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TWO EXCERPTS FROM

DESERT RITES

_______________

A Screenplay

By

Stephen Bittrich


Copyright © 1997, by Stephen Bittrich.

Registered with the Writer's Guild of America, East (October, 2000)

PLEASE NOTE: Do not use without permission.

Revised Draft OCT/2000

Top 30 Finalist in Project Greenlight 1, 2000.

 

Stephen Bittrich

459 Columbus Avenue, #240

New York, NY 10024

Cell: (646) 245-4507

E-mail: SBittrich@aol.com


[ bottom ]



FIRST EXCERPT - PAGES 1 - 13 OF THE SCREENPLAY
                              "DESERT RITES"

                              BY STEPHEN BITTRICH


       FADE IN:

       ROLL BEGINNING CREDITS ON DARK SCREEN

       EXT. NEAR FORT APACHE INDIAN RESERVATION, ARIZONA - NIGHT

       We move with a predatory gait through the desert at the level 
       of a coyote's eyes.  It is night.  A crescent moon.  In the 
       distance, the faint flicker of a fire.  We HUFF and GROWL 
       almost inaudibly as we move.  Our coyote eyes get closer and 
       closer to the fire.  

       JOHN LANCASTER, a boy of fifteen, kneels before the fire.  He 
       wavers unsteadily to and fro, like he might just tip into the 
       flames at any moment.  Coyote SNARLS.  We just may eat this 
       boy.  Our coyote eyes travel around the fire in an arc always 
       keeping the fire between us and the boy.

       The boy, though still woozy, now grows more conscious of his 
       surroundings.  He hears a GROWL.  He feels our eyes upon him.  

       END CREDITS

       Now we see the boy's POV looking into the fire and beyond it.  
       Yes, there is a form in the darkness--on all fours.  It 
       appears to be coyote.  The creature comes closer to the boy--
       on the fringe of shadow.

                           JOHN
                     (whispering)
                 Wah-nah-tah...

       The boy's vision blurs as the creature breaks the shadow.  
       Through the distorted heat waves of the fire, COYOTE 
       gradually becomes more distinct, but before he can completely 
       form, he changes into a man, rising up on two legs.  This is 
       BILLY RAY.  His rapacious gaze pierces the flickering, 
       popping air--shooting right through the boy.  

       BILLY RAY is a tall, energetic man of about thirty-seven 
       years.  He claims his great-great-grandfather was a Mandan 
       Indian, but he doesn't seem to have many traces of that blood 
       line evident in his physical appearance.  He does have long, 
       darkish hair.  Billy Ray is like a coyote that's been caught 
       in a few traps in his life, but somehow has managed to tear 
       himself loose.  He is missing the pinky on his right hand, 
       and he limps slightly on his left side.  He has a coyote 
       tattoo on his left shoulder.  

       We see John again as he tries to focus on Billy Ray. 

       Again from John's POV, as quickly as he came, Billy Ray has 
       vanished, and a coyote's flank and tail can be seen scurrying 
       into the shadows.

       John again--nonplussed--not sure if he witnessed man or 
       beast.  

       Suddenly, with the speed of a striking predator, Billy Ray is 
       behind John, crouching, his lips to John's ear--

                           BILLY RAY
                     (whispering)
                 He's watching.

                           JOHN
                     (gazing past the fire, glassy-
                      eyed)
                 Wah-nah-tah...

                           BILLY RAY
                     (in John's other ear)
                 He doesn't think you're ready yet.

                           JOHN
                 I'm r-r-ready.

                           BILLY RAY
                 He thinks you're afraid.

                           JOHN
                     (very much afraid)
                 I'm n-n-not.

       Billy Ray circles the fire, traveling on all fours, speaking 
       as he moves--

                           BILLY RAY
                 A young brave must go through the secret 
                 rites of the mystery lodge to become a 
                 man.  
                     (beat)
                 Are you ready to offer up your flesh to 
                 the Great Spirit?

                           JOHN
                 Yes.
                 
                           BILLY RAY
                     (continuing around the fire 
                      back to John)
                 Wah-nah-tah, Old Man Coyote is watching 
                 you.
                     (behind John, in his ear again)
                 First we'll cut right here--
                     (indicating John's inner thigh 
                      just above the knee)
                 --to attach a buffalo skull--
                     (indicating his shoulder)
                 --cut you here to attach your shield--
                     (indicating his arms, above the 
                      elbows)
                 --and here will hang your bow and quiver.

       Billy Ray draws a huge, jagged knife and uses it as a 
       pointer.

                           BILLY RAY 
                           (CONT'D)
                     (indicating John's chest)
                 Right here the greatest cut of all.  Pass 
                 leather straps through--to hang you from 
                 the ceiling.
                     (beat)
                 Sure you're ready for the rites?

                           JOHN
                     (gulping)
                 Y-y-yes.

       Billy Ray, still behind John, sheathes his knife.  He tightly 
       clutches the material of John's shirt at the chest and lifts 
       John to his feet as he speaks.

                           BILLY RAY
                     (as they slowly turn in a 
                      circle)
                 I put myself in your hands, Great Spirit.  
                 I feel you lift me up, and I feel no 
                 pain.  Great Spirit, I trust my life to 
                 your keeping.

       John seems to actually feel the pain of hanging by his flesh.  
       His body flinches and tightens.  In his hand we see a leather 
       medicine bag which he clutches, but eventually, as the pain 
       becomes too great, the bag drops from his hand into the sand.  
       Billy Ray lets go, and John crumples to the ground.

       Billy Ray crouches down close to John.  From John's blurry 
       POV, we see Billy Ray's upper arm.  The tattoo of a howling 
       coyote comes into focus.  The tattoo seems to speak--

                           BILLY RAY 
                           (CONT'D)
                     (speaking as coyote)
                 I require more.  I require a sacrifice.

       Billy Ray looks up to the heavens.

                           BILLY RAY 
                           (CONT'D)
                     (speaking as a leader of the 
                      rites)
                 Maho peneta, Great Spirit, thank you for 
                 your protection.  Please accept my 
                 sacrifice.  Please take that which I do 
                 not need as a Mandan warrior--the finger 
                 which I do not need to hold a bow. 

       John's eyes become wide with fear as he looks at Billy Ray.  
       Billy Ray displays his hand with the missing little finger.

                           BILLY RAY 
                           (CONT'D)
                     (smiling)
                 Wanna join the club?

       Suddenly, the knife comes down with an WHOOSH sticking into 
       the sand between John's fingers.

                           BILLY RAY 
                           (CONT'D)
                     (to the heavens; as a 
                      recitation)
                 Red Coyote is my name.  Wah-nah-tah-toh-
                 pee-kah in the language of my ancestors.  
                 For three days and three nights I fasted 
                 in a desert such as this.  Then Wah-nah-
                 tah, Old Man Coyote, the trickster, the 
                 clever one, appeared to me in a vision 
                 and told me my name...

       John sits up slightly.  Billy Ray is across the fire again.  
       Coyote is next to him.  They seem to commingle.  They speak 
       Billy Ray's warrior name in unison-- 

                           BILLY RAY/COYOTE 
                 ...Wah-nah-tah-toh-pee-kah.

       John rises to sit up with some difficulty.  Billy Ray is 
       again beside him.  

                           BILLY RAY
                 I thank you, Old Man Coyote.  
                     (beat)
                 Please watch over this young brave on his 
                 journey.  He has fasted for two days, he 
                 has gone without sleep in preparation for 
                 the rites.  We have taken the dream 
                 cactus, the producer of visions, so we 
                 may see more clearly our destiny.  Guide 
                 us on our journey.  Help us to find his 
                 warrior name.  Help us find good fortune 
                 in the desert as we take that which is 
                 there for the taking--that which is 
                 rightfully ours.
                     (reciting and leading John on)
                 Wah-nah-tah--

                           JOHN
                 W-W-Wah-nah-tah--

                           BILLY RAY
                 Wah-nah-tah-toh-pee-kah...

                           JOHN
                 Wah-nah-tah-toh-pee-kah!

       Our coyote eyes see John and Billy Ray hop and dance around 
       the fire--reciting "Wah-nah-tah!  Wah-nah-tah!  Wah-nah-tah-
       toh-pee-kah!"

       John suddenly feels pain in his leg.  He looks down to see 
       the flames licking at his leg.  He looks across the fire at 
       Billy Ray who begins to laugh.  The fire engulfs John, and 
       Billy Ray, now transformed into Coyote, just laughs and howls 
       at the moon.

       EXT. THE SAME - MORNING

       John wakes with a start from his "dream."  He looks down at 
       his leg.  The cuff of his pants is slightly singed, but he 
       certainly has not been consumed by fire.  He looks around.  
       He's been sleeping on a sleeping bag--well, sort of--it's in 
       a big knot beside him.  

       Billy Ray is dead to the world near the smoldering ashes of 
       the campfire.  He's sprawled in the sand, an army blanket 
       twisted around his body. 

       John looks around some more.  He seems to be seeking someone 
       else out.  

       John is a handsome, wide-eyed kid of fifteen who grew up in a 
       rich and hermetically sealed environment in Dallas, Texas.  
       "Lost" is a word that might best describe him, and that 
       adjective can be read on his face.  He stutters when he gets 
       nervous or intimidated.  Having basically grown up in his 
       room, lost in books, toys, and computers, he is emotionally 
       immature, stunted to a degree.  His schooling at a strict, 
       private school added knowledge, but not acceptance or 
       maturity to his overall development.

       John wanders over to an old Chevy convertible parked near the 
       campsite.  He looks inside.  Nobody there.

       He looks out on the horizon.  A short distance away, facing 
       the rising sun, he can make out a person sitting on the 
       ground--legs folded Indian-style.

       EXT. ABOUT FORTY YARDS FROM THE CAMPSITE - MORNING

       The person in the distance, LULAN, is an alluring Asian woman 
       of about thirty-five years.  She imbibes the morning sun.  
       One look into her eyes will show that she commands an arcane 
       understanding of the world and the people on it.  John 
       approaches, and Lulan speaks without turning.

                           LULAN
                 You're a man now.

                           JOHN
                 I was supposed to stay up all night, but 
                 I think I fell asleep.

       CLOSE UP of John's POV, the sexy nape of Lulan's neck.

                           LULAN
                 I won't tell.  What are you doing?

                           JOHN
                 Nothing.

                           LULAN
                 Mmmmhhhmmm.  Come.  Sit.

       John sits by her, and they watch the day unfold.

       INT. A DIVY BAR IN DALLAS - DAY

       MR. GREENE, a slick Texas gentleman in his fifties, holds up 
       a polaroid of Billy Ray (making a bizarre face) to show the 
       BARTENDER.  Mr. Greene conveys that easy, southern civility, 
       but he is utterly ruthless underneath the genteel facade.  

                           BARTENDER
                     (a little annoyed)
                 Told you.  Don't know him.

                           MR. GREENE
                 So you said.  So you said.  It's just 
                 that my associate and I were just in his 
                 apartment, and he has enough of yer 
                 matchbooks lying around to fuel a small 
                 bonfire.

       Mr. Greene laughs.

                           BARTENDER
                     (a bit more quietly)
                 Don't know him.

                           MR. GREENE
                     (over his shoulder)
                 Says he dudn't know 'em.

       A DARKLY CLAD FIGURE sits at table in the shadows.  

       The Bartender squints and tries to make out the features of 
       the Darkly Clad Figure.

                           BARTENDER
                 Look, I don't want no trouble.

                           MR. GREENE
                 Amigo.  Who wants trouble?  Trouble 
                 sucks.  All we need's a little 
                 infomation, and my associate and I will 
                 be on our way.

                           BARTENDER
                 Wish I could help you.

                           MR. GREENE
                     (over his shoulder)
                Says he can't help us.  

       Again the Bartender squints to make out the enforcer or 
       "associate."  

       The Darkly Clad Figure pointedly looks up to eye the 
       Bartender, and to reveal MR. WANG, a taut and ruthless Asian 
       man in his early thirties.  He stands up as the chair he was 
       sitting in makes a loud SCOOTING NOISE across the floor.

       The Bartender cracks a side-ways smile.

                           BARTENDER
                 If you'll 'scuse me--gotta lotta 
                 customers--

       He takes out a small club and SMACKS it down on the bar--not 
       overtly menacingly, but enough to make a point.  Mr. Greene 
       looks down the bar.  No one else is in the place, except a 
       DRUNK GUY and a LARGE GUTTED GUY SWEEPING THE FLOOR.  The 
       Large Gutted Guy stops his sweeping momentarily to lend 
       support to the Bartender.

       But before the Bartender can blink, the hand of Mr. Wang 
       comes down with a resounding CLAP on top of the club, twists 
       it deftly out of his hand, and whacks him in the face with 
       his own weapon.  He crumples to the floor behind the bar.  

       The Large Gutted Guy makes a charge for the bar thrusting the 
       broom handle forward like a lance.  Mr. Greene lets Mr. Wang 
       do the work.  With impressive fluidity he side-steps the 
       broom and actually grabs the tip jerking it forward, so the 
       Large Gutted Guy lurches forward off balance and crashes into 
       the bar.  He gives him a solid whack with the club for good 
       measure.  

       He then leaps over the bar and starts whacking away at the 
       Bartender who is lying on the other side.

                           MR. GREENE
                 Easy!  Easy on the face.  I want his 
                 mouth working.  Break some ribs or 
                 something.

       Mr. Wang gives him another whack.

                           BARTENDER
                 Vegas!  Said he's going to Vegas!  Some--
                 some kinda scam--ta get rich off the 
                 casinos.  

       EXT. OUTSIDE THE DIVY BAR - DAY

       As they step out of the bar, Mr. Wang adjusts himself 
       slightly, fixing the lapel of his jacket.  Mr. Greene snaps 
       out a monogrammed hanky and gestures with it to Mr. Wang's 
       face.  Wang spies his reflection in his partner's sunglasses, 
       accepts the handkerchief, and wipes a small fleck of blood 
       from his cheek.  He hands the handkerchief back.

       INT. INSIDE THE DIVY BAR - DAY

       Behind the bar the Bartender lies in a bloody, tangled mess.  
       His arm moves slightly, the only indication one might have 
       that he still lives.

       EXT. ON THE DESERT ROAD - DAY

       Billy Ray drives the Chevy with John riding shotgun--Lulan in 
       the back seat.  John is pensive and finally gets up the nerve 
       to ask Billy Ray a question that's been bothering him.       

                           JOHN
                 Y-You say I went through the rites.  Y-
                 You say I'm a m-m-man, but what about 
                 everybody else?  They're not gonna accept 
                 me, they're not gonna let me be an I-I-
                 Indian.

                           BILLY RAY
                 Are you kidding, kid?  White boys used to 
                 become Indians all the time.  Take the  
                 Apaches.  They used to capture white boys 
                 when they went out on raids.  Oh yeah.  
                 They'd see a fat-ass little German kid on 
                 some farm, and they'd ride right in and 
                 snatch him up.  They'd put those kids 
                 through the most rigorous tests and 
                 tortures imaginable, but if they made it 
                 through without dyin', in time, they were 
                 granted all the privileges of being an 
                 Apache warrior.  It ain't skin, my 
                 friend.  It's deeds.  We ain't like the 
                 resta the world.                 

                           JOHN
                     (with great difficulty)
                 Are you really a M-M-M-M-Mandan Indian?

                           BILLY RAY
                 Say what?

                           JOHN
                 No, I was just w-wondering--

       Billy Ray swerves the car over to the side of the deserted 
       road in a hurry.

                           BILLY RAY
                 Didn't I say I was?

                           JOHN
                 Yes, you--you just don't l-look like one.

                           BILLY RAY
                 John...whew.  You just threw me for a 
                 loop.  You mean to say you came all this 
                 way--on this quest through the desert--
                 ran away from home--went through the 
                 rites, and you still ain't sure who yer 
                 with?

                           JOHN
                 No, I believe it.

                           BILLY RAY
                 Well, obviously you got some doubts.  
                     (beat)
                 Tell you what.  Look in the glove 
                 compartment.  

       John opens the glove compartment.  There is a gun--a Western 
       six shooter--on top of some papers.  John looks at Billy Ray.

                           BILLY RAY
                 Never mind that.  That's for huntin'.  
                 There's a pink piece of paper in there.

       John rummages around and finds a pink paper.  He opens the 
       worn document and reads--

                           JOHN
                 Bureau of Indian Affairs...

       Lulan looks out on the desert.  She's bothered and not in the 
       spirit of the moment.

                           BILLY RAY
                 That's right.  Says right there I'm a 
                 genuine Indian--member of the Mandan 
                 tribe.  Just cuz I don't have long black 
                 hair and skin like an alligator.  

       Billy Ray pulls back out on the open road.       

                           BILLY RAY 
                           (CONT'D)
                 See, the Mandans were thought to be 
                 partly descended from Welsh explorers 
                 from before Columbus.  They were mixed 
                 bloods for many, many generations even 
                 before the other white men "discovered" 
                 them.  They had every kind of skin, hair, 
                 and eye color you could think of.  They 
                 even had young braves just barely twenty 
                 with stark grey hair and blue eyes.  The 
                 French call them cheveux gris, the 
                 greyhairs.  I had a brother with grey 
                 hair.  I ever tell you that?

                           JOHN
                 Y-Yes.

                           LULAN
                 When's the next stop?

                           BILLY RAY
                 We're in the desert, baby.  I can pull 
                 over right here if you gotta go.

       John turns to face her.

                           JOHN
                 There's something in twenty miles.  I saw 
                 a s-sign.

       Lulan smiles sweetly at John.  He looks down bashfully.

                           BILLY RAY
                 Hey, kid, I ever tell you about my great-
                 great-grandfather, San-ja-ka-ko-kah, 
                 Deceiving Wolf?

                           JOHN
                 Yes.

       We pull up from the car and watch it drive down the road.

       EXT. ON THE SAME ROAD, BUT FURTHER FROM LAS VEGAS - DAY

       Mr. Wang chauffeurs Mr. Greene in a big black Cadillac.  They 
       are stone-faced.  Then Mr. Greene abruptly SPEAKS IN 
       MANDARIN.  There are subtitles.  Greene's Chinese has a 
       slight southern drawl--

                           MR. GREENE
                     (in Mandarin)
                 Want some jerky?
                     [subtitle:  "Want some jerky?"]

                           MR. WANG
                     (in Mandarin)
                 Gets in my teeth.
                     [subtitle:  "Gets in my 
                      teeth."]

       Mr. Wang looks out on the desert.  He sees a coyote along the 
       road.

       EXT. AT A FILLING STATION/REST STOP ALONG THE HIGHWAY - DAY

       John comes out of the bathroom and looks across the dusty 
       parking lot.  Billy Ray and Lulan are have a very intense 
       conversation.  There is a discernible physical threat in 
       Billy Ray's body language.  Lulan turns away from him, and he 
       grabs her hard and pushes her against the car.  With his back 
       still to John, he whispers something intensely in her ear.  

       John starts to walk toward them.  

       Lulan catches John's eye and mouths something to Billy Ray.  
       Billy Ray's whole body relaxes, and he releases Lulan's arm.  
       He turns without missing a beat and says to John--

                           BILLY RAY
                 Hey kid, what's the funk level on the 
                 facilities?

                           JOHN
                 Oh, uh, high--highly funky.

                           BILLY RAY
                 Ain't that a bitch?

       Billy Ray walks off toward the bathroom.  John looks after 
       him with a bit of concern.  Lulan gathers herself and gets 
       into the back seat.  She is upset but does not make a show of 
       it for John.        

       John shuffles his feet for a moment, then pulls a deck of 
       cards out from his pocket.  He leans into the car.

                           JOHN
                 Hey Lulan, p-p-pick a card.

                           LULAN
                 This a trick?

                           JOHN
                 Just pick a card.

       She picks a card.  [Please note the way this trick is 
       accomplished:  in a deck of cards where the picture on the 
       back goes one direction, one can arrange all of the cards to 
       face the same way.  When the other person picks out a card, 
       the magician turns the deck around so that when the card is 
       stuck back in, it will be the only one with the picture 
       upside down.  Therefore, from the back, the magician can very 
       easily scan through the cards and determine which was the 
       card picked.]  

                           JOHN (CONT'D)
                 Now, memorize it and put it back.

       She puts the card back.  John holds the cards up to his  face-
       -the backs facing him--and fans them out.

                           JOHN (CONT'D)
                 Ah, I'm getting a vision.  I'm getting a 
                 sense of your card.  It's coming to me.  
                 It's boring its way into my brain--
                     (pulling out a card)
                 Is this your card?

                           LULAN
                 No.

                           JOHN
                 Liar!

                           LULAN
                 Okay, it is.  Good trick.  How'd you do 
                 it?

                           JOHN
                     (theatrically)
                 Magic!

                           LULAN
                 Uh huh.

                           JOHN
                 Magic is for real.  Don't you believe 
                 that?

                           LULAN
                 Yeah, sure, I believe it.

                           JOHN
                 H-How do you do it--the th-things you do?

                           LULAN
                 What things?

                           JOHN
                 You're a fortune teller, right?

                           LULAN
                 Sometimes.

                           JOHN
                 And how do you do it?  How do you tell 
                 fortunes?  Read minds?  It's a trick, 
                 right?
THE SCENE CONTINUES...
END OF FIRST EXCERPT.
     SECOND EXCERPT - AROUND PAGE 40 OF THE SCREENPLAY.


       INT. - THE CASINO GIFT SHOP - NIGHT

       We see an arrowhead in a glass case.  There is a SNOOTY CLERK 
       behind the counter.  Billy Ray points to the arrowhead, and 
       the Snooty Clerk searches for a key to the case.        

       Rising Moon comes up behind Billy Ray.  She has a cowboy hat 
       on her head that she's trying on.  A Native American in her 
       early twenties, Rising Moon is good at heart and yearning for 
       a better life, but because of a lack of self-esteem and
       a very underprivileged childhood, she is caught in a downward 
       spiral.

                           RISING MOON
                 So who is this kid?

                           BILLY RAY
                 A friend.
                     (to the Clerk)
                 That one.

                           RISING MOON
                 He's a mark?

                           BILLY RAY
                 I'm outta that game.

                           RISING MOON
                     (skeptical)
                 Right.

                           BILLY RAY
                 He's a friend.  A young protege, if you 
                 will.  I'm instructing him in the 
                 mysteries of life.

                           RISING MOON
                 And he wants to make it with an Indian 
                 Princess.

                           BILLY RAY
                 Baby, it's a piece of cake.  You say 
                 "How," and he'll cream his pants.
                           
       The Snooty Clerk looks shocked.  Billy Ray smiles at her 
       charmingly.  She defrosts slightly.  Billy Ray gives her a 
       hundred dollar bill.  

                           RISING MOON
                 Where'd you get him?

                           BILLY RAY
                 I really don't wanna go through the whole 
                 history.

                           RISING MOON
                 Yeah, well, see you later.

       She turns to leave.  Billy Ray grabs her and moves out of 
       earshot of the Snooty Clerk.

                           BILLY RAY
                 Okay, okay.  No big deal.  I did some odd 
                 jobs for his parents, fixed their car, 
                 their pool pump.  Kid took a liking to 
                 me.  He's a special kid: shy, stutters a 
                 little, grew up in his room with his 
                 computer.

                           RISING MOON
                 Is he like retarded?

                           BILLY RAY
                 No, he's not retarded!  He's a red-
                 blooded American kid.  He jest hasn't 
                 experienced a lot.  I'm tryin' ta help 
                 him out.

                           RISING MOON
                 What a angel.  This is obviously not the 
                 whole story.  Where are his parents?

                           BILLY RAY
                 His parents are at home.  So we got a 
                 deal?

                           RISING MOON
                 Tomorrow morning?  Why morning?  God.

                           BILLY RAY
                 You don't gotta fuck him in the morning.  
                 Just entertain him.  Keep him out of my 
                 hair and then see what happens.  
                     (beat)
                 We're staying in a suite.  

                           RISING MOON
                 Can I have the key to the refrigerator?

                           BILLY RAY
                 If a five dollar Snickers bar is what it 
                 takes to make you happy...

                           RISING MOON
                 So we said four hundred?

                           BILLY RAY
                 Damn, ain't inflation a bitch?

       Four Ben Franklins pop up in Billy Ray's hand with the 
       dexterity of a Vegas magician.  He grins widely.  Billy Ray 
       enjoys being a big spender, he just so rarely gets to do it.

       Rising Moon stares at his missing pinky.

                           RISING MOON
                 That thing ain't grown out yet?

       She takes the money.  

                           SNOOTY CLERK
                 Sir?

       The Snooty Clerk hands him a plastic bag.

       INT. BILLY RAY'S PART OF THE SUITE - NIGHT

       From above, we see John and Lulan lying on the bed.  John is 
       still shirtless.

                           JOHN
                 Seems like a funny place for a mirror.

       She laughs.  He looks into her eyes and she into his as he 
       gets up his courage...
AND THE SCENE CONTINUES...
END OF EXCERPTS FOR DESERT RITES.
  
E-mail any questions or comments to: SBittrich@aol.com

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