[Natasha isn't at her best either, but that's because for her her best involves being perfect, better than human. But she still has seventy years of fighting, and mastery of a half-dozen different styles, from Sambo to Kali and Spetsnaz. She hates not having a weapon, hates that she lost hers when she came here and they wont give her a new one.
But she doesn't need one. And there's something about the feeling of fists and skin.
If this was just about stopping the woman's escape, she'd yell for a guard, or her first move would be a takedown, trying to get her legs around her throat, pin her. But this isn't really about stopping her so much as it is the fight, a real fight and not sparring in the gym.]
My fight isn't with anyone here. But I'm not going to let you go.
[There's a thin sort of almost-smile, something dark and she slides into an easy stance. Normally, she'd wait, make the woman make the first move, use it to gauge her; turn it aside and then react. But she just doesn't have the patience right now, and Clint isn't in a comm in her ear telling her to focus.
So she moves in, fast and sudden, light on her feet, a punch aimed at her face. But it's a lure, trying to get her to use her scarf to block it, giving Nat the ability to control the angle of her hands for just long enough to create an opening, if she can play it right. She's mapping out the options in her head, movements and responses as she reads her body.
If there's one thing that Natasha is good at, it's either this or dancing, and the difference isn't always clear.]
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But she doesn't need one. And there's something about the feeling of fists and skin.
If this was just about stopping the woman's escape, she'd yell for a guard, or her first move would be a takedown, trying to get her legs around her throat, pin her. But this isn't really about stopping her so much as it is the fight, a real fight and not sparring in the gym.]
My fight isn't with anyone here. But I'm not going to let you go.
[There's a thin sort of almost-smile, something dark and she slides into an easy stance. Normally, she'd wait, make the woman make the first move, use it to gauge her; turn it aside and then react. But she just doesn't have the patience right now, and Clint isn't in a comm in her ear telling her to focus.
So she moves in, fast and sudden, light on her feet, a punch aimed at her face. But it's a lure, trying to get her to use her scarf to block it, giving Nat the ability to control the angle of her hands for just long enough to create an opening, if she can play it right. She's mapping out the options in her head, movements and responses as she reads her body.
If there's one thing that Natasha is good at, it's either this or dancing, and the difference isn't always clear.]