“The Rom believe you should take the road that calls to you, and never turn back. Because you never know what adventures await.” He reached for her slowly, giving her every opportunity to object. Through the cottony gauze of her nightgown, he touched the curve of her hips. He brought her close, into his hard weight.“So we’re going to take this road,” he murmured, “and see where it leads.”

“It’s all right,” the boy murmured as he felt her trembling. “My grandmother always told me ‘Never try to turn back on a new road—you don’t know what adventures await you.”

“He released her hand back in her own lap. "Sometimes you give up what you love to stay alive.""Have you ever had to do that?"He turned his head to look at her so long it should have been dangerous, but he seemed to have a sixth sense when it came to the road. "It's coming," he said.And he turned away, driving into the slowly dawning day.”

“He pulled her close kissing her mouth taking her by surprise. He stepped back passion smoldering in his eyes. She looked at him touching her mouth where his kiss still burned.”

“He clutched her close and gave her a quick, hard kiss. "I'll be back as soon as possible, love.""Rider?" He stopped and turned to her again. "I love you. Please, don't take any foolish chances with your life.""Never,darlin'. Not when I've got you to come home to.”

“In classical pas de deux, the man controls everything. He picks up the girl. He puts her down. He turns her, takes her weight, stops her, and she must always go where he leads. The woman submits to all this completely. But her submission is not feeble. In fact, the only reason she can submit so utterly is because she is very strong in herself. In her center. She does not collapse, or cave, or stutter-step, or flop. No, she holds herself very consciously, very confidently. She is centered within her own weight. So the man always knows where she is. He can feel her. He can absorb her strength.”