L.A.’s whereyou end up when you have nowhere else to go.
A long time ago I’d driven west from Missouri,a sixteen-year-old high school graduate armed with a head full of desperationand a partial academic scholarship to the U.
Only son of a moody, hard drinker and a chronic depressive. Nothing to keepme in the flatlands.
Living like a pauper on work-study and occasional guitar gigs in weddingbands, I managed to get educated. Made some money as a psychologist, and a lotmore from lucky investments. Got The House In The Hills.
Relationships were another story, but that would’ve been true no matterwhere I lived.
Back when I treated children, I routinely took histories from parents andlearned what family life could be like in L.A.People packing up and moving every year or two, the surrender to impulse, thedeath of domestic ritual.
Many of the patients I saw lived in sun-baked tracts with no other kidsnearby and spent hours each day being bused to and from beige corrals thatclaimed to be schools. Long, electronic nights were bleached by cathode and thump-thumpedby the current angry music. Bedroom windows looked out to hazy miles ofneighborhoods that couldn’t really be called that.
Lots of imaginary friends in L.A.That, I supposed, was inevitable. It’s a company town and the product isfantasy.
The city kills grass with red carpets, worships fame for its own sake,demolishes landmarks with glee because the high-stakes game is reinvention.Show up at your favorite restaurant and you’re likely to find a sign trumpetingfailure and the windows covered with brown paper. Phone a friend and get adisconnected number.
No Forwarding. It could be the municipal motto.
You can be gone in L.A.for a long time before anyone considers it a problem.
 
When Michaela Brand and Dylan Meserve went missing, no one seemed to notice.
Michaela’s mother was a former truck-stop cashier living with an oxygen tankin Phoenix. Herfather was unknown, probably one of the teamsters Maureen Brand had entertainedover the years. Michaela had left Arizonato get away from the smothering heat, gray shrubs, air that never moved, no onecaring about The Dream.
She rarely called her mother. The hiss of Maureen’s tank, Maureen’s saggingbody, ragged cough, and emphysemic eyes drove her nuts. No room for any of thatin Michaela’s L.A.head.
Dylan Meserve’s mother was long dead from an undiagnosed degenerativeneuromuscular disease. His father was a Brooklyn-based alto sax player who’dnever wanted a rug rat in the first place and had died of an overdose fiveyears ago.
Michaela and Dylan were gorgeous and young and thin and had come to L.A. for the obviousreason.
By day, he sold shoes at a Foot Locker in Brentwood.She was a lunch waitress at a pseudo-trattoria on the east end of Beverly Hills.
They’d met at the PlayHouse, taking an Inner Drama seminar from Nora Dowd.
The last time anyone had seen them was on a Monday night, just after tenp.m., leaving the acting workshop together. They’d worked their butts off on ascene from Simpatico. Neither really got what Sam Shepard was aiming for but theplay had plenty of juicy parts, all that screaming. Nora Dowd had urged them toinject themselves in the scene, smell the horseshit, open themselves up to thepain and the hopelessness.
Both of them felt they’d delivered. Dylan’s Vinnie had been perfectly wildand crazy and dangerous, and Michaela’s Rosie was a classy woman of mystery.
Nora Dowd had seemed okay with the performance, especially Dylan’scontribution.
That frosted Michaela a bit but she wasn’t surprised.
Watching Nora go off on one of those speeches about right brain–left brain.Talking more to herself than to anyone else.
The PlayHouse’s front room was set up like a theater, with a stage andfolding chairs. The only time it got used was for seminars.
Lots of seminars, no shortage of students. One of Nora’s alumni, a formerexotic dancer named April Lange, had scored a role on a sitcom on the WB. Anautographed picture of April used to hang in the entry before someone took itdown. Blond, shiny-eyed, vaguely predatory. Michaela used to think: Why her?
Then again, maybe it was a good sign. If it could happen to April, it couldhappen to anyone.
Dylan and Michaela lived in single-room studio apartments, his on Overland, in Culver City, hers on Holt Avenue, south of Pico. Both theircribs were tiny, dark, ground-floor units, pretty much dumps. This was L.A., where rent couldcrush you and day jobs barely covered the basics and it was hard, sometimes,not to get depressed.
After they didn’t show up at work for two days running, their respectiveemployers fired them.
And that was the extent of it.