3) Black Widow Vs. Loki (The Avengers 2012)
Loki is a masterful manipulator with plans for supervillainy, so when S.H.I.E.L.D have him incarcerated in a holding pod (specially designed to imprison Hulk), the team need to tease information out of him in order to thwart his attempts at world domination. Who better to get the job done than manipulator extraordinaire, Natasha Romanoff – aka, Black Widow?
The power of this scene lies in the perfect marriage of writing and performance. There is no physical contact between these two here – this is a cerebral showdown of epic proportions. A psychological chess game featuring carefully chosen wordplay, and well-timed expressions. Playing out like an iconic scene from The Silence Of The Lambs, Black Widow appears outside the glass of Loki’s cell – calmly, and with her game face on. Loki addresses her with an air of superiority, while Widow keeps her strategy simple – as far as Loki is concerned, he has her fellow agent Barton (Jeremy Renner) under his control, and she wants him back.
“Is this love, Agent Romanoff?” sneers Loki.
“Love is for children. I owe him a debt,” states Widow.
Loki takes a seat, and settles in. “Tell me.”
Widow moves to a nearby chair, makes herself comfortable, and begins to open up to Loki. She relates the story of how, in times past, she would use her “very specific skill set” against all kinds of people, for all kinds of reasons – and not always the right ones. S.H.I.E.L.D sent Barton to kill her, but he chose not to – effectively saving her life.
Widow’s tantalizing glimpse of vulnerability is catnip to Loki, who immediately leans in and seizes upon it – toying with it like a child with a Christmas gift. With him safely on the hook, Widow moves to shut her emotional door.
“It’s really not that complicated. I got red in my ledger – I’d like to wipe it out.”
Loki begins what he thinks is a grand manipulation – having manoeuvred Widow into a position of vulnerability, he begins to chip away at what he perceives to be her desire for redemption. As he lists her past crimes, Widow allows a look of shock to wash across her face, which acts as a red rag to a particularly egocentric bull. Loki strikes the glass with his fist and lowers his voice to a menacing growl.
“I won’t touch Barton. Not until I make him kill you – slowly, intimately, in every way he knows you fear. And then he’ll wake, just long enough to see his good work – and when he screams, I’ll split his skull. This is my bargain, you mewling quim.”
Widow gasps in horror as her eyes fill with tears. She turns from Loki and hangs her head.
“You’re a monster,” she whispers in a fearful, childlike whisper.
Loki laughs. “Oh no – you brought the monster.”
Widow pauses, lifts her head and turns to Loki – suddenly clear-eyed and unemotional. “So – Banner,” she says with a striking depth of understanding. “That’s your play.”
Loki is confused – an Asgardian who would be king, bested by an inconsequential human. As Widow turns and walks toward the door, she relays her freshly uncovered intel to her colleagues via her earpiece. Remembering her manners, she turns to Loki once more.
“Thank you, for your cooperation.”
And with that, she gives the subtlest nod of her head, and exits – like an actress leaving the stage, satisfied with a job well done.
