Everything Leads to You - Nina LaCour Page 0,1
into the sun. Her jeans are rolled up at the ankles and her blond hair is in pigtails, and her face is part serious, part elated.
“Guess,” she says.
I try to think of who has died in the last couple of weeks. My first thought is our physics teacher’s grandmother, but I seriously doubt she would have lived in a house like this one. Then I think of someone else, but I don’t say anything because the thought is crazy. This death is huge. Front-page huge. Every-time-I-turn-on-the-radio huge.
But then—there’s this house, which is clearly an important house, and old, beautiful trees, and Charlotte’s mouth, which is twitching under the tremendous effort of not smiling.
Plus it isn’t swarming with people, which means this is some kind of preview that Ginger got invited to because she’s a famous production designer and she always gets called to these things first.
“Holy shit,” I say.
And Charlotte starts nodding.
“You’re not serious.”
Her hands fly to her face because she’s giddy with the delirious laughter of someone who has spent the last hour in the house of a man who was arguably the most emblematic actor in American cinema.
Clyde Jones. Icon of the American Western.
She leans against the house, doubles over, slides onto the marble landing. I let her have one of her rare hysterical fits of laughter as I take it all in. I can’t think of enough expletives to perfectly capture this moment. I would need a year’s worth of exclamation points. So I just stare, openmouthed, thinking of the man who used to live here.
Charlotte’s hysterics die down, and soon she is standing, composed again, back to her super-brilliant, future museum-studies-major self.
“Come in,” she says.
I pause in the colossal doorway. Outside is bright and hot, a beautiful Los Angeles day. Inside it’s darker. I can feel the air-conditioning escaping. Even though this is an amazing opportunity that will never come again, I don’t know if I should go any farther. The thing is this: My brother, Toby, and I talk all the time about what movies do. They speak to our desires, which are never small. They allow us to escape and to dream and to gaze into eyes that are impossibly beautiful and huge. When you live in LA and work in the movies, you experience the collapse of some of that fantasy. You know that the eyes glow like that because of lights placed at a specific angle, and you see the actresses up close and, yes, they are beautiful, but they are human size and imperfect like the rest of us.
This, though, is different.
Because even if you know a little bit too much about how movies are made, there are always things you don’t know. You can hold on to the myth surrounding the actors; you can get swept up in the story.
Clyde Jones belongs in the Old West. He belongs under the stars, smoking hand-rolled cigarettes and listening to the wind. In A Long Time Till Tomorrow he lived in a log cabin. In Lowlands he lived out of a green pickup truck, sleeping by the side of the road a couple hours at a time, searching for a woman from his past.
Clyde Jones is the savior. The good, uncomplicated man. The perfect cowboy. But as soon as I walk through this doorway he will be an actor who spent his life in a Los Angeles mansion. The ultimate collapse of the fantasy.
“Em?” Charlotte says. She steps to the left, gesturing that I should follow, and I can’t help myself. A moment later I’m in Clyde Jones’s foyer, the doors shut behind me, gazing at one of the most beautiful objects I’ve ever beheld: a low-hanging chandelier, geometric and silver and shining.
Clyde Jones was no cowboy, but his aesthetic sensibilities were amazing.
I’m still dying over Clyde’s house when Ginger strides past me.
“Oh, good, Emi, you made it.” Charlotte and I follow her into the living room.
“Yeah,” I say, standing under the high white-beamed ceiling, next to what I can only assume is a pair of original Swan chairs positioned under a huge pastoral landscape with a clear sky as endless as the skies in his films. “It’s probably better that I don’t go to the studio today.”
“These glasses,” Ginger says, pointing, and Charlotte walks over to a shiny minibar and takes a tray of highball glasses. “Why should you avoid the studio? Oh, let me guess: Morgan.”
“She broke up with me.”
“Something about not being tied down. Life’s vast possibilities.”
“‘Life’s vast possibilities.’ Such