Chapter 5: CAUGHT ON TAPE!
(42).
Heh.
That’s seriously how chapter 5 opens. This amuses me. Fortunately, the next
line, “It sounded like a tabloid headline” tells me that the narrative
acknowledges the amusement factor, too. Jennifer treats the situation like an
adult (so nice to see!) and calls her boss.
Axel,
however, is not so grown up. First he rips the camera out of the cameraman’s
hands, which doesn’t help since it’s digital and the footage has already been
uploaded. Since that act of… well, I don’t know what to call it. The text
doesn’t say he breaks the camera or anything, so it’s not really violence.
Anyway, since that act, Axel has been all stony and stoic and chilly.
Jennifer’s
boss calls and he is completely delighted by the turn of events, to the point
where he threatens Jennifer with being fired if she doesn’t allow them to use
the footage. Since she still wants to make her social media project, she
reluctantly agrees to sign the waiver. Axel, on the other hand, informs
Jennifer that he has to do damage control because of this moment and that he
refuses to be on camera again unless he’s on ice. He does not, however, equate
that to mean no kissing, just only kissing behind locked doors.
The
chapter then takes a turn that genuinely surprised me. Most Harlequins are told
from the hero and heroine’s points of view, with the occasional secondary
character getting a scene or two but really only to drive the plot that’s
driving the hero and heroine together. This means limited backstory and limited
interest in said secondary characters. This isn’t a criticism, necessarily.
Harlequin novels are only ever about 150 pages, tops, which means very few
words to be spent even on the main story, let alone to develop subplots. So
imagine my surprise when this chapter suddenly switches to
Chelsea-the-groupie’s perspective.
Furthermore,
you might expect Chelse-the-groupie to be used only as a foil for
Jennifer-the-heroine, especially given Jennifer’s reaction to finding out that
Axel has groupies. But no, she has her own whole backstory. It’s, admittedly, a
somewhat unlikely backstory, but a developed one.
Turns
out that Chelsea lived on the streets for 3 years, beginning at age 17, after living
in a makeshift tent with her mother. Evidently her mother had “owed” men a lot,
and had paid them back physically. This situation from her childhood has made
her super gun-shy about men, to the point where while she might have some
fantasies, she’d never consider being involved with one. Similarly, she doesn’t
take gifts, since that would mean owing someone. Since becoming a Phantoms
groupie, she’d been hit on by a few players, but she “made it clear she was a
sports groupie, not a sex groupie” (48).
She’s
also super careful. So when a tall man approaches Chelsea in the parking lot of
the practice “arena”, where she’s preparing to head to Montreal with the camera
guy and the other groupies—one of whom she’d met in a women’s shelter—she
basically runs from him until realizing it’s one of the players, “Vincent
Girard,” a rookie who has been nice to her. He’s super sweet in this scene—when
she says she “practice[s] parking-lot safety and… couldn’t see who was under
the hat” (47) he turns the hat around and they chat briefly. He then gives her
a GPS so that she won’t get lost on the way to the game, claiming that it had
been for his sister but she already had one. He even hooks it up for
her—finishing the installation before she can articulate that she doesn’t take
gifts, in fact. But then he walks off casually.
I
admit this all seems unlikely. As friendly as the Coyotes, for example, are
with their fans (what with the open practices and such) I’ve heard a lot more
stories about the players having to avoid specific fans than approaching them.
That said, this seems super sweet and I’m far more intrigued by this storyline
than the main one.
Misty,
one of the other groupies, shows up (her backstory is that her father had
kicked her out when he remarried and the stepmother didn’t want her around) and
convinces Chelsea that Vincent is actually interested in her in a romantic or
sexual sense—which immediately gives Chelsea a panic attack.
I
want this book to be Chelsea and Vincent’s story. Vincent seems sweet and
Chelsea is interesting. Jennifer is fine, I suppose, for a heroine, but she’s a
typically feisty one, and as for Axel, well, even having been in a Helsinki
motorcycle gang (which still makes me giggle irrationally), he’s not very
interesting to me (yet?).
Well,
we shall see what happens. My guess? This hockey documentary becomes a battered
women’s documentary, fulfilling Jennifer’s need to make films about social
justice and keeping her romantic subplot with Axel from being center stage, as
well as Axel from being hounded by his former motorcycle gang.
Guess
you’ll have to come back to find out if I’m right.
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