분야
hwp Screenplay By
ANTHONY MINGHELLA
Based On The Novel By
PATRICIA HIGHSMITH
1st November 1999
1958
PROLOGUE: INT. RIPLEYS CABIN. EVENING.
Fade up on Ripley, as in the final scene of the film,
sitting, desolate in a ships cabin. The camera rotates
around his face, which begins in light and ends in darkness.
RIPLEY (O/S)
If I could just go back. If I could rub
everything out. Starting with myself.
Starting with borrowing a jacket.
EXT. CENTRAL PARK WEST TERRACE. EARLY EVENING.
Ripley is at the piano, accompanying FRAN, a young soprano.
CREDITS begin.
FRAN (SINGS)
Ah, such fleeting paradise
such innocent delight
to love,
be loved,
a lullabye,
then silence.
The song finishes. Applause. Theyre the entertainment at a
cocktail party to celebrate a silver wedding anniversary.
Some partygoers congratulate Fran on her performance. A
distinguished looking man, pushing his wife in a wheelchair,
approaches Ripley, offers his hand.
HERBERT GREENLEAF
Most enjoyable. Herbert Greenleaf.
RIPLEY
Tom Ripley. Thank you, sir.
HERBERT GREENLEAF
(pointing at Ripleys borrowed
jacket)
I see you were at Princeton.
Then youll most likely know our son,
Dick. Dickie Greenleaf...
EMILY GREENLEAF
We couldnt help noticing your jacket.
HERBERT GREENLEAF
Yes.
EMILY GREENLEAF
Class of 56?
RIPLEY
(hesitating)
How is Dickie?
INT. ELEVATOR OPENING OUT INTO LOBBY. EARLY EVENING.
Fran, Ripley, Mr and Mrs Greenleaf and others emerge from an
elevator. Emily talks to Fran, Herbert to Ripley.
EMILY GREENLEAF
(to Fran)
I hope youll come and see us...
FRAN
Thats very kind.
EMILY GREENLEAF
Both of you...
HERBERT GREENLEAF
Of course, Dickies idea of music is
Jazz. He has a saxophone. To my ear Jazz
is just noise, just an insolent noise.
EXT. CENTRAL PARK WEST. EARLY 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.
RIPLEY
Gotta run. Im so late.
(he hands Frans boyfriend the
jacket hes been wearing)
Thanks for the jacket.
BOYFRIEND
Sure. Thanks for filling in for me.
From Greenleafs point of view he sees a couple embracing.
EMILY GREENLEAF
Darling couple, arent they?
HERBERT GREENLEAF
Yes. An exceptional young man.
From another vantage point Ripley hurries on as Fran gets
into her boyfriends car. A piano quartet starts up.
EXT. THEATER. EVENING.
Ripley runs past the droves of arriving concert-goers and
heads for the theater. Music continues.
INT. MENS ROOM, THEATER. NIGHT.
The interval: A thick mass of men in tuxedoes grooming
themselves at the basins. Ripley turns on faucets, offers
towels, brushes off dandruff. Men talk over, round, and
through him. Put coins in a bowl.
INT. A BOX AT THE THEATER. NIGHT
The concert continues. Ripley peers through the curtain at
the performances. A haughty woman in the box turns round and
he closes the curtain.
INT. BACKSTAGE. 1:30 A.M.
An empty auditorium. Ripley plays Bach in the blue
ghostlight. A caretaker emerges from his rounds, flips on
the house lights. Ripley jerks up from his playing, waves
apologetically.
RIPLEY
Sorry, sorry. I know. Sorry.
EXT. GREENLEAF SHIPYARDS, BROOKLYN. DAY.
Greenleaf and Ripley walk through one of the drydocks. A
huge void in the shape of a boat, swarming with workers
preparing the shell of a new liner. If Central Park is where
the money is spent, this is clearly where its made. And a
lot of it. Workers nod deferentially to the man with his name
over the buildings behind them.
HERBERT GREENLEAF
Mongibello. Tiny place. South of Naples.
Marge, his uh, the young lade is
supposedly writing some kind of book. God
knows what he does. By all accounts they
spend the whole time on the beach. Or his
sailboat. Thats my sons talent,
spending his allowance.
Ripley, in his green corduroy jacket the very model of a
sober young man, listens attentively.
HERBERT GREENLEAF (contd)
Could you ever conceive of going to
Italy, Tom, persuade my son to come home?
(Ripley looks doubtful)
Id pay you. Id pay you 1000 dollars.
RIPLEY
Ive always wanted to go to Europe, sir,
but...
HERBERT GREENLEAF
Good. Now you can go for a reason.
INT. RIPLEYS APARTMENT, NEW YORK. DAY.
A vinyl RECORD revolves in close up. An exuberant and
mysterious VOICE is scat singing. Wild. Then the sound slides
into a raucous big band jazz number: Dizzy Gillespies The
Champ. A HAND ejects the record. When the camera finds the
mans face it is BLINDFOLDED. Hes hot. Hes wearing an
undershirt. Hes trying to identify the recording.
RIPLEY (O/S)
I dont know. Count Basie? Duke
Ellington. I dont know. Count Basie.
The man pulls of the blindfold, examines the record cover of
the disc hes been trying to learn, needs to put on glasses
to do so, is irritated by his mistake. He ejects the record.
A pile of other jazz records are strewn across a cluttered
table which includes classical sheet music and a paper
keyboard. One hand idly mimes at the keys.
INT. RIPLEYS APARTMENT. DAY.
An
