Ripley – IV La Dolce Vita | Transcript

Tom leaves for Rome using Dickie's identity and creating a web of lies.

Episode title: 
IV La Dolce Vita
Genre: Thriller, Mystery, Neo-noir
Created by: Steven Zaillian
Based on: The Talented Mr. Ripley by Patricia Highsmith
Written by: Steven Zaillian
Directed by: Steven Zaillian
Starring: Andrew Scott, Dakota Fanning, Johnny Flynn, Eliot Sumner, Margherita Buy, Maurizio Lombardi
Original release date:
April 4, 2024

Plot: Tom returns to Atrani and collects Dickie’s personal effects, claiming that Dickie is in now in Rome. Marge is unconvinced. Tom sells some of Dickie’s valuables and approaches Carlo about selling Dickie’s boat. In Rome, Tom assumes Dickie’s identity and begins living his privileged life.

* * *

[ominous music playing]

[train wheels clacking]

[indistinct chatter]

[indistinct announcement over PA system]

[tense music playing]

[intriguing music playing]


[in Italian] Get lost.

[seagulls squawking]

[intriguing music continues]

[tires screeching]

[music fades]

[birds calling]

[mellow Italian music playing]

[music fades]

[Marge in English] Dickie?

In here.

Oh, hi, Marge.

[wind chimes tinkling]

Where’s Dickie?



You didn’t get his letter?


Oh, it must be at the post office.

But I was just there.

Oh, then…

What are you doing, Tom?

I’m doing what Dickie asked me to do.

I’m taking him some things he wants in Rome.

He said he was going to write to tell you he’s staying there for a while.

A while, meaning what?

I’m not sure. I’m not sure he’s sure.

Until the end of winter, at least, he said.

He’s not coming back all winter?

Oh, no, I’m sure he’ll be back to visit, and to… to take care of some things.

We’re still going to Cortina though.

No, actually, he’s not.

He said he was going to write to, uh…

What’s his name? Freddie? And to tell him.

Oh, but that you should go. He made a point of saying that.

That I should go? Without him? Like I’d do that.

I’m… I’m just telling you what he said, Marge.

Is he staying with somebody?

I don’t know where he’s staying.

Oh, and he said that you should take the refrigerator.

What did you guys do?


In San Remo.

We didn’t do anything out of the ordinary.

Oh! We bought your perfume.

He didn’t have a talk with you about your plans?


What do you mean?

Are you staying with him in Rome?

[Tom] Uh…

For a while, I guess.

Help him get settled.

But you don’t know where he’s staying.

He said he’d leave me a message at the American Express there, once he knows where he’s staying.

And that’s where you should write him, if you write him.

Then what?

Then, uh… I want to go to Paris.

[Marge] You, or you and him?

Just me.

What about Christmas?

What about it?

Did he say if he was planning to come back here,

if he’s not going to Cortina?

Uh, he didn’t say, but… [sighs] I don’t think so.

Why do you think that if he didn’t say?

This is kind of… awkward, Marge, because

he said some things about you.

About me? To you?



He said he’s feeling like he wants to be alone for a while.

Except he’s not going to be alone.

You’ll be there, apparently.

He didn’t mean me, I guess.

You want to go for a drink and talk about this some more?

I could make you a drink. With ice. [chuckles softly]



[pensive music playing]

[door opens]

[sighs deeply]

[door closes]

[wind chimes tinkling]

[dog barking distantly]

[pensive music continues]

[owl hooting distantly]

[ominous music swells]

[music fades]

[bells tolling distantly]

[indistinct chatter]

[melancholic Italian music playing]

[coins clatter]

[vehicles honking]

[vehicle engines whirring]

[indistinct chatter]

[birds cawing distantly]

[melancholic music continues]

[man yelling] Volete stare zitti?

[dog barking]

[Carlo] E questo che cos’è?

[man 1] Il crocifisso…

[Carlo] Ci stanno quattro crocifissi.

[man 2] Mo’ ce ne stanno tre.

[Carlo] E io vi ho detto di prendere proprio questo?

[man 1 in Italian] Carlo, you told us to get the crucifix.

[Carlo] It’s a church. It’s full of crucifixes.

I told you to get the Foggini crucifix.

[man 1] I don’t know who that is.

[Carlo] That doesn’t surprise me.

[man 2] Is there something wrong with this crucifix?

Apart from the fact that it’s worth nothing?

Carlo, you need to be more specific with us.


[man 2] I actually like it.

[Carlo] Ah, sì?

[man 1] Me too.

[Carlo] Huh.

[man 1] I don’t usually like religious art.

But this one’s not bad.

Ah. Bring it home then.

[book thuds]

It’ll look good in your living room.

[Tom] Carlo.

[Carlo] Ehi, Tomma!

[chuckles] Too late. I found someone else for the Paris job. Sorry.

That’s okay. I have something for you.

Get out of here, boys.

Come on in.

Tell me.

[in English] You know anyone who wants to buy a boat?

Which type of boat?

Forty-foot, Sangermani.

That’s your boat?

It’s my friend’s. He’s traveling.

Your rich friend who’s afraid of me?

He wants three million lire for it, nothing less,

from which he’ll pay you a commission.

I can do that. 20%.

No, that’s not going to work.

He’s paying me ten. Thirty is too much.

[in Italian] Wait a minute.

[in English] Why is he paying you when I’m selling it?

Because you won’t be the one selling it without my say-so.

It’s not worth it. It’s not worth it to me for less than 20%.

Carlo. This is what I do for a living.

I arrange the sale of things, so I set the fees.

Do you know what I do for a living?

I have a pretty good idea.

Twenty percent. Split between the two of us, ten each.

That’s as high as I’ll go.

You’ll go?

He’ll go.

Sorry. 20 for myself.

Okay, well…



[intriguing music playing]

[in Italian] Come here.

[in English] I like you, Ripley. Have a seat.

We’ll work something out. Hmm?

[Tom sighs]

[call bell buzzes]

[Tom] Buongiorno.

You’re back, sir. Staying with us again?

No, actually, I’d like to speak with the manager, please.

That’s me.

Oh, okay.

A friend of mine has some things he thinks

the hotel might be interested in purchasing.



[intriguing music continues]

[Tom] Make a list of what the hotel might want,

and a price, and send it to me in Rome, care of American Express.

I’ll give it to my friend and one of us will be in touch with you.

Your friend is in Rome?

He is.

And you handle his affairs.

I do.

This too is for sale?

Whatever it is.

“Whatever it is”?


No, it’s not for sale.

[music fades]

[Ermelinda] Tommaso.

[in Italian] Lunch is ready. Grazie.

Uh, Ermelinda?


Richard said he’s going to write you

to thank you for all you’ve done for him.

In the meantime, he asked me to give you this.

What’s this for?

He’s still in Rome, and isn’t sure he’s coming back,

so your services are no longer required.

Grazie, signora.

[Tom hammering]

[moody music playing]

No, no.

I’ll do it myself.

[moody music continues]

[wind chimes tinkling]

[birds calling]

[indistinct chatter]

[moody music continues]

[Tom] Wait for me here, thanks.

[driver] Grazie.

[indistinct chatter]

[indistinct announcement over PA system]

Six tickets for Rome. First class.


[Tom] Sì.

12,000 lire.

[indistinct announcement over PA system]

[indistinct chatter]

[music fades]

[indistinct chatter]

[“Quando Quando Quando” by Tony Renis playing]

♪ Dimmi quando tu verrai ♪

[indistinct chatter]

[indistinct announcement over PA system] ♪ Dimmi quando quando quando ♪

♪ L’anno, il giorno, l’ora in cui ♪

♪ Forse tu mi bacerai ♪


[in English] Thank you. Grazie.

[in Italian] Welcome to the Excelsior.

[in English] Thank you.

♪ Non ci lasceremo mai ♪

[indistinct chatter]

♪ Non ci lasceremo mai ♪

♪ Non ci lasceremo mai ♪

[song fades]

Buonasera, signor.


[in Italian] I’d like a room please. Deluxe.

Right away.

For how many days?

Two weeks.

[baroque music playing over speakers]


Sign here, please.




Nice pen.


[Tom sniffs, exhales]

Thank you, Mr. Greenleaf.

Room number 312.

Welcome to Rome.


[lively baroque music playing]

If you need anything, call reception.


Grazie, signor.

[door opens]

[door closes]


[gasps gleefully]

[lively baroque music continues]

[camera shutter clicks]

[baroque music continues over speakers]

[indistinct chatter]

[clerk] Signor Greenleaf.

Ho un messaggio.


Bad news?

[in English] Yes. Uh, she called, or came by?

Oh, she called.

You spoke to her?

I spoke to her.

What did she say?

Uh, she seemed relieved to know that you are here,

and said it’s urgent you get in touch with her.

Yes, it is urgent. It means my mother’s health has taken a turn for the worse.

Oh, I’m sorry to hear.

Did Miss Sherwood say anything about coming to Rome?

No, sir.

I’m sorry. I’m going to have to check out immediately.

I understand completely. You must attend to your mother.

I hope it’s not as serious as it seems.

Me too.

I will send a porter up to help you with your luggage.

Thank you.

And, um, if Miss Sherwood calls again before I reach her,

can you tell her that, uh, I’ll be in touch just as soon as I can?

Sure. I will make a note.


And we’ll prepare your bill.

I just checked in.

[clerk] Yes.


Your key.


[baroque music continues]

[music stops]

[engine idling]

[Tom] Grazie.

Grazie a lei.

[dogs barking distantly]

[object clatters distantly]

[electrical buzzing]

[clock ticking]

Mi scusi.


[suitcase thuds]

[in Italian] A single room please.

[in English] Standard.

[clerk in Italian] Passport. Sì.

No, grazie.

[clerk sighs]




[clocks ticking]

This watch has been in water.

It fell into the sink.

In salt water.

It’s stolen, this watch?


As you can see, my initials are on it.

[intriguing music playing]

[flashbulb pops]

[distant chatter]

[vehicle engine revving]

[children laughing distantly]

[indistinct chatter]

[typewriters clacking]

[telephones ringing]

[music fades]

[indistinct chatter]



What can I do for you?

Ah. An account with the Naples branch.


One moment.

[Tom] Grazie.

[indistinct chatter]

[man] Hello. This is Paolo Alessi,

director of the Rome branch.

I’d like to check the balance on an account in the name of

Richard Greenleaf.

Perfetto, grazie.

[indistinct chatter]

Firma leggibile.

[clerk] Signor Greenleaf.

Your signature.

Nice pen.

[Tom] Grazie.

A lei.

Grazie mille.

[clerk] Buona giornata.

[mellow Italian jazz music playing]

[music continues over radio]

[typewriter clacking]

[Tom in English] Dearest Marge.

I apologize for not writing sooner.

Hopefully, you spoke to Tom, and he told you I’m in Rome,

so you haven’t worried about me.

Speaking of Tom, you are on the wrong track about him.

All those terrible things you were saying about him.

[woman chuckles]

[Tom] Whatever he is, or isn’t, in that regard…

[indistinct chatter]

…he’s not a bad guy.

He has nothing to do with us, in any case.

I hope you realize that.

As for us,

please don’t think I’m running away from anything.

Or from you.

I just think a little time apart

will help us understand how we really feel about each other.

I’m sorry about Christmas in Cortina.

But I don’t think we should see each other that soon.

And I hope you don’t hate me for it.

Love, Dickie.

[music fades]

[coin rattles, echoes]

[mechanism ticking]

[disembodied voices whispering]

[dog barking]

[disembodied voices screaming]

[in Italian] The light.


[distorted disembodied voices screaming]

Always the light.

[mechanism ticking]

[mechanism thuds]

[ticking stops]

[Tom in English] PS.

[mellow jazz music continues]

I hope you like the perfume.

It was hard to find.

I’d almost given up when Tom found it.

He said, “Oh, Marge is going to be so happy.”

[“Guarda Che Luna” playing]

[wind chimes tinkling]

[Marge] Dear Dickie.

Well, this is a bit of a surprise. Rome?

Makes me wonder what happened in San Remo.

I guess not what we talked about.

I asked Tom and he was perfectly vague about it.

Everything about Tom is perfectly vague.

Intentionally so, if you ask me. Or haven’t you noticed?

You say he’s not a bad guy, but I don’t like him.

How can you not see he’s using you?

Is he queer?

I don’t know.

I don’t think he’s normal enough to have any kind of sex life.

But I have to say, you act kind of ashamed around him.

What’s that about?

You were concerned about your father’s opinion of Tom,

but now seem to be ignoring it.

That was a warning, Dickie.

Why are you ignoring your father’s warning?

As for us, as you put it,

I can bear the few weeks without you here, darling,

but I do miss you.

Everywhere I look, I see signs of you.

The little olive tree we planted outside my window.

The books I borrowed from you and never returned.

The tomato plant you gave me is doing great.

Thank you for the perfume.

It’s lovely, though I’m not at all sure I believe Tom found it.

Is he still there, or did he return to the States like he said he would?

I’ve said enough about what I think of him, so won’t say more here.

It’s just a question.

Please let me know what your plans are.

I don’t even know if you’re still in Rome.

Are you?

Maybe I should just come up and find you.

I hope you like the scarf, darling.

I spent many nights making it for you.

I won’t say lonely nights.

[song ends]

[classical music playing] Buongiorno, Mr. Greenleaf.


Can I speak to you about something?

Is there a problem with your room, sir?

No. The room is fine.

It’s about a woman.

Isn’t it always?

I recently broke up with my fiancée, and she doesn’t want to accept it.


I met someone else,

so I’m kind of hiding out here from my fiancée.


[chuckling] Ex-fiancée.

[clerk] As would I.

Yeah, but my concern is that she’s gonna try and find me,

even if that means checking every hotel in Rome.

Oh, she knows you’re in Rome?

She does, and I’d rather not have a scene. Especially not at your hotel.

[clerk] She can be unpleasant?

Yeah. And loud.

[clerk] Hmm.

Maybe you should go to Firenze, or Venezia, even further.

[Tom] Hmm, I like it here.

So, uh,

my question to you is, uh,

if this young lady comes by and asks if I’m here,

do you think you could say that I’m not?

[clerk sighs deeply]

I’m terribly sorry, miss.

There is no Mr. Greenleaf here.

[softly] Bravo.

[in normal voice] Ciao.

[clerk] Arrivederci.

[coins rattling]

[bells tolling distantly]

[telephone ringing]

Sì, pronto?

[Tom] Carlo.

Tommaso! Ciao bello.

How is Rome?

Rome is fine. Have you found someone?

There is a little issue.

The boatkeeper has found a buyer for the boat at the price you said.

Why is that an issue?

Well, it isn’t really. It’s just that, you know, he expects a commission too.

Well, you’re right. There is no issue. You can split yours with him.

[chuckles] Sì! Nah, nah.

Did I ask you to involve the boatkeeper?

If you knew about selling boats, you would have.

But I didn’t, and frankly, I doubt you spoke to him.

I did spoke to him.

Oh, yeah? What’s his name?

His name? Giulio.

Giulio, the boatkeeper?

Huh, Giulio, the boatkeeper.

Look, I can tell him no if you want.

We can let this buyer go.

But be prepared for the boat to sit for a long time.

No one wants a boat in the winter. You know that.

Carlo. Huh?

You found a way to get your 20%. I almost admire that.

Send a bank check to American Express, Rome.

Minus Giulio’s commission and mine.

Don’t push the story, Carlo.

Did you say send it to you?

Yes, a Banca della Repubblica check.

Not to your friend.

To me. He’s traveling.

Okay, now who’s telling a story?

Shall we just forget this? Shall I get someone else to sell it?

[in Italian] Calm down.

[in English] I’m going to send the check in your name, don’t worry.

Good. And it’s Ripley. R-I-P, not R-E-E.


[chuckling] Va bene. Ciao.

[suspenseful music playing]

[indistinct chatter]

Signor Ripley. Prego.


[door opens]

[typewriters clacking]

[telephones ringing]

[indistinct chatter]

[in Italian] What will you be opening the account with, Mr. Ripley?



[music swelling]

[Tom] Grazie.

Grazie a te.

A te.


[shop bell tinkles]

[melancholic music playing]

[bells tolling distantly]

[birds squawking frantically]

[man] Four years after the murder of Ranuccio Tomassoni in Rome, Caravaggio was still a fugitive.

During this time, perhaps the last year of his life in 1610, he painted his David with the Head of Goliath.

In the painting,

Caravaggio links the killer and victim by portraying David as compassionate, even loving, in the way he gazes at the severed head of Goliath.

And he made this bond even stronger

by using himself as the model for both.

Both are Caravaggio’s face.

Young… and old.

[somber music playing]


[woman in English] ♪ Silent night ♪

♪ Holy… ♪

[Tom] Dear Mom and Dad.

I’m in Rome, looking for an apartment for the winter.

As soon as I’m settled I’ll send you the address.

I’m sorry to miss another Christmas with you in New York, but I’m trying to work some things through before I come home.

[Tom in Italian] Merry Christmas.

And to you.

[Tom in English] I got your letter.

I appreciate your concern about Tom, but I have to say you’re wrong about him.

He’s done exactly what you sent him here to do.

And has in fact helped me.

I don’t know if you know this, but he’s an orphan.

And how he speaks about this has reminded me of the importance of family, which I’m ashamed to say I almost lost sight of, until he arrived.

Somehow, out of all my friends, you picked the right one to send.

I love and miss you both.


[wind whooshing]

[bells tolling distantly]

[door opens]

[mellow Italian music playing softly]

[door closes]

[locks clicking]

[metal rattling]

[indistinct radio chatter]

[dogs barking]

[fast approaching footsteps]

[distant chatter]

[indistinct knocking]

[birds chirping]

[typewriter clacking]

[vehicle approaching]

[heavy ascending footsteps]

[object wobbling]

[wobbling stops]

[bell tolling]


[object jingles]

[vehicles passing]

[elevator doors closing]

[mechanism whirring]

[cat meows]

[telephone ringing]

[typewriter clacking]

[deep rumbling]

[birds chirping]

[door opens]

[door closes]


[knocking at door]


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