Stargate. SG1. SGA. SGU. Terra Nova. Falling Skies. Revolution. OUAT. And then whatever catches her interest at the moment.
Always sci-fi, though. Always.
autumn | a hawkeye/black widow au
They meet on a rainy night in autumn, everything around them colored in shades of red by the season. Natasha is there to eliminate her target and retrieve certain data. Clint’s job is she, to stop her at all costs. Nothing goes as planned, fate has its own plans, and they end up in a tangled web, both caught by the other, by feelings they thought long dead. It’s not love but it still runs deep and it scares them, especially Natasha.
The next morning, Clint wakes up alone in the abandon motel, her file strewn across the floor and a notebook tucked under his head. It’s dripping with red, her life, her kills - she’s written down everything and it ends with two words on the last page: ‘be happy’. Something twists inside him, tighter and tighter, and when Coulson calls, Clint has already made his decision.
Natasha’s hiding among pretty clothes and false smiles, trying to forget the man who turned her world upside down but he’s haunting her, she can’t escape his presence and she knows it will only a matter of time before he finds her again. Then, one morning, something draws her outside. There, under the old tree, she finds a box, painted in the colors of the Black Widow, and when she opens it, her breath catches. Inside is the last page she left Clint, a red leaf pinned to it and three words added to hers: ‘not without you’.
When she looks up, she isn’t surprised to see him leaning against the tree. For a moment they regard each other in silence but then Clint slowly steps forward and offers her his hand. Warm skin brushes hers as she takes it and somewhere, the red on a page starts to fade.
you’re poison, running through my veins
the avengers | black widow/hawkeye | ~900 words | film noir prompt ‘all you are is a job’
The case has trouble written all over it from the beginning, from the moment they’re called into Commissioner Fury’s office. Someone has given the department a tip to take a closer look at recent deaths of high society men that were determined to be sudden heart attacks with no foul play involved. According to the little birdie though, they’re anything but ordinary deaths. Unfortunately, the source is found dead the next morning near the river but Fury decides to investigate further, turning the case over to Clint and Coulson.
“You never miss a thing, Barton,” the Commissioner tells him and he’s right. Only a few days later, after hours of digging, Clint finally finds something, the one thing connecting the deaths. Each man has died within the next 48 hours after visiting the infamous nightclub Spider’s Web.
Wild West AU | how Clint/Natasha met [avengers steampunk verse]
Rumors has it that someone is paying a certain spy good money for the assassination of the President and A.R.M.O.R. decides to send Clint to stop her.
Disguised as a sheriff, he blends in easily with the people in Washington and no one comments on the man of the law watching over them from high above. It doesn’t take him long to spot his target, she might dress like the rest of them but moves like a shadow, slipping in and out of the crowd. Clint’s just glad he’s alone on this mission and there’s no one to ask him why he’s taking his time, waiting till the last moment to end it.
It’s the evening of the presidential dinner and Natasha is about to execute her plan when a man, sitting in front of one of the windows on the far side of the room, catches her eyes and she knows her cover is blown. The sheriff doesn’t look like a sheriff at all, he has assassin written all over him and she excuses herself as fast as possible. She leaves through the servants entrance, her heart beating hard in her chest, and flexes her sudden trembling fingers, something that hasn’t happened since her first kill.
The moment she’s back in her room above Madame Hydra’s saloon, Natasha doesn’t hesitate to grab her bags, counting down the seconds before he’s going to find her. A sound to her left has her look up and the timer hits zero. He’s practically slouching in the chair, no signs of any weapons, but she’s not so stupid to believe A.R.M.O.R. sent just anybody. When she straightens up, he tilts his head to the side, looking pointedly at the Widow’s Bite in her hand, and she drops it with a silent curse.
Her compliance makes Clint wary and as she slowly walks towards him, he’s prepared for everything, his mind flashing back to all the various styles of killing she is capable of. She lightly rests a hand on his shoulder, her voice soft and low as she asks him if they could negotiate, before she gently brushes his hair back behind his ear and he can’t fight the shiver her caress evokes. It’s all she needs, the loud click of manacles next to his ear telling him exactly what just happened, and while he’s swearing, tugging forcefully but ineffectively at the iron cuffs, his target winks at him and vanishes out of the door.
Damn it, he should have remembered that she has other ways to bring a man to his knees.
drive | a hawkeye/black widow missing scene (set during/after the central park scene)
He’s kneeling a few feet to her left, one elbow resting on a bend knee, chin propped up on his hand and even though she has her back to him, Natasha knows Clint is watching her, can feel the heat of his gaze, intense, almost searing, and she slightly tilts her head up to the blue, endless sky above her. Things have changed between them, they have changed, were compromised, unmade and put together again but they no longer fit into their old frames, the simple roles of ‘partners’. Truth is, it was never easy to define what they had, this strange awareness of each other, and now…
Behind her, Clint rises from his position and walks past her, so close that his hand grazes hers and the fleeting touch sends a shiver down her spine. “Let’s go for a drive, Nat,” he tells her quietly, his voice low and rough. Her eyes follow him as he moves across the street towards the car and, after taking off his jacket and letting it drop on the backseat, braces his arms on top of the door frame. Natasha doubts that anyone but her notices the strain on his face or the imperceptibly tightening of his jaw. He was stripped raw, they were stripped raw, right down to their humanity, and the future doesn’t look much brighter, it will be littered with nightmares, pain and self-doubt, but Clint offers her a choice, she doesn’t have to go through it alone, and her decision is made in a heartbeat.
They drive for hours in comfortable silence, leaving more than just the city behind, and it’s late in the afternoon when they arrive at an old wooden gate, the road beyond leading to a cottage high up on a hill. Though Natasha has never been here nor seen pictures of it before, it seems familiar and it takes her only a moment to figure out why. The location, the structure and design – it has Clint written all over it. This is his secret haven, the one place no one but him knew about. Until now. Her breath catches at the implication and she looks back at the man standing in front of her, trying to find the right words but they won’t come. Then again, they always were better with actions anyway and so she lets her fingers lightly brush against his. The change in him is instantly, his whole body relaxes, the shadows in his eyes receding for the first time in days, and he wraps his arm around her shoulder, gently pulling her against his side. She goes willingly and rests her head on his shoulder, her face tucked against his neck.
washington | a hawkeye/black widow au
The mission is like any other, even if it takes place in the heart of the country. Get in. Retrieve the files and eliminate the target. Get out. They flirt and banter along the way, make a bet who’s going to finish their task first (her downloading the files or him taking out the target). They never find out. It’s all a trap, has been from the start and when Natasha finds the dead guards, hears Clint telling her he’s going in, she knows, it’s too late. His hoarse, broken Nat echoes in her mind for weeks.
He is brought to a secret facility, a playground for doctors who use him for their horrible and cruel experiments. Nightmares become his constant friend but he never gives up, trusts Nat to come for him. She gives her best, uses every tool in her arsenal to get information about his whereabouts, doesn’t rest until she has finally found him.
Time loses all meaning but one day there’s a hidden message from her, carved into a wooden panel, and Clint has barely time to process its meaning before he hears the unmistakeable sound of Nat’s Widow’s Bite. They bring hell down on the place, leaving nothing behind but smoking ruins and crushed bodies - like Budapest all over again. They don’t look back as they drive off.
Natasha takes him to her temporary hideout, an old barrack in the desert, and for a moment she has to close her eyes, battling her own emotions as she sees the extend of Clint’s injuries. Gently, with far greater care than one would suspect, she cleans him, runs her hands over his bruised body. When he wraps his fingers around hers and slowly pulls her close, she doesn’t resist. For the first time, their nightmares stay away.
The tale of two cities and the God of Mischief is written in blood - his, hers, others. In the end it doesn’t matter. Blood will always be red, dripping from the pages of their ledger, and all they can do is try to wipe it out.
Budapest was more than just a job.
