(Peter: i’m completely lost) I know, peter. I’m lost. I’m gonna be stuck in the basement, aren’t i? and that’s my… terrible, and alone, and dark, and i’ve lied. about who i am, and where i am, and now no one will ever find me. (peter: what do you mean, lied about who you are?) i always thought it would be better to be a fake somebody than a real nobody. (peter: you’re not a nobody, that’s the last thing you are.)Peter, tell me some good things about tom ripley, no, don’t get up, don’t get up. just, tell me some nice things about tom ripley. (Peter: hm… good things about tom ripley. this could take me some time. tom is talented, tom is tender. tom is beautiful.) you’re such a liar. (Peter: tom is, tom is a mystery. tom is not a nobody. tom has secrets, and doesn’t want to tell me, and i wish he would. tom has nightmares, and that’s not a good thing. tom has someone to love him, and that is a good thing. mmm, tom is crushing me. tom is crushing me. tom, tom, you’re crushing…!)
1) Do you ski? Don’t tell me – you’re a lost cause! That’s the next thing to deal with. We’re planning to go to Cortina at Christmas. Excellent skiing. Excellent. Marge – Tom can’t ski. We’ll have to teach him that, too. Have you ever known such low class? 2)Poor Tom. Good thing we’re not getting married. We might have to invite him on our honeymoon.
1) Now you know why Miss Sherwood always shows up for breakfast. It’s not love it’s the coffee machine. 2)It’s the one task Dickie can do on his own – make coffee. 1)Shut up. 2)Oh darling – is that for me?
1) No it’s for Tom as he didn’t complain. 3) That ring is superb. 2)Tom, I love you! See! I bought it for him, for his birthday. I had to bargin for it for about a week, but I finally got it. 1)I had to promise, capital P, never to take it off – otherwise I’d give it to you.
1) This is the best. Marge says she likesjazz, but she things Glenn Miller is jazz. 2) I never said that! 3)Bird. That’s jazz. 1)Bird! 3)I don’t know. What’s the name of your sailboat? 1)Bird! 2)Which is ridiculous. Boats are female, everyone knows you can’t call a boat after a man. 3)He’s not a man, he’s a god. 1)Okay! We’re going to Naples. There’s a club, it’s not a club, it’s a cellar. 2)It’s vile. 1)Yes, it’s vile. Don’t worry, you don’t have to come.It’s great. You’re going to love it.
1)Ask me what I want to change about this moment. 2)What do you want to change about this moment? 1)Nothing.
1)Can we go up? Do you mind? 2)Of course. What happened to your face?
1)My scooter. I fell off. Getting chased by photographers. The telephone, the press, I’ve been, I’m feeling hounded – do you think you could not give out my address? 2)Never. We’ve had many requests and, of course, we say no – even to your fiancÈe. 1)I really don’t want to see anybody. 2)Even your fiancÈe…? 1)Even her.
1)Can you imagine, if Dickie did kill Freddie, what must that be like? To wake up every morning, how can you? Just wake up and be a person, drink a coffee…? 2)Whatever you do, however terrible, however hurtful – it all makes sense, doesn’t it? inside your head. You never meet anybody who thinks they’re a bad person or that they’re cruel. 1)But you’re still tormented, you must be, you’ve killed somebody… 2)Don’t you put the past in a room, in the cellar, and lock the door and just never go in there? Because that’s what I do. 1)Probably. In my case it’s probably a whole building. 2)Then you meet someone special and all you want to do is toss them the key, say open up, step inside, but you can’t because it’s dark and there are demons and if anybody saw how ugly it was…
1)Could you ever conceive of going to Italy, Tom, persuade my son to come home? 2)I’d pay you. A thousand dollars. 2)I’ve always wanted to go to Europe, sir, but… 1)Good. Now you can go for a reason.
1)Dickie Greenleaf? 2)Who’s this? 1)It’s Tom. Tom Ripley. We were at Princeton together. 2)Okay. And did we know each other? 1)Well, I knew you, so I suppose you must have known me. 2)Princeton is like a fog, America’s like a fog. This is Marge Sherwood. Tom – sorry, what was it? 1)Ripley. Hello. How do you do. 3)How do you do. 2)What are you doing in Mongi? 1)Nothing. Nothing much. Passing through. 2)Passing through! You’re so white. Did you ever see a guy so white, Marge? Gray, actually. 1)It’s just an undercoat. 2)Say again? 1)You know, a primer. 2)That’s funny.
1)Dickie, you can’t even drive a car! 2)You can’t even drive! 1)No, what we need urgently is an icebox. Whatdo you think, Tom? Agree with me and I’ll be your friend for life. 2)I absolutely agree with Marge.
1)Did he kill Freddie? 2)Marge, when did you get here? 1)Tell me the truth. Did he kill Freddie? 2)I’d swear he didn’t. Of course he didn’t. 1)I tried again, waiting here, watching for him. Instead it’s you. Whenever I look for Dickie I find you. What happened to your face? 2)Dickie did it. 1)Dickie? 2)My face! There was an argument. I said some things I shouldn’t have. About you. About the appalling way he’s treating you, all of us. And the next thing I know he’s launched himself at me. Are you getting on? 1)What? 2)Get on. I’ll take you to him.
1)Did I know you at Princeton, Tom? I didn’t, did I? 2)Why are you asking all of a sudden? 1)No reason. Because you’re leaving, I guess. I don’t think you were there, were you? 2)Why? 1)I mean it as a compliment. You’ve got such great taste, I don’t know. Most of the thugs at Princeton had tasted everything and had no taste. Used to say, the cream of America: rich and thick. Freddie’s the perfect example. 2)Then I’ll take it as a compliment. 1)I knew it! I had a bet with Marge! 2)Ha. 1)Do you even like jazz – or was that just for my benefit? 2)I’ve gotten to like it. I’ve gotten to like everything about the way you live. It’s one big love affair. If you knew my life back home in New York… 1)I’m thinking of giving up the sax, what do you think about drums? 2)What? 1)So cool.
1)Do you have any brothers? 2)No. No brothers, no sisters. 1)Me neither. Nor does Marge. All only children – what does that mean? 2)It means we never shared a bath. I’m cold. Can I get in? 1)No. 2)I didn’t mean with you in it. 1)Okay, you get in. I’m like a prune anyway.
1)Don’t worry. Really. Don’t worry. 2)You’re such a pal to understand. It’s as if Marge is here now – I look at you and I see her face – and I can’t, whatever I’m feeling towards you – I just can’t… 1)No, I absolutely understand. Of course. 2)Otherwise you’d be fighting me off. 1)Beating you away.
1)Errand number one – deliver Marge’s perfume. Errand number two, pack some clothes and his precious saxophone. 2)How long’s he staying for? 1)Search me. I guess we’re abandoned.
1)Everybody should have one talent. What’s yours? 2)Forging signatures. Telling lies.Impersonating practically anybody.
1)Freddie, do you have something to say? 2)What? I think I’m saying it. Something’s going on. He’s either converted to Christianity – or to something else. 1)I suggest you ask Dickie that yourself. Otello’s is on delle Croce, just off the Corso. 2)Is it on ‘delle Croce, just off the Corso’? You’re a quick study, aren’t you? Last time you didn’t know your ass from your elbow, now you’re giving me directions. That’s not fair, you probably do know your ass from your elbow. I’ll see you.
1)Golly. Who’s paying for this? 2)Peter found it for me. I can afford it because it’s damp and, and falling down.
1)Hello Peter, so good to see you. 2)Hello Marge! 1)Tom. So you found Peter… 3)I think we sort of found each other.
1)I can’t write and I can’t spell. That’s the privilege of a first-class education. You’re upstairs at the back. I think Ermelinda made the bed up. Ermelinda? 2)Si. 1)Gratzie 3)This is so good of you. 1)Don’t say it again. Now you’re a Double Agent and we’re going to string my Dad along, I was thinking we might buy a little car with the expense money he’s sending you. What do you think, Marge…a little Cinquecento with my Dad’s money?
1)I could probably see my bedroom from here. I can see my house. When you see where you live from a distance it’s like a dream, isn’t it? 2)I don’t care for B.S. I don’t care to hear it. I don’t care to speak it. 1)Okay. 2)Why do you think Dickie’s father sent him to Europe in the first place? Did you know at Princeton Dickie Greenleaf half- killed a boy? At a party. Over some girl. He kicked the kid several times in the head. Put him in the hospital. The boy had a wire fixed in his jaw. The Rome Police didn’t think to ask Mr Greenleaf. Nor did they think to check whether a Thomas Ripley had ever been a student at
Princeton University. I turned up a Tom Ripley who’d been a piano tuner in the music department. See – in America we’re taught to check a fact before it becomes a fact. We’re taught to nose around when a girl drowns herself, find out if that girl was pregnant, find out if Dickie had an embarrassment there. Mr Greenleaf appreciates your loyalty. He really does. Marge, she’s got a hundred theories, but there are a few things she doesn’t know. We hope she never knows. 1)I hope she never knows. 2)Three different people saw Dickie get into Freddie Miles’ car. A man who won’t identify himself because he was jumping someone else’s wife at the time sawDickie removing license plates from a red sports car. The Police know about this man because he happens to be a Policeman. I found these in the basement of Dickie’s apartment. They belonged to Freddie’s them in the canal this evening. Mr Greenleaf also feels there was a silent promise in Dickie’s letter to you which he intends to honor. He intends to transfer a good part of Dickie’s income from his trust into your name. He doesn’t intend to give the Italian police any information about Dickie’s past. He’s rather hoping you’ll feel the same.
1)I feel guilty. I feel like I pushed him away. I spoke and he heard you. 2)Well, if we all pushed him away what about him pushing us away? You’ve been a great friend to my son. Everything is someone else’s fault. We all want to sow wild oars. Somebody’s got to – what’s the word? The moment someone confronts him he lashes out. He lashes out. You know, people always say you can’t choose your parents, but you can’t choose your children.
1)I feel I never should have said those things to you the other evening. I was pretty flustered, the rings and – and you looked so, I don’t know. But I hope that note goes to New York in your purse, for a rainy day. 2)What are you going to do now, Tom? 1) I don’t know. Peter has a concert in Athens next month – and he’s asked if I want to go along, help out. He says goodbye by the way – he’s in rehearsal, otherwise – 2)Why do I think there’s never been a Ripley rainy day? 1)What? 2)I know it was you – I know it was you, Tom. I know it was you. I know you killed Dickie. I know it was you.
1)I know you’re a jazz fiend but do you absolutely hate the Opera? I’ve been trying to give my tickets away, it’s tomorrow, but if you were prepared to be dragged… 2)You could drag me.
1)I know. I write like a child. 2)Pretty vile. See this: The S and the T,do you see? – fine, vulnerable – that’s pain, that’s secret pain. 1)It must be a deep secret, cause I don’t know about it. 2)Your handwriting – nothing more naked. See – nothing’s quite touching the line – that’s vanity. 1)Well we certainly know that’s true.
1)I lied. To her. She thought she’d seen you. 2)Why lie? 1)Dickie and Peter, that’s just too good gossip, isn’t it? 2) Or Tom and Peter even. 1)Well that would be even better gossip.
1)I’m sorry. I was asleep. I must have fallen asleep. 2)You look ghastly, Tom. Are you okay? 3)Did Dickie’s Dad go? 1)He’s having an early night. 3)Poor man. We were knocking on that door for ever. I think I’ve broken my strap. 2)Not guilty. 1)I’ll fix some drinks.
1)Is Freddie in Rome? 2)Now? I don’t think so. But I’ve met him, of course, and we’ve chatted and I know about you and Marge and Mongi and what an unreliable rat you are. Freddie said you were a rat and I thought to myself now I know why he travels under R. 1)I’ve left Marge, Meredith. And Mongi. So the rat’s here now, in Rome. 2)Sorry, I wouldn’t have made a joke if – 1) Don’t be sorry. I’ve never been happier. I feel like I’ve been handed a new life.
1)It’s a terrible shock, eh? What time did Signor Miles leave yesterday? 2)I can’t be absolutely sure – 8? 9? We’d both taken on far too many drinks – but it was dark, it was certainly dark when I walked him down to his car. 1)So Signor Miles drove away and you did what? 2)I went to bed. Freddie’s a big man, but I’m in trouble after a couple of drinks. I’ve suffered all day. Who found him? 1)Senta. We have to ask you to stay in Rome. 2)Yes, if it’s going to help, certainly.
1)Look there’s Meredith thingy – who’s that, Marge? – they’re in textiles… Meredith – God, how awful, I’ve spent Christmas in her house…! 2)I don’t know her. He hasn’t called, he’s hardly written, just these cryptic notes. You don’t just dump people.
1)Look, Tom, we’ve got to go to a club and meet some friends of Freddie’s. The best thing is – if you want to be a tourist – grab a cab and we can meet up at the railway station. 2)What club? 1)Freddie’s arranged it with some of the skiing crowd. Come if you want but I thought you wanted to see the Forum…? 2)I did. And then maybe get the jacket and what have you… 3)Dick – you’ve got to hear this! 1)Listen, just take one of mine when we get back. Don’t worry about it. I did the Forum with Marge and, frankly, once is enough in anyone’s life.
1)Marge, you should have waited, didn’t Peter tell you I’d come by and pick you up? 2)Marge has been telling us about the rings. 1)You know I feel ridiculous I didn’t mention them yesterday – I clean forgot – ridiculous. 2)Perhaps you didn’t mention them because there’s only one conclusion to be drawn.
1)Most enjoyable. Herbert Greenleaf. 2)Tom Ripley. Thank you, sir. 1) I see you were at Princeton. Then you’ll most likely know our son, Dick. Dickie Greenleaf… 3)We couldn’t help noticing your jacket. 1)Yes. 3)Class of ’56? 2)How is Dickie?
1)No, Marge doesn’t know the half of it. 2)I think it might hurt her to know. 1)And his passport photo? Did you hear? To scratch out your own face like that – can you imagine – the frame of mind you’d have to be in?
1)Peter, I’m really sorry to put you through this. I just couldn’t face going to the police by myself when my Italian’s so rotten. 2)Don’t be daft. It’s fine. I’m delighted you finally made it to Venice. I’m delighted, contrary to rumour, you’re still in one piece? 1)What rumour? 2) That Dickie murdered you and is travelling under your passport. I know, ridiculous.
1)Peter? Hello, it’s Meredith Logue. 2)Of course it is, Meredith, hello, I’m sorry, half-asleep, how are you? This is Marge Sherwood. Meredith Logue. 3)Hello. 2)Join us, won’t you? We’re just waiting for a friend. Do you know, I wonder did we see you at the Opera last night? 1)I won’t actually, although I think thismight – are you waiting for Dickie? 2)Well no, as it happens, although… 3)Dickie? Do you know Dickie? 1)You were at the Opera? Well, that explains – yes I was there. I was there with Dickie. 3)I told you! I knew it! 1)Marge, I don’t know you, so I have no right, but Dickie loves you. He’s – I think you’ll find he’s coming home to you. 3)How would you know that? 1)He told me everything. I was supposed to meet him fifteen minutes ago, so I…I’m going to go now, I think. Unless he meant us to meet – which would be a little cruel, wouldn’t it? 2)No, we’re meeting another friend. Tom Ripley. 3)Do you know Tom? 1)Ripley? No. I heard about him, of course, but no, I didn’t meet him.
1)She was pregnant. Did you know that? Do you know what that means in a place like this? 2)I’m prepared to take the blame. 1)What are you talking about? 2)You’ve been so good to me. You’re the brother I never had. I’m the brother you never had. 1)She came to me for help, she needed money, and I didn’t help her. I didn’t help her. Now she’s dead and it’s my fault. 2)I’m not going to say anything – to Marge, or anybody, the police – It’s a secret between us and I’ll keep it.
1)So – are you travelling under R? 2)You know what – I am.
1)Sorry, sorry, sorry. I know, I’m late, I’m a swine. 2)Did you forget where I live? It’s four o’clock. 1)I just woke up. I’m sorry. 2)You just woke up! 1)Fausto and I – we took the boat out, wewere fishing, and then it was dawn and we’d caught absolutely nothing. 2)Well, we ate everything without you. 1)We?
1)Sorry, sorry. Had to renew my papers. Italian bureaucracy – never one stamp when they can make you line up for three. Have you been waiting long? 2)Not at all. Morning Tom. 1)Hi. Sorry. You okay? You look as if you’ve seen a ghost… 3)Dickie was at the Opera last night. 1)I don’t believe it. Wild horses wouldn’tdrag Dickie to – 3)He was there with someone. So I suppose she must have dragged him – that’s not fair. I’m going back to Mongi. I think Dickie’s coming home. I’m going to go home. 1)Really? That’s swell. No, I was just -you’re way ahead of me! Great! 2)We think he’s had a change of heart.So we should be celebrating. 3)I hope so. 2)That was moving, wasn’t it? When Meredith said – Meredith’s the American girl I saw night, I know her, at the Opera, she’s been seeing something of Dickie – 1)My God. 2)But the point is Dickie – well we know this – Dickie loves Marge and he misses her and apparently he’s come to his senses… 1)It’s fantastic. I feel guilty. Marge doesn’t understand this, but anytime Dickie does something I feel guilty.
1)Thanks so much for inviting me tonight. 2)Can you bear it? We hear you’re a friend of Freddie’s – he has I hate Opera tattooed on his chest. 2)There’s room for a whole libretto on Freddie’s chest.
1)That is Miss Sherwood now. Marge Sherwood. 2)Let her in, what’s the difference? Let her in. No, actually, no, I’d like it very much if you would ask her to come back later. Thank you. 1)May I ask…why would you speak to your friend and not your fiancÈe? 2)I think I just said. Ripley was handling some business for me, nor does Mr Ripley want to marry me. Nor did he ask me every day if I would marry him. And when. 1)Do you have a photograph of Signor Ripley? 2)I’m not in the habit of carrying around photographs of my male friends. 1)Now I think I have upset you. My English perhaps is coarse. 2)It is a little coarse, yes. 1)Sorry. No-one has seen Signor Ripley since San – 2)I have! 1)You have, yes. 2)No, I have and so has Miss Sherwood, ask her! and if I could remember which hotel he was staying at – the Goldoni! – Tom was staying at the Goldoni. 1)Good. The Goldoni. Yes – you’re right. A coincidence. I look forward to our next meeting when I will be more careful with my English and persuade you to play me your saxophone. Alto. 2)Absolutely. 1)I have a witness who thinks they saw two men getting into Mr Miles’ car. She wants to identify you in a – confronto – line-up. Tomorrow then? 2)Tomorrow.
1)The funny thing – I’m not pretending to be somebody else and you are. I’m absolutely honest with you. I’ve told you my feelings. But you, first of all I know there’s something – that evening when we played chess, for instance, it was obvious – 2)What evening? 1)Sure – I know, that’s too dangerous for you, fair enough, Marge, fucking her on the boat while we all have to listen, which was excruciating, frankly, plus you follow your cock around like a – and now you’re getting married! I’m bewildered, forgive me…you’re lying to Marge then getting married to her, you’re knocking up Silvana, you’ve got to play sax, you’ve got to play drums, which is it, Dickie, what do you really play? 2)Who are you – some imposter, some third class mooch – who are you to tell me anything? Actually, I really really really don’t want to be on this boat with you, I can’t move without you moving, which is exactly how it feels and it gives me the creeps.
1)The thing with Dickie – it’s like the sun shines on you and it’s glorious, then he forgets you and it’s very very cold. 2)So I’m learning. 1)He’s not even aware of it. When you’ve got his attention you feel like you’re the only person in the world. That’s why everybody loves him. Other times…
1)The truth is if you’ve had money your entire life, even if you despise it, which we do – agreed? – you’re only truly comfortable around other people who have it and despise it. 2)I know. 1)I’ve never admitted that to anyone.
1)There was a letter from Dickie in with my perfume. You realize it’s more than a few days? He’s thinking of moving to Rome. The thing is, the night before he left, we talked about moving, together, going North – and I suppose I put some pressure on him, about getting married, I just might have scared him off. There’s a side to him, when our heads are on the pillow, I know no-one else sees it, which is
really tender. I think I should come with you to Rome and just confront him. He hates being confronted. 2)I think you’re right.
1)This is spectacular. 2)That’s why Tom wanted you to stay. It’s better than squeezing into my room, and I know how you hate hotels. 1)A hotel would’ve been fine.We’ll have to tell Mr Greenleaf how far his dollar has stretched. 2)What’s funny? 1)No, nothing. I’m just thinking about when Tom arrived in Mongi. And now look at you.
1)Welcome to Venice. This place reeks, doesn’t it? Can you smell it? Ugh. Sorry. Not the best way to spend your first day. 2)It’s okay. 1)Anyway I’ve got to the bottom of the delay. Finally. We’re waiting for someone from Rome. 2)What do you mean? They’re sending someone from Rome? 1)That’s good, isn’t it? 2)No, but I thought that didn’t happen in Italy, that each region was completely separate! I was sure that was the – 1)You’ve seen the papers, you know what a big deal it’s been here. American tourist murdered – 2)It’s ridiculous but now you’ve mentioned the stench I can hardly breathe.
1)What about Venice? Can we stick to that plan at least? 2) I don’t think so, Tom. You can’t stay on here without money. It’s time we all
moved on. Besides I’m sick of Mongi. Especially now with everything – I really want to move to the North. I need to check out San Remo next week, find somewhere new to keep the boat. But it would be great, though, if you came with me. Our last trip before you leave. There’s a jazz festival – we could say goodbye in style. What do you think? A last trip?
1)What are you doing? 2)Marge-maintenance
1)What’s the fight about? That’s her fiancÈ, isn’t it? Are they blaming him? 2)I don’t know! Why are you asking me? How can it take an hour to find an ambulance? 3)Well, she was already dead, darling,wasn’t she, so I suppose – 2)I don’t know why people say this country’s civilized. It isn’t. It’s fucking primitive.
1)What’s your secret? 2)Excuse me? 1)No, it’s just – you are American, aren’t you? – no, I just, I have so much luggage, and you’re so, uh, streamlined. It’s humiliating. I’m Meredith, by the way. Meredith Randall. 2)Dickie, Dickie Greenleaf. Hello. 1)Hello.
1)Where do we find a carozza for the Forum, or can we hire any of them – ? 2)Relax. 1)It’s just there’s so much to do in a single day. 2)Relax. The most important question is where to eat. I hope Freddie made a reservation. 1)Freddie? 2) Freddie Miles. You know – he’s organizing the Cortina skiing trip
1)Where does Dickie live? 2)We passed it a few blocks back, where the
police were. The Palazzo Gioia. They don’t even know I’m in Rome and I’m not going to incriminate Dickie – 1)Perhaps I shouldn’t go either.
2)No, well go if you want to, but don’t talk to the Police about my face – they find out he hit me – he’s got a temper – he could’ve hit Freddie.Good luck, Marge. I’ll catch up with you later.
1)Where’s Dickie’s father? 2)He’s not coming till the morning. Evidently his stomach – I don’t think the food here is agreeing with him. 1)I was looking forward to seeing him. 2)Dickie hasn’t killed himself. I’m sure of that. There’s a private detective on the case now – a Mr MacCarron – Dickie’s father’s employing him. 1)That’s a terrific idea. 2)He’s American. He’s already discovered Dickie cashed checks for $1000 the day before he disappeared. Is that what you do before you jump in the Tiber? I don’t think so.
1)Where’s Mr MacCarron? 2)San Remo. The police are amateurs. Well, my boy, it’s come to a pretty pass, hasn’t it? 1)Yes. What’s the detective hoping to find in San Remo? 2)He’s being thorough, that’s all. I’m learning about my son, Tom, now he’s missing. I’m learning a great deal about him. I hope you can fill in some more for me. Marge has been good enough to do that, about Mongibello. 1)I’ll try my best, sir. Obviously I’ll do anything to help Dickie. 2)This theory, the letter he left for you, the Police think that’s a clear indication he was planning on doing something…to himself. 3)I just don’t believe that! 2)You don’t want to, dear. I’d like to talk to Tom alone – perhaps this afternoon? Would you mind? Marge, what a man may say to his sweetheart and what he’ll admit to another fellow – 3)Such as? 2)What a waste of lives and opportunities and – – I’d pay that fellow a hundred dollars right now to shut up!
1)Will you meet me tomorrow? Just to say goodbye in the daylight, properly? So it’s not just this, it’s too…you should always save pain for daylight… 2)Oh Meredith, I’m sorry. Of course I’ll meet you. Let’s have coffee in the morning at Dinelli’s. 1)By the Spanish Steps? 2)Exactly. 10.30 – 10.15.
1)Yes, exactly, but his first, his first conclusion was that Signor Miles was killed not later than seven o’clock yesterday evening. 2)Well, he certainly wasn’t dead when he drove off in his car. 1)No.
1)Yes, I’m good, thank you. Dickies at dinner. He’s at Otello’s. Do you know it? 2)I don’t think he’s at dinner at 6.30pm. If you said he was still at lunch I’d believe you. Incredible. The guy has disappeared off the face of the earth. 1)I guess. 2)The landlady – as far as I could tell, the landlady said he was here right now.
1)Yesterday you’re ogling girls on the terrace, today you’re getting married. It’s absurd. 2)I love Marge. 1)You love me and you’re not marrying me. 2)Tom, I don’t love you. 1)No, no, it’s not a threat, I’ve explained all of that. 2)I’m actually a little relieved you’re going, to be honest. I think we’ve seen enough of each other for a while.
1)You and Signor Ripley went to San Remo, is that right? 2)Yes, sure, we did go to San Remo. That was months ago. 1)November, I thought. 2)Was it? Did you speak to Tom? 1)November 7th is my information. 1)I don’t remember the exact date. 1)And when did you last see Signor Ripley? 2)A few days ago. 1)Does he stay with you here? 2)No! 1)No. Here is a pattern. Two days ago Freddie Miles is dead – he leaves your
apartment and is murdered. Yesterday a little boat is found in San Remo full of rocks, and the owner tells the Police it was stolen on November 7th. We look at hotel records and we see oh! Dickie Greenleaf is staying in San Remo and then our boatman remembers two Americans taking a boat. 2)It’s not a pattern, it’s a coincidence. There must be fifty hotels in San Remo, there must have been a hundred people renting a boat on that day. 1)31 people. 2)31 people.
1)You have the key. Tell me some good things about Tom Ripley. Don’t get up. Just tell me some nice things. 2)Good things about Tom Ripley? Could take some time!… Tom is talented. Tom is tender… Tom is beautiful… 1)You’re such a liar… 2)…Tom is a mystery…
1)You’re breaking my ribs! 2)What? 1)You’re breaking my ribs!
1)You’re not the Shipping Greenleaf’s? 2)Trying not to be. 1)So now, did they put your suitcase in the wrong pile? It’s just – upstairs – weren’t you under the R stand? I thought I saw you there. 2) My father wants me in New York. He builds boats. I’d rather sail them. I travel under my mother’s name. 1)Which is? 2)Emily. Just kidding. 1)The funny thing is, I’m not Randall either. I’m Logue. 2)As in…? 1)As in the Textile Logues. Trying to shrug off the dress. I travel under my mother’s name, too. 2)Randall. 1)Right.
Ah, today you’re looking for me. And where have you been the rest of the week? Pig. With the American girl? I hate you.
Are you a homosexual? Interesting non-sequitur.
Dick? Dickie? I know you can hear me. I was gonna say I would count to three and if you didn’t open the door… but I won’t count anymore. On you. I won’t count on you anymore. Whatever it is you’ve done or haven’t done, you’ve broken my heart, that’s one thing I know you’re guilty of. And I don’t know why. I don’t know why. I just don’t know why.
Dick? Dickie? I know you can hear me. What am I doing, chasing you around…? I was going to say I would count to three and if you didn’t open the door, but I won’t count any more. On you. I won’t count on you any more. Whatever it is, whatever you’ve done or haven’t done, you’ve broken my heart. That’s one thing I know you’re guilty of, and I don’t know why, I don’t know why, I just don’t know why…
Don’t you just take the past and put it in a room, in the basement, then lock the door and never go in there? That’s what i do. (Peter: God yes, but in my case, it’s probably a whole building) And then you meet someone special, and all you want to do is toss them the key say, ‘Open up, step inside.’ but you can’t. because it’s dark. and there are demons. and if anybody ever saw how ugly… if i could take a giant eraser and rub out everything, starting with myself… But you see, the thing is Peter if… if… if… (Peter: no key, huh?)
Don’t you want to fuck every woman you see. Just once.
Everybody should have one talent, what’s yours?…That’s three, nobody should have more than one talent
Go back! Go back to New York or call him if you can find a telephone that works, and tell him wild horses wouldn’t drag me back to him or his shipyard.
God. A corduroy jacket in Italy.
gotta love Matt Damon in those green swimmer things. oh wait no i don’t!!!!!!
Hey, if I’m late, think what her husband’s saying.
How’s the peeping there Tommy? How’s the peeping?
i always thought it was better to be a fake somebody than a real nobody.
I always thought it would be better to be a fake somebody than a real nobody.
I can tell you, The Greenleaf name opens a lot of doors.
I don’t even know if this is a man or a woman.
I feel like he’s here. Horrible. Like the old bastard is actually here! That’s brilliant! How do you know him?
I hope I didn’t complicate matters, but nothing, nothing untoward happened, nothing to prevent you from welcoming him back, from marrying him…Goodbye. Goodbye Peter, please don’t get up.
I like him… Marge you like everyone.. I like him.
I love how responsible you are. My Dad should make you Chief Accountant or something. Let me buy you a jacket. There’s a great place when we get to Rome, Batistoni.
I love the fact you brought Shakespeare with you and no clothes. Ermelinda says you wash the same shirt out every night. Is that true?
I make a fabulous martini.
I want this job of yours, Tommy. I was just saying – You live in Italy, sleep in Dickie’s house, eat Dickie’s food, wear his clothes, and his father picks up the tab. If you get bored, let me know, I’ll do it!
I’d like these to have my initials – embossed, I don’t know the word in Italian …embossed?
I’d rather be a fake somebody than a real nobody.
If I could just go back. If I could rub everything out. Starting with myself. Starting with borrowing a jacket.
It’s a suicide note. You ask me all these questions and you’ve already read this suicide note?
It’s always the same whenever someone new comes into his life – Freddie, Fausto, Peter Smith-Kingsley – he’s wonderful – did you meet him, he’s a musician? – … and especially you, of course… and that’s only the boys.
It’s like, when you’re with him you’re the only person in the world, and the sun is shining. And then he leaves, and you’re so cold. He’s like that with everyone.
M: are you okay?
T: Sure
M: The thing with dicky, it’s like the sun shines on you, and it’s glorious. And then he forgets you and it’s very very cold.
T: So I’m learning.
M: When you have his attention you feel like you’re the only person in the world. That’s why everybody loves him. It’s always the same. Whenever somebody new comes into his life, Freddy, Falso, Peter Smith-Kingsly- he’s wonderful, have you met him?- especially you. And that’s just the boys. Tell me, why is it when men play they always play at killing eachother?
M: I found Dickie’s rings.
T: What?
M: You have Dickie’s rings.
T: I can explain.
M: He promised me he would never take off this ring. I have to tell mr. Greenleaf, I have to tell Mr. Greenleaf.
T: Marge, Marge! You’re being hysterical.
M: He promised, me, ‘I SWEAR I will never take off this ring and…â€
T: STOP! I’m wet, Marge. I’ve lost my towel, and I’d really like to put some clothes on. Go and pour us both a drink. Pour us a drink. (looks for weapon)
Marge, where are you going?
M: I wasn’t snooping, I just… I was looking for a needle and thread to mend my bra.
T: That scent you’re wearing, I bought that for you. The thing about Dicky, so many things. That day, when he was late, coming back from Rome. I tried to tell you this. He was with another girl. I’m not talking about Merideth, either. Another girl that we met in a bar. He couldn’t be faithful for five minutes. So when he makes a promise, it doesn’t mean what it means when you make a promise, or I make a promise. He has so many realities, Dicky, and he believes them all! He lies, he lies, and that’s his… and half the time he doesn’t even realize he’s doing it. Today, I really started wondering whether he may have killed Freddy. He would get so crazy, if anybody would contradict him, and you know that. You know that. You know that. And that’s the irony, Marge. I loved you. You may as well know, Marge, I loved you. I don’t know, maybe it’s grotesque of me to say this now, so just write on a piece of paper or something and put it your purse for a rainy day. Tom loves me. Tom loves me.
M: Why do you have Dickie’s rings?
T: He gave them to me.
M: Why? When?
T: I feel as though you haven’t been listening to anything I’ve been saying to you.
M: I don’t believe you. I don’t believe you.
T: It’s all true.
M: I don’t believe a single word you’ve said.
T: You’re shivering, marge. Look at you, Marge. Can I hold you? Will you let me hold you?
P: Marge?
M: Please help me!
P: What’s going on?
M: Get
Made me laugh so hard I almost got a nosebleed.
Mongibello. Tiny place. South of Naples. Marge, his uh, young lady is supposedly writing some kind of book. God knows what he does. By all accounts they spend the whole time on the beach. Or his sailboat. That’s my son’s talent, spending his allowance.
No I did not. I did not kill Freddie Miles and then kill Dickie Greenleaf. Is he accusing me? Ask him if he’s accusing me!
Of course, Dickie’s idea of music is Jazz. He has a saxophone. To my ear Jazz is just noise, just an insolent noise
Oh God – I can just imagine – if only Dickie would settle down… doesn’t every parent deserve a grandchild? Never! I swear on your ring, Marge. I am never going back.
Oh I hated New York – that Park Avenue crowd – so I fled to Paris to work on my book, and I was always going to this cafe with Jean-Jacques, and Dickie used to play his saxophone outside and I would see him and he would see me, and he would play My Funny Valentine. It wasn’t until later that I realised he only knows about six songs.
Ohh…you’re shivering, marge, do you want me to hold you?
P: You don’t believe that letter, do you? Dickie’s letter? Do you believe it?
I don’t know what to believe.
P: Can you imagine if he did kill Freddy, what that must be like? Just to wake up every mroning, I mean how can you? Just, wake up and be a person?
Well, whatever you do, however terrible, however hurtful, it all makes sense, doesn’t it? In you r head? You never meet anybody who thinks they’re a bad person.
P: Well, I know, but you’re still tormented, you must be, I mean, you killed someone.
Don’t you just take the past and put it in a room, in the basement? And lock the door and never go in there? That’s what I do.
P: God yes, of course in my case it’s probably a whole building.
And then you meet someone special. And all you want to do is toss them the key.. say… open up, step inside. But you can’t. Because it’s dark. And there are demons. And if anybody saw how ugly it is…
P: Now, that’s just the music talking. It’s harder to be bleak when you’re playing “Knees Up, Mother Brown.â€
I keep wanting to do that. Fling the door open, just let the light in, clean everything out. If I could take a giant eraser and rub out everything, starting with myself… but the thing is, Peter,… if… if..
P: No key, huh?
Peeping Tommy. Tommy tommy tommy tommy tommy.
Princeton’s like a fog. America’s like a fog.
T: I lied, to her. She thought she’d seen you.
P: Why lie?
T: Dickie and Peter together? That’s just too good gossip.
P: Or Tom and Peter, even.
T: That would be even better gossip.
P: Really? Why? I, I’m completely lost
T: I know. I’m sorry, Peter. I’m lost. I’m going to be stuck in the basement, aren’t I? Aren’t I? And that’s my… terrible… and alone… and dark… and I’ve lied. About who I am, and where I am. And now no one will ever find me.
P: what do you mean, lied about who you are?
T: I always thought it would be better to be a fake somebody that a real nobody.
P: what are you talking about? You’re not a nobody, that’s the last thing you are.
T: Peter, tell me some good things about Tom Ripley. No, don’t get up, don’t get up. Don’t get up. Just, just tell me some nice things about Tom Ripley.
P: Good things about Tom Ripley… could take me some time. Tom is talented. Tom is tender. Tom is beautiful.
T: you’re such a liar.
P: Tom is, Tom is a mystery. Tom is not a nobody. Tom has secrets and doesn’t want to tell me, and I wish he would. Tom has nightmares, that’s not a good thing. Tom has someone to love him, that is a good thing. Mm, Tom is crushing me. Tom is crushing me. Tom, Tom, you’re crushing…
T: Oh god, oh god. *sob*
T: I wanna tell you my plan!
D: Oh god, so tell me
T: Well, I thought I’d come back in the new year under my own steam,
D: Really? To italy?
T: Of course, and I figured, now just for argument’s sake, say I got a place, or say we split the rent on a house and I could get a job, or better still, I got a place in Rome, and then when we’re there we could be there, and when we’re here, we could be here.
D: No, I don’t think so.
T: See, particularly with the Marge problem… you just blame me
D: Marge and I are getting married
T: H-How?
D: How??
T: Yesterday you were ogling girls on the terrace, and today you’re getting married? That’s absurd.
D: I love Marge.
T: You love me, you’re not marrying me
D: Tom, I don’t love you.
T: No, I don’t mean that as a threat
D: To be honest, I, I’m a little relieved you’re going. I think we’ve seen enough of each other for a while.
T: …What?
D: You can be a leech! You know that… and boring. You can be quite boring!
T: The funny thing is I’m not pretending to be somebody else and you are.
D: Boring.
T: I’ve been absolutely honest with you about my feelings
D: Boring…
T: But you, first of all, I know there’s something. That evening, when we played chess, for instance, it was obvious.
D: What evening?
T: Oh sure, no, no, it’s too dangerous for you to take on. Oh, no, no, what, we’re brothers, hey. And then you do this sorted thing with Marge, fucking her on the boat while we all have to listen… which was excruciating. And you follow your cock around like… and now you’re getting married! No, no, I’m bewildered. Forgive me. And, and you’re lying to Marge, and then you’re getting married to her, you’re knocking up Sylvanna… you’re ruining everybod… you, you wanna play the sax, you wanna play the drums, which is it, Dickie? What do you actually play?
D: Who are you? Eh? Some third class mooch? Eh? Who are you? Who are you to say anything to me?
T: Stop..
D: Who are you to tell me anything? Ok, I really rea
The cream of America: Rich and Thick
The only talent my son has is for cashing his allowance.
To be honest, it’s a little boring. YOU can be quite boring sometimes.
Well, one day I’m invited skiing, the next day I’m not, one day we’re all one family, the next day he wants to be alone. You tell me.
Well, whatever you do, however terrible, however hurtful, it all makes sense, doesnt it? in your head. i mean, you never meet anyone who thinks they’re a bad person.
Why do you do that thing – with your neck? On trains you always do that thing, it’s so spooky.
You can’t be angry with her. She’s upset and needs someone to blame. So she blames you. I’ll go home and talk to her. As for you – either get a safety razor or grow a beard.
You don’t have to clean up! REALLY!
You like everyone, Marge.
You’re gonna have a great trip. Mr.Greenleaf is personal friends with the Cunard people.
you’re smothering me tom. tom you’re smothering me.
You’re so white. Did you ever see a guy so white, Marge?
Page Topic: Movie Quotes from ‘Talented Mr. Ripley, The’: Quotes from the movie ‘Talented Mr. Ripley, The’
