0:00:02 > 0:00:08This film contains some violent scenes and some strong language
0:00:15 > 0:00:18- SINEAD O'CONNOR SINGS: - # From the silence
0:00:18 > 0:00:21# From the night
0:00:21 > 0:00:25# Comes a distant
0:00:25 > 0:00:29# Lullaby
0:00:29 > 0:00:34# Soul surrendering your soul
0:00:34 > 0:00:37# The heart of you not whole
0:00:37 > 0:00:41# For love
0:00:41 > 0:00:47# But love
0:00:47 > 0:00:53# Walked on
0:00:53 > 0:01:00# Cast into the dark
0:01:01 > 0:01:08# Branded with the mark
0:01:08 > 0:01:15# Of shame of Cain... #
0:01:20 > 0:01:23If I could just go back,
0:01:23 > 0:01:25if I could rub everything out,
0:01:25 > 0:01:28starting with myself...
0:01:30 > 0:01:32..starting with borrowing a jacket.
0:01:33 > 0:01:36- SHE SINGS: - # Oh, such fleeting paradise
0:01:36 > 0:01:40# Such innocence denied
0:01:40 > 0:01:43# To love
0:01:43 > 0:01:46# Be loved
0:01:46 > 0:01:52# A lullaby
0:01:52 > 0:01:58# In silence. #
0:02:00 > 0:02:03APPLAUSE
0:02:04 > 0:02:07- WOMAN:- Frances, that was lovely. I'm so proud.
0:02:07 > 0:02:10- MAN:- Congratulations, my dear. Just wonderful.
0:02:10 > 0:02:12That was marvellous...marvellous.
0:02:12 > 0:02:15Most enjoyable. Herbert Greenleaf. My wife, Emily.
0:02:15 > 0:02:17- Thank you. Tom Ripley. - How do you do?
0:02:17 > 0:02:21You were at Princeton. Most likely you'll know our son, Dick.
0:02:21 > 0:02:23- Dickie Greenleaf? - Couldn't help noticing your jacket.
0:02:23 > 0:02:26Yes.
0:02:26 > 0:02:28Class of '56.
0:02:29 > 0:02:31How is Dickie?
0:02:31 > 0:02:33Oh, we've really enjoyed meeting you.
0:02:33 > 0:02:35We hope that you'll come out and see us.
0:02:35 > 0:02:38- Thank you. That's very kind. - Both of you.
0:02:38 > 0:02:41- Herbert? - Yes, yes. I very much hope so.
0:02:41 > 0:02:45Of course, Dickie's idea of music is jazz.
0:02:45 > 0:02:47He has a saxophone.
0:02:47 > 0:02:52To my ear, jazz is just noise, just an insolent noise.
0:02:52 > 0:02:55- It was very nice to meet you. - And you.
0:02:55 > 0:02:58- We'll see you at the shipyard. - I hope to.
0:02:58 > 0:02:59- Good. - OK.
0:03:01 > 0:03:03I have to run. I'm very late.
0:03:04 > 0:03:06- Ah, you were great. - You were great.
0:03:08 > 0:03:11- Darling couple, aren't they? - Yes. They are.
0:03:11 > 0:03:13Exceptional young man.
0:03:15 > 0:03:18- Thanks for the jacket. - Thanks for filling in for me.
0:03:18 > 0:03:19Take care of that wrist. Bye.
0:03:19 > 0:03:22MUSIC: SLOW MOVEMENT OF PIANO QUARTET IN E-FLAT MAJOR BY BEETHOVEN
0:03:26 > 0:03:30Believe me, buy IBM now, before it splits.
0:03:30 > 0:03:34- Do you really think so? - Yes!
0:03:34 > 0:03:36MEN CONVERSE SOFTLY
0:03:41 > 0:03:44PIANO QUARTET CONTINUES
0:03:58 > 0:04:01MUSIC: FIRST MOVEMENT OF ITALIAN CONCERTO BY BACH
0:04:08 > 0:04:11Sorry...sorry.
0:04:11 > 0:04:13No. Sorry.
0:04:13 > 0:04:16You've probably heard Dickie's been living in Italy,
0:04:16 > 0:04:21Mongibello, south of Naples, any kind of place at all.
0:04:21 > 0:04:23- Morning, sir. - Frank.
0:04:23 > 0:04:26Marge, his, um...young lady,
0:04:26 > 0:04:28is supposedly writing some kind of book.
0:04:28 > 0:04:30God only knows what he does.
0:04:30 > 0:04:33By all accounts, they spend the whole time on the beach
0:04:33 > 0:04:34and his sailboat.
0:04:34 > 0:04:37That's my son's talent - spending his allowance.
0:04:37 > 0:04:40Could you ever conceive of going to Italy, Tom?
0:04:40 > 0:04:44Persuade my son to come home?
0:04:45 > 0:04:47I'd pay you.
0:04:47 > 0:04:501,000.
0:04:52 > 0:04:56Well, I have always wanted to go to Europe, sir, but...
0:04:56 > 0:05:00Good. Now you can go for a reason.
0:05:00 > 0:05:03MUSIC: "THE CHAMP" BY DIZZY GILLESPIE
0:05:14 > 0:05:20Count Basie? Duke Ellington? I don't know.
0:05:22 > 0:05:24I don't know.
0:05:26 > 0:05:27I don't know.
0:05:34 > 0:05:35Dizzy Gillespie.
0:05:35 > 0:05:40- CHET BAKER SINGS: - # My funny valentine... #
0:05:40 > 0:05:41"My Funny Valentine".
0:05:41 > 0:05:44MAN SHOUTS: You're an ugly bitch! WOMAN SHOUTS BACK
0:05:45 > 0:05:49I don't even know if this is a man or a woman.
0:05:49 > 0:05:52THUD! CRASH!
0:05:52 > 0:05:56MAN AND WOMAN CONTINUE ARGUING
0:05:56 > 0:05:59BRISK JAZZ PLAYS
0:06:05 > 0:06:07Charlie Parker?
0:06:07 > 0:06:10Charlie Parker. I know that - it's "Bird".
0:06:13 > 0:06:15Yes!
0:06:15 > 0:06:17SONG ENDS ABRUPTLY Ugh!
0:06:17 > 0:06:20MUSIC: "MACHE DICH, MEIN HERZE, REIN" BY BACH
0:06:37 > 0:06:40- Here. I'll take it. - Thanks.
0:06:40 > 0:06:42That 1,000 bucks should come in handy.
0:06:42 > 0:06:45- Yes, sir. - I'll get that.
0:06:49 > 0:06:50- Thank you. - Sir.
0:06:50 > 0:06:52HE CHUCKLES
0:06:52 > 0:06:54You're going to have a great trip.
0:06:54 > 0:06:56Mr Greenleaf is personal friends with the Cunard people.
0:06:58 > 0:07:03# Mache dich, Mein Herze, rein... #
0:07:03 > 0:07:06I can tell you the Greenleaf name opens a lot of doors.
0:07:13 > 0:07:19# Mache dich, mein Herze, rein
0:07:19 > 0:07:24# Ich will Jesum, selbst begraben
0:07:24 > 0:07:29# Ich will Jesum, selbst begraben
0:07:34 > 0:07:39# Mache dich, mein Herze, rein... #
0:07:39 > 0:07:41MAN SPEAKS ITALIAN OVER PA
0:07:41 > 0:07:43English? Do you speak English?
0:07:43 > 0:07:45- MAN:- Si. What's your name? Si. - Ripley.
0:07:45 > 0:07:47Follow me. No problem.
0:07:47 > 0:07:51- Here, Signore Ripley. Bag. - OK.
0:07:51 > 0:07:52- This? - Uh...there.
0:07:52 > 0:07:55- This one. - WOMAN:- Is that all of them?
0:07:55 > 0:07:58- Just one suitcase, Signore Ripley? - Si.
0:07:59 > 0:08:01Attenzione!
0:08:01 > 0:08:03Oh, Customs.
0:08:06 > 0:08:08MAN SPEAKS ITALIAN
0:08:11 > 0:08:13Un attimo, signorina, un solo minuto.
0:08:16 > 0:08:18- What's your secret? - Excuse me?
0:08:18 > 0:08:21No, it's just that... You are American, aren't you?
0:08:21 > 0:08:25No, it's just that... well, I have so much luggage
0:08:25 > 0:08:28and you're so, um...streamlined.
0:08:28 > 0:08:30It's humiliating.
0:08:30 > 0:08:32Il suo forme per le bagagli, signorina.
0:08:32 > 0:08:34I'm Meredith, by the way.
0:08:34 > 0:08:36Hello. Dickie.
0:08:36 > 0:08:40- Meredith Randall. - Um, Dickie Greenleaf.
0:08:40 > 0:08:42Hello.
0:08:44 > 0:08:46You're not the shipping Greenleafs?
0:08:46 > 0:08:48Oh, trying not to be.
0:08:48 > 0:08:51Trying to jump ship.
0:08:51 > 0:08:54Um, did they put your cases in the wrong pile?
0:08:54 > 0:08:57It's just that, er, you were at the "R" stand.
0:08:57 > 0:09:01Well, I thought I saw you there.
0:09:02 > 0:09:04My father wants me back in New York.
0:09:05 > 0:09:07He builds boats. I'd rather sail them.
0:09:07 > 0:09:09So I travel under my mother's name.
0:09:09 > 0:09:13- Which is? - Emily.
0:09:13 > 0:09:15I'm just kidding. SHE LAUGHS
0:09:16 > 0:09:18You know, the funny thing is...
0:09:19 > 0:09:21..I'm not Randall either.
0:09:22 > 0:09:24I'm Logue.
0:09:24 > 0:09:27- As in...? - As in the textile Logues.
0:09:27 > 0:09:30Trying to shrug off the dress.
0:09:30 > 0:09:32I travel under my mother's name too.
0:09:32 > 0:09:34- Randall? - Right.
0:09:34 > 0:09:37- So, Rome, er... - Oh, south.
0:09:37 > 0:09:41- Oh, we're partners in disguise! - HE CHUCKLES
0:09:41 > 0:09:42- Bye. - Bye.
0:10:03 > 0:10:05WOMAN CALLS: Ciao, Lorenzo!
0:10:13 > 0:10:19- MAN:- Mongibello!
0:10:19 > 0:10:22Mongibello!
0:10:22 > 0:10:24Hey, buon giorno, buon giorno.
0:10:24 > 0:10:27BOTH CONVERSE IN ITALIAN
0:10:29 > 0:10:31Bene, bene. Molto bene. Si.
0:10:31 > 0:10:34BOTH SING IN ITALIAN
0:10:40 > 0:10:43BUS DRIVER STARTS ENGINE MAN CONTINUES SINGING
0:10:52 > 0:10:56La fidanzata e una faccia.
0:10:56 > 0:10:58The fiancee has a face.
0:11:02 > 0:11:04La fidanzata e Marge.
0:11:07 > 0:11:11Questo e la faccia Dickie.
0:11:15 > 0:11:18Questo e la mia faccia.
0:11:22 > 0:11:24"Bird".
0:11:27 > 0:11:29This is my face.
0:11:34 > 0:11:38Questa e la mia faccia.
0:11:58 > 0:12:00I'm beat.
0:12:01 > 0:12:04So, I guess you didn't look at Palm Beach.
0:12:04 > 0:12:06I will, Marge. I promise.
0:12:06 > 0:12:08It's just been too hot.
0:12:17 > 0:12:20If I make dinner at my place, look at it then.
0:12:20 > 0:12:23Dickie Greenleaf?
0:12:23 > 0:12:26- Who's that? - It's Tom. Tom Ripley.
0:12:26 > 0:12:28Tom Ripley?
0:12:28 > 0:12:29We were at Princeton together.
0:12:29 > 0:12:31OK.
0:12:32 > 0:12:34Did we know each other?
0:12:34 > 0:12:39Hello. Uh, well, I knew you, so... I suppose you must've known me.
0:12:40 > 0:12:42Princeton's like a fog.
0:12:42 > 0:12:44America's like a fog.
0:12:46 > 0:12:47This is Marge Sherwood.
0:12:47 > 0:12:49- Tom... Sorry, what is it? - Ripley.
0:12:49 > 0:12:52- How do you do? - How do you do, Marge?
0:12:53 > 0:12:55- What are you doing in Mongi? - Nothing.
0:12:55 > 0:12:57Nothing much.
0:12:57 > 0:12:59Just passing through.
0:12:59 > 0:13:02- HE CHUCKLES - Passing through?- Yeah.
0:13:03 > 0:13:05You're so white.
0:13:05 > 0:13:09Did you ever see a guy so white, Marge?
0:13:10 > 0:13:11Grey, actually.
0:13:11 > 0:13:14It's just an undercoat. MARGE GIGGLES
0:13:14 > 0:13:15Say again?
0:13:15 > 0:13:17You know, a primer.
0:13:20 > 0:13:22That's funny.
0:13:22 > 0:13:24Margie likes that cos she's so white too.
0:13:24 > 0:13:26Yes, I do, and you're not funny.
0:13:26 > 0:13:29Please come and have lunch with us before you go.
0:13:29 > 0:13:30- Yes, Dickie? - Sure, any time.
0:13:30 > 0:13:34Well...
0:13:34 > 0:13:35Coincidence!
0:13:39 > 0:13:41I don't remember him.
0:13:41 > 0:13:43That's so funny.
0:13:50 > 0:13:53DICKIE SHOUTS: Silvana! Hey!
0:13:53 > 0:13:57I've been looking all over for you. Where have you been hiding?
0:13:57 > 0:13:59- Yeah, today you look for me. - Huh?
0:13:59 > 0:14:02- What about the rest of the week? - You're always working.
0:14:02 > 0:14:04- Porco. - Come on, get on.
0:14:04 > 0:14:06- With the American girl? - Huh?
0:14:06 > 0:14:09- Hold on to me. - I hate you, you know.
0:14:09 > 0:14:12- Huh? - I hate you!
0:14:12 > 0:14:15Did you suddenly forget where I live?
0:14:15 > 0:14:17I know. I'm late. I'm a swine.
0:14:17 > 0:14:19- It's 4:00. - I just woke up.
0:14:19 > 0:14:21- Oh! - I'm sorry.
0:14:21 > 0:14:23- I'm sorry. - You just woke up.
0:14:23 > 0:14:25Fausto and I, we took the boat out.
0:14:25 > 0:14:28We were fishing, then it was dawn and we caught absolutely nothing.
0:14:28 > 0:14:32Mmm, yes, well, we ate everything without you.
0:14:32 > 0:14:34- We? - Yes.
0:14:34 > 0:14:36Tom Ripley's here.
0:14:36 > 0:14:37Who?
0:14:39 > 0:14:41- Tom! - Hi.
0:14:41 > 0:14:42- Hello. - Hello.
0:14:42 > 0:14:44How are you? We thought you'd disappeared.
0:14:44 > 0:14:46We were going to send out a search party.
0:14:46 > 0:14:48HE LAUGHS No. No, I'm still here.
0:14:48 > 0:14:52Tom was telling me about his journey over.
0:14:52 > 0:14:55Made me laugh so hard I almost got a nosebleed.
0:14:55 > 0:14:57Is that good?
0:14:57 > 0:14:59(Shut up.)
0:14:59 > 0:15:02I'm sorry. I'm sorry!
0:15:02 > 0:15:06I'm despicable...but I love you. Do you love me?
0:15:06 > 0:15:07- Do you love me? - I'm intruding.
0:15:07 > 0:15:09Can you mix a martini?
0:15:11 > 0:15:13Sure.
0:15:13 > 0:15:15- SHE SIGHS - I'll do it.- Oh!
0:15:15 > 0:15:18I make a fabulous martini.
0:15:19 > 0:15:22SHE LAUGHS
0:15:22 > 0:15:26Everybody should have one talent. What's yours?
0:15:26 > 0:15:31Forging signatures, telling lies, impersonating practically anybody.
0:15:31 > 0:15:34That's three. Nobody should have more than one talent.
0:15:36 > 0:15:38OK, do an impression.
0:15:38 > 0:15:40- Now? - Yeah.
0:15:40 > 0:15:43IMITATES DICKIE'S FATHER: The only talent my son has
0:15:43 > 0:15:45is for cashing his allowance.
0:15:47 > 0:15:49What?
0:15:49 > 0:15:52Oh, I like to sail. Believe me, I love to sail.
0:15:52 > 0:15:54- Instead I make boats and... - Stop!
0:15:54 > 0:15:56- ..other people sail them. - It's too much!
0:15:56 > 0:15:58All the hairs on my neck are standing up.
0:15:58 > 0:16:01Oh, yes, jazz! Oh, jazz. Let's face it.
0:16:01 > 0:16:05It's just, er...it's just insolent noise.
0:16:05 > 0:16:07I feel like he's here.
0:16:07 > 0:16:10Horrible! Like the old bastard's here right now.
0:16:10 > 0:16:11- Good. - That's brilliant.
0:16:11 > 0:16:14Brilliant!
0:16:14 > 0:16:17- How do you know him? - I met him in New York.
0:16:17 > 0:16:19Marge! Marge! This is scary.
0:16:19 > 0:16:24You've gotta hear this. Meet my father, Herbert Richard Greenleaf I.
0:16:24 > 0:16:25Pleasure to meet you.
0:16:25 > 0:16:28- Dicky's made a fine catch. - Uncanny.
0:16:28 > 0:16:30I know Emily thinks so.
0:16:30 > 0:16:32- I don't get it. - It's uncanny.
0:16:32 > 0:16:35Could you ever conceive of going to Italy, Tom,
0:16:35 > 0:16:37and, um, bringing him back?
0:16:37 > 0:16:39What?
0:16:39 > 0:16:44I'd pay you if you would go to Italy, persuade my son to come home.
0:16:44 > 0:16:46I'd pay you 1,000.
0:16:46 > 0:16:49BELL TOLLS
0:16:49 > 0:16:50'I'm never going back.'
0:16:50 > 0:16:52But to actually hire somebody
0:16:52 > 0:16:55to come all the way here to drag me back home,
0:16:55 > 0:16:57he must be a little insane.
0:16:57 > 0:16:58- Ciao, Fausto. - Ho! Dick.
0:16:58 > 0:17:01- Come stai? - Come stai?
0:17:01 > 0:17:03Ciao, Silvana.
0:17:03 > 0:17:05- This is Tom. - Ciao, Tom.
0:17:05 > 0:17:06- Ciao, Tom. - Ciao, Tom.
0:17:06 > 0:17:08Ciao, Greenleaf.
0:17:08 > 0:17:10- I'm never going back. - No.
0:17:10 > 0:17:12I think, your mother, her illness, I think that's...
0:17:12 > 0:17:15It's got nothing to do with my mother.
0:17:16 > 0:17:19She's had leukaem... This is what makes me boil about him!
0:17:19 > 0:17:24HE wants me back. He wants me back. It's nothing to do with my mother.
0:17:24 > 0:17:27- Dickie, I don't know... - Go back to New York.
0:17:27 > 0:17:29Or call him, if you find a working telephone,
0:17:29 > 0:17:33and tell him wild horses wouldn't drag me back to him or his shipyard.
0:17:36 > 0:17:37- Hi, Tom. - Hi.
0:17:37 > 0:17:40Marge, Tom's saying goodbye.
0:17:40 > 0:17:42Oh, well, I'll come down.
0:17:42 > 0:17:44GULLS CRY
0:17:44 > 0:17:47So, er, did you speak to my father?
0:17:47 > 0:17:49Oh, you were right... about the telephones.
0:17:49 > 0:17:51- I told you. - There are no lines.
0:17:51 > 0:17:54- There's some problem. - That's Italy.
0:17:54 > 0:17:55Tom.
0:17:55 > 0:17:58You're off? What are your plans?
0:17:58 > 0:18:01Go back, I suppose, as slow as I can.
0:18:01 > 0:18:02Oh!
0:18:02 > 0:18:04- Oh! - Oh, this bag!
0:18:04 > 0:18:06- Oh!- Oh!
0:18:06 > 0:18:11- Hey! You like jazz? - I love jazz.
0:18:12 > 0:18:15Oh! This is the best.
0:18:15 > 0:18:18Baker, Rollins.
0:18:18 > 0:18:21Marge says she likes jazz but she thinks Glenn Miller's jazz.
0:18:21 > 0:18:23- I never said that. - Perry Como.
0:18:23 > 0:18:25Bird. That's jazz.
0:18:26 > 0:18:28Bird? Ask me the name of my sailboat?
0:18:28 > 0:18:30What's the name of your sailboat?
0:18:30 > 0:18:32Look! Look! "Bird".
0:18:33 > 0:18:35Which is ridiculous. Boats are female.
0:18:35 > 0:18:38Everyone knows you can't call a boat after a man.
0:18:38 > 0:18:40He's not a man, he's a god!
0:18:40 > 0:18:42OK! We're going to Naples. There's a club.
0:18:42 > 0:18:44- It's not a club, it's a cellar. - It's vile!
0:18:44 > 0:18:47Yes, it's vile! You don't have to come.
0:18:47 > 0:18:49It's great! It's great! You're going to love it.
0:18:49 > 0:18:53UP-TEMPO JAZZ MUSIC
0:19:19 > 0:19:21How are you?
0:19:21 > 0:19:23APPLAUSE AND CHEERING
0:19:25 > 0:19:27# Tu vuo fa l'Americano
0:19:27 > 0:19:29# Mmericano, mmericano
0:19:29 > 0:19:31# Siente a me, chi t'ho fa fa
0:19:32 > 0:19:34# Tu vuoi vivere alla moda
0:19:34 > 0:19:36# Ma si beve, whisky and soda
0:19:36 > 0:19:38# Po te sente disturba
0:19:38 > 0:19:40# Tu abbelle'o rock and roll
0:19:40 > 0:19:43# Tu giochi al baseball
0:19:43 > 0:19:45# Ma i soldi pe Camel
0:19:45 > 0:19:47# Chi te li da? La borsetta di mamma
0:19:47 > 0:19:49# Tu vuo fa l'Americano
0:19:49 > 0:19:51# Mmericano, mmericano
0:19:51 > 0:19:53# Ma si nato in Italy
0:19:53 > 0:19:56# Siente a me non c'e sta nienta a fa
0:19:56 > 0:19:58# OK, napolitan
0:19:58 > 0:20:00# Tu vuo fa l'American Tu vuo fa l'American... #
0:20:02 > 0:20:04That'd be cool. Yeah, bring him up.
0:20:04 > 0:20:09Un'altro amico Americano per stasera, qui sul palco.
0:20:09 > 0:20:12Tom Ripley! Tom! American!
0:20:12 > 0:20:15Come on! Get on up here!
0:20:15 > 0:20:17APPLAUSE
0:20:17 > 0:20:18Yeah!
0:20:18 > 0:20:20# Comme te po capi chi te vo bene... #
0:20:20 > 0:20:23Fausto'll tell you when to join the chorus.
0:20:23 > 0:20:25# ..Americano
0:20:26 > 0:20:29# Quando se fa l'ammore sotto 'a luna
0:20:29 > 0:20:33# Comme te vene 'capa e di I love you... #
0:20:33 > 0:20:35OK, together!
0:20:35 > 0:20:37# Tu vuo fa l'Americano
0:20:37 > 0:20:39# Mmericano, mmericano
0:20:39 > 0:20:41# Siente a me, chi t'ho fa fa?
0:20:41 > 0:20:43# Tu vuoi vivere alla moda
0:20:43 > 0:20:45# Ma si beve whisky and soda
0:20:45 > 0:20:47# Po te sente disturba
0:20:47 > 0:20:49# Tu abballe'o rock and roll
0:20:49 > 0:20:51# Tu giochi al baseball
0:20:51 > 0:20:53# Ma i soldi pe Camel
0:20:53 > 0:20:55# Chi te li da? La borsetta di mamma
0:20:55 > 0:20:58# Tu vuo fa l'Americano
0:20:58 > 0:21:02# Mmericano, mmericano
0:21:02 > 0:21:04# Ma si nato in Italy
0:21:04 > 0:21:06# Siente a me non c'e sta nienta a fa
0:21:06 > 0:21:07# OK, napolitan
0:21:07 > 0:21:09# Tu vuo fa l'American Tu vuo fa l'American
0:21:09 > 0:21:11# Tu vuo fa l'American. #
0:21:11 > 0:21:12CHEERING AND APPLAUSE
0:21:12 > 0:21:14DICKIE TYPES AND READS
0:21:14 > 0:21:18"I bumped into an old friend from Princeton called Tom Ripley.
0:21:18 > 0:21:20"He says he's going to haunt me
0:21:20 > 0:21:26"until I agree to go back to New York with him."
0:21:32 > 0:21:34Afternoon.
0:21:35 > 0:21:37What time is it?
0:21:37 > 0:21:39"..go back to New York with him.
0:21:39 > 0:21:42- "Your..." - Do you always type your letters?
0:21:44 > 0:21:46That should be two t's.
0:21:46 > 0:21:48I can't write and I can't spell.
0:21:48 > 0:21:50It's the privilege of a first-class education.
0:21:50 > 0:21:54Your room's upstairs at the back. I think Ermelinda made up the bed.
0:21:54 > 0:21:56- Ermelinda? - Si?
0:21:56 > 0:21:58- E tutto pronto. - Grazie.
0:21:58 > 0:22:01- This is so good of you. - Don't say it again.
0:22:04 > 0:22:07Now that you're a double agent and we're going to string my dad along,
0:22:07 > 0:22:10what if we bought a car with your expense money?
0:22:10 > 0:22:12- OK. - Great.
0:22:12 > 0:22:14- Hello, Tom. - Hello.
0:22:14 > 0:22:17Marge, Marge, what do you think?
0:22:17 > 0:22:19A little Cinquecento with my dad's money?
0:22:19 > 0:22:21Oh, please, Dickie. You can't even drive a car.
0:22:21 > 0:22:23You can't even drive.
0:22:23 > 0:22:25What we need urgently, Tom, is an icebox.
0:22:25 > 0:22:28Agree and I'll be your friend for life.
0:22:29 > 0:22:31I absolutely agree with Marge.
0:22:31 > 0:22:32Hm!
0:22:32 > 0:22:34Icebox! Icebox!
0:22:37 > 0:22:40BELL TOLLS
0:22:46 > 0:22:49So, what? Is he going to move in with you?
0:22:49 > 0:22:51It'll just be for a little while.
0:22:51 > 0:22:54- He can be...he makes me laugh. - OK, darling.
0:22:54 > 0:22:56Promise you'd say...
0:22:56 > 0:22:58No, I like him.
0:22:58 > 0:23:00- Marge, you like everybody. - SHE LAUGHS
0:23:00 > 0:23:02I don't like you.
0:23:02 > 0:23:05Then I'll go to your place and you can move in with Tom.
0:23:14 > 0:23:19- I like him. - Marge, you like everybody.
0:23:24 > 0:23:25IMITATES MARGE: No, I like him.
0:23:25 > 0:23:30- IMITATES DICKIE: - Marge, you like everybody.
0:23:32 > 0:23:35Now you'll see why Miss Sherwood always shows up at breakfast.
0:23:35 > 0:23:37It's not love. It's my coffee machine.
0:23:37 > 0:23:40Since Ermelinda taught him to make his own espresso,
0:23:40 > 0:23:42he feels like quite the grown-up.
0:23:42 > 0:23:44- I bought the coffee machine. - Oh, darling.
0:23:44 > 0:23:47- Is that for me? - This is for Tom. He didn't complain.
0:23:47 > 0:23:49That ring is superb.
0:23:49 > 0:23:52Oh, Tom, I love you.
0:23:52 > 0:23:53- See! - Ooh!
0:23:53 > 0:23:57I had to promise, capital "P", never to take it off,
0:23:57 > 0:23:59otherwise I'd give it to you.
0:23:59 > 0:24:01It's great. I found it in Naples.
0:24:01 > 0:24:03I had to bargain for it for about two weeks!
0:24:03 > 0:24:05I hope it wasn't cheap, Marge.
0:24:05 > 0:24:07Oh, it was.
0:24:07 > 0:24:08Hah!
0:24:08 > 0:24:11I have to get Frances a birthday present. Perhaps you could help.
0:24:11 > 0:24:13- Who's Frances? - My fiancee.
0:24:13 > 0:24:16Ahem! Engaged?
0:24:16 > 0:24:18You're a dark horse, Ripley. Who is she?
0:24:18 > 0:24:20- Your parents met her. - Oh, God!
0:24:20 > 0:24:23Oh! I can just imagine.
0:24:23 > 0:24:25"If only Dickie would settle down.
0:24:25 > 0:24:27"Doesn't every parent deserve a grandchild?"
0:24:27 > 0:24:29Oh, God!
0:24:29 > 0:24:33Never! Never! I swear on your ring, Marge.
0:24:33 > 0:24:35I'm never going back.
0:24:35 > 0:24:36- Say when to pull. - Pull now.
0:24:36 > 0:24:38It's not pulling.
0:24:38 > 0:24:41- I'm doing it wrong. Oh! - Hee-hee!
0:24:42 > 0:24:45- Better now, huh? - OK, OK, OK.
0:24:45 > 0:24:48We'll make a sailor of you yet. You're doing really well.
0:24:48 > 0:24:52- SHE LAUGHS - All right, bar's open. - Yes, please.
0:24:52 > 0:24:55- Hey, can we sail to Venice? - Sure. I love Venice.
0:24:57 > 0:25:00See Venice and die. Isn't that right? Or is it Rome?
0:25:00 > 0:25:03- Is it Rome? - I have to see Venice.
0:25:03 > 0:25:06You do SOMETHING and die, don't you? OK, Venice is on the list.
0:25:06 > 0:25:08And Rome.
0:25:09 > 0:25:10Do you ski?
0:25:13 > 0:25:16- HE LAUGHS - Ah! No, no. Don't tell me.
0:25:16 > 0:25:17You're a lost cause.
0:25:17 > 0:25:19That's the next thing to deal with.
0:25:19 > 0:25:22Christmas we're planning a skiing trip to Cortina.
0:25:22 > 0:25:24Excellent skiing! Excellent!
0:25:24 > 0:25:25- Marge, Margie! - Yes?
0:25:25 > 0:25:29Unbelievable! Tom can't ski either. We'll have to teach him that too.
0:25:29 > 0:25:30Thank you.
0:25:30 > 0:25:32- Grazie. - There you are.
0:25:33 > 0:25:36Such low class, Marge. Does this guy know anything?
0:25:36 > 0:25:39It's a good thing we're not getting married soon.
0:25:39 > 0:25:41We'd have to invite Tom on our honeymoon.
0:25:41 > 0:25:44MUSIC: "MY FUNNY VALENTINE" BY THE GUY BARKER INTERNATIONAL QUINTET
0:25:44 > 0:25:47'Oh, I hated New York, that whole Park Avenue crowd.
0:25:47 > 0:25:49'I fled to Paris to work on my book...'
0:25:49 > 0:25:53and I was always going to this cafe in Montmartre, the Jean-Jacques.
0:25:53 > 0:25:57And Dickie would play "My Funny Valentine".
0:25:57 > 0:25:58# My funny valentine... #
0:25:58 > 0:26:02It was only later I found out he only knows about six songs.
0:26:02 > 0:26:05Anyway, I looked forward to seeing him, I suppose.
0:26:05 > 0:26:07Silvana. Buona sera, Alessandra.
0:26:07 > 0:26:13Per favoure, arance e pane e del prosciutto.
0:26:13 > 0:26:16- E fichi? - Fichi.
0:26:16 > 0:26:19- Come sempre? - Si, come sempre. Grazie.
0:26:24 > 0:26:25ALL GROAN
0:26:25 > 0:26:28# Your lips are laughable... #
0:26:28 > 0:26:30ALL SHOUT
0:26:30 > 0:26:33Eh! Eh! Signor Greenleaf!
0:26:33 > 0:26:37If you're not at my place by 7.00, Tom and I are running off together.
0:26:37 > 0:26:39- OK, fine. - MAN:- Oh, Dickie!
0:26:39 > 0:26:44# My favourite work of art... #
0:26:44 > 0:26:48- DICKIE SINGS:- # Beware, the tiger bites only colonials... #
0:26:48 > 0:26:51Whoa! Hold on!
0:26:53 > 0:26:56# Silvana, Silvana! #
0:26:56 > 0:26:58# You make me smile... #
0:26:58 > 0:27:00'I need to talk to you.'
0:27:02 > 0:27:05DICKIE SINGS IN ITALIAN
0:27:07 > 0:27:10- You're breaking my ribs! - What?
0:27:11 > 0:27:15You're breaking my ribs!
0:27:16 > 0:27:22# But don't change a hair for me
0:27:25 > 0:27:30# Not if you care for me
0:27:32 > 0:27:36# Stay little valentine
0:27:37 > 0:27:44# Stay
0:27:46 > 0:27:54# Each day is Valentine's Day. #
0:27:58 > 0:28:00Oh!
0:28:00 > 0:28:03I could fuck this icebox, I love it so much.
0:28:06 > 0:28:09So, what did you actually do in New York?
0:28:09 > 0:28:11HE OPENS BOTTLE Played piano in a few places.
0:28:11 > 0:28:14- I told you. - Well, that's one job.
0:28:14 > 0:28:17- You told me a lot of jobs. - A few places. That's a few jobs.
0:28:17 > 0:28:19The mysterious Mr Ripley.
0:28:19 > 0:28:22Marge and I spent hours speculating.
0:28:22 > 0:28:25Anyway, I don't even want to think about New York.
0:28:25 > 0:28:28Are you ready?
0:28:28 > 0:28:31- Cold beer. Thank you, Dad. - OK.
0:28:32 > 0:28:34Copy out from here.
0:28:35 > 0:28:39- You bring this with you to Europe? - Are you going to write something?
0:28:39 > 0:28:42I love the fact that you brought Shakespeare but no clothes.
0:28:42 > 0:28:45Ermelinda says you wash out the same shirt every night. Is that true?
0:28:45 > 0:28:47No, I have more than one shirt.
0:28:47 > 0:28:49She can do that for you.
0:28:49 > 0:28:53Anyway, just wear some of my stuff. Wear anything you want.
0:28:53 > 0:28:55Most of it's ancient.
0:28:56 > 0:28:58Now your signature.
0:29:01 > 0:29:04Not "Dickie"! Your signature.
0:29:14 > 0:29:17Without the glasses, you're not even ugly.
0:29:19 > 0:29:21I don't need them because I never read.
0:29:22 > 0:29:24How do I look?
0:29:24 > 0:29:25Like Clark Kent.
0:29:27 > 0:29:29Now it's Superman.
0:29:29 > 0:29:31Superman!
0:29:34 > 0:29:35Hmm!
0:29:35 > 0:29:39I know. It's like a kid's.
0:29:39 > 0:29:41See this, the S and the T?
0:29:41 > 0:29:43- Mm-hm. - Fine, vulnerable.
0:29:43 > 0:29:45That's pain. That's secret pain.
0:29:45 > 0:29:49Well, it must be a very deep secret cos I don't know about it.
0:29:49 > 0:29:51There's nothing more naked than your handwriting.
0:29:51 > 0:29:54And see how nothing's quite touching the line?
0:29:54 > 0:29:56That's vanity.
0:29:56 > 0:29:58Well, we certainly know that's true.
0:29:59 > 0:30:02MUSIC: "NATURE BOY" BY MILES DAVIS
0:30:02 > 0:30:04Do you have any brothers?
0:30:04 > 0:30:07No.
0:30:09 > 0:30:11No brothers, no sisters.
0:30:13 > 0:30:14Me neither.
0:30:16 > 0:30:18Nor does Marge.
0:30:19 > 0:30:21All "only children".
0:30:28 > 0:30:30What does that mean?
0:30:32 > 0:30:34It means we've never shared a bath.
0:30:38 > 0:30:40I'm cold. Can I get in?
0:30:47 > 0:30:48No.
0:30:51 > 0:30:53I didn't mean with you in it.
0:30:58 > 0:30:59OK.
0:30:59 > 0:31:01WATER SPLASHES
0:31:01 > 0:31:03Get in.
0:31:03 > 0:31:05I'm like a prune anyway.
0:31:25 > 0:31:28It is me! It's an old picture!
0:31:28 > 0:31:33Every time - "Is it you? It doesn't look like you."
0:31:33 > 0:31:36Letters - Greenleaf and for Ripley.
0:31:36 > 0:31:39Ooh, Fran. "I miss you. When are you coming home?
0:31:39 > 0:31:42"Stop telling me what an incredible time you're having.
0:31:42 > 0:31:44- "How much you love Dickie." - Whoo!
0:31:44 > 0:31:47"And Marge and Mongibello."
0:31:47 > 0:31:49And this one, I think, is from your father.
0:31:49 > 0:31:52- DICKIE:- Do-do-do-de-doop-doop. Tsch, tsch, tsch.
0:31:53 > 0:31:56- Let me see it. What does he say? - He's getting impatient.
0:31:57 > 0:31:59He wants me to reassure him
0:31:59 > 0:32:01that you're going to be home by Thanksgiving.
0:32:01 > 0:32:03You've got to get a new jacket.
0:32:03 > 0:32:06Really. You must be sick of wearing the same clothes.
0:32:06 > 0:32:09I can't. I can't keep spending your father's money.
0:32:09 > 0:32:11I love how responsible you are.
0:32:12 > 0:32:14My dad should make you chief accountant or something.
0:32:15 > 0:32:18Or when I take over - which is never - I will.
0:32:18 > 0:32:21OK, when you take over - which is never - I'll accept.
0:32:21 > 0:32:23Let me buy you a jacket.
0:32:23 > 0:32:25When we get to Rome, there's a great place - Battistone.
0:32:25 > 0:32:27HE SMACKS LIPS (Battistone.)
0:32:27 > 0:32:30# Roma, andiamo, andiamo, andiamo
0:32:30 > 0:32:34- # Roma - we're taking Tom to Roma! - TOM LAUGHS
0:32:34 > 0:32:36# We're going to a-Roma. #
0:32:37 > 0:32:40Hey, bellezza! MEN APPLAUD
0:32:44 > 0:32:46- Buon giorno. - Buon giorno.
0:32:46 > 0:32:48Nice sweater.
0:32:48 > 0:32:51Where do we get a carrozza from? Can we just hire...
0:32:51 > 0:32:52- Relax. - What?
0:32:52 > 0:32:54- Relax! - (I know.)
0:32:54 > 0:32:57There's just so much to do in a single day.
0:32:57 > 0:32:59The most important question is where to eat.
0:32:59 > 0:33:02- I hope Freddie made a reservation. - Freddie?
0:33:02 > 0:33:04Freddie.
0:33:04 > 0:33:06Freddie Miles.
0:33:06 > 0:33:08Freddie's organising the Cortina skiing trip.
0:33:08 > 0:33:10Oh.
0:33:10 > 0:33:11Oh! Here he is!
0:33:16 > 0:33:18Frederico!
0:33:18 > 0:33:20- Come stai? - Bene!
0:33:20 > 0:33:22Ciao, bello!
0:33:22 > 0:33:24Come stai?
0:33:24 > 0:33:27Oh, God! Don't you want to fuck every woman you see just once?!
0:33:27 > 0:33:29Only once?
0:33:29 > 0:33:30Absolutely, once. Ciao.
0:33:30 > 0:33:32- Tom Ripley - Freddie Miles. - Tom!
0:33:32 > 0:33:36I mean, hey, if I'm late, think what her husband's saying.
0:33:36 > 0:33:37DICKIE AND FREDDIE LAUGH
0:33:37 > 0:33:40- You look gorgeous. - As always.
0:33:41 > 0:33:42- Mmm! - So, mangiare?
0:33:42 > 0:33:45Si, I got us a table outside Fabrizio's.
0:33:45 > 0:33:46- Tommy? - Outstanding.
0:33:46 > 0:33:50- I'm so cabin-crazy with Mongi. - I know, I was there.
0:34:05 > 0:34:08Tom, we're going to a club to meet some friends of Freddie's.
0:34:08 > 0:34:11The best thing is, if you want to be a tourist,
0:34:11 > 0:34:14grab a cab and...I'll meet you at the railway station.
0:34:14 > 0:34:15What club?
0:34:17 > 0:34:20Freddie's arranged it with some of the skiing crowd.
0:34:22 > 0:34:25Come if you want but I thought you wanted to go sightseeing.
0:34:25 > 0:34:28I do and then...maybe get the jacket and what have you.
0:34:28 > 0:34:30Dick! You've got to hear this.
0:34:31 > 0:34:33Listen, just take one of mine when we get back.
0:34:33 > 0:34:35Don't worry about it.
0:34:37 > 0:34:38Come on.
0:34:49 > 0:34:51Ciao. Have fun, OK?
0:34:53 > 0:34:55Oh!
0:34:59 > 0:35:00KNOCK AT DOOR
0:35:04 > 0:35:06You said make sure you didn't miss the train.
0:35:06 > 0:35:09It leaves at 8.00. FREDDIE CHUCKLES
0:35:09 > 0:35:11Have a good time.
0:35:11 > 0:35:13See you, Tom.
0:35:19 > 0:35:20WOLF WHISTLES
0:35:51 > 0:35:53GUARD BLOWS WHISTLE
0:35:54 > 0:35:59# If I meant anything to her
0:36:00 > 0:36:02# I'd be brave
0:36:02 > 0:36:04# And here's the song I'd bring to her
0:36:04 > 0:36:07# I'd sing to her
0:36:09 > 0:36:12# May I be the only one
0:36:12 > 0:36:14# To say I
0:36:14 > 0:36:18# Really fell in love the day I
0:36:19 > 0:36:21# First set eyes on you
0:36:24 > 0:36:27- # May I... # - What are you doing?
0:36:27 > 0:36:30Oh! I was just amusing myself.
0:36:31 > 0:36:33Sorry.
0:36:33 > 0:36:35I wish you'd get out of my clothes.
0:36:35 > 0:36:37Do you have my shoes on too?
0:36:37 > 0:36:40You said I could pick out a jacket, so...
0:36:42 > 0:36:45Would you get undressed in your own room?
0:36:48 > 0:36:49I thought you missed the train.
0:36:49 > 0:36:52Freddie drove me back in his car.
0:36:52 > 0:36:54- Is Freddie here? - He's downstairs.
0:36:55 > 0:36:58I was just fooling around.
0:36:58 > 0:36:59Don't say anything.
0:37:00 > 0:37:02I was just fooling around.
0:37:03 > 0:37:05I'm sorry.
0:37:07 > 0:37:10- FREDDIE:- Lord! A corduroy jacket in Italy!
0:37:10 > 0:37:12- MARGE:- Morning, Tom. - Morning.
0:37:12 > 0:37:14- FREDDIE LAUGHS - Well, come and join us.
0:37:16 > 0:37:20Hey, now I want this job of yours, Tommy.
0:37:20 > 0:37:23I was just saying, you live in Italy,
0:37:23 > 0:37:26you stay at Dickie's house, you eat Dickie's food,
0:37:26 > 0:37:31wear his clothes - and his father picks up the tab!
0:37:31 > 0:37:32FREDDIE LAUGHS
0:37:32 > 0:37:37If you get bored, you let me know, cos I'll do it.
0:37:37 > 0:37:40- HE LAUGHS - I'll do it.
0:37:44 > 0:37:48You really should go in. It's marvellous.
0:37:48 > 0:37:50I'm fine.
0:37:50 > 0:37:52DICKIE YELPS PLAYFULLY
0:37:59 > 0:38:01Are you OK?
0:38:02 > 0:38:04Sure.
0:38:05 > 0:38:07SHE PANTS
0:38:08 > 0:38:11The thing with Dickie...
0:38:11 > 0:38:16it's like the sun shines on you and it's glorious.
0:38:17 > 0:38:21And then he forgets you and it's very, very cold.
0:38:21 > 0:38:23So I'm learning.
0:38:23 > 0:38:25When you have his attention,
0:38:25 > 0:38:28you feel like you're the only person in the world.
0:38:28 > 0:38:29That's why everybody loves him.
0:38:29 > 0:38:33It's always the same whenever someone new comes into his life.
0:38:33 > 0:38:35Freddie, Fausto, Peter Smith-Kingsley...
0:38:35 > 0:38:37He's wonderful - have you met him?
0:38:40 > 0:38:41Especially you.
0:38:46 > 0:38:48And that's just the boys.
0:38:54 > 0:38:56DICKIE AND FREDDIE YELP PLAYFULLY
0:38:56 > 0:38:59- FREDDIE:- Come and get him! Come and get him!
0:38:59 > 0:39:01Tell me, why is it that when men play,
0:39:01 > 0:39:03they always play at killing each other?
0:39:03 > 0:39:06- DICKIE:- He's drowning me! He's drowning me!
0:39:08 > 0:39:11I'm sorry about Cortina, by the way.
0:39:11 > 0:39:13What about Cortina?
0:39:14 > 0:39:17Didn't...didn't Dick say?
0:39:19 > 0:39:21SHE SIGHS He spoke to Freddie
0:39:21 > 0:39:23and apparently it's not going to work out.
0:39:25 > 0:39:28Well, it's because everyone else can ski
0:39:28 > 0:39:30and it affects where you stay...
0:39:37 > 0:39:39- DICKIE:- Come on, Freddie.
0:39:39 > 0:39:42At least stick around for the Festival of the Madonna.
0:39:42 > 0:39:44The whole town comes out...
0:39:44 > 0:39:45I...I don't think so.
0:39:45 > 0:39:50I have my own Madonna back in Rome. Why don't you come back with me?
0:39:50 > 0:39:52- A lot of ladies. Oooh! - HE LAUGHS
0:39:57 > 0:39:59- Oh, God! - Do you want to take over?
0:39:59 > 0:40:01Mmm. Mmm, yeah, sure.
0:40:01 > 0:40:04Just point her at Capri. Avoid the rocks.
0:40:04 > 0:40:06Where are you going?
0:40:06 > 0:40:10- Marge-maintenance. - Aye, aye.
0:40:24 > 0:40:27DICKIE LAUGHS
0:40:29 > 0:40:32MUFFLED TALKING
0:40:40 > 0:40:43HE WHEEZES
0:40:45 > 0:40:48- MARGE:- Oh, Dickie! - DICKIE:- Mmm!
0:40:49 > 0:40:53Tommy? How's the peeping?
0:40:55 > 0:40:58Tommy? How's the peeping?
0:41:00 > 0:41:02Tommy, Tommy, Tommy, Tommy, Tommy.
0:41:16 > 0:41:19RELIGIOUS CHANTING
0:41:27 > 0:41:29APPLAUSE
0:41:38 > 0:41:40MEN SING
0:41:44 > 0:41:46CONGREGATION SINGS
0:42:15 > 0:42:17Arggh!
0:42:17 > 0:42:19Silvana!
0:42:20 > 0:42:22COMMOTION
0:42:24 > 0:42:26THEY SCREAM
0:42:48 > 0:42:52Is someone getting an ambulance?
0:42:56 > 0:42:58- HE SHOUTS:- Is someone getting an ambulance?
0:42:58 > 0:43:00THEY SOB WILDLY
0:43:06 > 0:43:09RELIGIOUS CHANTING
0:43:14 > 0:43:17SOBBING
0:43:17 > 0:43:19COMMOTION
0:43:27 > 0:43:29SIRENS WAIL What's the fight about?
0:43:29 > 0:43:32- That's her fiance, isn't it? - I don't know.
0:43:32 > 0:43:33Why are you asking me?
0:43:33 > 0:43:35Well...are they blaming him?
0:43:35 > 0:43:39How can it take an hour to find an ambulance?
0:43:39 > 0:43:41She was already dead, darling, wasn't she, so I suppose...
0:43:41 > 0:43:44I don't know why people say this country's civilised.
0:43:45 > 0:43:48- Dickie! - It isn't. It's fucking primitive!
0:43:50 > 0:43:52I'll go see what's the matter.
0:43:53 > 0:43:54I'll go.
0:43:59 > 0:44:03SAXOPHONE PLAYS
0:44:11 > 0:44:12TOM: I know why you're upset.
0:44:15 > 0:44:17I know about Silvana, Dickie.
0:44:20 > 0:44:22I know about you and Silvana.
0:44:23 > 0:44:24What about us?
0:44:27 > 0:44:31YOU DON'T HAVE TO CLEAN UP! REALLY!
0:44:38 > 0:44:41- Like what? - Forget it.
0:44:43 > 0:44:45She was pregnant. Did you know that?
0:44:50 > 0:44:51Silvana was pregnant.
0:44:54 > 0:44:57Do you know what that means in a place like this?
0:44:57 > 0:44:58I'm prepared to take the blame.
0:44:59 > 0:45:01What are you talking about?
0:45:01 > 0:45:05You've been so good to me. You're the brother I never had.
0:45:05 > 0:45:07I'm the brother you never had.
0:45:08 > 0:45:10I would do anything for you, Dickie.
0:45:12 > 0:45:15She came to me for help.
0:45:15 > 0:45:16She needed money.
0:45:20 > 0:45:23I didn't help her. I didn't help her.
0:45:24 > 0:45:27Now she's drowned herself and it's my fault.
0:45:35 > 0:45:40I'm not going to say anything to Marge, to the police or anybody.
0:45:41 > 0:45:43It's a secret between us, Dickie.
0:45:45 > 0:45:46And I'll keep it.
0:45:48 > 0:45:50TOM READS FROM LETTER: "Dear Tom,
0:45:50 > 0:45:53"In the view of the fact Dickie shows no more signs of coming home
0:45:53 > 0:45:57"than before you went, blah blah blah..."
0:45:58 > 0:46:01"..I hope that the trip has afforded you some pleasures
0:46:01 > 0:46:03"despite the failure of its main objective.
0:46:03 > 0:46:07"You no longer should consider yourself obligated to us in any way."
0:46:08 > 0:46:09I can't blame him.
0:46:09 > 0:46:12You could hardly expect this to go on forever.
0:46:12 > 0:46:13Well, you can write again.
0:46:14 > 0:46:17- Especially now we're brothers. - I can't.
0:46:17 > 0:46:19How can I, in all decency?
0:46:19 > 0:46:22You said it yourself - it's my dad's money you're spending.
0:46:22 > 0:46:24We've had a great run, though, haven't we?
0:46:26 > 0:46:29Well, we'll still go to Venice. We could stick to that plan.
0:46:30 > 0:46:31I don't think so, Tom.
0:46:31 > 0:46:34You can't pay your own way, can you?
0:46:34 > 0:46:37It's time we all moved on.
0:46:38 > 0:46:43I'm sick of Mongi. Especially now, with everything.
0:46:43 > 0:46:45I really want to move to the north.
0:46:45 > 0:46:47I need to check out San Remo next week -
0:46:47 > 0:46:50find somewhere new to keep the boat.
0:46:50 > 0:46:53It would be great, though, if you came with me to San Remo -
0:46:53 > 0:46:55there's a great jazz festival.
0:46:55 > 0:46:58We could say goodbye in style. What do you think?
0:46:58 > 0:47:00Our last trip!
0:47:06 > 0:47:08Sure.
0:47:42 > 0:47:45Prossima stazione San Remo.
0:48:01 > 0:48:03Why do you do that thing with your neck?
0:48:03 > 0:48:04Hmm. What thing?
0:48:06 > 0:48:09On trains. You always do that thing.
0:48:13 > 0:48:15Ssssspooky!
0:48:17 > 0:48:21Spoo...k-k-ky, k-k-ky, k-k-ky...
0:48:22 > 0:48:26- FAST CYMBAL RHYTHM - ..Spooky.
0:48:30 > 0:48:33LIVELY JAZZ PLAYS
0:48:46 > 0:48:47Oh!
0:48:48 > 0:48:50Didn't I tell you San Remo was crazy?!
0:48:52 > 0:48:54This is more like it! Come on!
0:49:06 > 0:49:09To Mongibello, and the happiest days of my life.
0:49:09 > 0:49:12To Mongi. You're cheerful tonight.
0:49:12 > 0:49:15I'm suddenly quite happy to be going back.
0:49:15 > 0:49:17Did I know you at Princeton, Tom?
0:49:17 > 0:49:19I don't think I did, did I?
0:49:20 > 0:49:22Why are you asking all of a sudden?
0:49:22 > 0:49:25No reason. Because you're leaving, I guess.
0:49:25 > 0:49:27I don't think you were there.
0:49:27 > 0:49:29Why?
0:49:29 > 0:49:33I mean it as a compliment. You've got such great taste.
0:49:33 > 0:49:37Most of the thugs at Princeton had tasted everything and had no taste.
0:49:37 > 0:49:41I used to say, "the cream of America - rich and thick".
0:49:41 > 0:49:44Freddie's the perfect example.
0:49:44 > 0:49:46Then I'll take it as a compliment.
0:49:46 > 0:49:50I knew it! I knew it. Marge and I had a bet.
0:49:59 > 0:50:01Do you even like jazz?
0:50:01 > 0:50:02Or was that for my benefit?
0:50:03 > 0:50:06- I've gotten to like it. - Oh, yes!
0:50:07 > 0:50:10I've gotten to like everything about the way you live.
0:50:10 > 0:50:12It's one big love affair!
0:50:14 > 0:50:16If you knew my life back home in New York...
0:50:16 > 0:50:19I'm thinking of giving up the sax.
0:50:19 > 0:50:21What do you think about the drums?
0:50:21 > 0:50:22What?
0:50:22 > 0:50:24So cool.
0:50:24 > 0:50:27I'm going to rent a boat tomorrow, take a look around.
0:50:27 > 0:50:30This is how I found my place in Mongi.
0:50:30 > 0:50:32Took a boat up...
0:50:33 > 0:50:35..around the bay.
0:50:35 > 0:50:37First thing I liked...
0:50:37 > 0:50:39I got it.
0:50:41 > 0:50:42Whoa!
0:50:42 > 0:50:45Come on, Dickie. Don't go crazy.
0:50:45 > 0:50:47- Ha, ha, ha. - Dickie, cut it...slow down.
0:50:47 > 0:50:48- Hold on! - No...it's...wait a minute!
0:50:48 > 0:50:50- Whoohoo! - Oh, God, no, stop!
0:50:50 > 0:50:53DICKIE LAUGHS It's not funny. Stop it!
0:50:53 > 0:51:00- DICKIE YELLS:- Beautiful! Oh, I love it here! I love it here!
0:51:00 > 0:51:01I'm going to move here!
0:51:01 > 0:51:03Beautiful.
0:51:05 > 0:51:07DICKIE MIMICS A JAZZ DRUMBEAT
0:51:07 > 0:51:11- I want to tell you my plan. - God...
0:51:11 > 0:51:12- Ow. - So tell me.
0:51:12 > 0:51:16Well, I thought I'd come back in the new year under my own steam.
0:51:16 > 0:51:19- Really? To Italy? - Of course.
0:51:19 > 0:51:23And I figured, now, just for argument's sake,
0:51:23 > 0:51:27say I got a place or say we split the rent of a house
0:51:27 > 0:51:31and I'd get a job, or better still, if I got a place in Rome,
0:51:31 > 0:51:34then when we're there we'd be there and when we're here we'd be here.
0:51:34 > 0:51:36Ah, I don't think so.
0:51:36 > 0:51:38See, particularly with the Marge problem.
0:51:39 > 0:51:41You just blame me.
0:51:42 > 0:51:44Marge and I are getting married.
0:51:45 > 0:51:48How? HOW?
0:51:48 > 0:51:50Yesterday you were ogling girls on the terrace.
0:51:50 > 0:51:52Today you're getting married - that's absurd!
0:51:54 > 0:51:55I love Marge.
0:51:55 > 0:51:59- You love me, you're not marrying me. - Tom, I don't love you.
0:51:59 > 0:52:01I don't mean that as a threat.
0:52:01 > 0:52:03To be honest I'm... I'm a little relieved you're going.
0:52:03 > 0:52:06I think we've seen enough of each other for a while.
0:52:10 > 0:52:11What?
0:52:11 > 0:52:13You can be a leech.
0:52:13 > 0:52:15You know that.
0:52:18 > 0:52:19And...
0:52:19 > 0:52:21it's boring.
0:52:23 > 0:52:25You can be quite boring.
0:52:37 > 0:52:42The funny thing is I'm not pretending to be somebody else and you are.
0:52:42 > 0:52:43Boring.
0:52:43 > 0:52:46I've been absolutely honest with you...about my feelings.
0:52:46 > 0:52:48Boring.
0:52:48 > 0:52:51But you, first of all, I know there's something.
0:52:51 > 0:52:55That evening we played chess, it was obvious.
0:52:55 > 0:52:56- What evening? - Oh, sure, no.
0:52:56 > 0:52:58It's too dangerous for you to take on.
0:52:58 > 0:53:01Oh, no, no, we're brothers...hey?
0:53:02 > 0:53:04Then you do this sordid thing with Marge -
0:53:04 > 0:53:07fucking on the boat while we all have to listen.
0:53:07 > 0:53:08Which was excruciating.
0:53:08 > 0:53:11And you follow your cock around like a...and now you're getting married.
0:53:11 > 0:53:13No, I'm bewildered. Forgive me.
0:53:13 > 0:53:16You're lying to Marge and then you're getting married to her.
0:53:16 > 0:53:19You're knocking up Silvana. You're ruining everybod...
0:53:19 > 0:53:21You want to play the sax, you want to play the drums.
0:53:21 > 0:53:24Which is it, Dickie? What do you actually play?
0:53:24 > 0:53:28Who are you, huh? Some third-class mooch? Who are you?
0:53:28 > 0:53:30Who are you to say anything to me?
0:53:30 > 0:53:33Who are you to tell me anything?!
0:53:33 > 0:53:36Actually I REALLY don't want to be on this boat with you.
0:53:36 > 0:53:38- I can't move without you moving. - Shut up.
0:53:38 > 0:53:40- Shut up. - Gives me the creeps.
0:53:40 > 0:53:42- YOU give me the creeps. - You shut up!
0:53:42 > 0:53:45Can't move without "Dickie, Dickie, Dickie," like a little girl.
0:53:45 > 0:53:47- Shut up! - Arggh!
0:53:49 > 0:53:50Oh, God, Dickie.
0:53:51 > 0:53:54- For God's sake. - Oh, oh, God!
0:53:54 > 0:53:57- Oh... - OK. OK.
0:53:58 > 0:54:00We have to get you... OK.
0:54:00 > 0:54:01ARGHHH!!
0:54:01 > 0:54:05- I'm going to kill you...kill you! - Oh... Dickie!
0:54:05 > 0:54:10- You're dead! Arggh! You're dead! - TOM SQUEALS
0:54:10 > 0:54:12BOTH YELL AND GRUNT
0:54:17 > 0:54:20- Stop! Stop! Please. Please. - Arggh!
0:54:20 > 0:54:24Stop it...stop!
0:54:25 > 0:54:27- Dickie, let... - Kill you...
0:54:27 > 0:54:29Stop it!
0:54:29 > 0:54:32Dickie, let go. Stop.
0:54:33 > 0:54:34STOP! ARGGH!
0:54:34 > 0:54:37- Oh! - Stop!
0:54:37 > 0:54:40Stop! Stop! Stop! TOM PANTS
0:56:26 > 0:56:28HORN BEEPS
0:56:28 > 0:56:29Attenzione!
0:56:38 > 0:56:41- Can I have my key, please? - Of course.
0:56:42 > 0:56:43You must be very cold.
0:56:43 > 0:56:46Er... Signor Greenleaf, yes?
0:56:46 > 0:56:47No, I'm...
0:57:54 > 0:57:56Hello, Marge.
0:57:56 > 0:58:00- SHE SCREAMS - Ah! Tom!
0:58:00 > 0:58:02- SHE LAUGHS - You startled me.
0:58:02 > 0:58:04- Sorry. - You're back!
0:58:04 > 0:58:06How are you? Your book going well?
0:58:06 > 0:58:10Yes. I'm on a good streak, thank you.
0:58:10 > 0:58:14I was just looking at you, so quiet. SHE LAUGHS
0:58:15 > 0:58:17Where's Dickie?
0:58:20 > 0:58:24I think he's planning on staying in Rome for a few days.
0:58:24 > 0:58:27Rome? Oh. Did he say why?
0:58:27 > 0:58:30I don't understand Dickie. Your guess is as good as mine.
0:58:30 > 0:58:31Well, what does that mean?
0:58:31 > 0:58:36Well, one day I'm invited skiing, next day I'm not.
0:58:38 > 0:58:42One day we're one family, then the next day he wants to be alone.
0:58:42 > 0:58:44You tell me.
0:58:44 > 0:58:46Is that what he said? He wants to be alone?
0:58:46 > 0:58:51He was thinking of you. He asked me to deliver this.
0:58:51 > 0:58:54- Thank you. - SHE LAUGHS
0:58:54 > 0:58:56He knows I love this.
0:58:57 > 0:59:00Don't know why it couldn't have waited. I...
0:59:00 > 0:59:03Errand number one. Deliver Marge's perfume.
0:59:03 > 0:59:09Errand number two. Pack some clothes and his precious saxophone.
0:59:11 > 0:59:12Well, how long is he staying for?
0:59:12 > 0:59:14Search me.
0:59:14 > 0:59:16I guess we're abandoned.
0:59:24 > 0:59:27SEAGULLS SQUAWK
0:59:42 > 0:59:43Oh, damn.
0:59:45 > 0:59:46Are you OK?
0:59:57 > 0:59:59There was a letter from Dickie in with my perfume.
1:00:02 > 1:00:05You realise it's more than just a few days.
1:00:05 > 1:00:09- He's thinking of moving to Rome. - SHE SNIFFS
1:00:10 > 1:00:12The thing is...
1:00:12 > 1:00:16..the night before he left we talked about moving together.
1:00:18 > 1:00:20Somewhere north, and...and I suppose I...
1:00:21 > 1:00:25..put some pressure on him about getting married.
1:00:28 > 1:00:29I just...
1:00:31 > 1:00:34I just might have scared him off.
1:00:38 > 1:00:44There's a side to him... when our heads are on the pillow...
1:00:45 > 1:00:49I know no-one else sees, that's so tender.
1:00:50 > 1:00:54I just think I should come with you to Rome and confront him.
1:00:59 > 1:01:01He hates being confronted.
1:01:04 > 1:01:05I think you're right.
1:01:14 > 1:01:16Grazie. Checking in.
1:01:25 > 1:01:27Checking in.
1:01:27 > 1:01:29Signor Ripley?
1:01:29 > 1:01:30That's me.
1:01:33 > 1:01:35Signor Greenleaf.
1:01:36 > 1:01:38Of course. Welcome back.
1:01:38 > 1:01:40Thank you.
1:01:58 > 1:01:59- OPERATOR:- 'Pronto?'
1:01:59 > 1:02:01Yes, I'd like to telephone the Hotel Goldoni.
1:02:01 > 1:02:03'Goldoni? Si, Signor Greenleaf.'
1:02:03 > 1:02:06I want to speak to Thomas Ripley.
1:02:06 > 1:02:07- 'Ripley?' - Yes.
1:02:07 > 1:02:09- 'Subito.' - Grazie.
1:02:18 > 1:02:21PHONE RINGS
1:02:21 > 1:02:23Pronto?
1:02:23 > 1:02:24'Signor Greenleaf, Signor Ripley is not there.'
1:02:24 > 1:02:26- He's not there? - 'No, signore.'
1:02:26 > 1:02:29Well, I would like to leave a message.
1:02:29 > 1:02:32He's not there? I'll leave a message.
1:02:32 > 1:02:36Got your call. Dinner tonight sounds fine.
1:02:36 > 1:02:37- ' "..sounds fine." ' - Ripley.
1:02:37 > 1:02:39- ' "Ripley?" ' - Ripley.
1:02:41 > 1:02:42Dickie Greenleaf.
1:02:42 > 1:02:46- 'Dickie Greenleaf.' - Yes, Greenleaf.
1:02:46 > 1:02:48- 'Greenleaf.' - At the Grand.
1:02:50 > 1:02:53And I'd like to have this wallet embossed.
1:02:53 > 1:02:55I don't know the word in Italian.
1:02:55 > 1:02:56Embossed. Of course, Signor Greenleaf.
1:02:56 > 1:02:58Thank you.
1:03:02 > 1:03:03Dickie!
1:03:05 > 1:03:06It's me...
1:03:09 > 1:03:10- Oh, my gosh! - Meredith.
1:03:10 > 1:03:12- Ciao. - Come in. Come in.
1:03:12 > 1:03:15But you're going skiing with those Yankees, aren't you?
1:03:15 > 1:03:16- What? - At Christmas?
1:03:16 > 1:03:19To Cortina with Freddie Miles.
1:03:19 > 1:03:21How did you know that?
1:03:21 > 1:03:25Oh, everybody knows Freddie Miles.
1:03:28 > 1:03:29Is Freddie in Rome?
1:03:29 > 1:03:31- Now? - Yeah.
1:03:31 > 1:03:33Oh, I don't think so.
1:03:33 > 1:03:38But...but I've met him, of course, and we've chatted.
1:03:38 > 1:03:44And...I know about you and Marge in Mongi.
1:03:44 > 1:03:47What an unreliable rat you are.
1:03:47 > 1:03:50Well, Freddie said you were a rat.
1:03:50 > 1:03:55And I thought to myself, "Ah, now I know why he travels under 'R'".
1:03:55 > 1:03:59I've left Marge, Meredith... and Mongi.
1:04:00 > 1:04:01So, the rat's here in Rome.
1:04:01 > 1:04:03Oh, I'm sorry...
1:04:03 > 1:04:06Oh, don't be sorry, no. I've never been happier.
1:04:06 > 1:04:08I feel like I've been handed a new life.
1:04:09 > 1:04:13The truth is, if you've had money your entire life,
1:04:13 > 1:04:16even if you despise it, which we do...agreed?
1:04:16 > 1:04:18You're only truly comfortable
1:04:18 > 1:04:22around other people who have it and despise it.
1:04:22 > 1:04:23I know.
1:04:25 > 1:04:27I've never admitted that to anyone.
1:04:32 > 1:04:35No, because my friend, Mr Greenleaf...
1:04:35 > 1:04:38Signor Greenleaf and I are on a little spending spree.
1:04:38 > 1:04:40- MAN:- I see.
1:04:40 > 1:04:41We're behaving very badly.
1:04:41 > 1:04:45Oh, I love Italian money. It's so dark. Doesn't make you feel guilty.
1:04:46 > 1:04:49Grazie.
1:04:58 > 1:05:02I don't want too many large bills. No-one will change them.
1:05:02 > 1:05:04Va bene, Signor Greenleaf.
1:05:07 > 1:05:10CASHIER COUNTS IN ITALIAN
1:05:10 > 1:05:13E una bellezza vestire un fisico come il suo.
1:05:13 > 1:05:17Lei sta proprio bene, eh? E un coloure bellissimo.
1:05:17 > 1:05:19Avevamo ragione, visto?
1:05:19 > 1:05:21I really like this too.
1:05:21 > 1:05:23Well, I think I'm having that too.
1:05:23 > 1:05:24- Anche cosi? - Si.
1:05:24 > 1:05:26- Si. - Facciamo un'altro? Ah, perfetto.
1:05:26 > 1:05:29- Allora, noi ci vediamo domani. - A domani.
1:05:29 > 1:05:31- Tomorrow. - Si, si.
1:05:31 > 1:05:32Questa e bella.
1:05:32 > 1:05:35Va bene. Allora, lo facciamo a doppio petto, come questo.
1:05:35 > 1:05:36- Si. - Grazie.
1:05:36 > 1:05:38- Arrivederci. - Arrivederci.
1:05:40 > 1:05:42- Ciao. - Ciao.
1:05:47 > 1:05:50I know you're a jazz fan but do you absolutely hate the opera?
1:05:54 > 1:05:55I've...
1:05:56 > 1:06:00..I've been trying to give my tickets away.
1:06:00 > 1:06:04It's tomorrow, but if you were prepared to be dragged...
1:06:06 > 1:06:07You could drag me.
1:06:08 > 1:06:11LENSKY'S ARIA FROM 'EUGENE ONEGIN'
1:07:48 > 1:07:51CROWD APPLAUDS
1:07:53 > 1:07:56Feodor Chaliapin, an old Russian baritone.
1:07:56 > 1:07:58Thank you so much for inviting me tonight.
1:07:58 > 1:07:59It's...
1:07:59 > 1:08:03Can you bear it? We hear you're a friend of Freddie's.
1:08:03 > 1:08:06He has "I hate opera" tattooed on his chest.
1:08:06 > 1:08:09Well, there's room for a whole libretto on Freddie's chest.
1:08:10 > 1:08:13I am sure we've met before.
1:08:13 > 1:08:15I was sure we'd met before, weren't you, Ted?
1:08:15 > 1:08:18- Dick is Herbert Greenleaf's boy. - I know.
1:08:18 > 1:08:20Yes, I think we have.
1:08:20 > 1:08:22One minute you people are children
1:08:22 > 1:08:24and the next you're... getting tattooed.
1:08:26 > 1:08:27- Cheers. - Cheers.
1:08:30 > 1:08:32Cheers.
1:08:36 > 1:08:38Scusi.
1:08:39 > 1:08:41- Oh! Excuse me. - Excuse me.
1:08:41 > 1:08:43- Hello. - Hello.
1:08:45 > 1:08:46- Tom! - Marge!
1:08:46 > 1:08:50How are you? Wh...what are you doing in Rome?
1:08:50 > 1:08:52- Is he here? Are you with Dickie? - No.
1:08:52 > 1:08:54Um, no, um...
1:08:54 > 1:08:57- Hello. I'm Tom Ripley. - Peter Smith-Kingsley.
1:08:57 > 1:08:59I've heard all about you from Marge and Dickie.
1:08:59 > 1:09:02- Ditto. - No...no...no glasses.
1:09:02 > 1:09:04So, where are you hiding him? He's impossible, isn't he?
1:09:04 > 1:09:06Is he really not here?
1:09:06 > 1:09:10Well, Marge, you know Dickie has "I hate opera" tattooed on his chest.
1:09:10 > 1:09:13- I thought you were going to Venice. - Oh, yes, what happened with that?
1:09:13 > 1:09:15Heard you were desperate to come.
1:09:15 > 1:09:17I was rather looking forward to rowing you around.
1:09:17 > 1:09:19THEATRE BELL RINGS Oh, I am.
1:09:19 > 1:09:21I really am. I've been travelling.
1:09:21 > 1:09:24I just can't seem to get that far north.
1:09:24 > 1:09:26Well, you should hurry, before we sink.
1:09:26 > 1:09:28Uh, look, let me give you the telephone number.
1:09:28 > 1:09:30There.
1:09:30 > 1:09:33Oh, look, there's Meredith, um... Meredith.
1:09:33 > 1:09:35What's her name, Marge? The...they're textile people.
1:09:35 > 1:09:38Um, come on, that's awful. I spent Christmas at her house.
1:09:38 > 1:09:39I don't...I don't know her.
1:09:42 > 1:09:44- He hasn't called. - Oh.
1:09:44 > 1:09:47He's hardly written. Just these cryptic notes.
1:09:47 > 1:09:49You know, you don't just dump people.
1:09:49 > 1:09:52- THEATRE BELL RINGS - Look, will we see you later?
1:09:52 > 1:09:54- Or are you with people? - Oh! I can't later.
1:09:54 > 1:09:58- Well, um, how about tomorrow? - Yes. Um, maybe in the morning?
1:09:58 > 1:10:01Do you know Caffe Dinelli? At...at the Piazza di Spagna?
1:10:01 > 1:10:03- No. - I know the Piazza di Spagna.
1:10:03 > 1:10:05- What time? - 10.30?
1:10:05 > 1:10:07- We'll be there. - OK.
1:10:07 > 1:10:11So, I'll see you in the morning, Marge? 10.30?
1:10:11 > 1:10:13- Very nice to meet you. - And you.
1:10:17 > 1:10:20Come on.
1:10:20 > 1:10:22- Yes. - Let's go back in.
1:10:29 > 1:10:31I don't understand why Tom's still in Rome.
1:10:31 > 1:10:34(Let's go.)
1:10:34 > 1:10:36Oh, I thought you were enjoying yourself.
1:10:36 > 1:10:38Let's take a carazza and look at the moon.
1:10:38 > 1:10:39Are you crazy? It's freezing out there.
1:10:39 > 1:10:42Come on. I need to talk to you.
1:10:42 > 1:10:44- Just the two of us. - OK.
1:10:48 > 1:10:50Oh, don't worry, please.
1:10:50 > 1:10:52Don't worry.
1:10:53 > 1:10:56You're such a pal to understand.
1:10:57 > 1:11:01It's like Marge is here right now. I look at you and I see her face.
1:11:01 > 1:11:03I can't...
1:11:03 > 1:11:06No matter what I'm feeling towards you, I just can't...
1:11:06 > 1:11:09No, I absolutely...understand, of cour...
1:11:09 > 1:11:11Otherwise, you'd be fighting me off.
1:11:12 > 1:11:15Beating you away.
1:11:52 > 1:11:54Look, will you meet me tomorrow?
1:11:54 > 1:11:56Just to say goodbye.
1:11:56 > 1:12:00Properly, you know, in the daylight, so it's not just...this.
1:12:00 > 1:12:03Of course. Meredith, I'm sorry. Of course I'll meet you.
1:12:03 > 1:12:07You should always save pain for daylight.
1:12:07 > 1:12:11Why don't we have coffee in the morning at Dinelli's?
1:12:11 > 1:12:14- Uh...by the Spanish steps? - Exactly.
1:12:14 > 1:12:1610.30?
1:12:18 > 1:12:20- 10.15. - OK.
1:12:20 > 1:12:22OK.
1:12:30 > 1:12:33CHURCH BELL TOLLS
1:13:13 > 1:13:15Peter? Hello!
1:13:15 > 1:13:17It's Meredith Logue.
1:13:18 > 1:13:21Of course it is! Meredith, hello. Sorry, I was half-asleep.
1:13:21 > 1:13:23- How are you? - How are you?
1:13:23 > 1:13:25This is Marge Sherwood. Meredith Logue.
1:13:25 > 1:13:27How do you do?
1:13:28 > 1:13:31Well, do join us, won't you? We're just waiting for a friend.
1:13:31 > 1:13:33I... I won't actually.
1:13:33 > 1:13:34I think this mi...
1:13:34 > 1:13:38- It was you at the opera last night? - Are...you waiting for Dickie?
1:13:39 > 1:13:43Dickie?! Do you...do you... do you know Dickie?
1:13:43 > 1:13:46You were at the opera. Oh, that explains it.
1:13:46 > 1:13:50Yes, I was there. I was there with Dickie.
1:13:51 > 1:13:54- SHE GASPS - I knew it.
1:13:54 > 1:13:55I told you.
1:13:58 > 1:14:00Marge...
1:14:00 > 1:14:03I don't know you, so I've got no right to...
1:14:03 > 1:14:04Dickie loves you.
1:14:04 > 1:14:09He's... I think you'll find he's on his way home to you.
1:14:10 > 1:14:12Well, how...how would you know that?
1:14:14 > 1:14:16He...told me everything.
1:14:16 > 1:14:20No, I was supposed to meet him 15 minutes ago, so, er...
1:14:21 > 1:14:24I'm going to go now, I think.
1:14:25 > 1:14:27God, unless he meant us to meet.
1:14:27 > 1:14:30That'd be a little cruel, wouldn't it?
1:14:30 > 1:14:33No, no, we're meeting another friend. Tom Ripley.
1:14:33 > 1:14:35- Do you know Tom Ripley? - No. No.
1:14:35 > 1:14:40I've heard about him, of course, but I didn't meet him, no.
1:14:40 > 1:14:42WAITER ADDRESSES GROUP Not for me. No, grazie.
1:14:47 > 1:14:50Hope I didn't complicate matters.
1:14:50 > 1:14:55God, nothing, NOTHING... untoward happened.
1:14:55 > 1:15:00There is nothing to prevent you from welcoming him back.
1:15:00 > 1:15:01From marrying him.
1:15:05 > 1:15:07Goodbye.
1:15:07 > 1:15:10I'm happy to put a face to a name. Goodbye, Peter.
1:15:10 > 1:15:12Please, don't get up.
1:15:30 > 1:15:35Now I don't know what to think. You think he's coming back, or what?
1:15:35 > 1:15:38Sorry. Sorry. Had to renew my papers.
1:15:38 > 1:15:41Never one stamp when they can make you line up for three.
1:15:41 > 1:15:43- You been waiting long? - Not at all.
1:15:43 > 1:15:45- Morning, Tom. - Hi.
1:15:45 > 1:15:48Sorry. You OK? You look like you've seen a ghost.
1:15:48 > 1:15:51- Dickie was at the opera last night. - I don't believe that.
1:15:51 > 1:15:54Wild horses couldn't drag Dickie...
1:15:54 > 1:15:56- SHE LAUGHS - He was there with someone, You know,
1:15:56 > 1:15:58so I suppose she must have dragged him.
1:15:58 > 1:16:01(That's not fair.)
1:16:01 > 1:16:05I think I'm going back to Mongi. I think Dickie's coming home.
1:16:05 > 1:16:07- I'm going home. - Really? Well, that's just swell.
1:16:07 > 1:16:10Well, I... I... no, you're way ahead of me. Great.
1:16:10 > 1:16:12You know, that was rather moving, what Meredith...
1:16:12 > 1:16:15Sorry, Meredith is the American I saw at the opera last night.
1:16:15 > 1:16:17She's been seeing something of Dickie.
1:16:17 > 1:16:19Oh, my God.
1:16:19 > 1:16:20But the point is Dickie -
1:16:20 > 1:16:24and we all know this - Dickie loves Marge.
1:16:24 > 1:16:26And he misses her.
1:16:26 > 1:16:27I feel guilty.
1:16:27 > 1:16:29Marge doesn't understand this, but whenever Dickie does something,
1:16:29 > 1:16:31I feel guilty.
1:16:31 > 1:16:33As if that makes sense.
1:16:33 > 1:16:36- MUSIC: ITALIAN CONCERTO BY BACH - Non so, mi patrito.
1:16:36 > 1:16:39Mi piace suonare. Suonare?
1:16:39 > 1:16:42Io sono sorda - la coppia di sotto e pure sorda.
1:16:42 > 1:16:45MUSIC: ITALIAN CONCERTO BY BACH
1:16:48 > 1:16:51Bellissima.
1:16:51 > 1:16:53Si.
1:16:53 > 1:16:56Allora, giovanotto, ti piace?
1:17:00 > 1:17:03CHOIR SINGS: 'STABAT MATER'
1:17:36 > 1:17:38LOUD KNOCK AT DOOR
1:17:46 > 1:17:48KNOCK AT DOOR >
1:17:53 > 1:17:55Dickie!
1:17:56 > 1:17:58BANGING AT DOOR
1:17:58 > 1:18:00Dickie, come on, it's me.
1:18:00 > 1:18:02It's Freddie. Let me in.
1:18:04 > 1:18:06Dickie.
1:18:12 > 1:18:13Hello, Freddie. It's Tom.
1:18:15 > 1:18:16Um...
1:18:16 > 1:18:19Where's Dickie?
1:18:19 > 1:18:21- How are you? - I'm good. Yes, thank you.
1:18:21 > 1:18:23He's gone. He went to dinner.
1:18:23 > 1:18:25He's at Otello's. Do you know Otello's?
1:18:25 > 1:18:27No, no, no.
1:18:27 > 1:18:29I don't think he is at dinner at 6.30pm.
1:18:29 > 1:18:34If you said he was still at lunch, maybe I'd believe you.
1:18:34 > 1:18:36You know?
1:18:36 > 1:18:38Incredible!
1:18:38 > 1:18:42I mean, the guy's just disappeared off the face of the earth.
1:18:42 > 1:18:44- I guess. - You know.
1:18:46 > 1:18:48The landlady, as far as I can tell...
1:18:48 > 1:18:52The landlady said he was here right now.
1:18:52 > 1:18:53Search the place.
1:18:53 > 1:18:56I... I just... I don't know why you imagine
1:18:56 > 1:18:59that Dickie would hide from you.
1:18:59 > 1:19:01Because he's been hiding from me.
1:19:02 > 1:19:04What happened at Christmas?
1:19:04 > 1:19:05What about Christmas?
1:19:05 > 1:19:07He was supposed to come skiing.
1:19:07 > 1:19:11I didn't get a cable, a call or a note or a...
1:19:12 > 1:19:14..or frankly, a card.
1:19:15 > 1:19:18Well, he's been very involved with his music.
1:19:18 > 1:19:24Um, I think his theory is that you have to go into a cocoon
1:19:24 > 1:19:26before you can be a butterfly.
1:19:26 > 1:19:28Oh?
1:19:28 > 1:19:29Which is horseshit.
1:19:29 > 1:19:31Have you heard him play this thing?
1:19:31 > 1:19:33I wonder if he can't.
1:19:35 > 1:19:37How did you find him?
1:19:37 > 1:19:39It's such an out-of-the-way apartment.
1:19:39 > 1:19:42- Can I fix you a drink? - No. Thanks.
1:19:42 > 1:19:44The American Express.
1:19:44 > 1:19:47HITS RANDOM NOTES ON PIANO
1:19:47 > 1:19:48Some kid.
1:19:54 > 1:19:55Are you living here?
1:19:55 > 1:19:58No.
1:19:58 > 1:20:00No, I'm staying here for a few days.
1:20:00 > 1:20:02Hmm.
1:20:02 > 1:20:03And...
1:20:05 > 1:20:06It's a new piano.
1:20:06 > 1:20:08FREDDIE HITS DISCORDANT CHORD You probably shouldn't...
1:20:08 > 1:20:10FREDDIE HITS SHARP NOTES
1:20:12 > 1:20:14You probably shouldn't, er...
1:20:14 > 1:20:18FREDDIE KEEPS HITTING NOTES
1:20:18 > 1:20:20Did this place come furnished?
1:20:21 > 1:20:23Because it doesn't look like Dickie.
1:20:23 > 1:20:26It's, er...it's really horrible.
1:20:26 > 1:20:29Isn't it?
1:20:29 > 1:20:31- HE FLICKS RANDOM NOTES - It's so, er...
1:20:31 > 1:20:33Bourgeois.
1:20:42 > 1:20:43Oh, that's a, er...
1:20:43 > 1:20:45You should watch that.
1:20:45 > 1:20:46Excuse...
1:20:46 > 1:20:48Excuse me. Excuse me.
1:20:51 > 1:20:56You know, in fact, the only thing that looks like Dickie is you.
1:20:56 > 1:20:58Hardly.
1:20:58 > 1:20:59Mmm.
1:20:59 > 1:21:02What's that? Have you done something to your hair?
1:21:02 > 1:21:04Is there something you'd like to say, Freddie?
1:21:04 > 1:21:08- What?- Do you have something you'd like to say?
1:21:08 > 1:21:10I think I'm saying it.
1:21:11 > 1:21:12Something's going on.
1:21:14 > 1:21:16Either he's converted to Christianity...
1:21:18 > 1:21:19..or there's something else.
1:21:21 > 1:21:24Well, I would suggest you ask Dickie that yourself.
1:21:24 > 1:21:26Otello's is on della Croce just off the Corso.
1:21:26 > 1:21:29Is it on della Croce just off the Corso?
1:21:32 > 1:21:34You're...you're a quick study, aren't you?
1:21:34 > 1:21:38The last time, you didn't know your ass from your elbow
1:21:38 > 1:21:40and now you're giving me directions.
1:21:40 > 1:21:41But that's not fair.
1:21:41 > 1:21:44You probably do know your ass from your elbow.
1:21:46 > 1:21:48I'll see you.
1:21:54 > 1:21:55DOOR CLOSES
1:21:57 > 1:22:00- Tutto bene, ragazzo? - Bene.
1:22:00 > 1:22:01No Dickie Greenleaf.
1:22:01 > 1:22:03- Thomas Ripley. - Si!
1:22:03 > 1:22:06Dickie sta su. Oggi gli hanno portato il piano.
1:22:06 > 1:22:07E m'hanno sporcato tutto.
1:22:07 > 1:22:11E stato tutto il giorno a suonare. Pla, pla, pla, pla!
1:22:11 > 1:22:12Ciao, Dickie.
1:22:15 > 1:22:17Yeah.
1:22:17 > 1:22:19Dickie doesn't play the piano.
1:22:21 > 1:22:22Tommy?
1:22:22 > 1:22:24Tommy!
1:22:24 > 1:22:26Tommy!
1:22:29 > 1:22:30HE GROANS
1:23:03 > 1:23:06Oh, now you're making me laugh!
1:23:06 > 1:23:08No, you're just so drunk!
1:23:08 > 1:23:10Oh, you're just...
1:23:10 > 1:23:12What can you do, eh?
1:23:12 > 1:23:14You should see my other friends!
1:23:14 > 1:23:16- What can you do? - Si vergogni, va.
1:23:16 > 1:23:17Yes!
1:23:17 > 1:23:19Such a pig!
1:23:21 > 1:23:22Portalo a letto.
1:23:22 > 1:23:25TOM IMITATES FREDDIE: Hey, if I'm drunk, think what her husband's saying.
1:23:25 > 1:23:27Andiamo.
1:23:27 > 1:23:29DOG BARKS IN THE DISTANCE
1:24:12 > 1:24:14La polizia.
1:24:14 > 1:24:15Dickie Greenleaf?
1:24:15 > 1:24:17Yes.
1:24:17 > 1:24:19Inspector Roverini. Can we come in?
1:24:19 > 1:24:21Please.
1:24:27 > 1:24:28It's a terrible shock, huh?
1:24:29 > 1:24:32What time did Signor Miles leave yesterday?
1:24:32 > 1:24:36Um...um, I can't be certain exactly.
1:24:36 > 1:24:38I... 8.00, 9.00.
1:24:38 > 1:24:42Lui dice che Freddie Miles e andato via tra le otto e le nove.
1:24:42 > 1:24:44We'd both taken on far too many drinks.
1:24:44 > 1:24:49But it was dark. It was certainly dark when I walked him to his car.
1:24:50 > 1:24:53So he drove away and you did what?
1:24:53 > 1:24:54I went to bed.
1:24:54 > 1:24:57Il signor Greenleaf dopo e andato a dormire.
1:24:57 > 1:25:01Freddie's a big man, but I... I'm in trouble after a couple of drinks.
1:25:01 > 1:25:03I've been suffering all...
1:25:04 > 1:25:05Who found him?
1:25:05 > 1:25:07Ah, senta...you understand
1:25:07 > 1:25:10I must ask you to stay in Rome, Signor Greenleaf.
1:25:12 > 1:25:14Yes, if it's going to help, certainly.
1:25:14 > 1:25:18So the doctor, he has to make the, um...
1:25:18 > 1:25:20Com'e che si dice?
1:25:20 > 1:25:22- Autopsia. - Bene.
1:25:22 > 1:25:24Post-mortem.
1:25:24 > 1:25:25Yeah. Exactly.
1:25:25 > 1:25:27But you know, his first conclusion
1:25:27 > 1:25:33was that Signor Miles was killed not later than 7.00 yesterday evening.
1:25:33 > 1:25:36Well, he certainly wasn't dead when he drove away in his car.
1:25:38 > 1:25:40No.
1:25:56 > 1:25:58ALL SPEAK ITALIAN
1:26:04 > 1:26:05Va bene?
1:26:05 > 1:26:07- It's OK? OK? - Si, si.
1:26:19 > 1:26:20Did he kill Freddie?
1:26:20 > 1:26:22Marge! When did you get here?
1:26:22 > 1:26:25Tell me the truth. Did he kill Freddie?
1:26:25 > 1:26:26I'd swear he didn't.
1:26:28 > 1:26:33I tried again, waiting here, watching for him.
1:26:33 > 1:26:36Instead it's you. Whenever I look for Dickie, I find you.
1:26:38 > 1:26:40What happened to your face?
1:26:41 > 1:26:43Dickie. Dickie did it.
1:26:43 > 1:26:44- Dickie?! - My face.
1:26:44 > 1:26:46There was an argument. I...
1:26:46 > 1:26:48I said some things I shouldn't have said.
1:26:48 > 1:26:52About you. About the appalling way he's treating you, all of us.
1:26:52 > 1:26:54Next thing, he's launched himself at me.
1:26:54 > 1:26:55- Are you getting on? - What?
1:26:55 > 1:26:57Get on. I'll take you to him.
1:27:22 > 1:27:24Signor Greenleaf ha letto i giornali.
1:27:39 > 1:27:42- Where does he live? - We passed it a few blocks back.
1:27:42 > 1:27:44It's where the police were.
1:27:44 > 1:27:46The Palazzo Gioia.
1:27:46 > 1:27:48Look, they don't even know I'm in Rome
1:27:48 > 1:27:50and I'm not going to incriminate Dickie.
1:27:50 > 1:27:52Perhaps I shouldn't go either.
1:27:52 > 1:27:54No, we'll go if you want to.
1:27:54 > 1:27:57But just don't talk to the police about my face.
1:27:57 > 1:28:00If they know he hit me, he could have hit Freddie.
1:28:00 > 1:28:02I'll catch up with you later.
1:28:06 > 1:28:08SCOOTER ENGINE REVS
1:28:19 > 1:28:21Ah, Signor Greenleaf!
1:28:21 > 1:28:23Ah, Signor Greenleaf! Presto!
1:28:23 > 1:28:24- Presto! - ALL SPEAK ITALIAN
1:28:28 > 1:28:30Open the door!
1:28:30 > 1:28:33- Open up! - Hey!
1:28:34 > 1:28:36- Dove crede di andare? - I live here.
1:28:36 > 1:28:37Mr Greenleaf!
1:28:39 > 1:28:40- Salve. - Can we go up?
1:28:40 > 1:28:42- Do you mind? - Of course.
1:28:42 > 1:28:44What happened to your face?
1:28:44 > 1:28:45My scooter. I fell off.
1:28:45 > 1:28:47Getting chased by photographers.
1:28:47 > 1:28:50The telephone, the press, everything. I'm feeling hounded.
1:28:50 > 1:28:53Do you think you could not give out my address?
1:28:53 > 1:28:56Never. We've had many requests and of course, we say no.
1:28:56 > 1:28:57Even to your fiancee.
1:28:57 > 1:29:00- I really don't want to see anybody. - Even your fiancee?
1:29:00 > 1:29:02Even her.
1:29:06 > 1:29:07What about Thomas Ripley?
1:29:07 > 1:29:09What about Tom Ripley?
1:29:10 > 1:29:13You and Signor Ripley went to San Remo, is that right?
1:29:13 > 1:29:16We went to San Remo. That was months ago.
1:29:16 > 1:29:18- November, I thought. - Was it?
1:29:18 > 1:29:19Did you speak to Tom?
1:29:19 > 1:29:21November 7 is my information.
1:29:21 > 1:29:23I don't remember the exact date!
1:29:24 > 1:29:26When did you last see Signor Ripley?
1:29:26 > 1:29:28A few days ago.
1:29:28 > 1:29:30Does he stay with you here?
1:29:30 > 1:29:32No.
1:29:32 > 1:29:33Now...
1:29:35 > 1:29:37..here is a pattern.
1:29:37 > 1:29:41Two days ago, Freddie Miles's death.
1:29:41 > 1:29:42Hmm?
1:29:43 > 1:29:47He leaves your apartment and is murdered.
1:29:49 > 1:29:54Yesterday, a little boat is found in San Remo full of rocks.
1:29:54 > 1:29:58And the owner tells the police it was stolen on November 7.
1:29:59 > 1:30:01We look at hotel records.
1:30:01 > 1:30:03And we see...
1:30:04 > 1:30:06Dickie Greenleaf is staying in San Remo.
1:30:06 > 1:30:10And then our boatman remembers two Americans taking a boat.
1:30:10 > 1:30:12That is not a pattern.
1:30:12 > 1:30:13That's a coincidence.
1:30:13 > 1:30:16There must be 50 hotels in San Remo.
1:30:16 > 1:30:19There are probably 100 people renting a boat that day.
1:30:19 > 1:30:22- 31 people. - 31 people?
1:30:22 > 1:30:23Mm-hm.
1:30:23 > 1:30:2531, yeah.
1:30:26 > 1:30:28C'e la signorina Sherwood.
1:30:28 > 1:30:30Marge Sherwood.
1:30:30 > 1:30:31That is Miss Sherwood now.
1:30:38 > 1:30:40Let her in.
1:30:40 > 1:30:41Let her in.
1:30:41 > 1:30:43What's the difference? Let her in.
1:30:46 > 1:30:47- No! Um, actually... - Hey!
1:30:47 > 1:30:49Actually, no.
1:30:49 > 1:30:50I would really appreciate it
1:30:50 > 1:30:54if you would ask Miss Sherwood to come back later.
1:30:54 > 1:30:56Uh-huh.
1:30:56 > 1:30:58Dille di venire piu tardi.
1:31:00 > 1:31:01Thank you.
1:31:03 > 1:31:04May I ask you...
1:31:05 > 1:31:09..why would you speak to your friend and not your fiancee?
1:31:09 > 1:31:12Well, I... I think I just said.
1:31:12 > 1:31:15Um, Mr Ripley was handling some business for me.
1:31:15 > 1:31:18Nor does Mr Ripley want to marry me
1:31:18 > 1:31:22and ask me every single day if I'll marry him and when.
1:31:22 > 1:31:25Do you keep a photograph of Signor Ripley?
1:31:25 > 1:31:26I'm not in the habit
1:31:26 > 1:31:28of carrying around photographs of my male friends.
1:31:30 > 1:31:32Now I think I've upset you.
1:31:32 > 1:31:33Sorry.
1:31:33 > 1:31:35My English perhaps is coarse.
1:31:35 > 1:31:37It is a little coarse.
1:31:37 > 1:31:39Yes.
1:31:41 > 1:31:42I'm sorry.
1:31:44 > 1:31:47But, yet, no-one has seen Signor Ripley since San Remo.
1:31:47 > 1:31:49- I have. - Oh. You have. Yes.
1:31:49 > 1:31:50And so has Miss Sherwood.
1:31:50 > 1:31:52Ask her.
1:31:52 > 1:31:53And, er...um...
1:31:53 > 1:31:56If I can remember the name of his hotel...
1:31:56 > 1:31:57Um...
1:31:57 > 1:32:00The Goldoni. Tom was staying at the Goldoni.
1:32:00 > 1:32:01Goldoni.
1:32:01 > 1:32:04The Goldoni. Good. Good. But...
1:32:04 > 1:32:05Yes, you are right.
1:32:05 > 1:32:08You are right. A coincidence.
1:32:08 > 1:32:10SIREN WAILS OUTSIDE
1:32:11 > 1:32:14I look forward to our next meeting
1:32:14 > 1:32:16when I will be more careful with my English.
1:32:16 > 1:32:22I have a witness who thinks they saw two men getting into Mr Miles's car.
1:32:22 > 1:32:26And she wants to identify you in a...confronto - a line-up.
1:32:26 > 1:32:28Tomorrow then?
1:32:29 > 1:32:31Tomorrow.
1:32:39 > 1:32:41- Buon giorno, Miss Sherwood. - Buon giorno.
1:32:41 > 1:32:45He is in but I really don't think he wants to meet anyone.
1:32:51 > 1:32:53KNOCK AT DOOR
1:33:01 > 1:33:03Dick?
1:33:06 > 1:33:07Dickie?
1:33:09 > 1:33:12I know you can hear me.
1:33:19 > 1:33:23I was going to say that I would count to three
1:33:23 > 1:33:26and if you didn't open the door... but I won't count any more.
1:33:27 > 1:33:29On you.
1:33:31 > 1:33:35I won't count on you any more.
1:33:38 > 1:33:41Whatever it is you've done or haven't done...
1:33:43 > 1:33:45..you've broken my heart.
1:33:47 > 1:33:50That's one thing I know you're guilty of.
1:33:57 > 1:33:59But I don't know why.
1:34:02 > 1:34:05And I don't know why. I just don't know why.
1:34:10 > 1:34:12TYPEWRITER CLATTERS
1:34:12 > 1:34:14THUNDER RUMBLES
1:34:14 > 1:34:18"My dear Tom, I'm getting out of this.
1:34:20 > 1:34:23"Freddie's death. Silvana.
1:34:23 > 1:34:25"I've thought about going to the police.
1:34:25 > 1:34:27"But I can't do it.
1:34:27 > 1:34:29"I can't face it.
1:34:29 > 1:34:32"I can't face anything any more.
1:34:32 > 1:34:36"I wish I could give you the life I took for granted.
1:34:38 > 1:34:41"You've always understood what's at the heart of me, Tom.
1:34:41 > 1:34:42"Marge never could.
1:34:43 > 1:34:46"I suppose that's why I'm writing this to you,
1:34:46 > 1:34:49"the brother I never had...
1:34:51 > 1:34:53"the only true friend I ever had.
1:34:58 > 1:35:03"In all kinds of ways, you're much more like the son my father wanted.
1:35:05 > 1:35:09"I realise you can change the people, change the scenery,
1:35:09 > 1:35:12"but you can't change your own rotten self.
1:35:14 > 1:35:18"Now I can't think what to do or where to go.
1:35:19 > 1:35:23"I'm haunted by everything I've done and can't undo.
1:35:25 > 1:35:26"I'm sorry.
1:35:28 > 1:35:32"I've made a mess of being Dickie Greenleaf, haven't I?"
1:35:32 > 1:35:35TROUBLED MUSIC
1:36:34 > 1:36:35Tom!
1:36:39 > 1:36:41I'll see you over there.
1:36:42 > 1:36:44CHURCH BELLS CHIME
1:36:49 > 1:36:52I'm so sorry to put you through this, Peter.
1:36:52 > 1:36:55I just can't face going to the police by myself
1:36:55 > 1:36:57when my Italian's so rotten.
1:36:57 > 1:36:59Don't be so daft. It's fine.
1:36:59 > 1:37:01I'm delighted you finally made it to Venice
1:37:01 > 1:37:04and, contrary to rumour, that you're still in one piece.
1:37:04 > 1:37:05What rumour?
1:37:05 > 1:37:08That Dickie murdered you and is travelling under your passport.
1:37:08 > 1:37:10I know. It's ridiculous.
1:37:14 > 1:37:17MEN YELL IN ITALIAN
1:37:25 > 1:37:26- Welcome to Venice. - DOOR SLAMS
1:37:26 > 1:37:28God, this place reeks, doesn't it?
1:37:28 > 1:37:30Can you smell it?
1:37:30 > 1:37:33Anyway, I've got to the bottom of the delay finally.
1:37:33 > 1:37:35We're waiting for someone from Rome.
1:37:36 > 1:37:38What do you mean?
1:37:38 > 1:37:40They've sent for someone from Rome?
1:37:40 > 1:37:42- Well, yes. That's good, isn't it? - No.
1:37:42 > 1:37:44I thought that didn't happen in Italy,
1:37:44 > 1:37:45that each region is separate.
1:37:45 > 1:37:47You've read the papers.
1:37:47 > 1:37:49You know what a big deal it's been.
1:37:49 > 1:37:51American tourist murdered.
1:37:51 > 1:37:53Actually, can we not do this now?
1:37:53 > 1:37:55The stench really is...
1:37:55 > 1:37:56La polizia di Roma.
1:37:56 > 1:37:58Il Colonnello Verrecchia.
1:38:00 > 1:38:01- Chi e Ripley? - Lui.
1:38:01 > 1:38:04Ho assunto io la guida delle indagini
1:38:04 > 1:38:06in seguito a quanto e accaduto a Roverini,
1:38:06 > 1:38:10il quale non e riuscito a impedire la scomparsa del Signor Greenleaf,
1:38:10 > 1:38:14che era l'unica persona sospettato per omicidio di Signor Miles.
1:38:14 > 1:38:15He's taken over the case
1:38:15 > 1:38:19because they're annoyed that the previous chap let Dickie disappear
1:38:19 > 1:38:22when he was...he was the only suspect in Freddie's murder.
1:38:22 > 1:38:25Quand'e stato l'ultima volta che Signor Ripley ha visto Greenleaf?
1:38:25 > 1:38:27In Rome about three weeks ago.
1:38:28 > 1:38:30I knew that one.
1:38:30 > 1:38:35Um, a Roma, circa tre settimane fa.
1:38:35 > 1:38:38Signor Ripley ha sviluppato tendenze omosessuali?
1:38:39 > 1:38:40Are you a homosexual?
1:38:40 > 1:38:42Interesting non sequitur.
1:38:42 > 1:38:44No.
1:38:45 > 1:38:47No.
1:38:47 > 1:38:48No.
1:38:48 > 1:38:52By the way, officially, there are no Italian homosexuals.
1:38:52 > 1:38:55It makes Michelangelo and Leonardo very inconvenient.
1:38:55 > 1:38:57Eh?
1:38:57 > 1:39:01Tell him I have a fiancee and Dickie has a fiancee -
1:39:01 > 1:39:04and that Freddie Miles probably had a string of them.
1:39:06 > 1:39:11Il Signor Ripley ha una fidanzata e Signor Dickie ha una fidanzata -
1:39:11 > 1:39:17e probabilmente, il Signor Freddie Miles ha molte fidanzate.
1:39:17 > 1:39:18Mamma mia!
1:39:18 > 1:39:20Quante fidanzate!
1:39:24 > 1:39:27- What did he say? - He said, "So many fiancees."
1:39:27 > 1:39:31Lei ha ucciso prima Freddie Miles, dopo Dickie Greenleaf, vero?
1:39:31 > 1:39:34He's asking if you killed Freddie Miles
1:39:34 > 1:39:36and then killed Dickie Greenleaf.
1:39:36 > 1:39:40No! No, I did not kill Freddie Miles and then kill Dickie Greenleaf.
1:39:40 > 1:39:41- Is he accusing me? - No.
1:39:41 > 1:39:43- It's better to be less volatile. - But...
1:39:43 > 1:39:45- I've been asked these... - But it's absurd!
1:39:45 > 1:39:48Non e questo il luogo per le vostre coversazioni private.
1:39:48 > 1:39:50Ha ragione! Ha ragione!
1:39:56 > 1:39:57E c'e questa.
1:39:57 > 1:39:59Questa lettera e stata trovata
1:39:59 > 1:40:02nell'abitazione del Signor Greenleaf a Roma.
1:40:03 > 1:40:05They found this in Dickie's place in Rome.
1:40:07 > 1:40:08You opened this?
1:40:08 > 1:40:10Of course.
1:40:25 > 1:40:27It's a suicide note.
1:40:31 > 1:40:37You asked me all these questions and you already read this suicide note?!
1:40:37 > 1:40:39HE PLAYS VIVALDI'S 'STABAT MATER'
1:40:52 > 1:40:54I don't believe that letter. Do you?
1:40:54 > 1:40:56Dickie's letter, do you believe it?
1:40:56 > 1:40:59I don't know what to believe.
1:40:59 > 1:41:02Can you imagine that if he did kill Freddie
1:41:02 > 1:41:03what that must be like?
1:41:05 > 1:41:07Just to wake up every morning...
1:41:07 > 1:41:11I mean, how can you... just wake up and be a person
1:41:11 > 1:41:13and drink your coffee?
1:41:13 > 1:41:15Whatever you do, however terrible, however hurtful,
1:41:15 > 1:41:19it all makes sense, doesn't it, in your head?
1:41:19 > 1:41:23You never meet anybody who thinks they're a bad person.
1:41:23 > 1:41:26Oh, no, but you're still tormented. You must be. You've killed someone.
1:41:26 > 1:41:30Don't you just take the past and put it in a room, in the basement,
1:41:30 > 1:41:33and lock the door and never go in?
1:41:33 > 1:41:35- That's what I do. - God, yes!
1:41:35 > 1:41:38Of course, in my case, it's probably a whole building.
1:41:40 > 1:41:43And then you meet someone special.
1:41:43 > 1:41:46And all you want to do is toss them the key.
1:41:47 > 1:41:50Say, "Open up. Step inside."
1:41:53 > 1:41:54But you can't.
1:41:54 > 1:41:59Because it's dark and... and there are demons.
1:42:01 > 1:42:04And if anybody saw how ugly it is...
1:42:08 > 1:42:10Now, that's the music talking.
1:42:12 > 1:42:16It's harder to be bleak if you're playing 'Knees Up Mother Brown'.
1:42:16 > 1:42:18HE PLAYS 'KNEES UP MOTHER BROWN'
1:42:18 > 1:42:19TOM CHUCKLES
1:42:21 > 1:42:23I keep wanting to do that.
1:42:24 > 1:42:27Fling the door open.
1:42:28 > 1:42:30TOM PLAYS MELANCHOLY CHORDS
1:42:30 > 1:42:33Just let the light in and clean everything out.
1:42:36 > 1:42:39If I could take a giant eraser and rub out everything...
1:42:39 > 1:42:41starting with myself.
1:42:45 > 1:42:47The thing is, Peter, if...
1:42:51 > 1:42:52Hmm.
1:42:52 > 1:42:54If...
1:43:00 > 1:43:02PETER CHUCKLES
1:43:04 > 1:43:07No key, huh?
1:43:07 > 1:43:14- BOY SINGS: - # Stabat Mater dolorosa
1:43:14 > 1:43:18# Dolorosa
1:43:18 > 1:43:26# Luxta crucem lacrimosa
1:43:26 > 1:43:28# Lacrimosa
1:43:30 > 1:43:38# Dum pendebat... #
1:43:38 > 1:43:39BOY CONTINUES TO SING
1:43:48 > 1:43:51- Marge. - Peter.
1:43:51 > 1:43:53- SHE SIGHS - Oh!
1:43:53 > 1:43:55It's so good to see you.
1:43:55 > 1:43:56- Hello, Marge. - Tom.
1:43:58 > 1:43:59I see you found Peter.
1:43:59 > 1:44:02Well, I think we sort of found each other.
1:44:02 > 1:44:03Where's Dickie's father?
1:44:03 > 1:44:05He's not coming till the morning.
1:44:05 > 1:44:07Evidently, his stomach -
1:44:07 > 1:44:09I don't think the food here agrees with him.
1:44:09 > 1:44:11I was looking forward to seeing him.
1:44:11 > 1:44:13Dickie hasn't killed himself, I'm sure.
1:44:13 > 1:44:16There's a private detective on the case now -
1:44:16 > 1:44:18a Mr MacCarron - Dickie's father's employed.
1:44:18 > 1:44:21- That's a terrific idea. - He's American.
1:44:21 > 1:44:25He's already discovered that Dickie cashed cheques for 1,000
1:44:25 > 1:44:27the day before he disappeared.
1:44:29 > 1:44:32Is that what you do before you jump into the Tiber?
1:44:32 > 1:44:34I don't think so.
1:44:39 > 1:44:41- Is this you?- No, it's Tom's.
1:44:41 > 1:44:43Splendid, eh?
1:44:43 > 1:44:44Golly!
1:44:44 > 1:44:46Who's paying for this?
1:44:46 > 1:44:48Well, Peter found it for me.
1:44:48 > 1:44:52I can afford it because it's damp and falling down.
1:44:52 > 1:44:54Tom's transformed it.
1:44:54 > 1:44:55This is spectacular.
1:44:55 > 1:44:58Well, that's why Tom wanted you to stay.
1:44:58 > 1:45:00It's better than trying to squeeze into my room.
1:45:00 > 1:45:03And I know how you hate hotels.
1:45:03 > 1:45:05A hotel would have been fine.
1:45:08 > 1:45:11We'll have to tell Mr Greenleaf how far his dollar stretched.
1:45:16 > 1:45:17Hmph.
1:45:17 > 1:45:19What's funny?
1:45:19 > 1:45:22I was just thinking about when Tom first came to Mongibello.
1:45:24 > 1:45:26And look at you now.
1:45:26 > 1:45:28Look at me what?
1:45:28 > 1:45:30To the manor born.
1:45:30 > 1:45:32BELLS TOLL IN DISTANCE
1:45:35 > 1:45:38HE PLAYS SULTRY JAZZ MELODY
1:45:44 > 1:45:46TOM: Mr Greenleaf?
1:45:51 > 1:45:53- Mr Greenleaf? - Tom.
1:45:53 > 1:45:55How are you?
1:45:55 > 1:45:57- You look well. - Thank you, sir. I am well.
1:45:57 > 1:46:00- A far cry from New York. - Yes, it is.
1:46:00 > 1:46:02Marge. Good morning.
1:46:02 > 1:46:04- Unusual weather. - Very.
1:46:04 > 1:46:06And you, sir - any better?
1:46:06 > 1:46:07Pretty good.
1:46:07 > 1:46:10I'm sticking with hot water.
1:46:10 > 1:46:12- Where's Mr MacCarron? - San Remo.
1:46:12 > 1:46:14The police are amateurs.
1:46:14 > 1:46:17Well, my boy...
1:46:17 > 1:46:19it's come to a pretty pass, hasn't it?
1:46:19 > 1:46:22What is the detective hoping to find in San Remo?
1:46:22 > 1:46:24He's being thorough.
1:46:24 > 1:46:27I'm learning about my son, Tom.
1:46:27 > 1:46:30Now he's missing, I'm learning a great deal about him.
1:46:30 > 1:46:33And I hope that you can fill in some more blanks.
1:46:33 > 1:46:36Marge has been good enough to do that about Mongibello.
1:46:36 > 1:46:38I'll try my best, sir.
1:46:38 > 1:46:40Obviously, I'll do anything to help Dickie.
1:46:40 > 1:46:41Good.
1:46:41 > 1:46:44This theory - the letter he left for you -
1:46:44 > 1:46:47the police think that's a clear indication
1:46:47 > 1:46:51that he was planning on doing something, er, to himself.
1:46:51 > 1:46:54I just don't believe that.
1:46:54 > 1:46:55You don't want to, dear.
1:46:59 > 1:47:03I'd like to talk to Tom alone, perhaps this afternoon.
1:47:03 > 1:47:05Would you mind?
1:47:07 > 1:47:10Marge, what a man may say to his sweetheart
1:47:10 > 1:47:13and what he'll admit to another fellow...
1:47:15 > 1:47:17Such as?
1:47:17 > 1:47:19MAN CONTINUES PLAYING SAXOPHONE
1:47:22 > 1:47:25What a waste of lives and opportunities.
1:47:25 > 1:47:28I'd pay that fellow 100 right now to shut up.
1:47:32 > 1:47:35SAXOPHONE PLAYS IN DISTANCE
1:47:36 > 1:47:39No, Marge doesn't know the half of it.
1:47:40 > 1:47:42And his passport photo.
1:47:42 > 1:47:43Did you hear?
1:47:43 > 1:47:46To scratch out his own face like that?
1:47:46 > 1:47:48Can you imagine...
1:47:48 > 1:47:51the frame of mind you'd have to be in?
1:47:51 > 1:47:55"I've thought about going to the police, but I can't face it.
1:47:55 > 1:47:57"I can't face anything any more."
1:47:57 > 1:48:01I feel guilty. I feel like I pushed him away.
1:48:01 > 1:48:03I feel like I spoke and he heard you.
1:48:03 > 1:48:06Well...if we all pushed him away,
1:48:06 > 1:48:08what about him pushing us away!
1:48:08 > 1:48:11Now, you've been a great friend to my son!
1:48:11 > 1:48:14Everything is someone else's fault.
1:48:14 > 1:48:17We all want to sow wild oats.
1:48:17 > 1:48:18But somebody's got to...
1:48:18 > 1:48:20got to, um...
1:48:20 > 1:48:21What is the word?
1:48:22 > 1:48:24You know, the moment someone confronts him...
1:48:27 > 1:48:28..he lashes out.
1:48:29 > 1:48:31He always has.
1:48:32 > 1:48:35You know, people always say that you can't choose your parents.
1:48:40 > 1:48:42But you can't choose your children.
1:48:44 > 1:48:46BELLS CLANG AND ECHO
1:48:46 > 1:48:49- TOM:- Dickie... - DICKIE:- You can be a leech.
1:48:49 > 1:48:51- VOICES DISTORT HYSTERICALLY:- Stop it!
1:48:51 > 1:48:53- Stop it! - REPEATED BANGING AT DOOR
1:48:53 > 1:48:57- GASPING FREDDIE:- Tommy! Tommy!
1:48:57 > 1:48:59- Tommy! - TOM:- Stop! Stop! Stop!
1:48:59 > 1:49:02- TOM SHRIEKS - Stop! Stop! Stop!
1:49:02 > 1:49:05CACOPHONY OF VOICES, BELLS, HEAVY KNOCKING
1:49:05 > 1:49:06- Would you stop?! - DICKIE SCREAMS
1:49:06 > 1:49:10KNOCKING AT DOOR
1:49:10 > 1:49:11I'm coming.
1:49:12 > 1:49:15I'm sorry. I'd fallen asleep.
1:49:15 > 1:49:17- I must have fallen asleep. - Did Dickie's Dad go?
1:49:17 > 1:49:19You look ghastly, Tom. Did you have a nightmare?
1:49:19 > 1:49:21- He's having an early night. - Oh, poor man.
1:49:21 > 1:49:24You know, we were banging on that door forever.
1:49:28 > 1:49:29Uh-oh!
1:49:29 > 1:49:31I think I've broken a strap.
1:49:31 > 1:49:33Not guilty.
1:49:33 > 1:49:35I'll fix some drinks.
1:49:35 > 1:49:37Ow!
1:49:37 > 1:49:39A walk in Venice!
1:49:39 > 1:49:41Are you OK?
1:49:43 > 1:49:44I'm fine.
1:49:44 > 1:49:46Do you want me to stick around?
1:49:46 > 1:49:49No. It's OK.
1:49:50 > 1:49:52I could come back.
1:50:07 > 1:50:10Your key.
1:50:13 > 1:50:16- KNOCKING AT DOOR MARGE:- Tom?
1:50:16 > 1:50:18Marge, I'm in the bath.
1:50:18 > 1:50:19I won't be long.
1:50:19 > 1:50:22Tom, I have to speak to you. It's urgent.
1:50:25 > 1:50:26I'm coming.
1:50:38 > 1:50:40I found Dickie's rings.
1:50:40 > 1:50:42What?
1:50:42 > 1:50:44You have Dickie's rings.
1:50:48 > 1:50:50I can explain.
1:50:50 > 1:50:53Dickie promised me he'd never take off this ring.
1:50:53 > 1:50:56- Let me put clothes on. - I have to tell Mr Greenleaf.
1:50:56 > 1:50:57Marge. Calm down, Marge.
1:50:57 > 1:50:59- You're being hysterical. - He promised me!
1:50:59 > 1:51:02"I swear I will never take off this ring."
1:51:02 > 1:51:03Shut up! MARGE GASPS
1:51:05 > 1:51:07I'm wet, Marge.
1:51:07 > 1:51:09I've lost my towel,
1:51:09 > 1:51:12and I'd really like to put some clothes on.
1:51:12 > 1:51:14Go and pour us both a drink.
1:51:17 > 1:51:18Pour us a drink.
1:51:51 > 1:51:52Marge.
1:51:52 > 1:51:54Where are you going?
1:51:55 > 1:51:58I wasn't snooping. I just...
1:51:59 > 1:52:02I was just looking for a needle and thread to mend my bra.
1:52:02 > 1:52:05That scent you're wearing...
1:52:07 > 1:52:09..I bought that for you.
1:52:10 > 1:52:12The thing about Dickie...
1:52:12 > 1:52:14So many things.
1:52:16 > 1:52:20That day when he was late coming back from Rome -
1:52:20 > 1:52:23I tried to tell you this - he was with another girl.
1:52:23 > 1:52:26I'm not talking about Meredith, either.
1:52:26 > 1:52:28Another girl, that we met in a bar.
1:52:28 > 1:52:30He couldn't be faithful for five minutes.
1:52:30 > 1:52:32So when he makes a promise,
1:52:32 > 1:52:35it doesn't mean what it means when you make a promise
1:52:35 > 1:52:37or I make a promise.
1:52:37 > 1:52:40He has so many realities, Dickie.
1:52:40 > 1:52:41And he believes them all.
1:52:41 > 1:52:43He lies.
1:52:43 > 1:52:45He lies.
1:52:45 > 1:52:46And that's his...
1:52:46 > 1:52:49Half the time he doesn't even realise he's doing it.
1:52:49 > 1:52:51And today...
1:52:52 > 1:52:55I really started wondering whether he may have killed Freddie.
1:52:57 > 1:52:58He would get so crazy
1:52:58 > 1:53:01if anybody would contradict him - you know that.
1:53:01 > 1:53:02You know that.
1:53:02 > 1:53:04You know that.
1:53:04 > 1:53:06And that's the irony, Marge.
1:53:06 > 1:53:09I loved you.
1:53:09 > 1:53:11You may as well know, Marge, I loved you.
1:53:11 > 1:53:14Maybe it's grotesque of me to say this now,
1:53:14 > 1:53:16so just write it on a piece of paper
1:53:16 > 1:53:19and put it in your purse for a rainy day -
1:53:19 > 1:53:21"Tom loves me."
1:53:21 > 1:53:23"Tom loves me."
1:53:23 > 1:53:25Why do you have Dickie's rings?
1:53:25 > 1:53:27I told you. He gave them to me.
1:53:27 > 1:53:29Why? When?
1:53:29 > 1:53:31You haven't been listening to anything I've been saying to you.
1:53:31 > 1:53:33I don't believe you.
1:53:33 > 1:53:36- I don't believe you. - It's all true.
1:53:36 > 1:53:38I don't believe a single word you've said.
1:53:38 > 1:53:41SHE GASPS
1:53:41 > 1:53:43You're shivering, Marge.
1:53:43 > 1:53:45Look at you, Marge. SHE WEEPS
1:53:45 > 1:53:47SHE WAILS SOFTLY Can I hold you?
1:53:47 > 1:53:49Will you let me hold you?
1:53:49 > 1:53:52- SHE SHRIEKS - Marge?
1:53:52 > 1:53:54- Peter! Peter! Thank God you're here. - What's going on?
1:53:54 > 1:53:58Get me out of here. Get me out of here!
1:53:58 > 1:53:59- Please! - Tom, are you OK?
1:53:59 > 1:54:01Get me out of here.
1:54:02 > 1:54:03You try.
1:54:03 > 1:54:06You try talking to her.
1:54:06 > 1:54:08Tom...
1:54:08 > 1:54:11- I give up. - Tell me what's going on. Tom!
1:54:11 > 1:54:14I never did any... What did I ever do to her?
1:54:14 > 1:54:18Listen, you can't be angry with her.
1:54:19 > 1:54:23She's confused and she needs someone to blame.
1:54:23 > 1:54:25- So she blames you. - PETER SIGHS
1:54:25 > 1:54:28I'll go back home and talk to her.
1:54:28 > 1:54:33As for you, either get a safety razor or grow a beard.
1:54:40 > 1:54:42KNOCK AT DOOR
1:54:44 > 1:54:46Is Mr Greenleaf here?
1:54:46 > 1:54:48- Mr Ripley? - Yes.
1:54:48 > 1:54:50I'm Alvin MacCarron.
1:54:52 > 1:54:55- WOMAN:- I don't know, I don't know. I just know it.
1:54:55 > 1:54:58- MAN:- Marge, there's female intuition and then there are facts.
1:55:01 > 1:55:02- Tom. - Sir.
1:55:02 > 1:55:04Marge, you should have waited.
1:55:04 > 1:55:08Didn't...didn't Peter say I'd come by and pick you up?
1:55:09 > 1:55:11Marge has been telling us about the rings.
1:55:11 > 1:55:14Yes, I feel ridiculous I didn't mention them yesterday.
1:55:14 > 1:55:16I clean forgot. Ridiculous.
1:55:18 > 1:55:20Perhaps you didn't mention them
1:55:20 > 1:55:22because there's only one conclusion to be drawn.
1:55:24 > 1:55:27I'm going to take Marge for a little walk, Tom.
1:55:27 > 1:55:28Mr MacCarron wants a talk.
1:55:28 > 1:55:30No need - we could go to the bar...
1:55:30 > 1:55:32No, no.
1:55:32 > 1:55:34I think you should stay here.
1:55:55 > 1:55:58I could probably see my room from here.
1:55:58 > 1:55:59I can see my house.
1:56:01 > 1:56:04When you see where you live from a distance
1:56:04 > 1:56:05it's like a dream, isn't it?
1:56:05 > 1:56:07I don't care for BS.
1:56:07 > 1:56:11I don't care to hear it. I don't care to speak it.
1:56:13 > 1:56:14OK.
1:56:14 > 1:56:18Did you know that at Princeton Dickie Greenleaf half-killed a boy?
1:56:18 > 1:56:20At a party, over some girl.
1:56:20 > 1:56:22Kicked the kid several times in the head.
1:56:22 > 1:56:24Put him in the hospital.
1:56:24 > 1:56:27Boy had a wire fixed in his jaw. Lost some hearing.
1:56:27 > 1:56:29Why do you think Dickie's father
1:56:29 > 1:56:31sent him to Europe in the first place?
1:56:33 > 1:56:36The Rome police didn't think to ask Mr Greenleaf.
1:56:36 > 1:56:40Nor did they think to check on whether a Thomas Ripley
1:56:40 > 1:56:43had ever been a student at Princeton University.
1:56:43 > 1:56:47Oh, I... I turned up a Tom Ripley,
1:56:47 > 1:56:52who had been a piano tuner in the music department.
1:56:53 > 1:56:57You see, in America we are taught to check a fact
1:56:57 > 1:56:59before it becomes a fact.
1:56:59 > 1:57:04We're taught to nose around when a girl drowns herself,
1:57:04 > 1:57:06find out if that girl is pregnant.
1:57:06 > 1:57:10Find out if Dickie had an embarrassment there.
1:57:11 > 1:57:14Mr Greenleaf appreciates your loyalty, he really does.
1:57:14 > 1:57:17Marge, she has 100 theories.
1:57:17 > 1:57:19There are a few things that she doesn't know.
1:57:20 > 1:57:22We hope she never knows.
1:57:22 > 1:57:24I hope she never knows.
1:57:24 > 1:57:29Three different people saw Dickie get into Freddie's car.
1:57:30 > 1:57:34One man, who will not testify
1:57:34 > 1:57:36because he was jumping somebody else's wife at the time,
1:57:36 > 1:57:40saw Dickie removing licence plates from a red sports car.
1:57:40 > 1:57:42The police know about this man
1:57:42 > 1:57:44because he happens to be a policeman.
1:57:46 > 1:57:48I found these in the basement of Dickie's apartment.
1:57:49 > 1:57:51They belonged to Freddie's car.
1:57:51 > 1:57:55Mr Greenleaf has asked me...
1:57:56 > 1:57:59..to lose these in the canal this evening.
1:58:00 > 1:58:03BELL CHIMES IN DISTANCE
1:58:03 > 1:58:05Mr Greenleaf feels
1:58:05 > 1:58:07there was a silent promise in Dickie's letter to you,
1:58:07 > 1:58:09which he intends to honour.
1:58:09 > 1:58:11He also intends to transfer
1:58:11 > 1:58:16a good portion of Dickie's income from his trust into your name.
1:58:16 > 1:58:18He does not intend
1:58:18 > 1:58:22to give the Italians any information about Dickie's past.
1:58:24 > 1:58:28He's rather hoping that you will feel the same.
1:58:45 > 1:58:47- Thank you so much, Tom. - Sir.
1:58:47 > 1:58:48Goodbye.
1:58:53 > 1:58:55Marge, I feel I never should have said
1:58:55 > 1:58:57those things to you the other evening.
1:58:57 > 1:59:01I was pretty flustered - the rings, and you looked so...
1:59:01 > 1:59:03..I don't know.
1:59:03 > 1:59:04But I hope
1:59:04 > 1:59:09that note goes in your purse to New York for a rainy day.
1:59:11 > 1:59:13What are you going to do now, Tom?
1:59:13 > 1:59:15I don't know.
1:59:15 > 1:59:17Peter has a concert in Athens next month.
1:59:17 > 1:59:20He asked me to come along and help out.
1:59:22 > 1:59:24He says goodbye, by the way.
1:59:24 > 1:59:26He was in rehearsal, so he couldn't...
1:59:26 > 1:59:30Why do I think there's never been a Ripley rainy day?
1:59:30 > 1:59:31What?
1:59:31 > 1:59:34I know it was you.
1:59:34 > 1:59:36- I know it was you. - Marge.
1:59:36 > 1:59:39- I know it was YOU! - Marge, Marge!
1:59:39 > 1:59:41Marge, please.
1:59:41 > 1:59:43I know you killed Dickie!
1:59:43 > 1:59:44- Marge! - I know, I know!
1:59:44 > 1:59:48- SHE SOBS - I KNOW it was you.
1:59:48 > 1:59:50Marge, Marge, please.
1:59:50 > 1:59:53It's not Tom. Really.
1:59:55 > 1:59:59MARGE SOBS
2:00:01 > 2:00:04'# We are called gondolieri
2:00:04 > 2:00:06'# But that's a vagary
2:00:06 > 2:00:08'# It's quite honourary'
2:00:08 > 2:00:12# The trade that we ply... #
2:00:12 > 2:00:13THEY LAUGH
2:00:14 > 2:00:16Ask me what I'd change about this moment.
2:00:16 > 2:00:18What would you change about this moment?
2:00:18 > 2:00:20Nothing.
2:00:23 > 2:00:26I'm freezing. Coming down?
2:00:26 > 2:00:29Later. I want to catch the sunset.
2:00:29 > 2:00:33- You're mad.- I am. TOM LAUGHS
2:00:43 > 2:00:44- WOMAN:- Dickie?
2:00:47 > 2:00:49Dickie!
2:00:53 > 2:00:54Dickie!
2:01:05 > 2:01:07Oh, my God.
2:01:09 > 2:01:11Hello, Meredith.
2:01:14 > 2:01:16I was looking at you -
2:01:16 > 2:01:19your clothes - I wouldn't have known you.
2:01:19 > 2:01:22Well, you spotted me, so you get the reward.
2:01:24 > 2:01:26- What? - Just kidding.
2:01:26 > 2:01:28Are you alone?
2:01:28 > 2:01:31Oh...hardly.
2:01:31 > 2:01:33I couldn't be less alone.
2:01:33 > 2:01:36- Aunt Joan. - And co.
2:01:37 > 2:01:40No. A LOT of co.
2:01:41 > 2:01:43Oh, God.
2:01:43 > 2:01:48It's...seeing you again.
2:01:50 > 2:01:55I've thought about you, so much.
2:01:55 > 2:01:57I've thought about you.
2:01:58 > 2:02:02Yeah, well, when I thought about you, I was mostly hating you.
2:02:05 > 2:02:06Oh.
2:02:08 > 2:02:10Where have you been hiding?
2:02:10 > 2:02:12I haven't been hiding.
2:02:14 > 2:02:16I've been in police custody.
2:02:17 > 2:02:19They've been trying to flush out Freddie's killer.
2:02:19 > 2:02:21You're kidding!
2:02:21 > 2:02:23Well, they're giving me this vacation,
2:02:23 > 2:02:25which is why the get-up.
2:02:25 > 2:02:28Which is why you haven't heard from me.
2:02:28 > 2:02:30The whole world thinks you killed Freddie.
2:02:30 > 2:02:33- Oh, it's terrible. - I know.
2:02:33 > 2:02:37Listen, I can't talk now. Later?
2:02:39 > 2:02:43Later? Later?
2:02:53 > 2:02:54So...
2:02:59 > 2:03:02..are you travelling under R?
2:03:02 > 2:03:08You know what? I am.
2:03:08 > 2:03:10Dickie, are you with Peter Smith-Kingsley?
2:03:10 > 2:03:12I bet you are.
2:03:12 > 2:03:14My aunt thought she saw him.
2:03:15 > 2:03:16Peter Smith-Kingsley? No.
2:03:16 > 2:03:18I haven't seen him in months.
2:03:20 > 2:03:22No, I'm alone.
2:03:37 > 2:03:39KNOCK AT DOOR
2:03:41 > 2:03:43Hi.
2:03:45 > 2:03:48- How was it? - It was good.
2:03:48 > 2:03:50But I'll tell you something.
2:03:50 > 2:03:53I want us to stay in here for the rest of the trip.
2:03:53 > 2:03:55PETER CHUCKLES
2:03:58 > 2:03:59Was that Meredith?
2:04:02 > 2:04:04Was who Meredith?
2:04:04 > 2:04:05Meredith Logue.
2:04:05 > 2:04:07You were kissing someone - it looked like Meredith.
2:04:14 > 2:04:16I came out to find you.
2:04:17 > 2:04:19Hardly kissing.
2:04:21 > 2:04:23Kissing off.
2:04:23 > 2:04:24Didn't look that way.
2:04:25 > 2:04:28You know, from a distance.
2:04:32 > 2:04:33I lied.
2:04:33 > 2:04:35To her.
2:04:36 > 2:04:38She thought she'd seen you.
2:04:39 > 2:04:40Why lie?
2:04:40 > 2:04:45Dickie and Peter together? That's just too good gossip.
2:04:46 > 2:04:47Or Tom and Peter even.
2:04:47 > 2:04:50That would be even better gossip.
2:04:50 > 2:04:51Really? Why?
2:04:56 > 2:05:01Uh, um...I'm completely lost.
2:05:03 > 2:05:05I know.
2:05:06 > 2:05:08I'm sorry, Peter.
2:05:09 > 2:05:11I'm lost.
2:05:14 > 2:05:18I'm going to be stuck in the basement, aren't I?
2:05:18 > 2:05:19Aren't I?
2:05:21 > 2:05:23That's my...
2:05:26 > 2:05:27..terrible...
2:05:29 > 2:05:32..and alone and dark.
2:05:34 > 2:05:36And I've lied.
2:05:37 > 2:05:39About who I am
2:05:39 > 2:05:41and where I am.
2:05:41 > 2:05:45Now no-one will ever find me.
2:05:46 > 2:05:48What do you mean, lied about who you are?
2:05:48 > 2:05:51I always thought it would be better...
2:05:51 > 2:05:53to be a fake somebody
2:05:53 > 2:05:55than a real nobody.
2:05:56 > 2:05:58What are you talking about?
2:05:58 > 2:06:01You're not a nobody - that's the last thing you are.
2:06:09 > 2:06:11Peter.
2:06:13 > 2:06:15Tell me some good things about Tom Ripley.
2:06:17 > 2:06:20No, don't get up, don't get up. Don't get up.
2:06:22 > 2:06:24Just...
2:06:27 > 2:06:31Just tell me some nice things about Tom Ripley.
2:06:33 > 2:06:35Good things about Tom Ripley?
2:06:39 > 2:06:40That could take me some time.
2:06:43 > 2:06:44Tom is talented.
2:06:44 > 2:06:46Tom is tender.
2:06:47 > 2:06:50Tom is beautiful.
2:06:50 > 2:06:53TOM SOBS You're such a liar.
2:06:55 > 2:06:57Tom is... Tom is a mystery.
2:07:04 > 2:07:06'Tom is NOT a nobody.
2:07:10 > 2:07:12'Tom has secrets he doesn't want to tell me
2:07:12 > 2:07:15'and I wish he would.
2:07:20 > 2:07:21'Tom has nightmares.
2:07:26 > 2:07:28'That's not a good thing.
2:07:33 > 2:07:35'Tom has someone to love him.
2:07:37 > 2:07:39'That is a good thing.'
2:07:42 > 2:07:44- PETER LAUGHS - 'Tom is crushing me.
2:07:46 > 2:07:48'Tom is crushing me.
2:07:49 > 2:07:54- TOM SOBS - 'Tom... Tom, you're crushing me!
2:07:54 > 2:07:59PETER GASPS AND CHOKES, TOM SOBS Oh, God. Oh, God. Oh, God.
2:08:05 > 2:08:09Oh, God. Oh, God. Peter...
2:08:18 > 2:08:21DOOR CREAKS