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 trumpeting failure and the windows covered with brown paper. Phone a friend and get a disconnected 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 tank in Phoenix. Her father was unknown, probably one of the teamsters Maureen Brand had entertained over the years. Michaela had left Arizona to get away from the smothering heat, gray shrubs, air that never moved, no one caring about The Dream.

She rarely called her mother. The hiss of Maureen’s tank, Maureen’s sagging body, ragged cough, and emphysemic eyes drove her nuts. No room for any of that in Michaela’s L.A. head.

Dylan Meserve’s mother was long dead from an undiagnosed degenerative neuromuscular disease. His father was a Brooklyn-based alto sax player who’d never wanted a rug rat in the first place and had died of an overdose five years ago.

Michaela and Dylan were gorgeous and young and thin and had come to L.A. for the obvious reason.

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 ten p.m., leaving the acting workshop together. They’d worked their butts off on a scene from Simpatico. Neither really got what Sam Shepard was aiming for but the play had plenty of juicy parts, all that screaming. Nora Dowd had urged them to inject themselves in the scene, smell the horseshit, open themselves up to the pain and the hopelessness.

Both of them felt they’d delivered. Dylan’s Vinnie had been perfectly wild and crazy and dangerous, and Michaela’s Rosie was a classy woman of mystery.

Nora Dowd had seemed okay with the performance, especially Dylan’s contribution.

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 and folding chairs. The only time it got used was for seminars.