Sentences (Sam, Frank and Repo-related)
75. Mirror (Elizabeth Swann - Sam)
One wrapped in an almost impenetrable cloud of bitter smoke as if she was burning on the inside, the other staring in awe at the earthbound materialisation of all her fantasies, and Charley can already feel a headache coming up.
29. Urban
Charley thinks the world has turned into a house of ill repute and those in search of love are forced to sell themselves like Gabriel, Beth thinks it’s thrilling nothing is forbidden anymore and is proud of being the friend of a boy who she thinks was the first to understand the modern way of living - but Gabriel looks at Sam and only feels pity at the lack of true feeling in her desperate nudity.
64. City
The late-night lights are Sam’s best hiding place, fading into the crowd, shedding her face, her bare skin the best disguise, knowing it’s easiest to lie when everything is revealed.
04. Dark (Nathan)
Patrick is watching the lights of her future city, which he really has no right to know as well as he does, and finds himself wondering how that man would like a still intact world.
65. Grave (Sam/Graverobber)
Dark eyes over a burning cigarette peek behind the newspaper: “So will you paint me white when we fuck?”
49. Twisted (Nathan)
“Is that a Clark Kent thing?” - the newcomer stops the nervous fidgeting with his glasses and the slight curve of his lips as he turns to Sam is not quite his own.
33. Wrath (Nathan/Repo Man)
It’s always there, He is always there, bubbling just under the surface, watching, urging hands to move, lips to utter unwanted words, but Nathan is not blind to Shi’s newfound happiness and he fights until exhaustion to keep Him from hurting her again.
09. Cut (Sam/Amber Sweet)
“She’s a doll hooked on artificial perfection,” Sam frowns in disgust at the screen as she moves her fingers with teasing slowness until she cries out just as a scarred face makes Beth cover her eyes.
76. Broken
Frank’s lips twitch in amusement as Sam jumps in his arms as soon as he enters the room and looks around with a confidence Kay can’t help but be wary of (the newness of all this should make him uncertain at least), but then a slight frown settles on his handsome face as he sees Patrick, who’s looking at him with one of his rare, tight smiles and says “Find me when you remember.”
45. Two Guns
Sam’s is a constant presence: on the desk, in the wardrobe, under the bed, in Kay’s bag - seriously! - in her too tight jeans, the feeling of it against her naked skin making her giddy, it’s clean, it’s clear, it’s pure, it’s rare, it takes you there; Frank doesn’t flaunt his, it’s safely locked away most of the time - look!, he’s sensible, he’s coping, he’s fine - but at night his fingers firmly grip the gun under the pillow he never quite sleeps on; and when they kiss - a game of give and take - it’s like being trapped in a crossfire.
77. Testament (Frank)
7 years; there’s no point denying it when it’s written all over his body, ink sinking deep into skin, and Kay shudders every time she catches a glimpse - Blake has never before been so frightening.
78. Poison
What Frank misses most is his work; Sam understands but pretends not to and points out that it’s idiotic to miss something that stole seven years of his life, he just smiles, 7 years, 2 months and 5 days, actually, but who’s counting?
032. Jagged
They shag, they shoot, they kiss countless scars with relish, crossing the boundaries of their own bodies as darkness swallows them completely; Frank never makes Sam visit her father in jail, reminds her of Stephen or talks about Ryan, he never tells her to stop spending most of her nights in crowded clubs, pressed against the sweaty, writhing bodies of faceless men and women, and in return Sam never asks about Tamás or the gun under the pillow Frank never sleeps on and pretends not to see the sudden tenseness in his tattooed back at certain Hungarian words; they just shag, and shoot, and kiss, and moan, and pretend it’s called coping.