The World Is Not Enough (1999) Screenplay by Neal Purvis, Robert Wade and Bruce Feirstein; story by Neal Purvis and Robert Wade; based on the characters created by Ian Fleming. https://www.youtube.com/watch?v=hYPXDtoOE5Q ELEKTRA: James Bond. If only you'd kept away, we might have met again in a few years and become lovers once more. (To the henchman holding Dr. Jones) Take her to Renard. (To Bond) Pretty thing. You had her, too? I could have given you the world. BOND: The world is not enough. ELEKTRA: Foolish sentiment. BOND: Family motto. ELEKTRA: They were digging near here and found some very pretty vases. They also found this chair. (Bond if forced into the garrote.) I think we ignore the old ways at our peril, don't you? BOND: Where's M? ELEKTRA: Soon she'll be everywhere. BOND: All this because you fell for Renard? ELEKTRA: Five more turns and your neck will break. I've always had a power over men. When I realized my father wouldn't rescue me from the kidnappers I knew I had to form another alliance. BOND: You turned Renard. ELEKTRA: Just like you, only you were even easier. I told him he had to hurt me, he had to make it look real. When he refused, I told him I would do it myself. BOND: So, you killed your father. ELEKTRA: He killed me. He killed me the day he refused to pay my ransom. BOND: Was this all about the oil? ELEKTRA: It is MY oil! Mine! And my family's. It runs in my veins, thicker than blood. I'm going to redraw the map, and when I'm through the whole world will know my name, my grandfather's name, the glory of my people. BOND: No one will believe this melt-down was an accident. ELEKTRA: Hah! They will believe. They will all believe. You understand? Nobody can resist me. You know what happens when a man is strangled? BOND: Elektra, it's not too late. Eight million people need not die. ELEKTRA: You should have killed me when you had the chance. But you couldn't. Not me, not a woman you've loved. BOND: You meant nothing to me. One...last...screw. ELEKTRA: Oh, James. DIALOGUE ON DIALOGUE: It's a formidable choice to select a single femme fatale from the panoply of Bond women, but Elektra King seemed the right choice because she isn't just one of Bond's evil women, she is the antagonist of the story. Elektra is the cold, brutal beauty who seeks to remake the world in her own image, and in the act of trying to kill Bond finds pleasure in his suffering and imminent death. Her ego is as large as any male opponent Bond ever faced. So sure is she of her attractiveness that she challenges Bond after he escapes and corners her, claiming he can't kill her. Of course, this proves to be her undoing. https://www.youtube.com/watch?v=K7p93XsmJ0c

The Dark Knight Rises (2012) Screenplay by Jonathan Nolan and Christopher Nolan; story by Christopher Nolan and David S. Goyer; based on the characters created by Bob Kane. https://www.youtube.com/watch?v=nK056dWK7ts BRUCE: Mind if I cut in? Oh, you don't seem happy to see me. SELINA: You were supposed to be a shut-in. BRUCE: I felt like some fresh air. SELINA: Why didn't you call the police? BRUCE: I have a powerful friend who deals with things like this. Brazen costume for a cat burgler. SELINA: Yeah? Who are you pretending to be? BRUCE: Bruce Wayne, eccentric millionaire. Who's your date? SELINA: His wife's in Ibiza. She left her diamonds behind, though. BRUCE: Hmm. SELINA: Worried they might get stolen. BRUCE: It's pronounced, 'Ibeetha. You wouldn't want any of these folks realizing you're a crook, not a social climber. SELINA: You think I care what anyone in this room thinks of me? BRUCE: I doubt you care what anyone in any room thinks of you. SELINA: Don't condescend, Mr. Wayne, you don't know a thing about me. BRUCE: Well, Selina Kyle, I know you came here from your walk-up in Old Town---modest place for a master jewel thief. Which means that either you're saving for retirement or you're in deep with the wrong people. SELINA: You don't get to judge me just because you were born in the master bedroom of Wayne Manor-- BRUCE: Actually, I was born in the Regency Room SELINA: I started out doing what I had to. Once you've done what you had to they'll never let you do what you want to. BRUCE: Start fresh. SELINA: There's no fresh start in today's world. Any 12-year-old with a cell phone could find out what you did. Everything we do is collated and quantified. Everything sticks. BRUCE: Is that how you justify stealing? SELINA: I take what I need from those who have more than enough. I don't stand on the shoulders of people with less. BRUCE: Robin Hood? SELINA: I think I do more to help someone than most of the people in this room---than you. BRUCE: You think maybe you're assuming a little too much? SELINA: Maybe you're being unrealistic about what's really in your pants other than your wallet. BRUCE: Ouch. SELINA: You think all this can last? There's a storm coming, Mr. Wayne. You and your friends better batten down the hatches, 'cause when it hits, you're all gonna wonder how you ever thought you could live so large and leave so little for the rest of us. BRUCE: You sound like you're looking forward to it. SELINA: I'm adapbable. BRUCE: Those pearls do look better on you than they did in my safe, but I still can't let you keep 'em. DIALOGUE ON DIALOGUE: This scene sets up the complex and ongoing relationship between Bruce and Selina (Batman and Catwoman). They continue to verbally spar throughout the story, with Batman trying to tug Catwoman away from a life of crime, while Catwoman believes her fate is set.

Who Framed Roger Rabbit? (1988) Screenplay by Jeffrey Price and Peter S. Seaman; based on the novel by Gary K. Wolf. https://www.youtube.com/watch?v=XAnNvnViJpo JESSICA: Mr. Valiant? Mr. Valiant? You've got the wrong idea about me, Mr. Valiant. I'm a pawn in this just like Roger. Can you help me find him? Just name your price and I'll pay it. VALIANT: Yeah, I bet you would. You gotta have the rabbit to make the scam work. JESSICA: No, no, no. I love my husband. You've got me all wrong. You don't know how hard it is being a woman looking the way I do. VALIANT: No, ah, you don't know how hard it is being a man looking at a woman looking the way you do. JESSICA: I'm not bad, I'm just drawn that way. VALIANT: Weren't you the one I caught playing pat-a-cake with Old Man Acme? JESSICA: You didn't catch me, Mr. Valiant, you were set up to take those pictures. VALIANT: What are you talking about? JESSICA: Maroon wanted to blackmail Acme. I didn't want to have anything to do with it, but he said if I didn't pose for those pat-a-cake pictures, Roger would never work in this town again. I couldn't let that happen. I'd do anything for my husband, Mr. Valiant. Anything. VALIANT: What a wife. JESSICA: I'm desperate, Mr. Valiant. Can't you see how much I need you? DELORES: (Clears her throat.) Dabbling in water colors, Eddie? (Embarrassed, Eddie pulls up his pants, bumping Jessica's chest. VALIANT: Sorry. JESSICA: Goodbye, Eddie. My offer stands firm. Think about it. DIALOGUE ON DIALOGUE: It wouldn't be a complete picture of the trope without at least one send-up. Jessica Rabbit is the quintessential femme fatale, but she can't help it because she's "drawn that way."

Match Point (2005) Written & Directed by Woody Allen http://youtu.be/Hj9WsioJbJw INT. HEDLEY ESTATE -- DAY Chris enters and approaches a ping pong table. NOLA: So -- who's my next victim? You? CHRIS: I haven't played table tennis in quite a while. NOLA: Would you like to play for a thousand pounds a game? CHRIS: What did I walk into? (They play. Chris smashes the ping pong ball across the table. He smiles.) NOLA: What did I walk into? CHRIS: It's like this. May I? (Chris goes around to Nola's side of the ping pong table.) NOLA: Please. CHRIS: You have to lean in...and hit through the ball. NOLA: I was doing just fine until you showed up. CHRIS: Ah, the story of my life. So tell me... what's a beautiful, young, American ping-pong player doing mingling amongst the British upper class? (Nola lights a cigarette.) NOLA: Did anyone ever tell you, you play a very aggressive game? CHRIS: Did anyone ever tell you, you've very sensual lips? NOLA: Extremely aggressive. CHRIS: I'm naturally competitive. Is it off putting? NOLA: I'll have to think about that for a while. (Tom enters.) TOM: Oh, there you are... I wanted to introduce you to Chris Wilton. Chris Wilton, this is Nola Rice. My fiancee. NOLA: Ah-ha, so you're the tennis pro? (Tom kisses Nola on the cheek.) TOM: Hello, darling. CHRIS: My pleasure. NOLA: He was trying to have his way with me over the table. TOM: Oh, really? Yeah, well, you'd better watch out for this one. He's made quite a living out of hustling. NOLA: I'll be ready for you next time. (Nola turns, kisses Tom.) NOLA: I'll see you outside. TOM: Oh, yeah. (Nola exits.) TOM (sighs): She's quite something, isn't she? Dialogue on dialogue: More of a modern setting for the femme fatale character but ScarJo has it all: the hair (blonde), the allure, white attire, classics neck tilt while lighting a cigarette. Just a short classic setup for the femme fatale introduction.