Faye Dunaway
Birthday:
Birthplace:
Bascom, Florida, USA
As the co-star of the landmark Bonnie and Clyde, actress Faye Dunaway helped usher in a new golden era in American filmmaking, going on to appear in several of the greatest films of the 1970s. Born January 14, 1941, in Bascom, FL, Dunaway was the daughter of an army officer. She studied theater arts at the University of Boston and later joined the Lincoln Center Repertory Company under the direction of Elia Kazan and Robert Whitehead. Between 1962 and 1967, she appeared in a number of prominent stage productions, including A Man for All Seasons and Arthur Miller's After the Fall, playing a character based on Marilyn Monroe. Dunaway's breakthrough performance came in an off-Broadway production of Hogan's Goat, which resulted in a contract with director Otto Preminger. She made her film debut in his 1967 drama Hurry Sundown, but the two frequently clashed, and she refused to appear in his Skidoo; after a legal battle, Dunaway was allowed to buy out the remainder of her contract, and she then starred in The Happening (1967).Still, Dunaway was virtually unknown when she accepted the role of the notorious gangster Bonnie Parker opposite Warren Beatty in Arthur Penn's 1967 crime saga Bonnie and Clyde. The picture was an unqualified success, one of the most influential films of the era, and she had become a star seemingly overnight, earning a Best Actress Oscar nomination for her sexy performance. Dunaway's next major role cast her with Steve McQueen in 1968's The Thomas Crown Affair, another major hit. However, her next several projects -- Amanti, a romance with Marcello Mastroianni, and the Kazan-directed The Arrangement -- stumbled, and although 1970's Little Big Man was a hit, Puzzle of a Downfall Child (directed by her fiancé, Jerry Schatzberg) was a disaster. Quickly, Dunaway was reduced to projects like the little-seen 1971 thriller La Maison Sous Les Arbres and the Western Doc. When they too failed, she retreated from films, first appearing on-stage in Harold Pinter's Old Times and then starring in the made-for-television The Woman I Love.After portraying Blanche du Bois in a Los Angeles stage adaptation of A Streetcar Named Desire, Dunaway returned to the cinema in Stanley Kramer's 1973 drama Oklahoma Crude. Subsequent to her appearance in Richard Lester's The Three Musketeers, she made headlines for her marriage to rocker Peter Wolf and was then cast in Roman Polanski's 1974 noir Chinatown. The performance was her best since Bonnie and Clyde, scoring another Academy Award nomination, and the film itself remains a classic. The success of The Towering Inferno later that same year confirmed that Dunaway's star power had returned in full, and she next co-starred with Robert Redford in the well-received thriller Three Days of the Condor. In 1976, Dunaway starred as an ambitious television executive in Sidney Lumet's scathing black comedy Network, and on her third attempt she finally won an Oscar. A British feature, Voyage of the Damned, and a TV-movie, The Disappearance of Aimee, quickly followed, and in 1978 she starred in the much-maligned thriller The Eyes of Laura Mars.After 1979's The Champ, Dunaway starred with Frank Sinatra in The First Deadly Sin. An over-the-top turn as Joan Crawford in the tell-all biopic Mommie Dearest followed in 1981, as did another biography, the TV feature Evita Peron. Her career was again slumping, a fate which neither the Broadway production of The Curse of an Aching Heart nor another telefilm, 1982's The Country Girl, helped to remedy. After 1984's Supergirl, Dunaway spent much of the decade on the small screen, appearing in a pair of miniseries -- Ellis Island and Christopher Columbus -- and in 1986 appearing as the titular Beverly Hills Madam. The 1987 feature Barfly found a cult audience, but almost without exception, Dunaway's subsequent films went unnoticed; even the 1990 Chinatown sequel The Two Jakes was a failure. In 1993, she starred in a short-lived sitcom, It Had to Be You, and conti
Photos
Highest Rated Movies
Filmography
MOVIES
RATING | TITLE | CREDIT | BOX OFFICE | YEAR |
---|---|---|---|---|
No Score Yet | Becoming Iconic |
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— | 2018 |
31% | Inconceivable |
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— | 2017 |
59% | The Case for Christ |
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$14.7M | 2017 |
19% | The Bye Bye Man |
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$22.4M | 2017 |
No Score Yet | A Family Thanksgiving |
|
— | 2010 |
No Score Yet | Raspberry Ripple |
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— | 2010 |
No Score Yet | 21 and a Wake-Up |
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— | 2009 |
No Score Yet | Say It in Russian |
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— | 2009 |
No Score Yet | Midnight Bayou |
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— | 2009 |
No Score Yet | You Must Remember This: The Warner Bros. Story |
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— | 2008 |
No Score Yet | The Gene Generation |
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— | 2007 |
No Score Yet | Pandemic |
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— | 2007 |
No Score Yet | The Seduction of Dr. Fugazzi |
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— | 2007 |
No Score Yet | Cougar Club |
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— | 2007 |
No Score Yet | Rain |
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— | 2007 |
No Score Yet | Ghosts Never Sleep |
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— | 2006 |
No Score Yet | Rain |
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— | 2006 |
No Score Yet | Cut Off |
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— | 2006 |
No Score Yet | The People Next Door |
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— | 2006 |
No Score Yet | Back When We Were Grownups |
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— | 2004 |
No Score Yet | Anonymous Rex |
|
— | 2004 |
No Score Yet | Last Goodbye |
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— | 2004 |
No Score Yet | Love Hollywood Style |
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— | 2004 |
No Score Yet | Chronicle of the Raven |
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— | 2004 |
No Score Yet | El Padrino |
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— | 2004 |
No Score Yet | Blind Horizon |
|
— | 2003 |
No Score Yet | Man of Faith |
|
— | 2002 |
43% | The Rules of Attraction |
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$6.5M | 2002 |
No Score Yet | Changing Hearts |
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— | 2002 |
65% | Festival in Cannes |
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$41.5k | 2002 |
64% | The Yards |
|
— | 2000 |
14% | Running Mates |
|
— | 2000 |
No Score Yet | Stanley's Gig |
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— | 2000 |
31% | The Messenger: The Story of Joan of Arc |
|
— | 1999 |
70% | The Thomas Crown Affair |
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— | 1999 |
No Score Yet | A Will of Their Own |
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— | 1998 |
92% | Gia |
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— | 1998 |
No Score Yet | Double Edge |
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— | 1997 |
No Score Yet | Rebecca |
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— | 1997 |
43% | The Twilight of the Golds |
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— | 1997 |
No Score Yet | En Brazos De La Mujer Madura (In Praise of Older Women) |
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— | 1997 |
12% | The Chamber |
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— | 1996 |
50% | Albino Alligator |
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— | 1996 |
12% | Dunston Checks In |
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— | 1996 |
57% | Drunks |
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— | 1995 |
19% | Even Cowgirls Get the Blues |
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— | 1994 |
29% | The Temp |
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— | 1993 |
87% | Arizona Dream |
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— | 1993 |
No Score Yet | Double Edge |
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— | 1992 |
No Score Yet | Silhouette |
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— | 1991 |
No Score Yet | Scorchers |
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— | 1991 |
32% | The Handmaid's Tale |
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— | 1990 |
65% | The Two Jakes |
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— | 1990 |
No Score Yet | Wait Until Spring, Bandini |
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— | 1990 |
No Score Yet | Cold Sassy Tree |
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— | 1989 |
No Score Yet | In una notte di chiaro di luna (As Long as It's Love) (On a Moonlit Night) |
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— | 1989 |
No Score Yet | La Partita (The Gamble) |
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— | 1988 |
No Score Yet | Burning Secret |
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— | 1988 |
40% | Midnight Crossing |
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— | 1988 |
77% | Barfly |
|
— | 1987 |
No Score Yet | Casanova |
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— | 1987 |
No Score Yet | Beverly Hills Madam, (Ladies of the Night) |
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— | 1986 |
No Score Yet | Agatha Christie's 'Thirteen at Dinner' |
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— | 1985 |
No Score Yet | Ordeal by Innocence |
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— | 1985 |
9% | Supergirl |
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— | 1984 |
57% | Terror in the Aisles |
|
— | 1984 |
No Score Yet | The Wicked Lady |
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— | 1983 |
No Score Yet | The Country Girl |
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— | 1982 |
48% | Mommie Dearest |
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— | 1981 |
63% | The First Deadly Sin |
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— | 1980 |
36% | The Champ |
|
— | 1979 |
No Score Yet | Arthur Miller on Home Ground |
|
— | 1979 |
50% | Eyes of Laura Mars |
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— | 1978 |
83% | Voyage of the Damned |
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— | 1976 |
91% | Network |
|
— | 1976 |
No Score Yet | The Disappearance of Aimee |
|
— | 1976 |
87% | Three Days of the Condor |
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— | 1975 |
76% | The Four Musketeers |
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— | 1975 |
69% | The Towering Inferno |
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— | 1974 |
99% | Chinatown |
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— | 1974 |
86% | The Three Musketeers |
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— | 1973 |
No Score Yet | Oklahoma Crude |
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— | 1973 |
No Score Yet | Hogan's Goat |
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— | 1971 |
40% | Doc Holliday |
|
— | 1971 |
No Score Yet | La maison sous les arbres (The Deadly Trap) |
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— | 1971 |
No Score Yet | Puzzle of a Downfall Child |
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— | 1970 |
96% | Little Big Man |
|
— | 1970 |
8% | The Arrangement |
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— | 1969 |
17% | A Place for Lovers |
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— | 1968 |
72% | The Thomas Crown Affair |
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— | 1968 |
88% | Bonnie and Clyde |
|
— | 1967 |
No Score Yet | The Happening |
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— | 1967 |
22% | Hurry Sundown |
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— | 1967 |
No Score Yet | Stanley's Gig |
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— |
TV
RATING | TITLE | CREDIT | YEAR |
---|---|---|---|
84% |
Grey's Anatomy
2005
|
|
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No Score Yet |
CSI: Crime Scene Investigation
2000-2015
|
|
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85% |
Alias
2001-2006
|
|
|
No Score Yet |
Soul Food
2000-2004
|
|
|
No Score Yet |
Touched by an Angel
1994-2003
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No Score Yet |
Masterpiece
1971-2014
|
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No Score Yet |
Columbo
1968-2003
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Quotes from Faye Dunaway's Characters
Kate Elder: | I looked everywhere. I tried every saloon in town. |
Joan Crawford: | Why can't you give me the respect that I'm entitled to? Why can't treat me, like I would be treated by any stranger on the street?! |
Joan Crawford: | Why can't you give me the respect that I'm entitled to? Why can't you treat me like I would be treated by any stranger on the street? |
Christina Crawford (adult): | Because I am not, one of your fans! |
Christina Crawford (adult): | Because I am not one of your fans! |
Joan Crawford: | Don't fuck with me fellas! |
Joan Crawford: | Yes what? |
Christina Crawford (child): | Yes......mommie dearest. |
Joan Crawford: | You drove Al Steele to his grave and now you're trying to stab me in the back? Forget it! I fought worse monsters than you for years in Hollywood. I know how to win the hard way! Don't fuck with me, fellas! This ain't my first time at the rodeo. |
Aunt Lee: | Pretty good for poor white trash. How well I'll be accepted after everybody finds out I'm Hitler's daughter is another thing. |
Aunt Lee: | Pretty good for poor white trash. How hell I'll be accepted after everybody finds out I'm Hitler's daughter is another thing. |
Aunt Lee: | We come from a long line of hate. |
Diana Christensen: | Howard Beale is processed instant God, and right now, it looks like he may just go over bigger than Mary Tyler Moore. |
Frank Hackett: | Where's that put us, Diana? |
Diana Christensen: | That puts us in the shithouse. That's where that puts us. |
Diana Christensen: | Let's stop kidding ourselves. Full-fledged messiahs don't come in bunches. |
Frank Hackett: | Mr. Jensen is unhappy with Howard Beale and wants him discontinued. |
Diana Christensen: | He may be unhappy, but he isn't stupid enough to withdraw the number one show on television out of pique. |
Frank Hackett: | Two billion dollars is not pique! That's the Wrath of God! And the Wrath of God wants Howard Beale fired. |
Diana Christensen: | Son of a bitch. We've struck the mother lode. |
Frank Hackett: | Well, the issue is: Shall we kill Howard Beale, or not? I'd like to get some more opinions on that. |
Diana Christensen: | I don't see we have any options, Frank. Let's kill the son-of-a-bitch. |
Diana Christensen: | I'm sorry for all those things I said to you last night. You're not the worst fuck I ever had. Believe me, I've had worse. You don't puff or snorkel and make death-like rattles. As a matter of fact, you're rather serene in the sack. |
Max Schumacher: | Why is it that a woman always thinks that the most savage thing she can say to a man is to impugn his cocksmanship. |
Diana Christensen: | I'm sorry I impugned your cocksmanship. |
Max Schumacher: | I gave up comparing genitals back in the schoolyard. |
Diana Christensen: | What's really bugging me now is my daytime programming. NBC's got a lock on daytime - lousy game shows - and I'd like to bust them. I'm thinking of doing a homosexual soap opera, "The Dykes": The heart-rending saga about a woman hopelessly in love with her husband's mistress. |
Diana Christensen: | The time has come to reevaluate our friendship, Max. |
Max Schumacher: | So I see. |
Diana Christensen: | I don't lime the way this script of ours has turned out. It's turning into a seedy little drama. |
Max Schumacher: | You're going to cancel the show? |
Diana Christensen: | Right. |
Diana Christensen: | I'm interested in doing a weekly dramatic series based on the Ecumenical Liberation Army. The way I see the series is: Each week we open with an authentic act of political terrorism taken on the spot, in the actual moment. Then we go to the drama behind the opening film footage. That's your job, Ms. Hobbs. You've got to get the Ecumenicals to bring in that film footage for us. The network can't deal with them directly; they are, after all, wanted criminals. |
Diana Christensen: | Hi. I'm Diana Christensen, a racist lackey of the imperialist ruling circles. |
Laureen Hobbs: | I'm Laureen Hobbs, a badass commie nigger. |
Diana Christensen: | Sounds like the basis of a firm friendship. |
Diana Christensen: | Well Max, here we are: Middle-aged man reaffirming his middle-aged manhood, and a terrified young woman with a father complex. What sort of script do you think we can make out of this? |
Diana Christensen: | I watched your 6 o'clock news today; it's straight tabloid. You had a minute and a half of that lady riding a bike naked in Central Park; on the other hand, you had less than a minute of hard national and international news. It was all sex, scandal, brutal crime, sports, children with incurable diseases, and lost puppies. So, I don't think I'll listen to any protestations of high standards of journalism when you're right down on the streets soliciting audiences like the rest of us. Look, all I'm saying is if you're going to hustle, at least do it right. |
Diana Christensen: | I was married for four years, and pretended to be happy; and I had six years of analysis, and pretended to be sane. My husband ran off with his boyfriend, and I had an affair with my analyst, who told me I was the worst lay he'd ever had. I can't tell you how many men have told me what a lousy lay I am. I apparently have a masculine temperament. I arouse quickly, consummate prematurely, and can't wait to get my clothes back on and get out of that bedroom. I seem to be inept at everything except my work. I'm goddamn good at my work and so I confine myself to that. All I want out of life is a 30 share and a 20 rating. |
Evelyn Mulwray: | I don't get tough with anyone ... my lawyer does. |
Vicky Anderson: | All right, Eddie, I'm immoral. So is the world. I'm here for the money, okay? |
Joan Crawford: | No wire hangers, ever! |
Christina Crawford: | There's a liquor store to the right. |
Joan Crawford: | I should have known you'd know where to find the boys AND the booze. |
Joan Crawford: | I should have known you'd know where to find the boys and the booze. |
Bonnie Parker: | [Bonnie to Buck and Blanche] Why don't y'all go back to your *own* cabin, if you want to play with C.W. |
Bonnie Parker: | [reading her poem] You've heard the story of Jesse James / Of how he lived and died / If you're still in need / Of something to read / Here's the story of Bonnie and Clyde. / Now Bonnie and Clyde are the Barrow gang / I'm sure you all have read / How they rob and steal / And those who squeal / Are usually found dyin' or dead. / They call them cold-hearted killers / They say they are heartless and mean / But I say this with pride / That I once knew Clyde / When he was honest and upright and clean. / But the laws fooled around / Kept takin' him down / And lockin' him up in a cell / Till he said to me: "I'll never be free / So I'll meet a few of them in Hell." / If a policeman is killed in Dallas / And they have no clue to guide / If they can't find a fiend / They just wipe their slate clean / And hang it on Bonnie and Clyde / If they try to act like citizens / And rent them a nice little flat / About the third night / They're invited to fight / By a sub-guns' rat-a-tat-tat. / Some day, they'll go down together / They'll bury them side by side / To a few, it'll be grief / To the law, a relief / But it's death for Bonnie and Clyde. |
C.W. Moss: | I spent a year... I spent *A YEAR* in reformatory! |
Bonnie Parker: | Whooee! A man with a record! |
Selena: | "What good is a sword if it's not unleashed?" |
Selena: | What good is a sword if it's not unleashed? |
Joan Crawford: | NO WIRE-HANGERS! EVER! |
Joan Crawford: | Christina, bring me the ax! |
Joan Crawford: | Tear down that BITCH of a bearing wall and put a window where it OUGHT to be |
Joan Crawford: | Tear down that BITCH of a bearing wall and put a window where it OUGHT to be. |
Evelyn Mulwray: | She's my sister AND my daughter! |
Evelyn Mulwray: | ' You wont go to the police if i tell you?' |
Evelyn Mulwray: | You won't go to the police if I tell you? |
J.J. Gittes: | ' I will ,if you dont' |
J.J. Gittes: | I will, if you don't. |
Joan Crawford: | You love it don't you? YOU LOVE TO MAKE ME HIT YOU! |
Evelyn Mulwray: | She's my sister and my daughter! |
J.J. Gittes: | where were you when your husband died. you were seeing someone to... for very long |
J.J. Gittes: | Where were you when your husband died. you were seeing someone to... for very long. |
Evelyn Mulwray: | i don't see anyone for very long mr. Gittes it's difficult me |
Evelyn Mulwray: | I don't see anyone for very long mr. Gittes it's difficult me. |
Evelyn Mulwray: | She's my sister! She's my daughter! |
Joan Crawford: | No! Wire! Hangers! EVER! |