It was Jack, Nat knew, who got her pregnant. Got her pregnant—as if she were
powerless. She and Jack Cozier did it together back home in San Diego, had done
it for the past three years, but never with results. She and Jack had met at
Stanford, where she majored in film and media and Jack majored in business. They
met junior year at a party and dated until Jack inherited his father’s business
three months ago. At that point, Nat had been trying to sell the screen play
she wrote for her undergraduate thesis. She pitched it to production companies
and had her thesis advisor send it to a few connections, but all with no
return, no luck, no pregnancy.
Jack would have to move from San Diego to Los Angeles to run
his father’s business. Jack and Nat’s parents encouraged her to join him, to
move on and find a job in production. Nat, however, was not ready to settle
down. She thinks now that it may even have been her parents’ support of Jack
that made her dislike the idea of moving in with him in LA. Not that she loved
unconditionally otherwise. He had been encouraging her since her senior year to
look for work outside of film. She convinced him to give her a year, one year
to revise and sell the screenplay. He reluctantly agreed. After a year, though,
when Jack had inherited his dad’s business and her parents were pressing her to
go with him to Los Angeles, she still hadn’t made a deal and wasn’t ready to
give up. She needed to make her film for her brother.
Jack was, of course, nonplussed. She thought some of this
was put on to make her feel guilty. She told him that she the film and her
brother meant more than their relationship and his father’s business. That was
love’s end. Her parents at first refused to let her walk away from Jack and
their history and his father’s business. The business, Nat thought, was the
real reason her parents wanted her to stay with Jack—that, and that he would
change their daughter, convince her to stop pursuing film and live like a
normal person. In other words, Jack would do to Nat what her parents had tried
to do to her brother: convince him that life was about settling down and making
money and that dreams ought to be pursued only if they helped in this
direction. That, in a way, is what killed her brother, what sent him up on the
mountain where he never returned.
So she left Jack, left the past three years and her parents
and after saving up ten thousand dollars to put toward production, came to
Unalaska to film her screenplay herself. She did her research, gathered a crew
and Susan, who she had met at Stanford, and flew out. She could not, however,
leave Jack behind. No, she has his baby inside her. She can now see her stomach
distended beyond, the bottom rounded and unforgiving. She’s given up on wearing
tight tops and has become thankful for cold weather—opportunities to wear her baggy
winter coat.
Nat talked to Susan throughout her break up with Jack. Susan
had lived in Sacramento, where she worked as an editor for an app company. She
told Nat about how miserable she felt working nine to five five days a week
while she wanted to write for films. This made Nat even more so want to avoid
entering what her classmates had called “the real world.” She had hated the
term because it implied that big corporations and slaving for most daylight hours
had a superior sense of reality, a dominance over the liberal arts aspirations
of her liked to speak about. When Nat got the money to come to Unalaska and
film, then, she made sure that Susan would be in the crew. They would film
together, she thought. They would have the best of their lives, she thought.
Nat was more focused on the film than she thought she would
be, though. On top of that, Susan quickly took to Cody. Because of this, Nat
and Susan had not spoken personally about their lives since they arrived in
Unalaska. Susan, then, thinks that Nat was sick because side effects of the
drug trials.
“Are
you OK?” she has asked Nat several times. Nat always refers to the drug trials,
to lingering symptoms of the past.
The
symptoms are beginning to show, though, and Nat is worried she won’t be able to
keep them covered up before the film is completed. Recently, however, Nat’s
worries have expanded beyond the film. She is worried that Cody will find out.
When they rode in his car together on the way to the mountain, She made sure to
keep her hands over her stomach. (She thought the whole time that she soon will
not be able to hike up to the spot.) She kept her jacket over her bump and her
hands over that. She knew he wouldn’t be able to see, but she felt compelled to
hide it from him anyways. His eyes watched the rode, but she could feel his
presence somehow pulling knowledge out of her, understanding her better than
she was aware. She wanted to keep hidden the pregnancy from him and from the
feelings she felt toward him, from the feelings she felt toward him and Susan.
When that night Cody walked Nat into the Grand Aleutian hotel,
Susan was at the desk talking to Eugene. She was holding a cup of coffee, a
gift that Eugene has only recently shared with Nat, who he knew much better.
“Hey,”
Eugene said, grinning.
“Hey,”
Susan said questioningly. “How was the day off?”
“We
went to the mountain,” Nat said.
“Checking
out spots to film still?” Eugene said.
“We
drove further than the planned spot. Just wanted to see what was out there,
make sure we are far enough away that we don’t upset the community.”
“Cody,”
said Eugene, “You’re going to be famous.”
Cody had stayed behind Nat, tried to keep his attention on
Eugene. He and Susan talked decently while on set for the film, but off set
they simply avoided each other. Nat knew not the reason why.
“Maybe.
I’m getting better at my lines. Today Nat stopped me only four times.”
“Oh—”
“You
rehearsed lines today?” Susan asked Nat. Eugene looked disappointed that she
had interrupted him.
“Well,”
Nat started.
“She just wanted to see the setting
in action,” Cody said. “I asked if I could recite my lines on the way up and
she told me that I could only do it when I was in place.”
“Is that true?” Susan asked Nat. “He’s
known to lie.” She had put her coffee on Eugene’s table and rested on her palm,
hanging her fingers over the edge.
“Susan,”
Nat said, “we practiced some lines, nothing heavy. I think it was relaxing for
both of us and we’ll be rejuvenated for tomorrow.”
Susan picked
up her coffee. “OK, I trust you.”
“I
should be going,” Cody said. “I’ll see you two tomorrow, 8 AM. Goodnight
Eugene.”
Cody
walks out the door.
“Is
something going on between the two of you?” Susan said.
“I need
to take the garbage out,” Eugene said. Before he walked out the door he
whispered to both of them, “Good luck.”
“What?”
“Do you
and Cody have something going on?”
“No.
Susan, are you OK?” Susan hadn’t been this close to upset with her since
Stanford.
“I don’t
know,” Susan said. She leaned onto Eugene’s table. “I just don’t know what to
do about him.”
“You
never told me what happened between you.” Nat walked closer.
“Uuuggggghhhhhh,”
Susan said. “It’s so stupid.”
“What?”
“It’s
just that we were together, and I started to like him more than I should have.
He complimented me so much and made it seem like he wanted something serious.
But then after we filmed the scene by the bay he told me that he thought we
should step back because things were too serious.”
“Really?”
“Yeah.
He said that he thought he acted too quickly and was especially attracted to me
because I am knew.”
“Shit,” Nat said.
“Shit,” Nat said.
“That’s
what he told me, at least,” Susan said. “I just feel like there’s more, like
maybe there’s someone else.”
“Shit,”
Nat said.
“Yeah,
that’s why I reacted so harshly. Sorry.”
At this
point Eugene walked back and after whispering, “It went well,” poured both of
them steaming cups of coffee.
All that exposition was nice because it gives a lot of new information that is going to help me write my chapter. I also feel like there is a much sharper point here on what is going on between Nat and Cody which is great. It is looking like Nat will not finish her film in the space of this novel, which is, of course, the way that it needs to happen. I like the interaction with Eugene; it's consistent with has been done so far. I guess we need to start thinking about how these issues that Nat has about her living, her brother, her parents, Jack, and Cody are going to be thrown into suspension and resolved.
ReplyDeleteThis provides information that we hadn't really put on the page yet, just hinted to. Definitely said some things that needed to be said. #ThumbsUpEmoji
ReplyDeleteAll the back story in the beginning is great. I was curious where you were going to go with the few set ups you had, part of me wanted to see that scene at the base of the mountain, but this is much better. It gives Nat a profound level of completeness, as to say (in the past few chapters) she is becoming a real person. You giving the right amount of back story fulfills that to a greater extent. And then on top of all that we have to new element of not knowing Cody. Bringing in the fact that “He’s known to lie” make me want to know what happens next but not with a cliffhanger ending.
ReplyDeleteYou've developed some really nice tension between Nat, Susan, and Cody. That will be great to see more of as the filming process gets more intense and they have to spend more time together. Like Timothy said, we'll have to start developing how these disparate issues are going to interact.
ReplyDeleteI loved all the back story you gave in this. It definitely cleared some things up and gave us a lot to work with in the next chapters!
ReplyDeleteI like the backstory and agree with Aaron that Nat is becoming a real person. I also like the line about Cody being a liar. It might be interesting to see how the rest of the town views him and his participation in the film.
ReplyDeleteThere was a lot of exposition here and it mostly worked, I would stray from it in the remaining chapters though.
ReplyDeleteGreat at creating tension and giving some nice backstory.
ReplyDeleteGood build of tension
ReplyDelete