Alessandra Martinez felt as if she'd stumbled into a whirlwind romance in the skies.
During the eight-hour flight from Milan to New York, after Simon had wrapped up some initial business, he joined her. They talked, drank, listened to music, she danced for him, and he played guitar to accompany her. They shared a lavish lunch, and everything felt so relaxed, cozy, and natural.
After lunch, they decided to watch a movie together.
Mindful of her limited English, Simon thoughtfully selected an Italian classic, La Dolce Vita by Fellini.
Glamor and chaos, drifting along.
And disillusionment.
When the three-hour film ended, the lights remained dim, with only the rolling credits providing a faint glow. Alessandra, curled up beside Simon, leaned into his ear and asked almost in a whisper, "I've always wondered, what does that little girl say at the end?"
Alessandra was an exception to the stereotype of dancers lacking curves, a stunning figure that was hard to look away from.
Simon, holding her close, replied, "I remember in an interview, Fellini explained that the girl was saying she'd like to learn to type from Marcello, referencing their earlier conversation in the café."
With her hand resting on his, Alessandra gently shook her head. "I don't really get it."
Simon asked, "What do you think the movie's about?"
"It seemed like a criticism of the decadent lives of the upper class."
Simon chuckled. "Interpreting literature and film solely from a social class perspective is a rather shallow way of thinking."
"So, what is Fellini saying?"
"Loss."
"Hmm?"
"This is just my interpretation, but I think the characters in the film, whether the main characters or the side ones, and even the ordinary people, are all trapped in a cycle of loss. They're caught in an endless loop, repeating their lives day after day, whether glamorous, aimless, confused, or dull. Or, when they can't keep going, they end up like Marcello's seemingly perfect friend and his family—they choose to end it all."
"That sounds so harsh."
"Life is harsh. I remember a poet once said we should choose a way of life and have the courage to stick to it."
Alessandra turned her head slightly to look at him. "That sounds contradictory. If you choose a way of life and stick to it, isn't that just the same endless loop you mentioned?"
"Not at all. Sticking to it means truly loving and valuing your life, believing it has meaning and purpose, and making an effort to move forward rather than standing still. The people in the movie have stopped thinking about these things. Like Marcello, who pretends not to hear the girl's words at the end—he's given up and resigned himself to that descent."
"Simon, do you think your life has meaning?"
"No."
Alessandra was taken aback. "What?"
Simon said, "Measured by the vastness of the universe, none of our lives have any inherent meaning."
"Yeah, I suppose… I kind of get that." Alessandra followed his line of thought, gesturing with her hand. "In that movie The Man from Earth last year, at the end, the main character says we're all just a moment in time. It really struck me. Is that what you mean?"
"Yes, we're all just fleeting moments." Simon's lips curved into a slight smile. "But that's a higher level of understanding. True bravery is knowing life's harsh reality and yet choosing to live it fully."
"Are you that kind of person?"
"No. If that kind of wisdom is a perfect score of 100, I might be at 70. Many times, I feel lost too."
Alessandra shifted, pressing closer to him with a laugh. "You're the world's only trillionaire, you know? So when you talk like this, it sounds like, well…"
Seeing her hesitancy, Simon guessed she was thinking of something like "first-world problems" but found it inappropriate to say. Smiling, he explained, "Our genetic drive is never to be satisfied; it's what pushes humanity forward, but it also brings suffering. No matter one's status, that feeling of incompleteness remains the same for all of us. I'm no exception. Faced with life's cruel truth, I sometimes feel lost, dissatisfied, and restless."
Alessandra blinked her crescent-shaped eyes, as if silently asking what Simon might be dissatisfied with.
Instead of diving further into philosophy, Simon asked, "We're almost in New York. Tell me, what kind of life do you want?"
Her first thought was, of course, to become one of Hollywood's top stars. But his question seemed broader, encompassing something larger about her overall lifestyle.
What kind of life?
One like the last few hours.
Fulfilling, exceptional, and luxurious.
And then to become a major Hollywood star, moving among the rich and famous, basking in adoration.
But then…
Seeing her hesitate, Simon suggested, "For now, stay in New York. Start with some English classes, and I'll arrange a few roles for you on Broadway."
A hint of disappointment crossed Alessandra's face—this fell short of her dreams. "Simon, I'd like to go with you to Los Angeles. Is that possible?"
Understanding her intentions, Simon brushed a hand over her face and said, "One step at a time. Your European starlet aura is too strong. Performing on Broadway will help you shed that and develop your craft. Otherwise, you may end up like many European actresses who try to make it in Hollywood but gain nothing, like Isabelle Adjani."
After a moment's hesitation, she asked, "How long will it take?"
Though she hated to think about it, age was undoubtedly her greatest drawback.
Simon said seriously, "I want you to approach this as a career. Even after you make a name for yourself, you could continue performing on Broadway occasionally. Your dance background is a great asset there. As for Hollywood, there's no set timeline. If a fitting role comes up, you'll get a chance. I already have some ideas for you, such as classic adaptations and musicals, but they'll take time."
Alessandra's eyes brightened, but she instinctively asked, "Time?"
"Yes. Projects I handpick tend to be very high quality and capable of launching an actor's career. But that demands a certain level of experience and skill. If I put you in a major role prematurely, and the audience doesn't accept you, it could damage both the film and your career."
This honesty deflated her briefly.
Sensing her disappointment, Simon gave her waist a gentle pat and said, "You're a bit disappointed, aren't you?" Without waiting for a reply, he added, "This is my honesty with you. Another man might make empty promises to win you over, but I won't. For the women in my life, I offer the best opportunities. But whether they seize them is up to them."
Just then, a knock sounded, and a maid entered to announce they would be landing in five minutes.
After nodding, Simon helped Alessandra with her seatbelt, continuing, "There is one thing I can guarantee now, Ali. In New York, you'll have a very good life. You don't have to follow my plans; you could simply enjoy yourself if that's what you'd prefer."
Alessandra watched him buckle his own seatbelt and finally asked, "Simon, what about the future?"
"The future… A month from now, a year from now, however long you choose to stay. If you want to leave, you can leave. I've never been one to cling. But as long as you're with me, I'll consider you my woman."
In just one day, Alessandra Martinez's emotions had cycled from dreamlike excitement to reality, and then back again to fantasy.
As the Boeing 767 touched down at JFK, Simon announced he had a meeting and separated from her immediately.
Landing in a foreign country, her only lifeline had vanished, leaving her feeling anxious, wondering if she'd made a terrible mistake in a moment of impulsive folly.
But soon, a woman named Angela Davis took charge of her schedule, and she was back in the dream.
Thanks to the time difference, they had left Milan on Tuesday morning, and after an eight-hour flight, they arrived in New York still on Tuesday morning.
In the car, Angela Davis handed her some property options for her future New York residence. From townhouses on the Upper East Side to Midtown penthouses and luxury flats in Greenwich—she had her pick.
Her husband's family owned a villa in Paris near the Seine, which was their most prized possession. Any property in this binder rivaled that villa, yet Simon was offering them to her as a simple arrangement for a lover.
After some deliberation, she selected a four-story townhouse on 78th Street in the Upper West Side, just a block from the American Museum of Natural History.
The choice fit her new path.
She hadn't fully resigned herself to being merely decorative; she'd decided to heed his advice and start her career on Broadway.
After settling in, the day turned into a flurry of tasks.
Angela provided her with a list from which she could select a personal assistant and a bodyguard. This level of luxury and exclusivity amazed her, as did the rounds of car shopping and choosing an array of clothing and accessories.
The entire afternoon, accompanied by Angela Davis and her new staff, they visited shops throughout Manhattan.
Initially shy, she finally relaxed when Angela mentioned she had a clothing allowance of $1 million.
One million dollars!
Her first thought was, could she cash this in?
After chastising herself for being so crass, she
didn't bother tracking the day's expenses. By the time they returned to her townhouse, deliveries from designer boutiques had already filled her wardrobe on the fourth floor.
In the evening, a WMA agent came by.
She knew about WMA, America's largest talent agency.
The agent, a brisk, professional woman named Bridget Motz, was recommended by Angela. That evening, she took Alessandra to a gathering in New York's film industry to introduce her to some people.
At the end of the day, lying in her grand, luxurious bed in the townhouse, she realized it had been a full day since she'd seen Simon.
The next few days followed in a similarly busy pattern.
Medical checkups, beauty treatments, arranging English lessons, setting up various documents, and receiving a credit card with a $50,000 monthly allowance. She even made a few friends within the New York film industry, though she sensed Simon's influence through the courtesy, cautiousness, and deference she encountered.
No matter, she thought.
And soon, she secured her first stage role.
It was a new play called Decision, based on the post-war trial of the famous German conductor Wilhelm Furtwängler. Her agent hinted that Simon had personally selected this project for her. It was a new play with limited scenes for the lead actress, making it ideal for a newcomer. Even if it flopped, it wouldn't harm her career much.
So, the busy rhythm continued into the weekend, and she quickly began to adjust to this new life.
Though, it wasn't exactly what she had imagined.
Finally, she remembered one last thing.
She called the housekeeper to arrange for a lawyer; it was time to sever ties with her past, beginning with getting a divorce.
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