HERBERT GREENLEAF
               Most enjoyable. Herbert Greenleaf.

                         RIPLEY
               Tom Ripley. Thank you, sir. Ripley shakes hands with Herbert Greenleaf as he gets into
     his Rolls Royce. They are making an appointment. Ripley
     crosses the street to Fran, pecks her cheek. She hands him
     his share of their fee. RIPLEY
               Is Mr Greenleaf here?

                         MACCARRON
               Mr Ripley? I'm Alvin MacCarron. HERBERT GREENLEAF (cont'd)
               Could you ever conceive of going to
               Italy, Tom, persuade my son to come home? RIPLEY
               I've always wanted to go to Europe, sir,
               but...

                         HERBERT GREENLEAF
               Good. Now you can go for a reason. RIPLEY
               Mr Greenleaf.

                         HERBERT GREENLEAF
               Tom. How are you?  You look well. RIPLEY
               Even her.

                         ROVERINI
               What about Thomas Ripley?

                         RIPLEY
               What about Ripley? Princeton - a fellow named Tom Ripley.
               He says he's going to haunt me until I
               agree to come back to New York with
               him...</i> RIPLEY
               I'm well, thank you.

                         HERBERT GREENLEAF
               Far cry from New York. INT. RIPLEY'S HOUSE. AFTERNOON.

     Herbert Greenleaf sits on a chair, Ripley pours him some tea. RIPLEY
               It's Tom. Tom Ripley. We were at
               Princeton together. HERBERT GREENLEAF
                   (pointing at Ripley's borrowed
                    jacket)
               I see you were at Princeton. Ripley studies an old photograph of Dickie Greenleaf in a
     Princeton Yearbook. He shoves the book in a bag, picks up
     his suitcase and takes a last look around the dingy apartment
     before closing the door behind him. MARGE
               Is he here? Are you with Dickie?

                         RIPLEY
               No.
                   (to Smith-Kingsley)
               Hello, I'm Tom Ripley. RIPLEY
               You have the key. Tell me some good
               things about Tom Ripley. Don't get up.
               Just tell me some nice things. RIPLEY
               Hello, Freddie, it's Tom, Tom Ripley. HERBERT GREENLEAF
                         (cont'd)
               I'm going to take Marge for a little
               walk, Tom.  Mr MacCarron wants to talk
               with you. HERBERT GREENLEAF
               Mongibello. Tiny place. South of Naples.
               Marge, his uh, the young lade is Ripley luxuriates in the back of the Greenleaf limousine. He
     opens up an envelope he's carrying with Greenleaf stationery.
     Inside a First Class Cunard Ticket, some traveler's checks
     and dollars. INT. TRAIN TO ROME. DAY.

     Ripley sits reading the LETTER from Herbert Greenleaf.  He
     frowns, stops reading, looks out of the window.
RIPLEY
               Shut up! Just shut up! Just shut up!

     The boat slows as Dickie releases the tiller.  Dickie looks
     up at Ripley wearily and slides onto his back. DICKIE
               Freddie drove me back in his car.

                         RIPLEY
                   (horrified)
               Is Freddie here? Ripley, terrified, hits Dickie again and again, the oar like
     a carpet-beater banging down flat, blood on the blade, blood Ripley grips the oar, his knuckles white. Dickie cuts the
     motor, and the boat slows to a crawl, miles from the shore. RIPLEY
               Oh - just amusing myself.  Sorry, Dickie.
                   (pause)
               I didn't think you were coming back.

     Dickie turns off the record player. Dickie and Ripley on the Vespa. There's a steep incline where
     the road winds down towards Naples and, as the Vespa gains
     speed, Ripley is happy to cling to Dickie. Dickie and Ripley travel up to San Remo. They sit next to
     each other. Dickie's asleep. Ripley lays his head on Dickie's He gets out, walks past Ripley, who doesn't turn around. But
     Dickie's reflected in the mirror. Ripley looks, then Dickie
     turns, holds his look momentarily before flicking him with
     his towel. reflection of the train window, so that he can move his head
     and see his reflection, then back and see Dickie's.  Dickie
     suddenly catches him staring. Ripley looks away. Ripley studies an old photograph of Dickie Greenleaf in a
     Princeton Yearbook. He shoves the book in a bag, picks up
     his suitcase and takes a last look around the dingy apartment
     before closing the door behind him. RIPLEY
               Copy out from here...

     He hands the book to Dickie, pointing out the lines. DICKIE (O/S)
               What are you doing?

     Ripley turns, horrified, to see Dickie standing in the
     doorway.  The music thumps away. Dickie's in the bath. Ripley, dressed, sits on the stool next
     to the bath. They're in the middle of playing chess, the DICKIE
               Marge and I are getting married.

                         RIPLEY
                   (appalled)
               How?

                         DICKIE
               How? RIPLEY
               Dickie Greenleaf?

     Dickie squints at Ripley, who holds his shoes, lamely.

                         DICKIE
               Who's this? Nobody's in sight.  The boat rocks, gently, the sun sparkling
     indifferently on the waves.  Ripley lies by Dickie in the
     bottom of the boat, in the embrace he's always wanted. Ripley, shocked at himself, goes to Dickie, rocking the boat,
     catches him up, then is horrified to see Dickie's face, RIPLEY
               What rumour?

                         PETER
               That Dickie murdered you and is
               travelling under your passport. I know,
               ridiculous. Ripley finds himself pushing him away, picking up the oar,
     kicking off Dickie's hand around his ankle. The boat is MARGE
               Is he here? Are you with Dickie?

                         RIPLEY
               No.
                   (to Smith-Kingsley)
               Hello, I'm Tom Ripley.
DICKIE
               Freddie Miles.  You know - he's
               organizing the Cortina skiing trip. They kiss cheeks, continental-style.

                         DICKIE
               This is Tom Ripley. Freddie Miles. DICKIE
               Freddie drove me back in his car.

                         RIPLEY
                   (horrified)
               Is Freddie here? MACCARRON
               Three different people saw Dickie get
               into Freddie Miles' car. A man who won't
               identify himself because he was jumping DICKIE
               I'll tell you - I am so cabin-crazy with
               Mongi.

     Freddie and Dickie link arms Italian-style and cross the
     street to Freddie's car. FREDDIE
                   (mugging)
               Hey, if I'm late, think what her
               husband's saying!

     He fills Dickie's glass with wine and drinks it standing up. RIPLEY
               Tell him I have a fiancÈe, Dickie has a
               fiancÈe and Freddie Miles probably had a
               string of them. DICKIE
               Look, Tom, we've got to go to a club and
               meet some friends of Freddie's. The best There's a yell from Dickie as Freddie wrestles with him.

                         DICKIE
                   (laughing and choking)
               He's drowning me! DICKIE
               Relax. The most important question is
               where to eat. I hope Freddie made a
               reservation.

                         RIPLEY
               Freddie? MEREDITH
               Everybody knows Freddie Miles.

                         RIPLEY
                   (unsettled)
               Is Freddie in Rome? DICKIE (cont'd)
               Frederico! FREDDIE
               In fact the only thing which looks like
               Dickie is you.

                         RIPLEY
               Hardly. FREDDIE
                   (confused, not pleasantly)
               Oh hello, where's Dickie? How are you? As Peter translates Verrecchia watches intently.

                         PETER
               He wants to know if you killed Freddie
               Miles and then killed Dickie Greenleaf? RIPLEY
               Hello?

                         FREDDIE (O/S)
               Dickie?

                         RIPLEY
               Who is it? for his own battered suitcase. He puts the license plates
     from Freddie's car in Dickie's luggage. He has placed one RIPLEY
               Copy out from here...

     He hands the book to Dickie, pointing out the lines. MEREDITH
               Dickie?  Dickie?

     He turns. He's caught. Suddenly he's Dickie. Miles and then kill Dickie Greenleaf.  Is
               he accusing me?
                   (Peter clearly doesn't ask)
               Ask him if he's accusing me!
him downwards. As Freddie slumps away, Ripley loses his
     balance and the head sends Freddie a glancing blow before FREDDIE
               I know.  I was there.
                   (looks back to see Ripley
                    struggling to settle the AND HE'S GONE. Ripley shuts the door, smooths the silk runner
     on the table where Freddie's hand had rucked it. He goes back
     to the door, opens it and looks over the rail. Freddie falls like an ox, first to his knees, groaning, then
     to the floor as Ripley brings the head down again, beating FREDDIE (O/S)
               Dickie, come on, it's me.

     Ripley can't think what to hide, where to hide. He opens the
     door. MARGE
               Did he kill Freddie?

                         RIPLEY
               Marge, when did you get here? INT. RIPLEY'S APARTMENT, ROME. LATE DAY.

     Freddie knocks on the door which pushes open. As he marches
     in, he launches into his interrogation. MARGE
               Tell me the truth. Did he kill Freddie?

                         RIPLEY
               I'd swear he didn't. Of course he didn't. FREDDIE
               Have you done something to your hair?

     Ripley starts to smile, his eyes darting around the room. DICKIE
               Freddie drove me back in his car.

                         RIPLEY
                   (horrified)
               Is Freddie here? Ripley, terrified, hits Dickie again and again, the oar like
     a carpet-beater banging down flat, blood on the blade, blood Ripley is pressing against him, moving up his body, kisses
     his shoulder, the cord wrapped tight in his hands...

     INT. RIPLEY'S CABIN. NIGHT. It's deserted. Ripley hauls Freddie out of the shadows
     towards the car. A couple walk across the square. Ripley FREDDIE (O/S)
               It's Freddie. Let me in.

     RIPLEY ALMOST COLLAPSES. He's faint. MEREDITH
               Everybody knows Freddie Miles.

                         RIPLEY
                   (unsettled)
               Is Freddie in Rome? RIPLEY
                   (outraged)
               No I did not. I did not kill Freddie He helps Marge to her feet and leads her out. RIPLEY IS
     PARALYSED. He waits for the door to shut. Aimlessly he walks FREDDIE
               Because he's been hiding from me - what
               happened at Christmas?

                         RIPLEY
               What about Christmas? Ripley grips the oar, his knuckles white. Dickie cuts the
     motor, and the boat slows to a crawl, miles from the shore. FREDDIE
               Ripley? There's someth -
Ripley studies an old photograph of Dickie Greenleaf in a
     Princeton Yearbook. He shoves the book in a bag, picks up
     his suitcase and takes a last look around the dingy apartment
     before closing the door behind him. RIPLEY
               Shut up! Just shut up! Just shut up!

     The boat slows as Dickie releases the tiller.  Dickie looks
     up at Ripley wearily and slides onto his back. Ripley grips the oar, his knuckles white. Dickie cuts the
     motor, and the boat slows to a crawl, miles from the shore. Dickie and Ripley on the Vespa. There's a steep incline where
     the road winds down towards Naples and, as the Vespa gains
     speed, Ripley is happy to cling to Dickie. DICKIE
               Freddie drove me back in his car.

                         RIPLEY
                   (horrified)
               Is Freddie here? Nobody's in sight.  The boat rocks, gently, the sun sparkling
     indifferently on the waves.  Ripley lies by Dickie in the
     bottom of the boat, in the embrace he's always wanted. Dickie and Ripley travel up to San Remo. They sit next to
     each other. Dickie's asleep. Ripley lays his head on Dickie's RIPLEY
               Oh - just amusing myself.  Sorry, Dickie.
                   (pause)
               I didn't think you were coming back.

     Dickie turns off the record player. He gets out, walks past Ripley, who doesn't turn around. But
     Dickie's reflected in the mirror. Ripley looks, then Dickie
     turns, holds his look momentarily before flicking him with
     his towel. Ripley, shocked at himself, goes to Dickie, rocking the boat,
     catches him up, then is horrified to see Dickie's face, Ripley, terrified, hits Dickie again and again, the oar like
     a carpet-beater banging down flat, blood on the blade, blood Ripley appears, with his meagre luggage at Dickie's front
     door. He's carrying his tote bag under his arm, the bottom of reflection of the train window, so that he can move his head
     and see his reflection, then back and see Dickie's.  Dickie
     suddenly catches him staring. Ripley looks away. Ripley finds himself pushing him away, picking up the oar,
     kicking off Dickie's hand around his ankle. The boat is DICKIE (cont'd)
                   (losing his temper)
               You don't have to clean up! Really!

     Ripley disappears into the kitchen. RIPLEY
               Copy out from here...

     He hands the book to Dickie, pointing out the lines. Ripley starts undressing, his fingers clumsy with
     mortification and shock.  Dickie looks at his feet, shakes
     his head. And Dickie's already gone, back to Ripley feinting to box him
     then dancing, satyr-like, down the hill.

     EXT. COASTAL ROAD TO NAPLES. EVENING. Marge and Ripley and Dickie watch from the terrace as below
     them an AMBULANCE takes away the body. It seems as if the RIPLEY
               Dickie Greenleaf?

     Dickie squints at Ripley, who holds his shoes, lamely.

                         DICKIE
               Who's this?
AND HE'S GONE. Ripley shuts the door, smooths the silk runner
     on the table where Freddie's hand had rucked it. He goes back
     to the door, opens it and looks over the rail. Ripley looks to left and right for a place to dump the body.
     He slows near a clump of trees. DICKIE
               Freddie drove me back in his car.

                         RIPLEY
                   (horrified)
               Is Freddie here? him downwards. As Freddie slumps away, Ripley loses his
     balance and the head sends Freddie a glancing blow before MARGE
               Tell me the truth. Did he kill Freddie?

                         RIPLEY
               I'd swear he didn't. Of course he didn't. MARGE
               Did he kill Freddie?

                         RIPLEY
               Marge, when did you get here? FREDDIE
               I know.  I was there.
                   (looks back to see Ripley
                    struggling to settle the MEREDITH
               Everybody knows Freddie Miles.

                         RIPLEY
                   (unsettled)
               Is Freddie in Rome? It's deserted. Ripley hauls Freddie out of the shadows
     towards the car. A couple walk across the square. Ripley FREDDIE (O/S)
               Dickie, come on, it's me.

     Ripley can't think what to hide, where to hide. He opens the
     door. Freddie falls like an ox, first to his knees, groaning, then
     to the floor as Ripley brings the head down again, beating Ripley grips the oar, his knuckles white. Dickie cuts the
     motor, and the boat slows to a crawl, miles from the shore. RIPLEY
                   (outraged)
               No I did not. I did not kill Freddie Ripley studies an old photograph of Dickie Greenleaf in a
     Princeton Yearbook. He shoves the book in a bag, picks up
     his suitcase and takes a last look around the dingy apartment
     before closing the door behind him. Marge and Ripley and Dickie watch from the terrace as below
     them an AMBULANCE takes away the body. It seems as if the INT. RIPLEY'S APARTMENT, ROME. LATE DAY.

     Freddie knocks on the door which pushes open. As he marches
     in, he launches into his interrogation. FREDDIE
               Have you done something to your hair?

     Ripley starts to smile, his eyes darting around the room. RIPLEY
               Shut up! Just shut up! Just shut up!

     The boat slows as Dickie releases the tiller.  Dickie looks
     up at Ripley wearily and slides onto his back. RIPLEY
               Hello?

                         FREDDIE (O/S)
               Dickie?

                         RIPLEY
               Who is it? Ripley shakes hands with Herbert Greenleaf as he gets into
     his Rolls Royce. They are making an appointment. Ripley
     crosses the street to Fran, pecks her cheek. She hands him
     his share of their fee.
Then you'll most likely know our son,
               Dick. Dickie Greenleaf... RIPLEY
               Copy out from here...

     He hands the book to Dickie, pointing out the lines. as Ripley leaves behind his brief life as Dickie Greenleaf. DICKIE
               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. HERBERT GREENLEAF
               Of course, Dickie's idea of music is
               Jazz. He has a saxophone.  To my ear Jazz
               is just noise, just an insolent noise. EMILY GREENLEAF
               Class of '56?

                         RIPLEY
                   (hesitating)
               How is Dickie? MACCARRON
                         (cont'd)
               Mr Greenleaf also feels there was a
               silent promise in Dickie's letter to you Ripley studies an old photograph of Dickie Greenleaf in a
     Princeton Yearbook. He shoves the book in a bag, picks up
     his suitcase and takes a last look around the dingy apartment
     before closing the door behind him. Ripley and Dickie are walking out of the American Express
     Office, Dickie pushing the rest of his money into his case,
     Ripley - despondent - reading aloud extracts from a letter
     from Herbert Greenleaf - MACCARRON
               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? Dickie...disappear when he was the only,
               he was the only suspect in Freddie's
               murder. MARGE
                   (returning with the drinks)
               What?  What?

                         DICKIE
               Meet my father, Herbert Richard Greenleaf
               1st. DICKIE
               It's got nothing to do with my mother!
               She's had leukemia for - ! This is what HERBERT GREENLEAF
               This theory, the letter he left for you,
               the Police think that's a clear
               indication he was planning on doing
               something...to himself. RIPLEY
               Oh - just amusing myself.  Sorry, Dickie.
                   (pause)
               I didn't think you were coming back.

     Dickie turns off the record player. Miles and then kill Dickie Greenleaf.  Is
               he accusing me?
                   (Peter clearly doesn't ask)
               Ask him if he's accusing me! RIPLEY
               Dickie Greenleaf?

     Dickie squints at Ripley, who holds his shoes, lamely.

                         DICKIE
               Who's this? Dickie - <i>Dickie Greenleaf</i> - at the Grand. Her partner, DICKIE GREENLEAF, dives too. They're brown,
     beautiful, perfect. Ripley notices the name of the boat:
     "BIRD". DICKIE
               The mysterious Mr Ripley. Marge and I
               spend hours speculating.
                   (drinking)
               Cold beer. Thank you Dad.
Ripley studies an old photograph of Dickie Greenleaf in a
     Princeton Yearbook. He shoves the book in a bag, picks up
     his suitcase and takes a last look around the dingy apartment
     before closing the door behind him. Dickie and Ripley on the Vespa. There's a steep incline where
     the road winds down towards Naples and, as the Vespa gains
     speed, Ripley is happy to cling to Dickie. DICKIE
               Sure.  I love Venice.

                         RIPLEY
               I have to go to Venice. Ripley and Dickie are walking out of the American Express
     Office, Dickie pushing the rest of his money into his case,
     Ripley - despondent - reading aloud extracts from a letter
     from Herbert Greenleaf - RIPLEY
               I thought I might come back. In the New
               Year. Under my own steam.

                         DICKIE
                   (suddenly tight)
               Really?  To Italy? as Ripley leaves behind his brief life as Dickie Greenleaf. RIPLEY
               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 - RIPLEY
               Oh - just amusing myself.  Sorry, Dickie.
                   (pause)
               I didn't think you were coming back.

     Dickie turns off the record player. RIPLEY
               I met him in New York.

                         DICKIE
               Marge! You've got to hear this! RIPLEY
               Copy out from here...

     He hands the book to Dickie, pointing out the lines. It's past eight, Ripley stands, one foot on the guard step of
     the Naples train, waiting forlornly for Dickie, then giving Dickie and Ripley travel up to San Remo. They sit next to
     each other. Dickie's asleep. Ripley lays his head on Dickie's Ripley appears, with his meagre luggage at Dickie's front
     door. He's carrying his tote bag under his arm, the bottom of ROVERINI
               Dickie Greenleaf?

                         RIPLEY
               Yes?

                         ROVERINI
               Inspector Roverini. Can we come in? MARGE
               Is he here? Are you with Dickie?

                         RIPLEY
               No.
                   (to Smith-Kingsley)
               Hello, I'm Tom Ripley. RIPLEY
               He's gone to dinner! Search the place. I
               can't think why you would imagine Dickie
               would hide from you. Marge and Ripley are on a shopping expedition. They walk down
     the hill towards the grocery shop, next to the bar in the
     little square. Ripley has asked Marge how she and Dickie met. RIPLEY
               Dickie Greenleaf?

     Dickie squints at Ripley, who holds his shoes, lamely.

                         DICKIE
               Who's this? instantly absorbed in the music, Ripley absorbed in Dickie.
     An attractive Italian Girl, DAHLIA, comes over, kisses They kiss cheeks, continental-style.

                         DICKIE
               This is Tom Ripley. Freddie Miles.
Ripley studies an old photograph of Dickie Greenleaf in a
     Princeton Yearbook. He shoves the book in a bag, picks up
     his suitcase and takes a last look around the dingy apartment
     before closing the door behind him. DICKIE
               Freddie drove me back in his car.

                         RIPLEY
                   (horrified)
               Is Freddie here? RIPLEY
               Oh - just amusing myself.  Sorry, Dickie.
                   (pause)
               I didn't think you were coming back.

     Dickie turns off the record player. MARGE
               Is he here? Are you with Dickie?

                         RIPLEY
               No.
                   (to Smith-Kingsley)
               Hello, I'm Tom Ripley. Dickie and Ripley on the Vespa. There's a steep incline where
     the road winds down towards Naples and, as the Vespa gains
     speed, Ripley is happy to cling to Dickie. RIPLEY
               What rumour?

                         PETER
               That Dickie murdered you and is
               travelling under your passport. I know,
               ridiculous. Dickie and Ripley travel up to San Remo. They sit next to
     each other. Dickie's asleep. Ripley lays his head on Dickie's RIPLEY
               Copy out from here...

     He hands the book to Dickie, pointing out the lines. They kiss cheeks, continental-style.

                         DICKIE
               This is Tom Ripley. Freddie Miles. MARGE
               Well, we ate everything without you.

                         DICKIE
               We?

                         MARGE
               Yes, Tom Ripley's here. RIPLEY
               Dickie Greenleaf?

     Dickie squints at Ripley, who holds his shoes, lamely.

                         DICKIE
               Who's this? DICKIE
               You like jazz!

                         RIPLEY
                   (gathering up the records)
               I <i>love</i> jazz. Ripley and Dickie are walking out of the American Express
     Office, Dickie pushing the rest of his money into his case,
     Ripley - despondent - reading aloud extracts from a letter
     from Herbert Greenleaf - DICKIE
               Marge and I are getting married.

                         RIPLEY
                   (appalled)
               How?

                         DICKIE
               How? Nobody's in sight.  The boat rocks, gently, the sun sparkling
     indifferently on the waves.  Ripley lies by Dickie in the
     bottom of the boat, in the embrace he's always wanted. They're shown to a good table. Dickie watches the band while
     their glasses are filled with champagne. Ripley looks happy.
     He's got Dickie all to himself. Ripley shakes hands with Herbert Greenleaf as he gets into
     his Rolls Royce. They are making an appointment. Ripley
     crosses the street to Fran, pecks her cheek. She hands him
     his share of their fee. Ripley appears, with his meagre luggage at Dickie's front
     door. He's carrying his tote bag under his arm, the bottom of DICKIE (cont'd)
                   (as Ripley returns)
               She was pregnant. Did you know that? Do
               you know what that means in a place like
               this? DICKIE
               The mysterious Mr Ripley. Marge and I
               spend hours speculating.
                   (drinking)
               Cold beer. Thank you Dad.
He gets out, walks past Ripley, who doesn't turn around. But
     Dickie's reflected in the mirror. Ripley looks, then Dickie
     turns, holds his look momentarily before flicking him with
     his towel. Ripley studies an old photograph of Dickie Greenleaf in a
     Princeton Yearbook. He shoves the book in a bag, picks up
     his suitcase and takes a last look around the dingy apartment
     before closing the door behind him. DICKIE
               Freddie drove me back in his car.

                         RIPLEY
                   (horrified)
               Is Freddie here? DICKIE (cont'd)
                   (as Ripley returns)
               She was pregnant. Did you know that? Do
               you know what that means in a place like
               this? DICKIE (cont'd)
               I'm never going back!

                         RIPLEY
               No, I think your mother, her illness - Dickie and Ripley travel up to San Remo. They sit next to
     each other. Dickie's asleep. Ripley lays his head on Dickie's RIPLEY
               Dickie Greenleaf?

     Dickie squints at Ripley, who holds his shoes, lamely.

                         DICKIE
               Who's this? RIPLEY
               Oh - just amusing myself.  Sorry, Dickie.
                   (pause)
               I didn't think you were coming back.

     Dickie turns off the record player. DICKIE (O/S)
               What are you doing?

     Ripley turns, horrified, to see Dickie standing in the
     doorway.  The music thumps away. FREDDIE (O/S)
               Dickie, come on, it's me.

     Ripley can't think what to hide, where to hide. He opens the
     door. Ripley grips the oar, his knuckles white. Dickie cuts the
     motor, and the boat slows to a crawl, miles from the shore. RIPLEY
               Copy out from here...

     He hands the book to Dickie, pointing out the lines. RIPLEY
               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 - Ripley, shocked at himself, goes to Dickie, rocking the boat,
     catches him up, then is horrified to see Dickie's face, DICKIE
               Okay.
                   (he sits up)
               And did we know each other?

                         RIPLEY
               Well, I knew you, so I suppose you must
               have known me. DICKIE
               me neither. Nor does Marge. All only
               children - what does that mean?

     He looks at Ripley who looks at him, a little too long. They're shown to a good table. Dickie watches the band while
     their glasses are filled with champagne. Ripley looks happy.
     He's got Dickie all to himself. DICKIE
               Yes, it's vile. Don't worry, you don't
               have to come.
                   (to Ripley)
               It's great.  You're going to love it. Dickie, in his new dressing gown, is sitting at the table,
     typing. Ripley's head emerges from behind the couch on which
     he has been enjoying a blissful sleep. (focusing on Ripley's cuts and
                    bruises)
               What happened to your face?

                         RIPLEY
               Dickie did it.
RIPLEY
               Oh - just amusing myself.  Sorry, Dickie.
                   (pause)
               I didn't think you were coming back.

     Dickie turns off the record player. He gets out, walks past Ripley, who doesn't turn around. But
     Dickie's reflected in the mirror. Ripley looks, then Dickie
     turns, holds his look momentarily before flicking him with
     his towel. RIPLEY
               Copy out from here...

     He hands the book to Dickie, pointing out the lines. reflection of the train window, so that he can move his head
     and see his reflection, then back and see Dickie's.  Dickie
     suddenly catches him staring. Ripley looks away. Ripley, shocked at himself, goes to Dickie, rocking the boat,
     catches him up, then is horrified to see Dickie's face, RIPLEY
               Dickie Greenleaf?

     Dickie squints at Ripley, who holds his shoes, lamely.

                         DICKIE
               Who's this? Ripley studies an old photograph of Dickie Greenleaf in a
     Princeton Yearbook. He shoves the book in a bag, picks up
     his suitcase and takes a last look around the dingy apartment
     before closing the door behind him. DICKIE
               Did I know you at Princeton, Tom? I
               didn't, did I?

                         RIPLEY
               Why are you asking all of a sudden? Dickie and Ripley on the Vespa. There's a steep incline where
     the road winds down towards Naples and, as the Vespa gains
     speed, Ripley is happy to cling to Dickie. DICKIE
               Freddie drove me back in his car.

                         RIPLEY
                   (horrified)
               Is Freddie here? RIPLEY
               I know why you're upset.
                   (Dickie continues playing)
               I know about Silvana, Dickie. About you
               and Silvana. Ripley and Dickie are walking out of the American Express
     Office, Dickie pushing the rest of his money into his case,
     Ripley - despondent - reading aloud extracts from a letter
     from Herbert Greenleaf - DICKIE
               The mysterious Mr Ripley. Marge and I
               spend hours speculating.
                   (drinking)
               Cold beer. Thank you Dad. Dickie and Ripley travel up to San Remo. They sit next to
     each other. Dickie's asleep. Ripley lays his head on Dickie's RIPLEY
               Shut up! Just shut up! Just shut up!

     The boat slows as Dickie releases the tiller.  Dickie looks
     up at Ripley wearily and slides onto his back. Ripley starts undressing, his fingers clumsy with
     mortification and shock.  Dickie looks at his feet, shakes
     his head. MARGE
               Is he here? Are you with Dickie?

                         RIPLEY
               No.
                   (to Smith-Kingsley)
               Hello, I'm Tom Ripley. MARGE
               Well, we ate everything without you.

                         DICKIE
               We?

                         MARGE
               Yes, Tom Ripley's here. RIPLEY
               You love me and you're not marrying me.

                         DICKIE
                   (cold)
               Tom, I don't love you. RIPLEY
               I was just looking at you -
                   (looking at her tenderly)
               - so quiet.

                         MARGE
               Where's Dickie?
RIPLEY
               It's Tom. Tom Ripley. We were at
               Princeton together. RIPLEY
               You have the key. Tell me some good
               things about Tom Ripley. Don't get up.
               Just tell me some nice things. RIPLEY
               Even her.

                         ROVERINI
               What about Thomas Ripley?

                         RIPLEY
               What about Ripley? PETER
               Good things about Tom Ripley?  Could take
               some time!... Tom is talented. Tom is
               tender... Tom is beautiful... RIPLEY
               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. Princeton - a fellow named Tom Ripley.
               He says he's going to haunt me until I
               agree to come back to New York with
               him...</i> Ripley studies an old photograph of Dickie Greenleaf in a
     Princeton Yearbook. He shoves the book in a bag, picks up
     his suitcase and takes a last look around the dingy apartment
     before closing the door behind him. Ripley shakes hands with Herbert Greenleaf as he gets into
     his Rolls Royce. They are making an appointment. Ripley
     crosses the street to Fran, pecks her cheek. She hands him
     his share of their fee. They kiss cheeks, continental-style.

                         DICKIE
               This is Tom Ripley. Freddie Miles. MARGE
               Is he here? Are you with Dickie?

                         RIPLEY
               No.
                   (to Smith-Kingsley)
               Hello, I'm Tom Ripley. PETER
               No, we're meeting another friend. Tom
               Ripley.

                         MARGE
               Do you know Tom? DICKIE
               Did I know you at Princeton, Tom? I
               didn't, did I?

                         RIPLEY
               Why are you asking all of a sudden? RIPLEY
               Hello, Freddie, it's Tom, Tom Ripley. HERBERT GREENLEAF
               Most enjoyable. Herbert Greenleaf.

                         RIPLEY
               Tom Ripley. Thank you, sir. MARGE
               Well, we ate everything without you.

                         DICKIE
               We?

                         MARGE
               Yes, Tom Ripley's here. RIPLEY
               Is Mr Greenleaf here?

                         MACCARRON
               Mr Ripley? I'm Alvin MacCarron. DICKIE
               The mysterious Mr Ripley. Marge and I
               spend hours speculating.
                   (drinking)
               Cold beer. Thank you Dad. FAUSTO (cont'd)
               <i>And a big round of applause for a new
               friend from New York - Tom Ripley!</i> MACCARRON
                         (cont'd)
               Nor did they think to check whether a
               Thomas Ripley had ever been a student at RIPLEY
                   (during this, and tender)
               You're such a liar...

                         PETER
               ...Tom is a mystery...
RIPLEY
               Copy out from here...

     He hands the book to Dickie, pointing out the lines. RIPLEY
               Oh - just amusing myself.  Sorry, Dickie.
                   (pause)
               I didn't think you were coming back.

     Dickie turns off the record player. RIPLEY
               What rumour?

                         PETER
               That Dickie murdered you and is
               travelling under your passport. I know,
               ridiculous. Ripley and Dickie are walking out of the American Express
     Office, Dickie pushing the rest of his money into his case,
     Ripley - despondent - reading aloud extracts from a letter
     from Herbert Greenleaf - DICKIE
               The mysterious Mr Ripley. Marge and I
               spend hours speculating.
                   (drinking)
               Cold beer. Thank you Dad. DICKIE
               Oh God, I don't think so.

                         RIPLEY
               - you see, particularly with the Marge
               problem, you can just blame me. DICKIE
               Freddie drove me back in his car.

                         RIPLEY
                   (horrified)
               Is Freddie here? Ripley studies an old photograph of Dickie Greenleaf in a
     Princeton Yearbook. He shoves the book in a bag, picks up
     his suitcase and takes a last look around the dingy apartment
     before closing the door behind him. DICKIE (cont'd)
                   (as Ripley returns)
               She was pregnant. Did you know that? Do
               you know what that means in a place like
               this? RIPLEY
               I was just looking at you -
                   (looking at her tenderly)
               - so quiet.

                         MARGE
               Where's Dickie? RIPLEY
               Dickie Greenleaf?

     Dickie squints at Ripley, who holds his shoes, lamely.

                         DICKIE
               Who's this? RIPLEY
               He's gone to dinner! Search the place. I
               can't think why you would imagine Dickie
               would hide from you. RIPLEY
               I met him in New York.

                         DICKIE
               Marge! You've got to hear this! RIPLEY
               I know why you're upset.
                   (Dickie continues playing)
               I know about Silvana, Dickie. About you
               and Silvana. Dickie and Ripley on the Vespa. There's a steep incline where
     the road winds down towards Naples and, as the Vespa gains
     speed, Ripley is happy to cling to Dickie. MARGE
               Is he here? Are you with Dickie?

                         RIPLEY
               No.
                   (to Smith-Kingsley)
               Hello, I'm Tom Ripley. RIPLEY
               Shut up! Just shut up! Just shut up!

     The boat slows as Dickie releases the tiller.  Dickie looks
     up at Ripley wearily and slides onto his back. RIPLEY
               Then I'll take it as a compliment.

                         DICKIE
               I knew it! I had a bet with Marge! MARGE
               Well, we ate everything without you.

                         DICKIE
               We?

                         MARGE
               Yes, Tom Ripley's here. Dickie and Ripley travel up to San Remo. They sit next to
     each other. Dickie's asleep. Ripley lays his head on Dickie's
DICKIE (cont'd)
               I'll kill you! DICKIE
               Freddie drove me back in his car.

                         RIPLEY
                   (horrified)
               Is Freddie here? MEREDITH
               Dickie?  Dickie?

     He turns. He's caught. Suddenly he's Dickie. RIPLEY
               Copy out from here...

     He hands the book to Dickie, pointing out the lines. DICKIE
               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. RIPLEY
               Oh - just amusing myself.  Sorry, Dickie.
                   (pause)
               I didn't think you were coming back.

     Dickie turns off the record player. DICKIE
               I feel like he's here. Horrible. Like the
               old bastard is here right now!  That's
               brilliant!  How do you know him? slowly sinking. Shuddering from the exertion, the cold, he
     finds Dickie's jacket, puts it on and watches as the boat
     disappears under the surface. Dickie...disappear when he was the only,
               he was the only suspect in Freddie's
               murder. Dickie's bag into his knapsack as he approaches his scooter.
     Marge spots him and strides across the piazza. She is in no
     mood for pleasantries. Dickie, pulls off his hat, puts it on, there's no room for
     her to sit, so she sits on Dickie's lap, smoking his And Dickie's already gone, back to Ripley feinting to box him
     then dancing, satyr-like, down the hill.

     EXT. COASTAL ROAD TO NAPLES. EVENING. Nobody's in sight.  The boat rocks, gently, the sun sparkling
     indifferently on the waves.  Ripley lies by Dickie in the
     bottom of the boat, in the embrace he's always wanted. Ripley's mortified, but Dickie jumps off the stage and pulls
     him up.  The song continues and now, at the chorus, it's DICKIE
               I'll tell you - I am so cabin-crazy with
               Mongi.

     Freddie and Dickie link arms Italian-style and cross the
     street to Freddie's car. DICKIE
               Marge and I are getting married.

                         RIPLEY
                   (appalled)
               How?

                         DICKIE
               How? Dickie and Ripley travel up to San Remo. They sit next to
     each other. Dickie's asleep. Ripley lays his head on Dickie's Dickie lets him leave and then sits amongst the debris of the
     dressing-up session, not amused.

     EXT. DICKIE'S TERRACE. DAY. Ripley starts undressing, his fingers clumsy with
     mortification and shock.  Dickie looks at his feet, shakes
     his head. FREDDIE
                   (mugging)
               Hey, if I'm late, think what her
               husband's saying!

     He fills Dickie's glass with wine and drinks it standing up.
Ripley grips the oar, his knuckles white. Dickie cuts the
     motor, and the boat slows to a crawl, miles from the shore. AND HE'S GONE. Ripley shuts the door, smooths the silk runner
     on the table where Freddie's hand had rucked it. He goes back
     to the door, opens it and looks over the rail. Ripley, terrified, hits Dickie again and again, the oar like
     a carpet-beater banging down flat, blood on the blade, blood MARGE
               Tell me the truth. Did he kill Freddie?

                         RIPLEY
               I'd swear he didn't. Of course he didn't. him downwards. As Freddie slumps away, Ripley loses his
     balance and the head sends Freddie a glancing blow before RIPLEY
               Shut up! Just shut up! Just shut up!

     The boat slows as Dickie releases the tiller.  Dickie looks
     up at Ripley wearily and slides onto his back. Freddie falls like an ox, first to his knees, groaning, then
     to the floor as Ripley brings the head down again, beating He helps Marge to her feet and leads her out. RIPLEY IS
     PARALYSED. He waits for the door to shut. Aimlessly he walks Ripley is pressing against him, moving up his body, kisses
     his shoulder, the cord wrapped tight in his hands...

     INT. RIPLEY'S CABIN. NIGHT. MARGE
               Did he kill Freddie?

                         RIPLEY
               Marge, when did you get here? Ripley goes straight to Meredith and grabs her.

                         RIPLEY
               Let's go.

                         MEREDITH
               I thought you were enjoying yourself? Ripley's way ahead and has reached the door of his apartment.
     He waits nervously for Roverini. He unlocks the door and can
     barely wait for Roverini to catch up. Ripley has to cover his face. MacCarron comes off the boat to
     restrain her.  Ripley looks at him as if to say: <i>what can you He shares some intimacy with Marge, makes her laugh.  Ripley
     stands as they wrestle around him. Marge looks up. WATCHING HIM. Ripley screams and swerves, crashing into the
     pavement, the scooter falling onto him and pulling him along A deserted cove, several miles along the coast. Ripley
     clambers onto a rock over the shore.  He's watching the boat shirts, ties. On the dressing table there are toiletries,
     cufflinks scattered, a silk tie.  Ripley picks up the tie and
     walks towards the open window below which is a terrace where FREDDIE
               I know.  I was there.
                   (looks back to see Ripley
                    struggling to settle the Ripley looks to left and right for a place to dump the body.
     He slows near a clump of trees. on Ripley, until he's on his knees, heaving for breath,
     letting his arm drop, then realizing, disgusted, that he's
RIPLEY
               Copy out from here...

     He hands the book to Dickie, pointing out the lines. MEREDITH
               Dickie?  Dickie?

     He turns. He's caught. Suddenly he's Dickie. 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 for his own battered suitcase. He puts the license plates
     from Freddie's car in Dickie's luggage. He has placed one RIPLEY
               Oh - just amusing myself.  Sorry, Dickie.
                   (pause)
               I didn't think you were coming back.

     Dickie turns off the record player. Dickie, pulls off his hat, puts it on, there's no room for
     her to sit, so she sits on Dickie's lap, smoking his Nobody's in sight.  The boat rocks, gently, the sun sparkling
     indifferently on the waves.  Ripley lies by Dickie in the
     bottom of the boat, in the embrace he's always wanted. DICKIE
               I feel like he's here. Horrible. Like the
               old bastard is here right now!  That's
               brilliant!  How do you know him? DICKIE
               Freddie drove me back in his car.

                         RIPLEY
                   (horrified)
               Is Freddie here? Dickie's bag into his knapsack as he approaches his scooter.
     Marge spots him and strides across the piazza. She is in no
     mood for pleasantries. DICKIE
               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. Ripley and Dickie are walking out of the American Express
     Office, Dickie pushing the rest of his money into his case,
     Ripley - despondent - reading aloud extracts from a letter
     from Herbert Greenleaf - Dickie's passport slides across the marble desk. A key comes
     back, collected by a hand sporting Dickie's two distinctive slowly sinking. Shuddering from the exertion, the cold, he
     finds Dickie's jacket, puts it on and watches as the boat
     disappears under the surface. Ripley appears, with his meagre luggage at Dickie's front
     door. He's carrying his tote bag under his arm, the bottom of PETER
               But the point is Dickie - well we know
               this - Dickie loves Marge and he misses
               her and apparently he's come to his
               senses... He takes Dickie's rings, opens up a LITTLE BOX of buttons and
     needles and cufflinks and sadly tosses them in. Dickie's DICKIE
               I'll tell you - I am so cabin-crazy with
               Mongi.

     Freddie and Dickie link arms Italian-style and cross the
     street to Freddie's car. FREDDIE
                   (mugging)
               Hey, if I'm late, think what her
               husband's saying!

     He fills Dickie's glass with wine and drinks it standing up. And Dickie's already gone, back to Ripley feinting to box him
     then dancing, satyr-like, down the hill.

     EXT. COASTAL ROAD TO NAPLES. EVENING.
RIPLEY
               Copy out from here...

     He hands the book to Dickie, pointing out the lines. 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 Ripley's signing Dickie's allowance receipt. Meredith is with
     him, signing her own counterfoil. He is, of course, endorsed
     by her presence.  She goes to the window ahead of him. DICKIE
               I feel like he's here. Horrible. Like the
               old bastard is here right now!  That's
               brilliant!  How do you know him? DICKIE
               It'll just be for a little while.  He can
               be... he makes me laugh.

                         MARGE
               Okay, darling. right, but Dickie loves you.  He's - I
               think you'll find he's coming home to
               you. He produces Dickie's pen and signs the blotter quickly - <i>H R
     Greenleaf</i>.  Then he pulls out a postcard from the writing DICKIE
                   (flattered)
               Well we certainly know that's true.

     INT. DICKIE'S BATHROOM. NIGHT. MEREDITH
               Dickie?  Dickie?

     He turns. He's caught. Suddenly he's Dickie. PETER
               But the point is Dickie - well we know
               this - Dickie loves Marge and he misses
               her and apparently he's come to his
               senses... for his own battered suitcase. He puts the license plates
     from Freddie's car in Dickie's luggage. He has placed one Ripley collects and studies his mail. As they walk outside he
     holds up one letter to Dickie. Ripley and Dickie are walking out of the American Express
     Office, Dickie pushing the rest of his money into his case,
     Ripley - despondent - reading aloud extracts from a letter
     from Herbert Greenleaf - in bringing Dickie home. Naturally, I
               hope the trip has afforded you some
               pleasure despite the failure of its main
               objective you need no longer consider RIPLEY
               Then I'll take it as a compliment.

                         DICKIE
               I knew it! I had a bet with Marge! case to reveal Dickie's <i>Stars, hide your fires</i> handwriting
     specimen. He compares the two signatures, is pleased. RIPLEY
               Now your signature.
                   (watching him write)
               Not "Dickie". Your signature. RIPLEY
               What rumour?

                         PETER
               That Dickie murdered you and is
               travelling under your passport. I know,
               ridiculous. Dickie's bag into his knapsack as he approaches his scooter.
     Marge spots him and strides across the piazza. She is in no
     mood for pleasantries. Then you'll most likely know our son,
               Dick. Dickie Greenleaf...
He helps Marge to her feet and leads her out. RIPLEY IS
     PARALYSED. He waits for the door to shut. Aimlessly he walks He shares some intimacy with Marge, makes her laugh.  Ripley
     stands as they wrestle around him. Marge looks up. MARGE
               Tell me the truth. Did he kill Freddie?

                         RIPLEY
               I'd swear he didn't. Of course he didn't. Ripley emerges from the American Express Office. Across the
     street at the cafe, as once before, sits Marge. Ripley slips RIPLEY
               I can explain.

     He can't. His eyes dart. Marge holds up the evidence. RIPLEY
               It's fantastic.
                   (to Peter)
               I feel guilty. Marge doesn't understand
               this, but anytime Dickie does something I
               feel guilty. Ripley lights a cigarette.  Marge loses confidence.

                         MARGE (cont'd)
               He hates being confronted. MARGE
               Hi Tom.

                         DICKIE
                   (looks up)
               Marge, Ripley's saying goodbye. INT. RIPLEY'S SITTING ROOM, VENICE. NIGHT.

     Marge is leaving, coat on, as Ripley comes out of the
     bathroom. MARGE
               Dickie!

                         RIPLEY
               I'll go and see what's the matter.

                         MARGE
               I'll go. MARGE
               Did he kill Freddie?

                         RIPLEY
               Marge, when did you get here? MARGE
               I don't know her.
                   (to Ripley)
               He hasn't called, he's hardly written,
               just these cryptic notes. You don't just
               dump people. MARGE (cont'd)
                   (back to Ripley)
               Anyway, then one day, we go in, I see Ripley, irritated, opens the door, his towel wrapped around
     his waist. Marge is white. She's wearing a robe. She's
     slightly breathless. Marge is shivering. Ripley, ominous, advances, she retreats.

                         RIPLEY
               You're shivering, Marge. Can I hold you?
               Would you let me hold you? RIPLEY
               Yesterday you're ogling girls on the
               terrace, today you're getting married.
               It's absurd.

                         DICKIE
               I love Marge. DICKIE
               Oh God, I don't think so.

                         RIPLEY
               - you see, particularly with the Marge
               problem, you can just blame me. MARGE
                   (flicking a crumb at him)
               Bastard!
                   (to Ripley) RIPLEY
               Then I'll take it as a compliment.

                         DICKIE
               I knew it! I had a bet with Marge! RIPLEY
               I was just looking at you -
                   (looking at her tenderly)
               - so quiet.

                         MARGE
               Where's Dickie?
Ripley looks to left and right for a place to dump the body.
     He slows near a clump of trees. AND HE'S GONE. Ripley shuts the door, smooths the silk runner
     on the table where Freddie's hand had rucked it. He goes back
     to the door, opens it and looks over the rail. Marge and Ripley and Dickie watch from the terrace as below
     them an AMBULANCE takes away the body. It seems as if the Ripley grips the oar, his knuckles white. Dickie cuts the
     motor, and the boat slows to a crawl, miles from the shore. A deserted cove, several miles along the coast. Ripley
     clambers onto a rock over the shore.  He's watching the boat Ripley studies an old photograph of Dickie Greenleaf in a
     Princeton Yearbook. He shoves the book in a bag, picks up
     his suitcase and takes a last look around the dingy apartment
     before closing the door behind him. Ripley, familiar battered luggage in tow, appears at the
     entrance of the building next to his own, glances at the
     police car parked opposite the big doors, then hurries off
     into the darkness. RIPLEY
               Shut up! Just shut up! Just shut up!

     The boat slows as Dickie releases the tiller.  Dickie looks
     up at Ripley wearily and slides onto his back. Nobody's in sight.  The boat rocks, gently, the sun sparkling
     indifferently on the waves.  Ripley lies by Dickie in the
     bottom of the boat, in the embrace he's always wanted. MARGE
               Tell me the truth. Did he kill Freddie?

                         RIPLEY
               I'd swear he didn't. Of course he didn't. Ripley, abandoned, goes over. There's no room in the car. He
     has to crouch in the rear. MEREDITH
               Everybody knows Freddie Miles.

                         RIPLEY
                   (unsettled)
               Is Freddie in Rome? shirts, ties. On the dressing table there are toiletries,
     cufflinks scattered, a silk tie.  Ripley picks up the tie and
     walks towards the open window below which is a terrace where EXT. BY THE PALAZZO GIOIA. NIGHT.

     Ripley's briefly silhouetted as he scuttles down an alley,
     hurrying towards a gate, and disappears behind it. DICKIE (cont'd)
                   (losing his temper)
               You don't have to clean up! Really!

     Ripley disappears into the kitchen. RIPLEY (cont'd)
               Today, for the first time, I've even
               wondered whether he might have killed He helps Marge to her feet and leads her out. RIPLEY IS
     PARALYSED. He waits for the door to shut. Aimlessly he walks RIPLEY
               Oh - just amusing myself.  Sorry, Dickie.
                   (pause)
               I didn't think you were coming back.

     Dickie turns off the record player. MARGE
               Did he kill Freddie?

                         RIPLEY
               Marge, when did you get here? Ripley is pressing against him, moving up his body, kisses
     his shoulder, the cord wrapped tight in his hands...

     INT. RIPLEY'S CABIN. NIGHT.
MARGE
                   (returning with the drinks)
               What?  What?

                         DICKIE
               Meet my father, Herbert Richard Greenleaf
               1st. Then you'll most likely know our son,
               Dick. Dickie Greenleaf... HERBERT GREENLEAF
               Of course, Dickie's idea of music is
               Jazz. He has a saxophone.  To my ear Jazz
               is just noise, just an insolent noise. DICKIE
               I feel like he's here. Horrible. Like the
               old bastard is here right now!  That's
               brilliant!  How do you know him? Dickie - <i>Dickie Greenleaf</i> - at the Grand. Ripley and Dickie are walking out of the American Express
     Office, Dickie pushing the rest of his money into his case,
     Ripley - despondent - reading aloud extracts from a letter
     from Herbert Greenleaf - Ripley studies an old photograph of Dickie Greenleaf in a
     Princeton Yearbook. He shoves the book in a bag, picks up
     his suitcase and takes a last look around the dingy apartment
     before closing the door behind him. He produces Dickie's pen and signs the blotter quickly - <i>H R
     Greenleaf</i>.  Then he pulls out a postcard from the writing RIPLEY
               Dickie Greenleaf?

     Dickie squints at Ripley, who holds his shoes, lamely.

                         DICKIE
               Who's this? Miles and then kill Dickie Greenleaf.  Is
               he accusing me?
                   (Peter clearly doesn't ask)
               Ask him if he's accusing me! HERBERT GREENLEAF
               Most enjoyable. Herbert Greenleaf.

                         RIPLEY
               Tom Ripley. Thank you, sir. MACCARRON
               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? They reach the console where Uncle Ted has their drinks.

                         JOAN (cont'd)
               I was sure we'd met, weren't you, Ted?
               This is Herbert Greenleaf's boy. as Ripley leaves behind his brief life as Dickie Greenleaf. MEREDITH
               Dickie?  Dickie?

     He turns. He's caught. Suddenly he's Dickie. RIPLEY
               Copy out from here...

     He hands the book to Dickie, pointing out the lines. MACCARRON
                         (cont'd)
               Mr Greenleaf also feels there was a
               silent promise in Dickie's letter to you EMILY GREENLEAF
               Darling couple, aren't they?

                         HERBERT GREENLEAF
               Yes.  An exceptional young man. As Peter translates Verrecchia watches intently.

                         PETER
               He wants to know if you killed Freddie
               Miles and then killed Dickie Greenleaf? Her partner, DICKIE GREENLEAF, dives too. They're brown,
     beautiful, perfect. Ripley notices the name of the boat:
     "BIRD".
INT. RIPLEY'S HOUSE. AFTERNOON.

     Herbert Greenleaf sits on a chair, Ripley pours him some tea. Ripley shakes hands with Herbert Greenleaf as he gets into
     his Rolls Royce. They are making an appointment. Ripley
     crosses the street to Fran, pecks her cheek. She hands him
     his share of their fee. HERBERT GREENLEAF
               Most enjoyable. Herbert Greenleaf.

                         RIPLEY
               Tom Ripley. Thank you, sir. RIPLEY
               I've always wanted to go to Europe, sir,
               but...

                         HERBERT GREENLEAF
               Good. Now you can go for a reason. HERBERT GREENLEAF
                   (pointing at Ripley's borrowed
                    jacket)
               I see you were at Princeton. RIPLEY
               Even her.

                         ROVERINI
               What about Thomas Ripley?

                         RIPLEY
               What about Ripley? Ripley's way ahead and has reached the door of his apartment.
     He waits nervously for Roverini. He unlocks the door and can
     barely wait for Roverini to catch up. Ripley and Dickie are walking out of the American Express
     Office, Dickie pushing the rest of his money into his case,
     Ripley - despondent - reading aloud extracts from a letter
     from Herbert Greenleaf - RIPLEY
               I'm well, thank you.

                         HERBERT GREENLEAF
               Far cry from New York. RIPLEY
               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. RIPLEY
               Copy out from here...

     He hands the book to Dickie, pointing out the lines. INT. TRAIN TO ROME. DAY.

     Ripley sits reading the LETTER from Herbert Greenleaf.  He
     frowns, stops reading, looks out of the window. RIPLEY
               I wanted to tell you my plan.

                         DICKIE
               So tell me. Ripley has Dickie's Hermes Baby typewriter on the desk and is
     busy writing letters. He has finished a letter to the RIPLEY
               Yes it is.

                         HERBERT GREENLEAF
               Marge, good morning.  Unusual weather.

                         MARGE
               Very. Ripley luxuriates in the back of the Greenleaf limousine. He
     opens up an envelope he's carrying with Greenleaf stationery.
     Inside a First Class Cunard Ticket, some traveler's checks
     and dollars. RIPLEY
               And you, sir?  Any better?

                         HERBERT GREENLEAF
               Pretty good.  Sticking with hot water. RIPLEY
               Mr Greenleaf.

                         HERBERT GREENLEAF
               Tom. How are you?  You look well. RIPLEY
               You try. You try talking to her.

                         PETER
                   (calls after him)
               Tom. Tom! Tell me, what's going on? Ripley goes straight to Meredith and grabs her.

                         RIPLEY
               Let's go.

                         MEREDITH
               I thought you were enjoying yourself?
MARGE
                   (stunned at the mention of his
                    name)
               Dickie? Do you know Dickie? Dickie's bag into his knapsack as he approaches his scooter.
     Marge spots him and strides across the piazza. She is in no
     mood for pleasantries. DICKIE
               Marge and I are getting married.

                         RIPLEY
                   (appalled)
               How?

                         DICKIE
               How? MARGE
                   (suddenly tense)
               Dickie? Marge and Ripley are on a shopping expedition. They walk down
     the hill towards the grocery shop, next to the bar in the
     little square. Ripley has asked Marge how she and Dickie met. RIPLEY
               I met him in New York.

                         DICKIE
               Marge! You've got to hear this! RIPLEY
               Yesterday you're ogling girls on the
               terrace, today you're getting married.
               It's absurd.

                         DICKIE
               I love Marge. MARGE
               Dickie!

                         RIPLEY
               I'll go and see what's the matter.

                         MARGE
               I'll go. MARGE
                   (returning with the drinks)
               What?  What?

                         DICKIE
               Meet my father, Herbert Richard Greenleaf
               1st. RIPLEY
               Then I'll take it as a compliment.

                         DICKIE
               I knew it! I had a bet with Marge! MARGE (cont'd)
               If you're not at my place by 7.00, Tom
               and I are running off together.

                         DICKIE
               Okay. RIPLEY
               I was just looking at you -
                   (looking at her tenderly)
               - so quiet.

                         MARGE
               Where's Dickie? his crew of Marge and a painfully awkward anxious-to-please
     Ripley.  Dickie goes over to help him. MARGE
               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. DICKIE
               You'd say if you mind?

                         MARGE
               No, I like him.

                         DICKIE
               Marge, you like everybody. PETER
               But the point is Dickie - well we know
               this - Dickie loves Marge and he misses
               her and apparently he's come to his
               senses... DICKIE
               The mysterious Mr Ripley. Marge and I
               spend hours speculating.
                   (drinking)
               Cold beer. Thank you Dad. DICKIE
               Marge-maintenance.

                         FREDDIE
               Aye, aye. Dickie and Ripley are leaving.  They're fooling around.
     Dickie jumps on Ripley's shoulders. Marge watches from the
     top of the garden. DICKIE
                   (finds this idea absurd)
               Passing through! You're so white. Did you
               ever see a guy so white, Marge?  Gray,
               actually.
MARGE
               Is he here? Are you with Dickie?

                         RIPLEY
               No.
                   (to Smith-Kingsley)
               Hello, I'm Tom Ripley. DICKIE
               Marge and I are getting married.

                         RIPLEY
                   (appalled)
               How?

                         DICKIE
               How? DICKIE
               Oh God, I don't think so.

                         RIPLEY
               - you see, particularly with the Marge
               problem, you can just blame me. RIPLEY
               Then I'll take it as a compliment.

                         DICKIE
               I knew it! I had a bet with Marge! RIPLEY
               Yesterday you're ogling girls on the
               terrace, today you're getting married.
               It's absurd.

                         DICKIE
               I love Marge. RIPLEY
               I met him in New York.

                         DICKIE
               Marge! You've got to hear this! RIPLEY
               It's fantastic.
                   (to Peter)
               I feel guilty. Marge doesn't understand
               this, but anytime Dickie does something I
               feel guilty. DICKIE
               The mysterious Mr Ripley. Marge and I
               spend hours speculating.
                   (drinking)
               Cold beer. Thank you Dad. Marge and Ripley are on a shopping expedition. They walk down
     the hill towards the grocery shop, next to the bar in the
     little square. Ripley has asked Marge how she and Dickie met. RIPLEY
               I was just looking at you -
                   (looking at her tenderly)
               - so quiet.

                         MARGE
               Where's Dickie? RIPLEY
               I don't know. I don't understand Dickie,
               Marge, so your guess is as good as mine.

                         MARGE
               What does that mean? MARGE
               Well, we ate everything without you.

                         DICKIE
               We?

                         MARGE
               Yes, Tom Ripley's here. MARGE
               Dickie!

                         RIPLEY
               I'll go and see what's the matter.

                         MARGE
               I'll go. RIPLEY
               I'll try my best, sir. Obviously I'll do
               anything to help Dickie.

     Marge looks at him in contempt. MARGE
               I'll come down.

                         DICKIE
                   (to Ripley)
               Did you speak to my father? DICKIE
               me neither. Nor does Marge. All only
               children - what does that mean?

     He looks at Ripley who looks at him, a little too long. Dickie and Ripley are leaving.  They're fooling around.
     Dickie jumps on Ripley's shoulders. Marge watches from the
     top of the garden. his crew of Marge and a painfully awkward anxious-to-please
     Ripley.  Dickie goes over to help him. MARGE
               Hi Tom.

                         DICKIE
                   (looks up)
               Marge, Ripley's saying goodbye. Ripley comes down, apprehensive, to find Marge and Dickie and
     Freddie having a jolly breakfast on the terrace. Dickie looks
     perfectly happy.
Ripley locates his room, puts down his luggage in what is a
     comfortable and simple room, then heads back downstairs only
     to be tempted by the open door of Dickie's bedroom. Ripley explores the casual elegance of Dickie's bedroom - the
     Louis Vuitton chest, the closet's open door spilling out Dickie and Ripley travel up to San Remo. They sit next to
     each other. Dickie's asleep. Ripley lays his head on Dickie's reflection of the train window, so that he can move his head
     and see his reflection, then back and see Dickie's.  Dickie
     suddenly catches him staring. Ripley looks away. Ripley appears, with his meagre luggage at Dickie's front
     door. He's carrying his tote bag under his arm, the bottom of Dickie's in the bath. Ripley, dressed, sits on the stool next
     to the bath. They're in the middle of playing chess, the RIPLEY
               Oh - just amusing myself.  Sorry, Dickie.
                   (pause)
               I didn't think you were coming back.

     Dickie turns off the record player. DICKIE (O/S)
               What are you doing?

     Ripley turns, horrified, to see Dickie standing in the
     doorway.  The music thumps away. RIPLEY
               Copy out from here...

     He hands the book to Dickie, pointing out the lines. Dickie, in his new dressing gown, is sitting at the table,
     typing. Ripley's head emerges from behind the couch on which
     he has been enjoying a blissful sleep. He gets out, walks past Ripley, who doesn't turn around. But
     Dickie's reflected in the mirror. Ripley looks, then Dickie
     turns, holds his look momentarily before flicking him with
     his towel. Ripley studies an old photograph of Dickie Greenleaf in a
     Princeton Yearbook. He shoves the book in a bag, picks up
     his suitcase and takes a last look around the dingy apartment
     before closing the door behind him. They're shown to a good table. Dickie watches the band while
     their glasses are filled with champagne. Ripley looks happy.
     He's got Dickie all to himself. And he disappears again, leaving Dickie to resume the sax,
     somehow in thrall to Ripley. Ripley starts undressing, his fingers clumsy with
     mortification and shock.  Dickie looks at his feet, shakes
     his head. DICKIE
               Freddie drove me back in his car.

                         RIPLEY
                   (horrified)
               Is Freddie here? Dickie and Ripley on the Vespa. There's a steep incline where
     the road winds down towards Naples and, as the Vespa gains
     speed, Ripley is happy to cling to Dickie. RIPLEY
               He's gone to dinner! Search the place. I
               can't think why you would imagine Dickie
               would hide from you. Ripley, shocked at himself, goes to Dickie, rocking the boat,
     catches him up, then is horrified to see Dickie's face, DICKIE (cont'd)
                   (losing his temper)
               You don't have to clean up! Really!

     Ripley disappears into the kitchen.
Dickie and Ripley travel up to San Remo. They sit next to
     each other. Dickie's asleep. Ripley lays his head on Dickie's shoulder, but as he does that, the ticket inspector announces
     the San Remo stop, taps on the window and Dickie stirs. Then
     Ripley plays his familiar game of studying his face in the Ripley studies an old photograph of Dickie Greenleaf in a
     Princeton Yearbook. He shoves the book in a bag, picks up
     his suitcase and takes a last look around the dingy apartment
     before closing the door behind him. EXT. MID OCEAN. DAY.

     The bay of San Remo. DICKIE and RIPLEY have hired a motor 
     boat. reflection of the train window, so that he can move his head
     and see his reflection, then back and see Dickie's.  Dickie
     suddenly catches him staring. Ripley looks away. Dickie and Ripley on the Vespa. There's a steep incline where
     the road winds down towards Naples and, as the Vespa gains
     speed, Ripley is happy to cling to Dickie. Ripley grips the oar, his knuckles white. Dickie cuts the
     motor, and the boat slows to a crawl, miles from the shore. He gets out, walks past Ripley, who doesn't turn around. But
     Dickie's reflected in the mirror. Ripley looks, then Dickie
     turns, holds his look momentarily before flicking him with
     his towel. They're shown to a good table. Dickie watches the band while
     their glasses are filled with champagne. Ripley looks happy.
     He's got Dickie all to himself. RIPLEY
               What rumour?

                         PETER
               That Dickie murdered you and is
               travelling under your passport. I know,
               ridiculous. RIPLEY
               Dickie Greenleaf?

     Dickie squints at Ripley, who holds his shoes, lamely.

                         DICKIE
               Who's this? Ripley, shocked at himself, goes to Dickie, rocking the boat,
     catches him up, then is horrified to see Dickie's face, Dickie's in the bath. Ripley, dressed, sits on the stool next
     to the bath. They're in the middle of playing chess, the DICKIE
               Freddie drove me back in his car.

                         RIPLEY
                   (horrified)
               Is Freddie here? ROVERINI
               You and Signor Ripley went to San Remo,
               is that right?

     Ripley is appalled. He smiles. RIPLEY
               Oh - just amusing myself.  Sorry, Dickie.
                   (pause)
               I didn't think you were coming back.

     Dickie turns off the record player. DICKIE
               Sure.  I love Venice.

                         RIPLEY
               I have to go to Venice. And Dickie's already gone, back to Ripley feinting to box him
     then dancing, satyr-like, down the hill.

     EXT. COASTAL ROAD TO NAPLES. EVENING. Ripley shakes hands with Herbert Greenleaf as he gets into
     his Rolls Royce. They are making an appointment. Ripley
     crosses the street to Fran, pecks her cheek. She hands him
     his share of their fee. Dickie, in his new dressing gown, is sitting at the table,
     typing. Ripley's head emerges from behind the couch on which
     he has been enjoying a blissful sleep.
PETER
               They found this in Dickie's place in
               Rome.

                         RIPLEY
               You opened this?

                         VERRECCHIA
               Of course! MEREDITH
               Everybody knows Freddie Miles.

                         RIPLEY
                   (unsettled)
               Is Freddie in Rome? Ripley's way ahead and has reached the door of his apartment.
     He waits nervously for Roverini. He unlocks the door and can
     barely wait for Roverini to catch up. RIPLEY
               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 - RIPLEY
               I know.

                         MEREDITH
               I've never admitted that to anyone.

     INT. AMERICAN EXPRESS OFFICE, ROME. DAY. MARGE
                   (as if she's seen a ghost)
               Oh my God. Tom.

                         RIPLEY
               Marge, how are you? What are you doing in
               Rome? INT. RIPLEY'S APARTMENT, ROME. LATE DAY.

     Freddie knocks on the door which pushes open. As he marches
     in, he launches into his interrogation. EXT. ROME STREET, BY THE RIVER. DAY.

     Ripley pulls up several hundred yards later, in a different
     piazza full of book stalls.  Marge is confused. Ripley loves this idea and mouths the word, "Batistoni".

                         DICKIE (cont'd)
               Andiamo a Roma.  We're taking Tom to
               Roma! As Ripley hurries inside he encounters officers conducting
     more thorough forensic investigations in the stairwell. On a
     landing is Roverini. Ripley hurries towards him. Ripley emerges from the American Express Office. Across the
     street at the cafe, as once before, sits Marge. Ripley slips RIPLEY
               It's okay.

                         PETER
               Anyway I've got to the bottom of the
               delay. Finally.  We're waiting for
               someone from Rome. RIPLEY
               Even her.

                         ROVERINI
               What about Thomas Ripley?

                         RIPLEY
               What about Ripley? RIPLEY
               I've left Marge, Meredith. And Mongi. So
               the rat's here now, in Rome. RIPLEY
               I think he's planning on staying in Rome
               for a few days.

                         MARGE
                   (looks at him)
               Ha. Did he say why? RIPLEY
                   (returning, flinching)
               No. No, I'm staying here for a few days,
               in Rome.  That's a new piano, so you prob - Verrecchia hands over a letter. It's opened. Ripley's name on
     the outside. Ripley stares at it. INT. TRAIN TO ROME. DAY.

     Ripley sits reading the LETTER from Herbert Greenleaf.  He
     frowns, stops reading, looks out of the window. EXT. CAROZZA, ROME. NIGHT.

     Meredith shivers in the raw night as they cross the Tiber.
     Ripley as Dickie is confessing his heart belongs to Marge. Ripley forgets he's not supposed to have much Italian and
     answers.

                         RIPLEY
               In Rome, about three weeks ago.
                   (shrugs)
               I knew that one.
Ripley grips the oar, his knuckles white. Dickie cuts the
     motor, and the boat slows to a crawl, miles from the shore. Ripley goes straight to Meredith and grabs her.

                         RIPLEY
               Let's go.

                         MEREDITH
               I thought you were enjoying yourself? They kiss cheeks, continental-style.

                         DICKIE
               This is Tom Ripley. Freddie Miles. He helps Marge to her feet and leads her out. RIPLEY IS
     PARALYSED. He waits for the door to shut. Aimlessly he walks He shares some intimacy with Marge, makes her laugh.  Ripley
     stands as they wrestle around him. Marge looks up. Ripley, terrified, hits Dickie again and again, the oar like
     a carpet-beater banging down flat, blood on the blade, blood RIPLEY
               Shut up! Just shut up! Just shut up!

     The boat slows as Dickie releases the tiller.  Dickie looks
     up at Ripley wearily and slides onto his back. him downwards. As Freddie slumps away, Ripley loses his
     balance and the head sends Freddie a glancing blow before MEREDITH
               Everybody knows Freddie Miles.

                         RIPLEY
                   (unsettled)
               Is Freddie in Rome? AND HE'S GONE. Ripley shuts the door, smooths the silk runner
     on the table where Freddie's hand had rucked it. He goes back
     to the door, opens it and looks over the rail. Ripley is pressing against him, moving up his body, kisses
     his shoulder, the cord wrapped tight in his hands...

     INT. RIPLEY'S CABIN. NIGHT. Dickie, furious, gets up, and lurches towards Ripley. Ripley's way ahead and has reached the door of his apartment.
     He waits nervously for Roverini. He unlocks the door and can
     barely wait for Roverini to catch up. Freddie falls like an ox, first to his knees, groaning, then
     to the floor as Ripley brings the head down again, beating MARGE
               Tell me the truth. Did he kill Freddie?

                         RIPLEY
               I'd swear he didn't. Of course he didn't. Ripley, shocked at himself, goes to Dickie, rocking the boat,
     catches him up, then is horrified to see Dickie's face, Ripley has to cover his face. MacCarron comes off the boat to
     restrain her.  Ripley looks at him as if to say: <i>what can you WATCHING HIM. Ripley screams and swerves, crashing into the
     pavement, the scooter falling onto him and pulling him along A deserted cove, several miles along the coast. Ripley
     clambers onto a rock over the shore.  He's watching the boat on Ripley, until he's on his knees, heaving for breath,
     letting his arm drop, then realizing, disgusted, that he's
RIPLEY
               Oh - just amusing myself.  Sorry, Dickie.
                   (pause)
               I didn't think you were coming back.

     Dickie turns off the record player. RIPLEY
               Copy out from here...

     He hands the book to Dickie, pointing out the lines. RIPLEY
               I know why you're upset.
                   (Dickie continues playing)
               I know about Silvana, Dickie. About you
               and Silvana. RIPLEY
               What rumour?

                         PETER
               That Dickie murdered you and is
               travelling under your passport. I know,
               ridiculous. DICKIE (cont'd)
                   (as Ripley returns)
               She was pregnant. Did you know that? Do
               you know what that means in a place like
               this? DICKIE
               Freddie drove me back in his car.

                         RIPLEY
                   (horrified)
               Is Freddie here? Ripley studies an old photograph of Dickie Greenleaf in a
     Princeton Yearbook. He shoves the book in a bag, picks up
     his suitcase and takes a last look around the dingy apartment
     before closing the door behind him. RIPLEY
               He's gone to dinner! Search the place. I
               can't think why you would imagine Dickie
               would hide from you. RIPLEY
               It's fantastic.
                   (to Peter)
               I feel guilty. Marge doesn't understand
               this, but anytime Dickie does something I
               feel guilty. DICKIE
               The mysterious Mr Ripley. Marge and I
               spend hours speculating.
                   (drinking)
               Cold beer. Thank you Dad. RIPLEY
               Dickie Greenleaf?

     Dickie squints at Ripley, who holds his shoes, lamely.

                         DICKIE
               Who's this? RIPLEY
               Then I'll take it as a compliment.

                         DICKIE
               I knew it! I had a bet with Marge! RIPLEY
               I met him in New York.

                         DICKIE
               Marge! You've got to hear this! RIPLEY
               I wanted to tell you my plan.

                         DICKIE
               So tell me. RIPLEY
               I was just looking at you -
                   (looking at her tenderly)
               - so quiet.

                         MARGE
               Where's Dickie? RIPLEY
               You love me and you're not marrying me.

                         DICKIE
                   (cold)
               Tom, I don't love you. RIPLEY
               Shut up! Just shut up! Just shut up!

     The boat slows as Dickie releases the tiller.  Dickie looks
     up at Ripley wearily and slides onto his back. Dickie and Ripley travel up to San Remo. They sit next to
     each other. Dickie's asleep. Ripley lays his head on Dickie's They're shown to a good table. Dickie watches the band while
     their glasses are filled with champagne. Ripley looks happy.
     He's got Dickie all to himself. DICKIE
               Did I know you at Princeton, Tom? I
               didn't, did I?

                         RIPLEY
               Why are you asking all of a sudden?
MEREDITH
               Dickie?  Dickie?

     He turns. He's caught. Suddenly he's Dickie. Nobody's in sight.  The boat rocks, gently, the sun sparkling
     indifferently on the waves.  Ripley lies by Dickie in the
     bottom of the boat, in the embrace he's always wanted. RIPLEY
               Copy out from here...

     He hands the book to Dickie, pointing out the lines. for his own battered suitcase. He puts the license plates
     from Freddie's car in Dickie's luggage. He has placed one 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 RIPLEY
               Oh - just amusing myself.  Sorry, Dickie.
                   (pause)
               I didn't think you were coming back.

     Dickie turns off the record player. Dickie, pulls off his hat, puts it on, there's no room for
     her to sit, so she sits on Dickie's lap, smoking his DICKIE
               Freddie drove me back in his car.

                         RIPLEY
                   (horrified)
               Is Freddie here? Ripley and Dickie are walking out of the American Express
     Office, Dickie pushing the rest of his money into his case,
     Ripley - despondent - reading aloud extracts from a letter
     from Herbert Greenleaf - Dickie's bag into his knapsack as he approaches his scooter.
     Marge spots him and strides across the piazza. She is in no
     mood for pleasantries. DICKIE
               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. slowly sinking. Shuddering from the exertion, the cold, he
     finds Dickie's jacket, puts it on and watches as the boat
     disappears under the surface. DICKIE
               I'll tell you - I am so cabin-crazy with
               Mongi.

     Freddie and Dickie link arms Italian-style and cross the
     street to Freddie's car. He takes Dickie's rings, opens up a LITTLE BOX of buttons and
     needles and cufflinks and sadly tosses them in. Dickie's DICKIE
               I feel like he's here. Horrible. Like the
               old bastard is here right now!  That's
               brilliant!  How do you know him? PETER
               But the point is Dickie - well we know
               this - Dickie loves Marge and he misses
               her and apparently he's come to his
               senses... FREDDIE
                   (mugging)
               Hey, if I'm late, think what her
               husband's saying!

     He fills Dickie's glass with wine and drinks it standing up. Dickie and Ripley, still horsing about, pass Silvana's
     grocery store.  Dickie dismounts, goes over to Silvana, who's Dickie and Ripley on the Vespa. There's a steep incline where
     the road winds down towards Naples and, as the Vespa gains
     speed, Ripley is happy to cling to Dickie. MEREDITH
               I won't actually, although I think this
               might - are you waiting for Dickie?

                         PETER
               Well no, as it happens, although...
To what country does Herbert Greenleaf ask Tom Ripley to go? How does Ripley murder Dickie? Who is Freddie Miles to Dickie? With what item does Ripley kill Freddie Miles? How does Ripley dispose of Dickie's body? Where does Ripley dispose of Freddie Mile's body? What did the Greenleafs believe to be the cause of Dickie's death? From what city did Ripley leave to go to Italy to meet Dickie? How did Ripley gain Dickie's fortune? Who's idea was it for Ripley to  persuade Dickie to return to the U.S.? What was the turning point that caused mistrust of Ripley by Dickie? How do we know that Tom Ripley's unethical behavior is not new? To whom did Ripley suggest that Dickie was depressed and may have committed suicide? How does Dickie die? How does Ripley use to kill Miles? Who receives Dickie's inheritance? What causes the family to believe that Dickie's will is legitamate? What changes Ripley's mind about ending Marge's life? Where did Ripley dispose of Miles' body? What is Dickie's relationship to Herbert Greenleaf? What does Herbert want Ripley to do? What is Marge Sherwood's relationship to Dickie? What does Marge believe Ripley to be in relation to Dickie? What does Dickie find Ripley doing in Dickie's bedroom? What does Ripley decide to do to Dickie while travelling to Sanremo together? Who discovers Ripley's deceit in Rome? What does Ripley do to Miles? What does Ripley tell Dickie's family that Dickie did? Who ends up inheriting Dickie's fortune?
Italy. Italy.
beats him with an oar Ripley used an oar to beat Dickie to Death.
His longtime friend. friend
An ashtray ashtray
Dumps his body in the water. drops him in the ocean
On the outskirts of Rome. The outskirts of Rome.
Suicide suiside
New York City. New York City
By forging his will. assumes Dickie's identity
Herbert Greenleaf, Dickie's father herbert greenleaf
Dickie discovered Ripley trying on his clothes and imitating his mannerisms. by wearing his clothes and acting rich
Ripley has particiapated in small time confidence scams in the past. The story opens with explaining that Ripley has a history of scams.
Dickie's father and an American private detective. Dickie's father
Ripley beats him with an oar. Ripley beats him to death with an oar.
Ashtray Ripley kills him with an ashtray.
Ripley Ripley.
It was forged on his Hermes typerwriter. the will is written using Dickie's Hermes typewriter
She mentions that if Dickie gave Ripley his rings, he probably did commit suicide. she believes he killed him self cause ripley had dickie ring
On the outskirts of Rome. The outskirts of Rome.
Dickie is Herbert's son. Dickie is Herbert's son.
Convince Dickie to return to his father. travel to italy to find and convince dickie to return to US
Marge is Dickie's friend. friend
Gay Marge believes Ripley is gay.
Dressing up in Dickie's clothes and imitating Dickie. dressed in his clothes making fun of him
Murder Dickie. murder him and takes his identity
Dickie's friend Miles. Freddie Miles
Ripley murders Miles. Beats him to death with an ashtray
Committed suicide. He suggests that Dickie killed himself
Ripley. ripley