Playing along—why take it seriously?
Although the comparison isn't entirely fitting, it's much like "The Emperor's New Clothes." Everyone knows it's just a show, and they're merely playing along as the audience. There's no need to expose the lie; just let the performance continue.
However, not everyone follows the script. Even in the Hayworth Theatre, there was someone willing to speak the truth.
From a distance, the figure looked quite young, probably just in their early twenties, likely a newcomer. Lacking the ability to seamlessly shift expressions or adapt to the pretense of the situation, they inadvertently revealed genuine emotions.
Anson was curious: would this person, like the child in "The Emperor's New Clothes," speak the truth?
That figure, after a stunned look around, gradually came to his senses, lowered his head, hunched over, and began to stealthily make his exit.
It seemed he wasn't prepared to shatter the illusion, nor was he willing to stay any longer.
Anson found this scene quite amusing—
It appeared that Hollywood in the year 2000 still retained some life and sharpness, not everyone was selling their souls at the feet of fame.
Edgar Cook was thinking, maybe, possibly, perhaps... it was time for him to leave.
As a junior agent who had just transitioned from an assistant to a full-fledged agent, he had no connections, no network, and no clients—
Everything had to start from scratch.
So, Edgar had to rely on his own legs to walk across Los Angeles, from acting schools to independent theaters, from TV show sets to the streets and alleys.
Even while walking or eating, he had to keep observing.
Maybe he could discover an unpolished gem; maybe he could find a struggling actor with potential; maybe he could encounter a big-name actor who had fallen out with their agent.
Opportunities don't come by waiting—they have to be discovered, dug up, and fought for.
"Possibility" is something you create for yourself.
Edgar had no reason to miss today's "hole"—
Besides James and Seth, there were other actors in the cast with no agents but with potential. Edgar held great expectations.
Was it that his expectations were too high, causing him to miss the point, or was it his own lack of ability to appreciate the performance in front of him? Edgar faced a soul-searching question:
Should he leave or stay? This was a question worth considering.
But what should be the basis for his decision?
A top agent must trust their instincts—whether judging their clients, selecting directors to collaborate with, choosing projects, or planning careers, all decisions must rely on instinct.
If an agent doesn't know what they're doing, even the careers of top directors and actors can crash under their watch.
At least, this is what Edgar learned during his five years at the William Morris Agency—how to develop his own judgment.
Although he currently had no clients, Edgar believed that quality mattered more than quantity; it's not about having many clients, but having the right ones. And he believed in himself.
After all, he had beaten odds of 20 to 1, becoming the only assistant in March to be promoted to agent.
At William Morris, everything depends on ability; even within the same company, everyone is a competitor. Promotion isn't just about luck.
Founded in 1898, the William Morris Agency is also the only one of Hollywood's top five agencies with a century-long legacy.
Even if you add up the operating years of the other four major agencies, it still doesn't match the history of William Morris.
It's no exaggeration to say that William Morris has witnessed Hollywood's history and has been instrumental in establishing the modern talent agency industry.
Since the 1980s, Creative Artists Agency (CAA) had risen to become the industry's leader, but the resilient William Morris Agency made a strong comeback in the 1990s. By the dawn of the new century, these two companies were neck and neck, leading the ranks of Hollywood's top five agencies.
One of William Morris's most influential innovations was the creation of the mailroom:
As a training ground for newcomers, the careers of CAA's five founders, former Disney CEO Michael Eisner, and DreamWorks co-founder Jeffrey Katzenberg, all began there.
Now, every Hollywood talent agency has a mailroom.
Edgar was no exception.
From starting in the William Morris mailroom to finally becoming a full-fledged agent, every step was hard-earned through his own efforts.
Even though he was just starting out, he felt confident thanks to the William Morris name.
When it came to the "hole," Edgar had to admit he was disappointed.
The play, the performances, and everything else felt like student work—rough, simplistic, pretentious, and overly dramatic without real substance.
James Franco was certainly talented, but for now, it seemed he hadn't yet found the right way to harness his abilities.
Of course, it wasn't Edgar's place to worry about James Franco; he just didn't feel it was worth staying any longer. He might as well have afternoon tea instead.
Edgar decided to trust his instincts.
He stood up, bent down to avoid disturbing others, and quietly left without a trace, like a cloud floating away. But then he felt it:
It was as if a hunter had caught sight of its prey stepping into a trap. The hairs on the back of his neck stood on end. Fresh chapters posted on ɴovelfire.net
Edgar straightened up, using the crowd as cover, and quickly scanned the area—
At that moment, everyone's attention was focused on the stage, applauding the cast taking their curtain call, with cheers, whistles, and shouts filling the air.
The noise was overwhelming.
If there was an outlier, it would naturally stand out, like a sharp needle in a sack.
And then Edgar found it.
That was Edgar's first impression. In the crowd, he couldn't make out the person's face or features, nor could he accurately describe the gaze, but the impression was clear.
It wasn't ostentatious, yet it involuntarily drew his eyes back for another look.
Those eyes, even after noticing Edgar's gaze, didn't avoid it. Instead, the person gently lifted their chin in acknowledgment, with a hint of a smile in their eyes.
Edgar felt a bit awkward.
He realized how sneaky and inappropriate he must have looked, caught red-handed as he tried to slip away unnoticed. It came off as quite rude.
Of course, he could still leave—even if James Franco caught him in the act, it wouldn't matter. After all, the show was over, so why shouldn't he be allowed to leave?
But as his thoughts turned in his head, Edgar slowed his steps, stood up straight again, and looked back at the stage. He thought, maybe there was still a chance for an unexpected gain.
After all, the performance was over. The most difficult part was behind him, and staying a little longer wouldn't make things any worse.
Just a moment ago, he was ready to leave; the next, he had already reversed his decision. Even a ballerina would be envious of such a swift change of direction. Yet Edgar felt no burden—
Playing along is the basic survival rule in Hollywood, after all.
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