I've read this a couple of times. I have a few observations, perhaps a question or two, that you might consider as you continue this—you say that it's a first chapter—but before I do any of that, let me say up front, I think you're a fine writer. There's a stylistic confidence to your prose that assures the reader, that says "Trust me. I'll take care of you." Anyone getting ready to invest their time and energy in a new piece of writing needs that assurance to keep reading. It's easy to lose them. So far, you haven't. However, there are things you might do better.

I'll start with something really basic. Scroll up to the top of your story, and then do a quick scroll through the text, to the end. Notice how dense it is? How it looks the same pretty much throughout? It's a virtual wall of words. Walls are intimidating, wherever they appear. As I said, your prose is good, but when you have such a sameness in the structure of your paragraphs, it speaks of a sameness in tone and perspective. With the exception of the scene where Jason returns home to discover their new found wealth, it's all exposition.

Exposition is fine, understand. It's how you set the stage, create an atmosphere, describe an environment or catch the reader up on important information. Your opening paragraphs are a text book example of this. You collapse several years into a few tight paragraphs that do all the above.

At some point, however, your reader will want more. Nothing wrong with your narrative voice, I've already given it its due. Your going to need to let them out, put them center stage, let them interact, bump up against each other, get annoyed, angry, happy, aroused... all the things that real flesh-and-blood characters do when they are being believable and three dimensional.

You're calling this a first chapter. Truth is, you might have two or three chapters here, were you to unpack all the scenes that you now compress in a few short throw-away lines. Which ones deserve a more detailed treatment? I wouldn't know; it's not my story. However, the whole of paragraph three strikes me as containing a wealth of material that could tolerate some close up detail. There are a lot of problems suggested in that paragraph. Difficulties. Perhaps even a crisis or two. For a story writer, that's the coin of the realm. Problems are what keep your reader wondering, "What's gonna happen next?" No problems, no next. No change. No reason to get up off their butts and do something. Anything. In short, no problems, no story.

What paragraph 3 tells me is that you're not on the lookout for problems. You're letting them zip past you and your reader without so much as a glance. I know you have a bigger problem in mind, but you're racing too fast. Perhaps it's not paragraph 3 that needs expanding, but it suggests a tendency to simply tell us about things that would be much more dramatic, and engaging, were you to allow them to unfold in real time. Your characters have voices and personalities. Let us see them.

I found the split perspective interesting. Reminds me of the Showtime series, "The Affair," although they pushed things into a bit more of a surreal dimension. Not only did that story advance through the eyes of different characters, the actual story itself seemed to change from character to character. I was never sure if it worked, although I enjoyed it. You are not doing that, however. Angie's reality is the same as Jason's. They certainly perceive the elements of that reality differently, but the elements are the same.

What is apparent from this first chapter is that Jason is the one with the story. Angie's narrative is a linear progression, one event following the next, with things moving steadily forward without any obstacles, hazards or disruptions in the status quo. But it is that imbalance, that disruption, that will force your character to make decisions and take actions. It is those decisions and the actions that result (and the unintended consequences they encounter) that make up the story stuff. I wouldn't say that Angie is necessarily boring—you've certainly let us know that some serious disruptions threaten the placid surface of her life—but it is Jason's situation that holds the most potential to engage the reader and make them wonder what's gonna happen next.

The elements that create that oh-so-desirable character driven plot simply require that they be built from the ground up with that fundamental imbalance engineered into them. You've done it with Jason. He's active. Whatever his situation, he's gone out and made it happen. You haven't done that with Angie. You've given a lot of thought about who she is and what she is like, but haven't considered what she either needs to avoid, or is compelled to seek. Plots can be sliced and diced numerous ways; some say there are 20, some say there a 100. For my money, there are two: fight or flight. Approach or avoid. Lacking one of those fundamental motivators, your character (and you) will always be looking for reasons to get them up off the couch and go do something. It's exquisite torture trying to find words and deeds for such a character.

Angie needs an arc of her own. Something that motivates her. You've provided something of that with the farmhouse, but we still don't have any sense of why it motivates her. What makes plot points appear effortlessly is when you have two complete characters moving on their own track who then collide and start complicating things for each other. Angie, as you've set her up, will only be reacting to Jason. Such passivity suggests that your separate but equal structure might need retooling. Perhaps Angie isn't really a co-equal main character. Perhaps it is truly Jason's story. I don't know and I certainly don't intend to offer advice. You know what you're doing and you can make your own choices.

I realize that all of this clever analysis is hampered by the fact that I have no idea where you're going with this. But it seems that neither do you, so before you get too far down a dead-end path, set yourself up for some genuine conflict between genuine characters. It'll go a lot easier for you if you do.