Beneath The Skin (A College Obsession Romance) (50 page)

“Nice to have you join us, Clayton,” the professor mutters with a turn of his head. “Most of you know Clayton, my right hand man with the lights for the last two years. Invaluable to us. Be like him.”

Clayton
… Is that his name?

If it is, you wouldn’t know it from the way he completely disregards Professor Dick, hopping down the steps and taking a seat in the front row. Just as well, Dick doesn’t seem to mind as he lifts his clipboard back to his face and resumes instructing us on what our semester with him is going to be like.

Meanwhile, my eyes drift to the beauty in the front row.
Clayton
. His face taut with concentration, he stares at the professor as the speech goes on and on. Something about sound crew. Something about time management and patience.

Yeah, I know all about patience. Here I am, patiently staring at the beauty who’s invaded every one of my dreams since I stepped foot into this very theater. I have never, in all my life, been as drawn to a person as I am to him.

Clayton. The name fits him so well. He’s a statue, a hardened clay sculpture, a work of art.

Suddenly, everyone’s rising from their seats and filing onto the stage. I must’ve missed something. I get up awkwardly, following the baseball-capped boys. I avoid eye contact with Clayton and pray that, should he get a look in my direction, he doesn’t remember who I am. I realize how unlikely that is, considering the full-on eye contact we shared right after my bold and embarrassing performance yesterday.

“Here’s the lighting rack,” Dick goes on, tapping a giant contraption made of pipes upon which tons of different lighting instruments hang.

The crowd of us gather around the professor as he starts describing the different types of lights. As I take my place in the back, I don’t realize until it’s too late who I’m standing right beside.

I freeze. The whole world is gone and all I’m aware of is his body standing to my left.

Oh my god, he smells so good.
He could have come from three hours of working out, or from a morning of transporting heavy props and set pieces backstage. Who knows. Who cares. His scent intoxicates me, just like it did that first day at the mixer.

Does he always smell like this?

“There’s all kinds of gels,” Dick goes on. “See, with them, the lights get colors, or get shapes, or get …”

Clayton’s big, firm body is like a bonfire at my side. I feel his heat. Does he know he’s standing next to me? Is this intentional, or completely incidental that the hottest guy in the room is so close that I could climb him? Oh, damn, I want to climb him.

“Now, if you come in close and look here …”

Everyone takes a step forward, crowding each other to get a better look at—something—and I find myself pushed by a guy to my right … which causes me to lean into Clayton unintentionally.

My skin touches his.

I feel the tight, rock-hard meat of his arm. It’s as firm as I expected, and then a little more. I don’t dare look in his direction. My heart is racing so fast, I wonder if he can feel my pulse through the skin of our forearms.

Dick goes on. Something about lamp houses. Something about ellipsoidal reflector spotlights. And my mind goes on about what I’d do if I found myself stuck in a room alone with Clayton.

He’s half a foot taller than me, maybe more. It’s the perfect height for me to lay my face on his big, muscled shoulder … if I just tilted my head a tiny bit. Just a tiny, tiny bit.

I’m so close to him that I’m starting to sweat.

Then the crowd starts to move. Clayton goes with them and, after half a second of despair, I follow to the other end of the stage where Dick starts to explain about something to do with the pulley system—all the ropes lined up along the wall that connect to all the things hanging high above us.

I realize with frustration that there’s now a person between Clayton and I. The magic is lost. I stare at the professor sullenly and find I can’t even focus on what he’s saying. Every word flitters by my face, unheard.

“The counterweight system is dangerous. This is not a toy. Learn to use it properly. Want to give us a demonstration?” Dick asks, giving a wave of his hand.

He seems to have signaled Clayton, who cuts through the crowd and positions himself at the ropes. I’m alive again, just like that. Watching the way his body moves is hypnotizing. Without instruction, he knows precisely what to do, flipping some lever with his big hands … those big hands that seem to make love to every little thing they touch. Then, he unwinds something else and grips the rope, fingers wrapping around it the way they might embrace a lover. He gives the rope a solid tug, the veins in his thick biceps popping, and something happens behind me.

The whole class turns to watch, but I keep my eyes focused right where they are, already watching the most beautiful thing in the world.

His hands still firmly gripping the rope, Clayton’s eyes lower, catching mine.

I hold my breath. I experience a jolt of fear … or a jolt of excitement. I can’t seem to tell the difference between the two right now.

And his eyes change. It’s subtle, but it’s there.
He recognizes me
, I realize as my heart quickens. Yet still, I don’t look away.

The professor must’ve said something because the whole crew moves to the two long battens—which are steel pipes from which curtains or set pieces or lights are hung—that have been lowered. I finally allow that to break my gaze from the distraction that’s Clayton, forcing myself to pay attention to Dick.

That attention is short-lived. Not a moment later, Clayton has returned from the counterweights, and he’s right at my side yet again.
I just can’t catch a break, can I?
Not that I want one. I’ve never been so worked up in all my life. I’m in agony standing next to him. I feel my pulse in my neck. I can barely breathe evenly.

His arm brushes against mine.

Total. Fucking. Agony.

“Lighting creates atmosphere. Lighting turns the barren nothing of a stage into the snowy Alps, the lobby of a hotel, or the bowels of a whale. Lighting gives life to the cast onstage,” states Dick, our mildly inspired professor. “Without light, we are all a bunch of shit-shoveling nobodies in the dark, aren’t we?”

Clayton inhales deeply. Just in that inhale, I hear the depth of his voice. There’s something so intimate about it, like I’m already getting to know him even without having shared a single word. Then, he exhales deeply, and half that breath tickles my arm and sends shivers of awareness through me.

I am one seriously obsessed stalker right now.

“Short day. That’s all, my little light monkeys. I’m leaving the sign-up sheet at the foot of the stage. Sign up for whichever lighting shift you want, and that’ll be your shift every week for the rest of the semester. Crew shifts start next week. There’s lots of options to accommodate all kinds of classing schedules, so if your whiny ass needs some special treatment, come have a chat with me and we’ll figure something out.”

With that, the whole crew scatters and Clayton abandons my side. I’d just grown used to having his heat there that when he departs, I feel a vacuum of need so strong that I nearly topple over.

I walk down the steps and approach the sign-up list. Some of the guys are talking amongst themselves or consulting their phones to double-check their scheduling conflicts. When it’s my turn to pick from the list, I consider what’s available. Amazingly, five of the six available shifts do not overlap with my classes. There’s a shift Mondays that would fit after my acting class, a shift Tuesday afternoons between my voice and movement classes, another Friday mornings, another Saturday afternoons, and then a late Wednesday evening shift. I could pick any one of those that I want. Any at all.

And yet it’s on that Wednesday evening shift that I see the only name that matters. It’s written right at the top of the list.
Clayton Watts.

Only two others have signed up for that time slot. The least popular shift, it seems. And driven by some kind of insanity, I bring my pen to that Wednesday list of names and add my own.

Dessie Lebeau.

I look up and find Clayton walking away. I only catch a split second of his muscular backside before he disappears through the backstage door. Oddly, I feel a small sense of relief at his departure. It’s damn stressful being near him at all. My nervous system got a work out today.

As I walk back to the dorms, the relief turns to emptiness. It’s so strange, to be able to go for so long without being aware of how alone you truly are. You convince yourself that your heart is full with all your interests and hobbies and fiery passions. You fill yourself up with hollow reassurance. You get used to the routine of handling yourself, comforting yourself, and smiling all day long.

It only takes one stupid hot guy to unravel all those feeble efforts of yours, reminding you how very
not
satisfied you are.

I’m lonely. I’ve been alone for years. I’ve dated a small number of guys in New York, but none of them worked out. One of them lived in a rat-infested apartment in Queens. One had a girlfriend in New Jersey he tried to hide from me. Another played video games all day and lived in his older brother’s basement. Each one left me feeling lonelier than the last. My dating history is, needless to say, a trail of murky water.

Long after the sun’s fallen, I knock on her door.

“Dessie!” she cries when she answers, the beads that hang at her closet tapping one another. “I found the
perfect
monologue for you!”

The night progresses into a back-and-forth trade of monologue practice and constructive criticism, in which Victoria offers me many queer looks and some politely-worded suggestions. If she has anything ugly to say about my acting ability, she is kind enough to spare me the words. Her roommate, a heavyset pale-as-death girl by the name of Leanne, sits on her bed in a nest of bed sheets and textbooks, typing away on her laptop and pretending we’re not even there. We offer her the same courtesy.

When I excuse myself on account of having my morning movement class, Victoria smiles at me at the door and says, “You’re going to be perfect for Mrs. Gibbs, which will complement my take on the role of Emily. You’ll
totally
nail it. Can’t wait!”

Back in my own room, my roommate Sam types at her desk on that ancient, last-decade laptop of hers. She’s wearing the same thing she wore the day she arrived, which both unsettles me and breaks my heart. We exchange halfhearted hellos before I lock myself in the bathroom and enjoy the comfort of my own reflection.

I study my face intently, because whenever I blink, all I see is
his
.

DESSIE

I’m standing at the door to the rehearsal room gripping my obviously embellished résumé. Every line of the dramatic monologue I spent all Wednesday night and Thursday rehearsing repeats in my head over and over like gold fish swimming around the bowl, circles and circles and circles. I can hear the tapping of water as they make laps in my brain.

I’m oddly calm. I haven’t seen Clayton at all since shift sign-up on Wednesday, which is strange, as I had gotten used to running into him daily.

It isn’t fair. Every little thing I do now becomes all about Clayton. When I decide where to eat lunch, I consider whether or not he might be eating lunch at the same time and place, too. When I walk down the halls on the way to my Theatre classes, I wonder if I’ll run into him around every corner, or if we’ll bump into each other in the lobby, or out in the courtyard. It’s crazy how far an obsession or innocent crush will take you, dictating your day, bullying your mind into submission so badly that even choosing which damn bathroom to use becomes a chore—because at any point in the day, I could run into him. Even on my way to the bathroom.

Yet I didn’t, and haven’t.

And likely won’t.

I don’t even notice the rehearsal room door open when the voice catches me mid-thought. “Desdemona Lebeau,” it speaks softly, its source being a girl with electric blue hair and a nose ring, one of the director’s assistants. “We’re ready for you.”