The Risk. CAITLIN CREWS
CHAPTER THIRTEEN
Darcy
ONCE I WALKED through the door, there was no going back.
I stood there on the Paris street in the thick, rich darkness of an autumn night, staring at the discreetly unmarked door in question. I was breathing hard and felt faintly dizzy, as if I’d danced a difficult night of several shows on very little food.
I was used to the feeling. It was the reason for the feeling that was making my heart pound tonight.
I had signed all the documents, in triplicate, from the straightforward performance contract to several different NDAs that would make certain I never dreamed of telling a soul what happened within the walls of the M Club. To me or around me. I had practiced the burlesque routine that was my entrance into this excruciatingly private club in Paris—though I’d been informed there were many other locations scattered across the globe—until I could do it in my sleep.
“All you have to do is dance,” my friend Annabelle had told me with an eye roll when she’d asked me to take her place here at M Club. “Or whatever you want to call it.”
We’d laughed, because we were proper, professional ballet dancers, not burlesque performers. We dedicated our lives to perfecting lines and steps, counts and patterns, in a world-renowned ballet company. We didn’t play pretend with feathers and bloomers or whatever it was burlesque was meant to do when, really, it was just a striptease. Emphasis on tease.
And, yes, we were maybe a little full of ourselves. Annabelle and I had met in the corps de ballet of the prestigious Knickerbocker Ballet in New York City when we were both seventeen. Ten years of dancing and struggling through injuries and setbacks, occasional partying and rooming together in a tiny walk-up in New York City, and we were still hanging in there.
That we were both still—and only—members of the company meant, of course, that we were not likely to be promoted to principal dancers, despite whatever dreams we’d had as younger, newer dancers. It also meant that our inevitable retirements were looming, whether we wanted to stop dancing or not.
No one wanted to stop dancing. I certainly didn’t. But the body could only take so much, and nothing but sheer greatness in the eyes of the world—and demanding artistic directors—ever seemed to combat the ravages of gravity. Soloists and principal dancers were more likely to fight their way toward the age of forty before retiring—when their bodies finally gave out after too many surgeries and untreated injuries and the daily toll of so much pointed use. Or when they could no longer maintain the preferred form and appearance required by most of the major ballet companies, no matter what lip service they might give to a newer, more body-positive approach. Ballet was about precision. And even the most celebrated principals were forbidden the creeping ravages of age.
But dancers who had never made it out of the corps in the first place? They leaned in hard, made themselves indispensable and became ballet mistresses when they could no longer perform, like the Knickerbocker’s much-feared and widely respected Miss Fortunato. Otherwise, they tended to give up the fight sooner, usually after a steep downward spiral from an esteemed company like Knickerbocker through far less demanding organizations until even those wouldn’t have them.
That I knew my own future didn’t make it any less grim. I did my best to focus on the day before me, not the future I couldn’t change no matter what I did.
It didn’t surprise me that Annabelle had found yet another new and strange way to get her center stage fix, while crossing as many lines as possible in the process. She had always been the adventurous one.
For every lover I took, Annabelle took three. At once, whenever possible. Annabelle’s boundaries were fluid, smoky. One year, between seasons, she beguiled a well-known older Broadway actress who still called our apartment, all these years later, begging for one more night. Another year, while nursing a broken ankle that took her out of the company, she had entertained two princes and a number of politicians on the sort of Mediterranean yachts that were forever appearing in the tabloids.
Last year, when rent money had been scarce between our performance seasons, Annabelle had decided that she might as well monetize her dating life. She’d found the initial experience electrifying. She liked to indulge herself on nights we didn’t perform, and liked to tell me every scandalous detail of the men who paid her for the privilege of touching her.
Others might call it escorting. They might use other, less euphemistic words. But Annabelle didn’t care what anyone else thought of her. And I was the one who pretended to find her stories scandalous...and then, when I was alone in the dark, imagined it was me starring in all those dark and dirty scenes.
“And if you’re not too afraid,” she’d told me, when we’d finished laughing about burlesque and the idea that it was on a par with what we did, “who knows? Maybe you can finally do something about your own prudishness.”
“Your definition of a prude is anyone else’s definition of a lusty, committed whore,” I pointed out drily.
It had been a morning last spring. We’d been limbering up before the daily company class, which we took every morning before the afternoons of rehearsals and the evening shows. We stood in the back of the studio space behind the Knickerbocker theater, because everything in ballet was a hierarchy, even where we practiced. I was trying to pretend that my body was as supple and invincible as it had felt when I was seventeen and had believed that, truly, I could fly. And had, here and there, across stages in my toe shoes.
These days, my hamstrings and hips protested a lot more than they used to. And my feet were so battered that it was never a question of whether or not I was in pain but what, if anything, I planned to do about it. That day.
Everyone was injured, always. We all had to pay attention to these injuries, taking care not to let minor flare-ups become major problems.
That day I flexed my toes as I went into my first split, failed to wince and decided I was about as good as I could expect to get.
“You know what I mean,” Annabelle had been saying.
She was holding on to the barre as she worked her way through a few positions, her willowy body flowing as she moved. To the untrained eye, every move she made was deserving of applause. I could see my own reflection in the mirror and knew it was the same for me. But we did not dance for untrained eyes. We danced for beauty and learned judges. For precision and grace. We chased perfection, and were willing to starve and slave, whatever it took, to get as close to the sun as we could for as long as we could.
Annabelle’s hair, bright and red, was in the typical bun on the top of her head. Next to her, I always felt dimmer. My dark hair never seemed glossy enough to combat her brightness. And my eyes certainly never shone like that, wicked and insinuating.
Annabelle might not be a prima ballerina any more than I was, but she always captured attention. Though that was not always a good thing in company class, where those of us in the corps were working on uniformity, not interpretation.
“I don’t understand why you think your kink has to be my kink,” I told her, perhaps a bit loftily. It was an old argument. “As I think we’ve established in the past decade, you like things that I definitely do not.”
“How do you know if you won’t try?” she asked, as she always did. Her gaze was wicked, as usual, but steady on mine in the mirror. “And believe me, Darcy, you will never find more controlled circumstances than these.”
“Annabelle.” I was afraid that the sudden roughness in my voice would give away the startling truth that this conversation felt emotional to me. Which I was terribly afraid