)
No, no, no, no!
(brick thuds)
(wind chimes ring)
(breathes sharply)
(hammer thuds)
(whooshing)
(hammer thuds)
(plastic rustles and snaps)
(hammer thuds rhythmically)
Give me a shovel.
(somber orchestral music)
(wind chimes ring)
What is this?
I didn't ask for this!
Earmuffs would be nice.
(gun clicks)
(gun cocks)
(gun fires)
(slug thuds)
Yeah, I thought so.
What is this for then, huh?
What is it for? 'Cause it's not for me!
This is not for me.
(gun clangs)
(ominous tones)
(sullen orchestral music)
- [Narrator] It is at this point in the story that
the protagonist begins to question everything he knows.
Tyler's beyond the words on the page.
He's tapped into something else now.
His stifling meticulous routine of rote memorization
gives way to deeper instincts.
The spontaneous, terrifying whispers
that inhabit the remote corners of his soul.
(door opens) (footsteps clack)
- Tyler Stevens?
(door closes)
- [Marcy] Tyler. Good to see you again.
- Thank you. It's good to see you too, Marcy.
- So, let's just get right to the sides.
You're off book, right?
- Yes.
- Okay, great.
(camera bleeps)
And you can begin whenever you're ready.
Is everything okay?
- I'm, I'm sorry. I'm...
I'm just getting into character.
- Okay, take your time.
- What's that you say?
Lewis.
My name is Lewis.
That's right, I've done this before.
Was I as scared the first time as I am now?
I mean, what is there to be afraid of?
I'm the only one here.
And maybe that's just it.
Maybe I'm afraid to be alone.
What if some people are comfortable inside their box?
It's simple.
There are walls on every side.
It just makes sense.
Fundamental logic.
But if you don't like your box?
What if it's not what you wanted?
What if it is what you wanted but you're not happy with it?
What do you do then?
You try to wake up,
but it doesn't let you.
You try to get out, but there is no out. There is only in.
You go deeper in.
In.
Alone.
But that's the thing, I'm never really alone.
They're watching.
Always watching.
There.
Behind the glass.
Waiting for you to show them something
that they will never forget.
- I'm sorry, can you stop?
That's not in the script.
- What?
- [Marcy] Where did you get that from?
Can you give us a minute?
- Okay.
(door opens) (footsteps clack)
- Tyler?
(footsteps clack)
(door closes)
So, we just got off the phone with the producer
and he would like to meet with you, one on one.
- What?
- It doesn't mean that you have the part.
You still have to do a screen test for the director.
- Hold on. I thought I just messed up the lines.
- [Marcy] Oh, well, if that's messing up,
we want more of that.
- [Casting Assistant] Can you do Saturday, 3 P.M.?
(warm orchestral music)
- [Psychiatrist] You've described that moment as pivotal.
- [Tyler] Well, it was my first real callback.
- [Psychiatrist] But you don't look back on it fondly.
- It's because of the crash.
- That's when you started to have second thoughts?
How did that happen?
(gate closes)
(door opens)
- Hey! Stevens!
Where the hell's the rent, huh?
- (sighs) Look, I'm gonna have it for you soon!
- Are you joking?
Do you want me to pull out your rental agreement?
You promised to pay on time, in full, at the beginning
of each month! - I fell behind.
It won't happen again. I promise.
- [Landlord] No more promises!
If you don't get me that money by Friday,
I'm calling the police and your ass is out on the street!
(door slams) (somber music)
(keys clink)
(Tyler sighs)
(trash can thuds) (Tyler grunts)
(Tyler yells)
(heavy thuds)
- I gave myself 48 hours.
I calculated if I worked two all-nighters, back to back,
I'd have rent.
(car starts)
48 hours.
I didn't even make it 12.
(somber music)
(muffled tires screech)
(wind chimes rings) (grunts)
(bleak music)
(drawer thuds)
(door opens)
(gun clunks)
(door closes)
(lock clicks)
(breathes deeply)
(coughs)
Help.
(coughs)
(distant sirens wail)
(coughs)
(groans)
(car door opens)
(body clunks)
- [Nurse] Tyler?
Tyler?
Hi, my name is Victoria.
I'm gonna be looking after you today, okay?
Let's see. Are you feeling any pain right now?
- Yes.
- [Victoria] All right. Is there anything that you need?
Do you need to use the restroom?
- What happened to my car?
- [Victoria] I'm gonna need you to not worry
about your car right now, okay?
I'm gonna need you to lie there. Stay calm, okay?
Do you have any emergency contacts?
Anyone in the area we can call?
(Tyler sobs) (somber music)
Okay, um, I'm gonna get the doctor, okay?
Just hold tight.
(Tyler sobs)
(crickets chirp)
- [Narrator] What happens when you can't see
the road anymore?
When the doubt sets in.
Tyler's bruises cover more than just his skin and his ego.
When did that innocent childhood dream escape him?
The passion that led him all those years
before the ruthless pragmatism of adulthood set in?
His career has become a dirty word.
It should live on his corkboard,
next to all the other motivational quotes he's collected.
Now that Tyler is just another orphan
in a city of broken dreams.
(knocks on door)
(Tyler groans)
(knocks on door)
- I swear to god, Tyler, I know you're in there!
You open this door right now!
I know you can hear me!
Listen to me, asshole!
I've already filled out the eviction paperwork!
You're done!
You're out!
So we can either do this the easy way, or the hard way.
- I was in an accident.
- I don't give a shit.
You got 12 hours.
And then I'm calling the cops.
(somber orchestral music)
(mattress hisses)
(lock bleeps)
(suitcase unzips)
(Tyler sighs)
(phone rings)
(suspenseful piano music)
(phone rings)
(phone vibrates)
- Hello?
Tyler?
- Hi.
Sarah.
- [Sarah] Hi.
- I just, uh...
- [Sarah] Hello?
- Hi.
I was just, um...
I was just callin' to see how you were doin'.
- [Sarah] I'm doing all right.
(somber piano music)
- That's good.
- [Sarah] What about you?
- Me? (chuckles)
You know me, I'm...
I'm just taking it one day at a time.
- [Sarah] Yeah, I uh,
keep waiting to see you on a billboard somewhere.
- Yeah.
(sobs)
- So what's up?
(Tyler sniffles)
Tyler?
- Hey, I'm sorry.
- [Sarah] Are you okay?
- Yeah, I just...
Hearing your voice...
You don't even know.
I am out here, all alone,
and no one gives a shit.
I totaled my car and I'm broke,
and I could've died yesterday,
and no one in this city would've cared, it's...
It's pathetic.
I'm sorry, I...
I'm such a jerk, I shouldn't have called,
and I shouldn't be laying all of this on you.
I'm sorry, I just don't have anyone-
- No. No, it's okay.
I'm glad you called.
- I miss you like crazy out here.
Really.
- [Sarah] Me too.
- Why did we break up?
- Because I was holding you back.
- (chuckles) No, don't feed me my bullshit lines.
- You have a gift. It's true.
- You wanna know something about my gift?
Everyone out here has one.
You ask the mailman and he's got head shots in his trunk,
or a script or some
award-winning short film that no one has ever seen.
If you ask them, they will show you.
- Look.
I don't know anything about Hollywood,
or how the movie business works, but,
if you feel like you've exhausted every option
and you're done, then...
There's nothing wrong with that, you know?
I'm gonna send you some money.
- No. No, Sarah, you don't have to do that.
- No, no, you have to have a car out there,
or you're gonna get stranded, so...
Is, uh, $1,000 okay?
(Tyler sniffles)
- Yeah.
Thank you.
- Okay.
I need you to know that I...
I want you to be happy.
I didn't want you to resent me, that's,
that's why I never tried to win you back.
- I know, I know.
I know.
- [Sarah] Okay.
Well, I gotta go get some sleep now.
- Okay.
(Tyler sniffles)
- I love you.
- Bye.
(Tyler sobs)
(phone alarm rings)
(groans)
(phone alarm rings)
(car starts)
Hi, this is Tyler Stevens calling for Marcy Whitman.
- [Woman On Phone] One moment, please.
- [Marcy] Hello?
- Hi, Marcy.
This is Tyler Stevens.
- [Marcy] Tyler, hey! How's it goin'?
- It's, uh, it's going all right.
I was just calling to see if I could, um,
postpone or cancel the meeting today?
- [Marcy] Oh?
What's wrong?
- I got into a car accident the other day.
- [Marcy] I'm sorry to hear that. Are you all right?
- I'm okay, I just don't really look myself.
And, um, and I just... I don't want to, uh-
- [Marcy] See, the thing is, if you're okay,
I would really encourage you not to cancel.
Do what you have to do,
but this is a meeting that you don't wanna miss.
(Tyler sighs)
(intercom rings)
- [Producer] Yep?
- Hi, this is Tyler Stevens, the actor.
- Oh. Oh, yes!
Come up.
(intercom bleeps)
(car window hums)
(Tyler sighs)
(car door creaks)
(car door closes)
Mr. Stevens.
- Hey. - Hey, come in.
Follow me.
(door creaks)
Come in.
(door creaks)
(door slams)
We'll be through here.
- You have a beautiful house.
- Yeah, yeah. It's all my wife's taste.
Oh, I heard you got into a little bit of an accident.
Is everything okay?
- Yeah, um, just a little bit-
- These are all originals.
Out here.
(sighs)
Philippe.
Hello.
We're gonna be in the pool house.
After you.
- Thank you. - Cheers.
Well, (clears throat) take a seat.
Right, I don't believe in wasting time, so,
let's get right to the point about why you're here.
The director saw your audition tapes,
and he loves what you did.
I do, too.
We are very close to being able to make you an offer.
That is, we'd like you to be in the film.
Now, um, one of the things the director's asked me to do
is to, uh, give you a copy of the screenplay.
Take a look at it, you know, when you've got a chance.
Make some notes.
I'm sure you've gathered by now what the film's about,
in the abstract, but basically the concept is
there's a guy stuck in a house and he's trying to get out,
but every time he does so,
he keeps coming up against these walls of mirrors.
You'll be playing the lead.
His name's Lewis. Actually, that might change, but anyway...
It's a very symbolic story. You'll see what I mean.
We've been, we've been pitching it as "Castaway in a house."
You know the Tom Hanks movie?
- Yeah. - So, um, you know.
Let us know what you think.
(somber orchestral music)
(phone vibrates)
(rumbling)
(wind chimes ring)
(Tyler gasps and pants) (eerie music)
(creaking)
(screeching)
(creaking) (scraping)
(screeching) (creaking)
(object clunks) (upbeat swing music)
- Hey!
Who are you?
- Who are you?
- [Neighbor] I asked first.
- How did you do that?
I've been trying to get out of here for so long.
- I don't know.
A square just appeared on the wall and I started pushing it
and, uh, you were pulling it too, it seems.
I mean, that's it, really.
- Are you sure you didn't do anything else?
- I'm sure it will never happen again.
- What's going on in your place?
Let me see.
Who are they?
- Just characters. (chuckles)
- They're not real?
- What's so great about real?
It's all in good fun.
What's your name?
It's okay. I don't know, either.
I can't remember a damn thing down here.
It's like we're in the fifth dimension or something,
which would make sense because here we are in these cubes
that we can't get out of,
perhaps due to our dimensional limitations and, uh...
Hm.
It is strange, though, isn't it?
- You don't have any mirrors on your side.
- Mirrors?
What do you mean?
- Nevermind.
- There's a story in your eyes.
Would you mind if I made a character from you?
- How would you do that?
- Tell me about yourself.
- I don't know anything. - Sure you do!
Superficial things like your name, that gets forgotten.
But your passions, your fears.
That's visceral.
It's all in there.
Look around.
What's your favorite room in the house?
- I don't know.
- What is the place you feel the most safe?
- My bedroom.
- What's in the bedroom?
- There isn't anything in there.
- Close your eyes. (suspenseful music)
You're in there now.
Let your feelings become visual.
Let the room populate.
What do you see?
(upbeat swing music)
Now what is your least favorite room in the house?
The place where you never want to go.
Yes.
(ominous music)
Why do you fear it?
- I'm afraid I'll be trapped in there.
Alone.
(switch clicks) (pants)
(door slams)
- You fear the dark?
- I fear the emptiness.
- Yes.
That's right.
Your passion runs deep.
It's palpable.
- What does it mean? (wind chimes ring)
- That must be the singularity!
- What? - It's the refresh.
I hope to meet you again someday,
though certainly not down here.
- No, no. No, no, no, wait!
Wait, stop! - Bye!
(melancholy orchestral music)
- [Father] Okay, I'm recording.
So, where are we right now?
- Burger place.
- [Father] And where were we just now?
- School.
- [Father] (chuckles) And what were we doing at school?
What were you doing at school, Tyler?
- [Tyler] I was in a play.
- [Father] You were in a play?
What kind of play? What was the name of the play?
- "Peter Pan."
- [Father] Yeah, "Peter Pan." That's right.
And what were you doing in it?
- Acting.
- [Father] Well, I should hope so.
And what was the name of your part?
- [Tyler] Peter Pan.
- [Father] You were Peter Pan?
Isn't that like the biggest role in the play?
- Mm-hm.
- [Father] So, you were the star of the show?
- [Tyler] Yeah.
- [Father] That is so cool. Are you proud of yourself?
Well, you should be. Mom and I are really proud of you.
All right, so what comes next? Another play?
- I...
In a play? I'm gonna go to Hollywood.
- [Father] You're gonna go where?
- Hollywood!
- [Father] Hollywood? What're you gonna do there?
- [Tyler] I'm gonna be a movie star.
- [Father] Oh! (chuckles)
Movie star? What kind of movies are you gonna be in?
- [Tyler] Big movies.
- [Father] Big movies!
All right. I wanna see some big movies.
All right, Tyler. I think our food's coming.
Say goodbye to the camera now.
- Bye.
(Tyler sniffles)
Hi, this is Tyler Stevens calling.
I just wanted to let you know that I really appreciate
you meeting with me yesterday, but...
Look, I read the script, I thought it was brilliant.
(chuckles) It's really great, I just,
I have to decline the role.
I'm really sorry that I can't be in the film.
But thank you again and good luck with your production.
(ominous music)
(trunk door slams) (sighs)
(phone vibrates)
(wind chimes ring)
(breathes deeply)
Kerosine.
Five gallons.
And matches.
(wind chimes ring)
(suspenseful music)
(car door closes)
(truck horn honks)
(dark orchestral music)
(phone vibrates)
Hello?
- [Man On Phone] Tyler. Do you know who I am?
- You're the director. - Yes.
It's like we've met somewhere before,
but I can't put my finger on where or when.
I know you feel it, too.
You know, I've been writing "The Box" for six years now.
The idea came to me in a dream,
but it's taken six years for me to fully grasp it.
What it really means, and even then,
in many ways it's still a mediocre piece of work.
I mean, I'll be the first to admit.
The dialogue is either too convoluted, too contrived.
The action, the emotions,
some of it is incongruous, in my opinion.
I mean, it's workable, but not ideal.
(door slams)
I wasn't sure if it was ready for the screen,
but I felt compelled to make it this year, so,
I started my search.
(match strikes)
For the one actor.
(flames roar)
And when I found you, Tyler,
I have to be honest, you took the pedestrian words
I had written on the page and you made them something real,
something meaningful.
I know you're considering not doing the film now,
but I would implore you to think about that,
because I cannot, I will not do this film without you.
- This isn't about the film.
If anything the film made me realize that I have to go home.
Lewis ends up alone, doesn't he?
- [Director] It depends on how you interpret
the final scene.
(door closes)
I'm a little surprised by you, Tyler.
I thought you were the type who would do anything
in the world to make your dreams come true.
You know the stakes.
You know what this role would mean for your career.
- Yeah, what's at stake?
- [Director] What's at stake?
Greatness.
Make no mistake about it, but you already knew that.
Why'd you become an actor, Tyler?
Really.
- There was never a choice.
- [Director] You had to do it.
Like an impulse that was beyond your control.
That's how we all are, Tyler.
If you walk away right now, you deny your purpose,
your identity, and it will eat you alive.
An entire life invested in the pursuit of one thing.
Who are you without it?
Who are you?
(door opens)
- After all that,
I can't help but feel
confused,
and lost.
Just as lost as I ever was.
It doesn't make any sense.
I got what I wanted.
Why am I not happy?
What's that you say?
Lewis.
My name is Lewis.
That's right, I've done this before.
Was I as scared the first time as I am now?
I mean, what is there to be afraid of?
I'm the only one here.
Maybe that's just it.
Maybe I'm afraid to be alone.
What if some people are comfortable inside their box?
It's simple.
There are walls on every side. (cameras snap)
It just makes sense.
Fundamental logic. (cameras snap)
(brooding electronic music) (cameras snap)
But what if you don't like your box?
And if it's not what you wanted.
But what if it is what you wanted,
but you're not happy with it?
What do you do then?
(cameras snap)
You try to wake up.
But it doesn't let you.
You try to get out.
But there is no out, there is only in.
You go deeper in.
In.
Alone.
But that's the thing, I'm never really alone.
They're watching.
Always watching.
There.
Behind the glass.
Waiting for you to show them something
that they will never forget.
(somber music)