Refractions
Chapter Ten
The stage is already hot when I walk in. Lights hum like a swarm. Cables snake across the concrete floor in black veins that the grips step over without looking. Someone calls for quiet and no one quiets, they just change the volume of their chaos. Makeup powder hangs in the air near the monitor village like fog. I blink it off my lashes and keep moving.
Rowan catches me before I can pretend I know where I am going. Clipboard tucked to their chest, headset crooked, they look like sleep and caffeine. “Good, you are here. Wardrobe says you are picture ready. Go straight to monitors for continuity on Scene 53A. Then hair will check flyaways for your Scene 34 reshoot. You are not shooting this scene. Second love interest scene.”
I do not remember this scene. I do not remember a second love interest. This is not my world, and I keep pretending I know how to move inside it.
Devyn appears and presses a cold bottle into my palm. She slides a chair toward me with her foot and smooths a hand over my shoulder.
“Sit,” she says. “Sip. Blink like you meant to. If you feel like you might throw the bottle, hand it to me first.”
I take the chair. The monitors glow with the empty booth. Across the set, Elle Monroe slips in like a dress being zipped. Low twisted hair, cream slip dress, coat the color of rose tea. She hugs the script supervisor. She kisses the director on the cheek. And then she reaches Isaiah.
He is in a black T-shirt under an easy jacket. He says something I cannot hear. Elle touches his forearm and laughs like she has laughed with him before. He tips his head and the smile he gives her is smooth, the one that makes strangers feel lucky. My chest tightens like a fist.
Jealousy is stupid. Stop. You do not own him. He is not yours. You do not even want him to be. You told him to be professional. Remember that.
The director claps once. Voices fall to a working hush.
“Alright. Scene fifty-three A. Tom meets Lydia after hours. She knows too much about him. She knows exactly how to pull him. She is telling herself it is for the greater good, which is why it is fun to watch. Keep it honest. Keep it small. We will steal the heat in the pauses.”
“Speed.”
“Rolling.”
“Fifty-three A. Alpha. Take one.”
The clap slices the air. It leaves a clean edge.
Isaiah slides into the booth. He leans forward on his elbows like he is tired of being careful. Elle sets her coat down and sits across from him. One ankle crosses over the other. Her knee points at him. The cameraman moans quietly through his nose like he forgot to breathe.
Isaiah speaks first, voice low and even. “So you invited me here because…?”
Elle smiles without showing teeth. “You like this place. Calliope told me you loved this place.”
“Oh, she did? You two have gotten close pretty fast. I am glad to see she made a new friend.”
“Of course. She used to tell me a lot about you. How good-looking you are. How strong you are. God.” Elle laughs at her own comment. It feels too real. It lands like a whisper meant for me.
He watches her. “Oh… used to.”
“I should not even be telling you this, but she is not herself lately.” Elle lowers her voice like a secret she is pretending to protect. “She calls me at two in the morning asking if you are with someone. Says she sees things. I think she is just scared of losing you.”
He sits back. “You two are still fighting, huh.”
“You should not be in the middle of that.”
“I am not in the middle. I am on your side.” Elle glances at his mouth and back up. The movement is small. The camera eats it. “Someone has to be. She is… exhausting. You know that, right?”
“She is passionate. That is all. And it is none of your business.” Isaiah scrunches his nose without meaning to.
“You are right.” Elle lets it slide, then hooks him. “I just cannot help wondering what it feels like to be wanted that hard. I would be gentler. Slower. You would still remember it in the morning, though.”
He does not take the bait. The silence is quiet and mean to himself. “What do you want from me.”
“I am helping you out, Tom.” She says it gently. She means it like a needle. “You give and give until there is nothing left to touch. Let me give something back.”
“I do not need—”
“You need to breathe.” She slides his untouched cup closer, fingertip grazing his knuckle. “You look tense through the shoulders. That is not love. That is a cramp.”
He does not move his hand. He does not pull away either.
“Pick one,” Elle says, almost playful. “A drink. Or a distraction.”
“You are drunk.”
“I am honest.” She tilts her head. “Sorry. Guess we have a dirty little secret Calliope cannot know about.” She winks.
His eyes flick to her mouth. It is quick and it is enough. People around me lean in without meaning to. The air gets warm on my skin.
Elle keeps her voice velvet and sharp. “She checks your phone when you shower. She told me that. She cries when the pillow is cold. She loves you like a lock loves a door. I am offering a key.”
“Cut,” the director calls, delighted. “God, I love both of you. Let us go again tighter, then break. Elle, soften the ‘key’ line. Make me hate myself for liking you.”
They reset. The second take is worse for me. Better for them. Elle sweetens the knife at the end, eyes shining like she might cry for him. Isaiah gives the look of a man walking into a mistake with his eyes open.
“Print,” the director says. “Lunch. Back at two for thirty-four with Brielle and Isaiah. Do not wander far.”
Elle slides out of the booth. She is careful not to step on her hem. She smiles at me as she passes, a warm, bright thing that would photograph beautifully. Then she drops it one degree, just for me. “I always wanted to be the kind of girl who can do one take. You know.”
I keep my mouth neutral. “You looked great.”
“I try,” she says. “Some of us have to.”
“Lunch,” Isaiah says, appearing at her shoulder like he was conjured. He looks at me, directly now. “You good.”
“I am delicious,” I say. “Go eat.”
For half a beat, he almost smiles. Then he nods, politely, and falls into step with Elle. She touches his sleeve as they pass the grips and says something under her breath that makes him laugh again.
Devyn exhales. “I hate her.”
“You do not know her.”
“I have eyes.” She taps my shin with the back of her knuckles. “And ears. That scene is sabotage disguised as care. It is a mirror. Do not let it convince you that you are the girl who needs saving.”
“I will be the one doing the saving,” I say, and mean it more than I want to.
Lunch is a row of sad salads and heroic cookies. I pick at both. I keep seeing the way Elle looked at him when the camera was not rolling and he was still giving her the easy version of himself. I keep telling myself it is all part of this machine.
After lunch, wardrobe checks my shirt falls right on the shoulder. Hair spritzes and pats. I walk toward the back corridor for air. Paint and sawdust. The thud of a distant dolly. The low rattle of a fan.
Footsteps. He stops in front of me. It is private back here. No one hides in this corridor unless they want to be alone or they want to be found.
“You sure you are good,” he says. His voice is low. His face gives me nothing and gives me everything.
“I went to find my professionalism.”
“Did it run in here.”
“I do not know. Did yours.”
He huffs, a sound that might be a laugh if he let it be. “So that is how we are talking today.”
“I am talking the way we agreed. Professional. Clear.”
“Clear would be saying you are jealous and skipping the theater.”
“I am not jealous,” I say. “I am annoyed that you flirt on camera and then keep going when they yell cut.”
His eyes flicker. “I was not flirting.”
“She touched your wrist, and you leaned in like you were reading a secret off her skin. That scene felt way too fucking real to be acting.”
“That is called eye line.”
“It looked like hunger.”
“It looked like acting.”
“It looked like you forgot I was in the room.”
He studies me for a long beat. People pass the mouth of the corridor and no one looks in. It is just us and the fan and the smell of paint and the weight of words we should not say.
“I cannot make this easy for you,” he says finally. “You do not trust me.”
“You earned that.”
“I offered you something. You threw it away.”
“I protected myself. That is different.”
“From what.”
“From you.”
He steps in like he might touch my arm and then does not. I hate him for not and I hate myself for wanting him to. “I am not the one who keeps running.”
“Say that to me one more time and I will make a scene on your precious set.”
He smiles then, quick and involuntary. “There she is. Cold one second, hot the next.”
“I hate you.”
“Feeling is fucking mutual. You made it clear last time.”
“Fuck you.”
“Yeah,” he says, and the word is soft, almost fond. “Changing your mind again.”
“Why can you not learn me. Truly.”
His mouth opens. He swallows whatever was about to change both our lives. A PA yells our names from the main stage. The moment slips through our hands.
Scene 34 is our argument. The one where our characters tear each other open and then stitch the wound before the end of the page. We take our marks in the apartment set, a little living room that looks curated by people who do not live anywhere. The light is warm. The camera sits in the doorway like a nosy neighbor.
The director walks us through blocking. “Start wide. She is packing to leave. He is trying not to beg. We cut into close for the apology that is not quite an apology. At the end, you two find the gravity you are trying to fake. Kisses are implied. Do not give it to me. Save it for the hotel room scene two days from now.” He grins. “You know, if the world lets us keep you alive that long.”
We take our marks. A small fan pretends to be a city breeze through a window. The lamp is warm and makes our skin look like memory.
“Picture.”
“Speed.”
“Mark.”
The first pass, I start at a nine. He meets me at eight and climbs. The words are familiar in my mouth and foreign in my bones. The director paces just out of frame with his hands behind his back because he likes to pretend he is not controlling the weather.
“You never tell me the truth,” I say, and the line is the characters, but it is not.
“You do not ask the right questions,” he says, and it is him and not him.
“Were there even any.”
“Do not do that,” he says, too soft to be anger.
“I am not doing anything.”
“You are leaving.”
“I am leaving for air.”
“You do not need air. You need to say the thing you refuse to say.”
“Oh, you know what I need.” I turn so the lamp hits my face and lets the camera see the truth I am not saying. “You and your savior complex can go to hell.”
His jaw ticks. “Stop pretending you do not want this.”
“I do not want you.”
Lies have a taste. This one is metal. He steps into my space like he has a right to. The blocking says he can. The part of me that is not acting wants to step into him first.
“I know how you look at me when you are not trying so hard to hate me.”
“I do not hate you,” I say, and the line on the page matches the line in my head and I hate that. “I hate that you think you deserve me without earning me.”
His breath hitches. It is not on the page. He recovers, eyes dark. “Then let me earn it.”
Silence eats the room. The camera breathes. I feel the fan on my wrist and the sweat at my spine and the way my mouth wants to say things that will break us. The script tells me to touch his face. I put my hand to his chest instead like I am trying to catch my own heartbeat. He covers my hand with his and the electricity is not a metaphor.
The director waits a heartbeat longer than he should and then calls cut. Crew claps. Someone whistles. Devyn says, “Jesus Christ,” very quietly. Rowan lifts both eyebrows and gives me a you are playing with matches look.
We stand there too close and panting. He looks at my mouth and then at my eyes like he is asking permission he will not take. I look at his throat because looking at his mouth would be a mistake. The space between us buzzes like a live wire. I step back first. He lets me.
The director thanks us and tells us to go home before fatigue ruins his pretty scene. People scatter. The set becomes lumber again. I take the long way around the soundstage because I need to be alone for an inch and I keep running into bodies that want to tell me what I already felt. “You two killed it.” “Whatever you are doing, keep doing it.” “If that is not real, teach a class.”
Outside, the air is syrupy and wet. The sky sits low on the lot. I pull my car door open and pause.
Isaiah laughs. Not the polite one. The deep one from long nights and early mornings. He stands with Elle by a black SUV. She touches his sleeve the way women do when they have already decided how the night ends. He opens the door for her. She says something close to his ear. His mouth softens in a way that makes my stomach drop.
My driver asks, “Home.”
“Home,” I say.
He is playing with you. Or he is playing a role. Or he is playing both because he can. In every world a man who can get away with it does. Stop pretending you are special in a place that does not even belong to you.
By the time I reach my room the noise has moved online. Headlines stack like cards on my lock screen.
ISAIAH CARTER AND ELLE MONROE SPOTTED LEAVING SET TOGETHER.
NEW COUPLE OR CLEVER PR.
LOVE TRIANGLE HEATS UP BEFORE PREMIERE.
Player trends under his name like a sticker that will not peel. I do not know if this is who he is here. I do not know anything except the way my chest feels like a fist.
I toss my phone on the bed and head for the mirror. I strip out of wardrobe and step into a black silk slip that fits like a decision. I let my hair down so it falls over one shoulder. I adjust the chain at my throat until it sits exactly where I want eyes to land. I turn off the overhead and open the curtains so the city throws jewelry across my skin. I stand in the cool blue light and breathe until the anger looks good on my mouth.
Think. What story do you tell when you are tired of being made into one. Own the frame. Choose the version.
I take five pictures. Shoulder turned to the window. Hip curved like a question. Chin tipped. One hand on the glass. No smile. Mouth soft and a little cruel. I pick the third. I do not filter. I check for stray hair, for dust on the mirror edge, for the line of the city stacked behind me like proof.
I open Instagram. I type a caption that tastes like salt and sugar. “The plot looks good tonight.” Heart. Match. I stare at it for one breath, then post.
Notifications bloom like sparks. I let them burn. The vanity mirror shows me the person the machine wants to eat. I let her look back at me without flinching.
My phone buzzes. I check the banners without opening anything.
Devyn: That picture will feed nations gurlllll.
Rowan: You look insane. In a good way. Mostly. Please do not start a war before I sleep.
I heart Devyn. I ignore Rowan for a minute.
I open X. The timeline is already a bonfire. People crop my face next to hers. People crop him between us like a choice. People I do not know are voting on my life with little heart emojis.
I type slow so I do not delete it. “Crazy how some of you talk about honesty then go practice in public with whoever your team hands you. May your lies be tight and your angles be right.” I post. I stare at it until my eyes sting.
I lock the phone and toss it onto the bed. The room is quiet except for the AC and my pulse. I go back to the window. The city throws light over glass. In the reflection my mouth is still a little cruel. I like it that way tonight.
The phone buzzes on the bed again. Again. Again. I let it. When it does not stop, I flip it.
Rowan: For the love of God, do not reply to accounts named TeaRoom. Turn off your comments if you must be spicy.
Devyn: Breathe. Eat something with salt. You already won.
I send Devyn a picture of a container of fries and a black heart. I leave Rowan on read because I can already hear the speech about optics and I am not in the mood to be saved.
I take a fry. I swallow champagne from a tiny bottle. It tastes like a dare. I sit on the floor with my back against the bed and close my eyes. He is the same in every universe. Or I am the same in every universe for choosing him. You knew the risk. You chose the fire.
The phone hums like a small animal. I do not look. I stand and go to the mirror again and look at my own eyes until they look like mine. The city paints me in blue and white. I lift my chin and make a promise to the stranger who keeps wearing my face.
Tomorrow I smile for cameras and survive. Tonight I let them talk.
I pick up the phone and open my DMs out of a habit I pretend I do not have. Nothing from him. Of course nothing from him. I close it and open the camera, tilt the phone, and take one more picture just for me. No caption. No audience. Proof that I was here and I chose my own light.












