Welcome to L.A.

An aging celebrity musician who moves to Los Angeles for a recording session but remains emotionally distant and self-absorbed. He moves through relationships with self-assured charm but fails to form genuine connections, making him emotionally elusive. His affairs with Ann, Jeannette, and Nona highlight a pattern of self-serving romance rather than intimacy. He remains emotionally distant and skeptical of commitment until he encounters Karen Hood.

Linda is a young housemaid who moves into Carroll's spare room and harbors a crush on Ken Hood. She uses her position to navigate romantic possibilities and tests boundaries with her employers. She is caught in triangular dynamics and seeks affection and stability.

A married young executive who neglects his wife and becomes entangled with Linda; He also interacts with Ann, torn between career obligations and his marriage. His actions reveal restlessness and a desire for connection that complicates his loyalty. The holiday pressures intensify his conflicts with Karen and Linda.

Ann is a real estate agent, unhappily married to Jack, and the object of Carroll's early affections. She relishes attention and becomes involved with Carroll, while navigating a strained marriage. Her pursuit of romance and status drives much of the holiday-era drama.

Jack is a furniture store owner and Ann’s husband, who pursues Linda. His affair with Linda and conflicted feelings reflect the era’s marital tensions and the lure of easy money and desire. He and Ann both end up returning home after disappointment, underscoring the unresolved nature of their relationships.

Karen is Ken’s wife, a housewife with a habit of taxi rides and a guarded approach to romance. She seems open to Carroll at first but is drawn back into her marriage as Ken’s infidelity becomes a focal point. Her late-night calls and negotiation of desire highlight the fragility of commitment.

Susan is Carroll’s aging manager who orchestrates the move to Los Angeles. She stonewalls the romance while attempting to rebuild a connection with Carroll, and she reveals alliances between Eric Wood, Carl Barber, and Carroll. Her manipulation and strategic planning expose the transactional nature of the music industry.

Eric is the celebrity musician whose songs Carroll plans to record. He ultimately decides not to finish the album, a decision that derails Carroll’s career ambitions and exposes the fragile relationship between art and commerce. The subplot explores how control over creative work intersects with personal leverage.

Jeannette is the receptionist whom Carroll beds, adding to the pattern of casual, transactional affairs. Her role underscores Carroll’s pattern of seeking novelty without commitment. She serves as a catalyst in the web of romantic intrigues around the LA tour.

Nona is the photographer’s mistress who becomes involved with Carroll. Her presence adds another strand to Carroll’s constellation of affairs, highlighting the unstable nature of his romantic life. She embodies the glamorous, aspirational circle around the recording project.

Carl is Carroll's father and a successful dairy magnate who has built a large family business with the help of Ken Hood. His influence drives career opportunities and power dynamics within the Barber family. His ambitions intersect with the personal lives of his son and associates, shaping the plot’s stakes.