Sark doesn't consider himself to be an international terrorist. Terrorist
is such a common word. Beneath him. Beneath his abilities. Sark is better
than a terrorist. He is an activist. A revolutionary.
Sark is avant-garde.
He thinks of these pretty words every time he's in Sloane's presence. He thinks of them whenever Sloane gives him that serene smile. The one that is nothing short of insane. The smile which makes Sark wonder if the mission is worth it.
Sark prides himself on doing whatever he has to. If someone needs to be killed; if a building needs to be destroyed: he will do it. No matter the cost, no matter the lives lost.
Sark is forward-thinking.
He has no compassion for those weaker than him. Sark is a self-starter; a term he read in an American book about business. Self-starter. A self-made man. Sark is everything he wants to be and more. Everything he will be is decided by his actions and decisions now.
Sloane understands this and uses it against him. Sark hates the way he has to defer to Sloane. He knows Sloane is a means to an end and the Sloane is using him just as Sark is using Sloane, but it still irks him.
Sark is ultramodern.
He looks to the future and knows what he does today will make him powerful in the end. He knows that the way Sloane looks at him work to his advantage. Sark is an attractive man; something he has used to his advantage before. He knows Sloane has admired him, he's seen the looks. The way Sloane's eyes travel up and down his body.
A beautiful man can get away with almost as much as a beautiful woman. Irina taught him that. She showed him how to treat a woman. What to say and when to say it. How to charm a woman and where to touch her. And when she was done, Irina sent him to Khasinau. Khasinau was nowhere near as alluring as Irina but Sark didn't dwell on that. He learned what he needed to from Khasinau.
Sark is contemporary.
Sex, Sark has learned, can mean anything you want it to. Sex is a means to an end if it gets you what you want. If letting Sloane touch him gets the desired result, then Sark has no problem with it.
Sloane is happily married to his not-so-dead wife, but has an affinity for pretty boys. Or so he says. Sark prefers not to dwell on anything Sloane says in bed. Sark would rather recite Shakespeare to himself while sucking Sloane's cock and he would rather plan his future when on his hands and knees.
Sark ignores the knowing grins of Sloane's people. They don't understand that everything Sark does has a purpose . Who he is now is not who he will be a week from now. A month. A year.
Sark is forever changing. Shaping his future with the actions of today. Creating his destiny. He will never again be a frightened child at the mercy of others. Sark will not let that happen again. He will do whatever is necessary to ensure that.
Sark is a survivor.
End
Sark is avant-garde.
He thinks of these pretty words every time he's in Sloane's presence. He thinks of them whenever Sloane gives him that serene smile. The one that is nothing short of insane. The smile which makes Sark wonder if the mission is worth it.
Sark prides himself on doing whatever he has to. If someone needs to be killed; if a building needs to be destroyed: he will do it. No matter the cost, no matter the lives lost.
Sark is forward-thinking.
He has no compassion for those weaker than him. Sark is a self-starter; a term he read in an American book about business. Self-starter. A self-made man. Sark is everything he wants to be and more. Everything he will be is decided by his actions and decisions now.
Sloane understands this and uses it against him. Sark hates the way he has to defer to Sloane. He knows Sloane is a means to an end and the Sloane is using him just as Sark is using Sloane, but it still irks him.
Sark is ultramodern.
He looks to the future and knows what he does today will make him powerful in the end. He knows that the way Sloane looks at him work to his advantage. Sark is an attractive man; something he has used to his advantage before. He knows Sloane has admired him, he's seen the looks. The way Sloane's eyes travel up and down his body.
A beautiful man can get away with almost as much as a beautiful woman. Irina taught him that. She showed him how to treat a woman. What to say and when to say it. How to charm a woman and where to touch her. And when she was done, Irina sent him to Khasinau. Khasinau was nowhere near as alluring as Irina but Sark didn't dwell on that. He learned what he needed to from Khasinau.
Sark is contemporary.
Sex, Sark has learned, can mean anything you want it to. Sex is a means to an end if it gets you what you want. If letting Sloane touch him gets the desired result, then Sark has no problem with it.
Sloane is happily married to his not-so-dead wife, but has an affinity for pretty boys. Or so he says. Sark prefers not to dwell on anything Sloane says in bed. Sark would rather recite Shakespeare to himself while sucking Sloane's cock and he would rather plan his future when on his hands and knees.
Sark ignores the knowing grins of Sloane's people. They don't understand that everything Sark does has a purpose . Who he is now is not who he will be a week from now. A month. A year.
Sark is forever changing. Shaping his future with the actions of today. Creating his destiny. He will never again be a frightened child at the mercy of others. Sark will not let that happen again. He will do whatever is necessary to ensure that.
Sark is a survivor.
End