not unscathed.
Sheâs tall, dark-haired, and wearing a police uniform, posing aggressively with her hands on her hips. In her right hand, sheâs holding a big black whip thatâs curling down to the floor. But thatâs not why the crowdâs wide-eyed. Whatâs shocking them is the thing on her head. Sheâs got a halo. Not an angelâs halo but rather a medical one, a brace of the sort worn by broken-neck survivors.
Henry pokes me. âWhatâs that around her head?â
I turn to Mick. âYou do the honors.â
He nods and asks Henry, âYou want the simple explanation or the detailed one?â
âIâm a man who prefers detail but, given the circumstances, how about splitting the difference?â
âYou got it.â Mick actually looks taken aback himself. âThatâs a halo brace. Itâs generally used in the treatment of neck fractures located at the second cervical vertebrae, referred to by doctors as C2, just below the base of the skull. That black metal ring running around her foreheadâwhy itâs called a halo braceâis secured by screws drilled directly into her skull. They penetrate the bone approximately one-eighth of an inch and, once tightened, exert about six pounds of pressure per pin site. So the ring is held in position by the pressure of the pins, rather than their depth.
âEnough tension, meanwhile, is created to stabilize her head and neck. Underneath her shirt, sheâs wearing a plastic, padded stabilizing vest, attached to which are the four metal rods you see coming up from her shouldersâtwo in front, two in back. These are securely attached to the halo to arrest neck movement, since the medical recommendation for halo-wearing patients is little or no activity. Pressure on the device can disrupt the anatomical alignment of the surgically set vertebral bone fractures. The danger lies in too much movement causing a fracture fragment to migrate and sever the spinal cord, resulting in instant paraplegia. And possibly death. Thatâs about it.â
âThanks,â Henry responds. âIâll remember to ask for the simple version next time.â He looks at us with a serious expression. âGentlemen, we can only salute this girlâs uncommon dedication to her art form. I think itâs safe to say that never before could exotic dancing have carried the risk of such serious consequences.â
I quickly turn my attention back to the stage. I donât want to miss a thing.
Strutting down the catwalk, Cookie does seem a little nervous. Suddenly, one guy initiates a loud slow clap, breaking the hush. He stands, soon joined by more and more of the audience. When the entire room is on their feet, cheering starts up. Theyâve gotten over the initial shock of seeing the head contraption sheâs wearing, with its daunting black rods jutting up past the top of her head.
Cookie herself is teary-eyed and wearing a big smile. Itâs plain to see how happy she is. She waves to several obvious regulars, whoâre excited to be acknowledged.
Now she picks up her pace, increasing the suggestiveness of her body language. Yet somethingâs not right; she begins pitching forward with her right hand outstretched.
âOh, shit!â Mick yells. âSheâs going down!â
âHead first!â Henry adds.
The whole place falls silent again. I realize I havenât been breathing.
Then, to my amazement, Cookieâs audience erupts into cheers. Sheâs not going down. What appeared to be a halo-busting, spinal cordâpiercing forward plunge has evolved into a neatly executed front one-handed cartwheel. I can hardly believe my eyes a second time.
She completes the maneuver with the precision of a gymnast. But my breath stopped again as I watched the rod tips barely clear the floor.
Her fans are loving it. âMore!â one patron pleads as she cartwheels again, landing in
Morten Storm, Paul Cruickshank, Tim Lister