The Talented Mr Ripley


The Talented Mr Ripley

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Transcript


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This film contains some violent scenes and some strong language

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-SINEAD O'CONNOR SINGS:

-# From the silence

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# From the night

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# Comes a distant

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# Lullaby

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# Soul surrendering your soul

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# The heart of you not whole

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# For love

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# But love

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# Walked on

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# Cast into the dark

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# Branded with the mark

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# Of shame of Cain... #

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If I could just go back,

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if I could rub everything out,

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starting with myself...

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..starting with borrowing a jacket.

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-SHE SINGS:

-# Oh, such fleeting paradise

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# Such innocence denied

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# To love

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# Be loved

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# A lullaby

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# In silence. #

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APPLAUSE

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-WOMAN:

-Frances, that was lovely. I'm so proud.

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-MAN:

-Congratulations, my dear. Just wonderful.

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That was marvellous...marvellous.

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Most enjoyable. Herbert Greenleaf. My wife, Emily.

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-Thank you. Tom Ripley.

-How do you do?

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You were at Princeton. Most likely you'll know our son, Dick.

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-Dickie Greenleaf?

-Couldn't help noticing your jacket.

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Yes.

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Class of '56.

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How is Dickie?

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Oh, we've really enjoyed meeting you.

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We hope that you'll come out and see us.

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-Thank you. That's very kind.

-Both of you.

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-Herbert?

-Yes, yes. I very much hope so.

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Of course, Dickie's idea of music is jazz.

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He has a saxophone.

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To my ear, jazz is just noise, just an insolent noise.

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-It was very nice to meet you.

-And you.

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-We'll see you at the shipyard.

-I hope to.

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-Good.

-OK.

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I have to run. I'm very late.

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-Ah, you were great.

-You were great.

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-Darling couple, aren't they?

-Yes. They are.

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Exceptional young man.

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-Thanks for the jacket.

-Thanks for filling in for me.

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Take care of that wrist. Bye.

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MUSIC: SLOW MOVEMENT OF PIANO QUARTET IN E-FLAT MAJOR BY BEETHOVEN

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Believe me, buy IBM now, before it splits.

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-Do you really think so?

-Yes!

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MEN CONVERSE SOFTLY

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PIANO QUARTET CONTINUES

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MUSIC: FIRST MOVEMENT OF ITALIAN CONCERTO BY BACH

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Sorry...sorry.

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No. Sorry.

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You've probably heard Dickie's been living in Italy,

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Mongibello, south of Naples, any kind of place at all.

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-Morning, sir.

-Frank.

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Marge, his, um...young lady,

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is supposedly writing some kind of book.

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God only knows what he does.

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By all accounts, they spend the whole time on the beach

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and his sailboat.

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That's my son's talent - spending his allowance.

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Could you ever conceive of going to Italy, Tom?

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Persuade my son to come home?

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I'd pay you.

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1,000.

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Well, I have always wanted to go to Europe, sir, but...

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Good. Now you can go for a reason.

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MUSIC: "THE CHAMP" BY DIZZY GILLESPIE

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Count Basie? Duke Ellington? I don't know.

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I don't know.

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I don't know.

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Dizzy Gillespie.

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-CHET BAKER SINGS:

-# My funny valentine... #

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"My Funny Valentine".

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MAN SHOUTS: You're an ugly bitch! WOMAN SHOUTS BACK

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I don't even know if this is a man or a woman.

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THUD! CRASH!

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MAN AND WOMAN CONTINUE ARGUING

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BRISK JAZZ PLAYS

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Charlie Parker?

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Charlie Parker. I know that - it's "Bird".

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Yes!

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SONG ENDS ABRUPTLY Ugh!

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MUSIC: "MACHE DICH, MEIN HERZE, REIN" BY BACH

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-Here. I'll take it.

-Thanks.

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That 1,000 bucks should come in handy.

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-Yes, sir.

-I'll get that.

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-Thank you.

-Sir.

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HE CHUCKLES

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You're going to have a great trip.

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Mr Greenleaf is personal friends with the Cunard people.

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# Mache dich, Mein Herze, rein... #

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I can tell you the Greenleaf name opens a lot of doors.

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# Mache dich, mein Herze, rein

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# Ich will Jesum, selbst begraben

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# Ich will Jesum, selbst begraben

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# Mache dich, mein Herze, rein... #

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MAN SPEAKS ITALIAN OVER PA

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English? Do you speak English?

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-MAN:

-Si. What's your name? Si.

-Ripley.

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Follow me. No problem.

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-Here, Signore Ripley. Bag.

-OK.

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-This?

-Uh...there.

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-This one.

-WOMAN:

-Is that all of them?

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-Just one suitcase, Signore Ripley?

-Si.

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Attenzione!

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Oh, Customs.

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MAN SPEAKS ITALIAN

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Un attimo, signorina, un solo minuto.

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-What's your secret?

-Excuse me?

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No, it's just that... You are American, aren't you?

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No, it's just that... well, I have so much luggage

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and you're so, um...streamlined.

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It's humiliating.

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Il suo forme per le bagagli, signorina.

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I'm Meredith, by the way.

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Hello. Dickie.

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-Meredith Randall.

-Um, Dickie Greenleaf.

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Hello.

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You're not the shipping Greenleafs?

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Oh, trying not to be.

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Trying to jump ship.

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Um, did they put your cases in the wrong pile?

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It's just that, er, you were at the "R" stand.

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Well, I thought I saw you there.

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My father wants me back in New York.

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He builds boats. I'd rather sail them.

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So I travel under my mother's name.

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-Which is?

-Emily.

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I'm just kidding. SHE LAUGHS

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You know, the funny thing is...

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..I'm not Randall either.

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I'm Logue.

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-As in...?

-As in the textile Logues.

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Trying to shrug off the dress.

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I travel under my mother's name too.

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-Randall?

-Right.

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-So, Rome, er...

-Oh, south.

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-Oh, we're partners in disguise!

-HE CHUCKLES

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-Bye.

-Bye.

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WOMAN CALLS: Ciao, Lorenzo!

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-MAN:

-Mongibello!

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Mongibello!

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Hey, buon giorno, buon giorno.

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BOTH CONVERSE IN ITALIAN

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Bene, bene. Molto bene. Si.

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BOTH SING IN ITALIAN

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BUS DRIVER STARTS ENGINE MAN CONTINUES SINGING

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La fidanzata e una faccia.

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The fiancee has a face.

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La fidanzata e Marge.

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Questo e la faccia Dickie.

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Questo e la mia faccia.

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"Bird".

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This is my face.

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Questa e la mia faccia.

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I'm beat.

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So, I guess you didn't look at Palm Beach.

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I will, Marge. I promise.

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It's just been too hot.

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If I make dinner at my place, look at it then.

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Dickie Greenleaf?

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-Who's that?

-It's Tom. Tom Ripley.

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Tom Ripley?

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We were at Princeton together.

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OK.

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Did we know each other?

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Hello. Uh, well, I knew you, so... I suppose you must've known me.

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Princeton's like a fog.

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America's like a fog.

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This is Marge Sherwood.

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-Tom... Sorry, what is it?

-Ripley.

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-How do you do?

-How do you do, Marge?

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-What are you doing in Mongi?

-Nothing.

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Nothing much.

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Just passing through.

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-HE CHUCKLES

-Passing through?

-Yeah.

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You're so white.

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Did you ever see a guy so white, Marge?

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Grey, actually.

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It's just an undercoat. MARGE GIGGLES

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Say again?

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You know, a primer.

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That's funny.

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Margie likes that cos she's so white too.

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Yes, I do, and you're not funny.

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Please come and have lunch with us before you go.

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-Yes, Dickie?

-Sure, any time.

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Well...

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Coincidence!

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I don't remember him.

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That's so funny.

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DICKIE SHOUTS: Silvana! Hey!

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I've been looking all over for you. Where have you been hiding?

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-Yeah, today you look for me.

-Huh?

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-What about the rest of the week?

-You're always working.

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-Porco.

-Come on, get on.

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-With the American girl?

-Huh?

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-Hold on to me.

-I hate you, you know.

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-Huh?

-I hate you!

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Did you suddenly forget where I live?

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I know. I'm late. I'm a swine.

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-It's 4:00.

-I just woke up.

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-Oh!

-I'm sorry.

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-I'm sorry.

-You just woke up.

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Fausto and I, we took the boat out.

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We were fishing, then it was dawn and we caught absolutely nothing.

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Mmm, yes, well, we ate everything without you.

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-We?

-Yes.

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Tom Ripley's here.

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Who?

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-Tom!

-Hi.

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-Hello.

-Hello.

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How are you? We thought you'd disappeared.

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We were going to send out a search party.

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HE LAUGHS No. No, I'm still here.

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Tom was telling me about his journey over.

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Made me laugh so hard I almost got a nosebleed.

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Is that good?

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(Shut up.)

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I'm sorry. I'm sorry!

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I'm despicable...but I love you. Do you love me?

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-Do you love me?

-I'm intruding.

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Can you mix a martini?

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Sure.

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-SHE SIGHS

-I'll do it.

-Oh!

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I make a fabulous martini.

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SHE LAUGHS

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Everybody should have one talent. What's yours?

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Forging signatures, telling lies, impersonating practically anybody.

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That's three. Nobody should have more than one talent.

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OK, do an impression.

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-Now?

-Yeah.

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IMITATES DICKIE'S FATHER: The only talent my son has

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is for cashing his allowance.

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What?

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Oh, I like to sail. Believe me, I love to sail.

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-Instead I make boats and...

-Stop!

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-..other people sail them.

-It's too much!

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All the hairs on my neck are standing up.

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Oh, yes, jazz! Oh, jazz. Let's face it.

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It's just, er...it's just insolent noise.

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I feel like he's here.

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Horrible! Like the old bastard's here right now.

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-Good.

-That's brilliant.

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Brilliant!

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-How do you know him?

-I met him in New York.

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Marge! Marge! This is scary.

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You've gotta hear this. Meet my father, Herbert Richard Greenleaf I.

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Pleasure to meet you.

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-Dicky's made a fine catch.

-Uncanny.

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I know Emily thinks so.

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-I don't get it.

-It's uncanny.

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Could you ever conceive of going to Italy, Tom,

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and, um, bringing him back?

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What?

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I'd pay you if you would go to Italy, persuade my son to come home.

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I'd pay you 1,000.

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BELL TOLLS

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'I'm never going back.'

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But to actually hire somebody

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to come all the way here to drag me back home,

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he must be a little insane.

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-Ciao, Fausto.

-Ho! Dick.

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-Come stai?

-Come stai?

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Ciao, Silvana.

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-This is Tom.

-Ciao, Tom.

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-Ciao, Tom.

-Ciao, Tom.

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Ciao, Greenleaf.

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-I'm never going back.

-No.

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I think, your mother, her illness, I think that's...

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It's got nothing to do with my mother.

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She's had leukaem... This is what makes me boil about him!

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HE wants me back. He wants me back. It's nothing to do with my mother.

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-Dickie, I don't know...

-Go back to New York.

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Or call him, if you find a working telephone,

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and tell him wild horses wouldn't drag me back to him or his shipyard.

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-Hi, Tom.

-Hi.

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Marge, Tom's saying goodbye.

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Oh, well, I'll come down.

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GULLS CRY

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So, er, did you speak to my father?

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Oh, you were right... about the telephones.

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-I told you.

-There are no lines.

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-There's some problem.

-That's Italy.

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Tom.

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You're off? What are your plans?

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Go back, I suppose, as slow as I can.

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Oh!

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-Oh!

-Oh, this bag!

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-Oh!

-Oh!

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-Hey! You like jazz?

-I love jazz.

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Oh! This is the best.

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Baker, Rollins.

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Marge says she likes jazz but she thinks Glenn Miller's jazz.

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-I never said that.

-Perry Como.

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Bird. That's jazz.

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Bird? Ask me the name of my sailboat?

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What's the name of your sailboat?

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Look! Look! "Bird".

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Which is ridiculous. Boats are female.

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Everyone knows you can't call a boat after a man.

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He's not a man, he's a god!

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OK! We're going to Naples. There's a club.

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-It's not a club, it's a cellar.

-It's vile!

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Yes, it's vile! You don't have to come.

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It's great! It's great! You're going to love it.

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UP-TEMPO JAZZ MUSIC

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How are you?

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APPLAUSE AND CHEERING

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# Tu vuo fa l'Americano

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# Mmericano, mmericano

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# Siente a me, chi t'ho fa fa

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# Tu vuoi vivere alla moda

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# Ma si beve, whisky and soda

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# Po te sente disturba

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# Tu abbelle'o rock and roll

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# Tu giochi al baseball

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# Ma i soldi pe Camel

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# Chi te li da? La borsetta di mamma

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# Tu vuo fa l'Americano

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# Mmericano, mmericano

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# Ma si nato in Italy

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# Siente a me non c'e sta nienta a fa

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# OK, napolitan

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# Tu vuo fa l'American Tu vuo fa l'American... #

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That'd be cool. Yeah, bring him up.

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Un'altro amico Americano per stasera, qui sul palco.

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Tom Ripley! Tom! American!

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Come on! Get on up here!

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APPLAUSE

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Yeah!

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# Comme te po capi chi te vo bene... #

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Fausto'll tell you when to join the chorus.

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# ..Americano

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# Quando se fa l'ammore sotto 'a luna

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# Comme te vene 'capa e di I love you... #

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OK, together!

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# Tu vuo fa l'Americano

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# Mmericano, mmericano

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# Siente a me, chi t'ho fa fa?

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# Tu vuoi vivere alla moda

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# Ma si beve whisky and soda

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# Po te sente disturba

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# Tu abballe'o rock and roll

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# Tu giochi al baseball

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# Ma i soldi pe Camel

0:20:510:20:53

# Chi te li da? La borsetta di mamma

0:20:530:20:55

# Tu vuo fa l'Americano

0:20:550:20:58

# Mmericano, mmericano

0:20:580:21:02

# Ma si nato in Italy

0:21:020:21:04

# Siente a me non c'e sta nienta a fa

0:21:040:21:06

# OK, napolitan

0:21:060:21:07

# Tu vuo fa l'American Tu vuo fa l'American

0:21:070:21:09

# Tu vuo fa l'American. #

0:21:090:21:11

CHEERING AND APPLAUSE

0:21:110:21:12

DICKIE TYPES AND READS

0:21:120:21:14

"I bumped into an old friend from Princeton called Tom Ripley.

0:21:140:21:18

"He says he's going to haunt me

0:21:180:21:20

"until I agree to go back to New York with him."

0:21:200:21:26

Afternoon.

0:21:320:21:34

What time is it?

0:21:350:21:37

"..go back to New York with him.

0:21:370:21:39

-"Your..."

-Do you always type your letters?

0:21:390:21:42

That should be two t's.

0:21:440:21:46

I can't write and I can't spell.

0:21:460:21:48

It's the privilege of a first-class education.

0:21:480:21:50

Your room's upstairs at the back. I think Ermelinda made up the bed.

0:21:500:21:54

-Ermelinda?

-Si?

0:21:540:21:56

-E tutto pronto.

-Grazie.

0:21:560:21:58

-This is so good of you.

-Don't say it again.

0:21:580:22:01

Now that you're a double agent and we're going to string my dad along,

0:22:040:22:07

what if we bought a car with your expense money?

0:22:070:22:10

-OK.

-Great.

0:22:100:22:12

-Hello, Tom.

-Hello.

0:22:120:22:14

Marge, Marge, what do you think?

0:22:140:22:17

A little Cinquecento with my dad's money?

0:22:170:22:19

Oh, please, Dickie. You can't even drive a car.

0:22:190:22:21

You can't even drive.

0:22:210:22:23

What we need urgently, Tom, is an icebox.

0:22:230:22:25

Agree and I'll be your friend for life.

0:22:250:22:28

I absolutely agree with Marge.

0:22:290:22:31

Hm!

0:22:310:22:32

Icebox! Icebox!

0:22:320:22:34

BELL TOLLS

0:22:370:22:40

So, what? Is he going to move in with you?

0:22:460:22:49

It'll just be for a little while.

0:22:490:22:51

-He can be...he makes me laugh.

-OK, darling.

0:22:510:22:54

Promise you'd say...

0:22:540:22:56

No, I like him.

0:22:560:22:58

-Marge, you like everybody.

-SHE LAUGHS

0:22:580:23:00

I don't like you.

0:23:000:23:02

Then I'll go to your place and you can move in with Tom.

0:23:020:23:05

-I like him.

-Marge, you like everybody.

0:23:140:23:19

IMITATES MARGE: No, I like him.

0:23:240:23:25

-IMITATES DICKIE:

-Marge, you like everybody.

0:23:250:23:30

Now you'll see why Miss Sherwood always shows up at breakfast.

0:23:320:23:35

It's not love. It's my coffee machine.

0:23:350:23:37

Since Ermelinda taught him to make his own espresso,

0:23:370:23:40

he feels like quite the grown-up.

0:23:400:23:42

-I bought the coffee machine.

-Oh, darling.

0:23:420:23:44

-Is that for me?

-This is for Tom. He didn't complain.

0:23:440:23:47

That ring is superb.

0:23:470:23:49

Oh, Tom, I love you.

0:23:490:23:52

-See!

-Ooh!

0:23:520:23:53

I had to promise, capital "P", never to take it off,

0:23:530:23:57

otherwise I'd give it to you.

0:23:570:23:59

It's great. I found it in Naples.

0:23:590:24:01

I had to bargain for it for about two weeks!

0:24:010:24:03

I hope it wasn't cheap, Marge.

0:24:030:24:05

Oh, it was.

0:24:050:24:07

Hah!

0:24:070:24:08

I have to get Frances a birthday present. Perhaps you could help.

0:24:080:24:11

-Who's Frances?

-My fiancee.

0:24:110:24:13

Ahem! Engaged?

0:24:130:24:16

You're a dark horse, Ripley. Who is she?

0:24:160:24:18

-Your parents met her.

-Oh, God!

0:24:180:24:20

Oh! I can just imagine.

0:24:200:24:23

"If only Dickie would settle down.

0:24:230:24:25

"Doesn't every parent deserve a grandchild?"

0:24:250:24:27

Oh, God!

0:24:270:24:29

Never! Never! I swear on your ring, Marge.

0:24:290:24:33

I'm never going back.

0:24:330:24:35

-Say when to pull.

-Pull now.

0:24:350:24:36

It's not pulling.

0:24:360:24:38

-I'm doing it wrong. Oh!

-Hee-hee!

0:24:380:24:41

-Better now, huh?

-OK, OK, OK.

0:24:420:24:45

We'll make a sailor of you yet. You're doing really well.

0:24:450:24:48

-SHE LAUGHS

-All right, bar's open.

-Yes, please.

0:24:480:24:52

-Hey, can we sail to Venice?

-Sure. I love Venice.

0:24:520:24:55

See Venice and die. Isn't that right? Or is it Rome?

0:24:570:25:00

-Is it Rome?

-I have to see Venice.

0:25:000:25:03

You do SOMETHING and die, don't you? OK, Venice is on the list.

0:25:030:25:06

And Rome.

0:25:060:25:08

Do you ski?

0:25:090:25:10

-HE LAUGHS

-Ah! No, no. Don't tell me.

0:25:130:25:16

You're a lost cause.

0:25:160:25:17

That's the next thing to deal with.

0:25:170:25:19

Christmas we're planning a skiing trip to Cortina.

0:25:190:25:22

Excellent skiing! Excellent!

0:25:220:25:24

-Marge, Margie!

-Yes?

0:25:240:25:25

Unbelievable! Tom can't ski either. We'll have to teach him that too.

0:25:250:25:29

Thank you.

0:25:290:25:30

-Grazie.

-There you are.

0:25:300:25:32

Such low class, Marge. Does this guy know anything?

0:25:330:25:36

It's a good thing we're not getting married soon.

0:25:360:25:39

We'd have to invite Tom on our honeymoon.

0:25:390:25:41

MUSIC: "MY FUNNY VALENTINE" BY THE GUY BARKER INTERNATIONAL QUINTET

0:25:410:25:44

'Oh, I hated New York, that whole Park Avenue crowd.

0:25:440:25:47

'I fled to Paris to work on my book...'

0:25:470:25:49

and I was always going to this cafe in Montmartre, the Jean-Jacques.

0:25:490:25:53

And Dickie would play "My Funny Valentine".

0:25:530:25:57

# My funny valentine... #

0:25:570:25:58

It was only later I found out he only knows about six songs.

0:25:580:26:02

Anyway, I looked forward to seeing him, I suppose.

0:26:020:26:05

Silvana. Buona sera, Alessandra.

0:26:050:26:07

Per favoure, arance e pane e del prosciutto.

0:26:070:26:13

-E fichi?

-Fichi.

0:26:130:26:16

-Come sempre?

-Si, come sempre. Grazie.

0:26:160:26:19

ALL GROAN

0:26:240:26:25

# Your lips are laughable... #

0:26:250:26:28

ALL SHOUT

0:26:280:26:30

Eh! Eh! Signor Greenleaf!

0:26:300:26:33

If you're not at my place by 7.00, Tom and I are running off together.

0:26:330:26:37

-OK, fine.

-MAN:

-Oh, Dickie!

0:26:370:26:39

# My favourite work of art... #

0:26:390:26:44

-DICKIE SINGS:

-# Beware, the tiger bites only colonials... #

0:26:440:26:48

Whoa! Hold on!

0:26:480:26:51

# Silvana, Silvana! #

0:26:530:26:56

# You make me smile... #

0:26:560:26:58

'I need to talk to you.'

0:26:580:27:00

DICKIE SINGS IN ITALIAN

0:27:020:27:05

-You're breaking my ribs!

-What?

0:27:070:27:10

You're breaking my ribs!

0:27:110:27:15

# But don't change a hair for me

0:27:160:27:22

# Not if you care for me

0:27:250:27:30

# Stay little valentine

0:27:320:27:36

# Stay

0:27:370:27:44

# Each day is Valentine's Day. #

0:27:460:27:54

Oh!

0:27:580:28:00

I could fuck this icebox, I love it so much.

0:28:000:28:03

So, what did you actually do in New York?

0:28:060:28:09

HE OPENS BOTTLE Played piano in a few places.

0:28:090:28:11

-I told you.

-Well, that's one job.

0:28:110:28:14

-You told me a lot of jobs.

-A few places. That's a few jobs.

0:28:140:28:17

The mysterious Mr Ripley.

0:28:170:28:19

Marge and I spent hours speculating.

0:28:190:28:22

Anyway, I don't even want to think about New York.

0:28:220:28:25

Are you ready?

0:28:250:28:28

-Cold beer. Thank you, Dad.

-OK.

0:28:280:28:31

Copy out from here.

0:28:320:28:34

-You bring this with you to Europe?

-Are you going to write something?

0:28:350:28:39

I love the fact that you brought Shakespeare but no clothes.

0:28:390:28:42

Ermelinda says you wash out the same shirt every night. Is that true?

0:28:420:28:45

No, I have more than one shirt.

0:28:450:28:47

She can do that for you.

0:28:470:28:49

Anyway, just wear some of my stuff. Wear anything you want.

0:28:490:28:53

Most of it's ancient.

0:28:530:28:55

Now your signature.

0:28:560:28:58

Not "Dickie"! Your signature.

0:29:010:29:04

Without the glasses, you're not even ugly.

0:29:140:29:17

I don't need them because I never read.

0:29:190:29:21

How do I look?

0:29:220:29:24

Like Clark Kent.

0:29:240:29:25

Now it's Superman.

0:29:270:29:29

Superman!

0:29:290:29:31

Hmm!

0:29:340:29:35

I know. It's like a kid's.

0:29:350:29:39

See this, the S and the T?

0:29:390:29:41

-Mm-hm.

-Fine, vulnerable.

0:29:410:29:43

That's pain. That's secret pain.

0:29:430:29:45

Well, it must be a very deep secret cos I don't know about it.

0:29:450:29:49

There's nothing more naked than your handwriting.

0:29:490:29:51

And see how nothing's quite touching the line?

0:29:510:29:54

That's vanity.

0:29:540:29:56

Well, we certainly know that's true.

0:29:560:29:58

MUSIC: "NATURE BOY" BY MILES DAVIS

0:29:590:30:02

Do you have any brothers?

0:30:020:30:04

No.

0:30:040:30:07

No brothers, no sisters.

0:30:090:30:11

Me neither.

0:30:130:30:14

Nor does Marge.

0:30:160:30:18

All "only children".

0:30:190:30:21

What does that mean?

0:30:280:30:30

It means we've never shared a bath.

0:30:320:30:34

I'm cold. Can I get in?

0:30:380:30:40

No.

0:30:470:30:48

I didn't mean with you in it.

0:30:510:30:53

OK.

0:30:580:30:59

WATER SPLASHES

0:30:590:31:01

Get in.

0:31:010:31:03

I'm like a prune anyway.

0:31:030:31:05

It is me! It's an old picture!

0:31:250:31:28

Every time - "Is it you? It doesn't look like you."

0:31:280:31:33

Letters - Greenleaf and for Ripley.

0:31:330:31:36

Ooh, Fran. "I miss you. When are you coming home?

0:31:360:31:39

"Stop telling me what an incredible time you're having.

0:31:390:31:42

-"How much you love Dickie."

-Whoo!

0:31:420:31:44

"And Marge and Mongibello."

0:31:440:31:47

And this one, I think, is from your father.

0:31:470:31:49

-DICKIE:

-Do-do-do-de-doop-doop. Tsch, tsch, tsch.

0:31:490:31:52

-Let me see it. What does he say?

-He's getting impatient.

0:31:530:31:56

He wants me to reassure him

0:31:570:31:59

that you're going to be home by Thanksgiving.

0:31:590:32:01

You've got to get a new jacket.

0:32:010:32:03

Really. You must be sick of wearing the same clothes.

0:32:030:32:06

I can't. I can't keep spending your father's money.

0:32:060:32:09

I love how responsible you are.

0:32:090:32:11

My dad should make you chief accountant or something.

0:32:120:32:14

Or when I take over - which is never - I will.

0:32:150:32:18

OK, when you take over - which is never - I'll accept.

0:32:180:32:21

Let me buy you a jacket.

0:32:210:32:23

When we get to Rome, there's a great place - Battistone.

0:32:230:32:25

HE SMACKS LIPS (Battistone.)

0:32:250:32:27

# Roma, andiamo, andiamo, andiamo

0:32:270:32:30

-# Roma - we're taking Tom to Roma!

-TOM LAUGHS

0:32:300:32:34

# We're going to a-Roma. #

0:32:340:32:36

Hey, bellezza! MEN APPLAUD

0:32:370:32:40

-Buon giorno.

-Buon giorno.

0:32:440:32:46

Nice sweater.

0:32:460:32:48

Where do we get a carrozza from? Can we just hire...

0:32:480:32:51

-Relax.

-What?

0:32:510:32:52

-Relax!

-(I know.)

0:32:520:32:54

There's just so much to do in a single day.

0:32:540:32:57

The most important question is where to eat.

0:32:570:32:59

-I hope Freddie made a reservation.

-Freddie?

0:32:590:33:02

Freddie.

0:33:020:33:04

Freddie Miles.

0:33:040:33:06

Freddie's organising the Cortina skiing trip.

0:33:060:33:08

Oh.

0:33:080:33:10

Oh! Here he is!

0:33:100:33:11

Frederico!

0:33:160:33:18

-Come stai?

-Bene!

0:33:180:33:20

Ciao, bello!

0:33:200:33:22

Come stai?

0:33:220:33:24

Oh, God! Don't you want to fuck every woman you see just once?!

0:33:240:33:27

Only once?

0:33:270:33:29

Absolutely, once. Ciao.

0:33:290:33:30

-Tom Ripley - Freddie Miles.

-Tom!

0:33:300:33:32

I mean, hey, if I'm late, think what her husband's saying.

0:33:320:33:36

DICKIE AND FREDDIE LAUGH

0:33:360:33:37

-You look gorgeous.

-As always.

0:33:370:33:40

-Mmm!

-So, mangiare?

0:33:410:33:42

Si, I got us a table outside Fabrizio's.

0:33:420:33:45

-Tommy?

-Outstanding.

0:33:450:33:46

-I'm so cabin-crazy with Mongi.

-I know, I was there.

0:33:460:33:50

Tom, we're going to a club to meet some friends of Freddie's.

0:34:050:34:08

The best thing is, if you want to be a tourist,

0:34:080:34:11

grab a cab and...I'll meet you at the railway station.

0:34:110:34:14

What club?

0:34:140:34:15

Freddie's arranged it with some of the skiing crowd.

0:34:170:34:20

Come if you want but I thought you wanted to go sightseeing.

0:34:220:34:25

I do and then...maybe get the jacket and what have you.

0:34:250:34:28

Dick! You've got to hear this.

0:34:280:34:30

Listen, just take one of mine when we get back.

0:34:310:34:33

Don't worry about it.

0:34:330:34:35

Come on.

0:34:370:34:38

Ciao. Have fun, OK?

0:34:490:34:51

Oh!

0:34:530:34:55

KNOCK AT DOOR

0:34:590:35:00

You said make sure you didn't miss the train.

0:35:040:35:06

It leaves at 8.00. FREDDIE CHUCKLES

0:35:060:35:09

Have a good time.

0:35:090:35:11

See you, Tom.

0:35:110:35:13

WOLF WHISTLES

0:35:190:35:20

GUARD BLOWS WHISTLE

0:35:510:35:53

# If I meant anything to her

0:35:540:35:59

# I'd be brave

0:36:000:36:02

# And here's the song I'd bring to her

0:36:020:36:04

# I'd sing to her

0:36:040:36:07

# May I be the only one

0:36:090:36:12

# To say I

0:36:120:36:14

# Really fell in love the day I

0:36:140:36:18

# First set eyes on you

0:36:190:36:21

-# May I... #

-What are you doing?

0:36:240:36:27

Oh! I was just amusing myself.

0:36:270:36:30

Sorry.

0:36:310:36:33

I wish you'd get out of my clothes.

0:36:330:36:35

Do you have my shoes on too?

0:36:350:36:37

You said I could pick out a jacket, so...

0:36:370:36:40

Would you get undressed in your own room?

0:36:420:36:45

I thought you missed the train.

0:36:480:36:49

Freddie drove me back in his car.

0:36:490:36:52

-Is Freddie here?

-He's downstairs.

0:36:520:36:54

I was just fooling around.

0:36:550:36:58

Don't say anything.

0:36:580:36:59

I was just fooling around.

0:37:000:37:02

I'm sorry.

0:37:030:37:05

-FREDDIE:

-Lord! A corduroy jacket in Italy!

0:37:070:37:10

-MARGE:

-Morning, Tom.

-Morning.

0:37:100:37:12

-FREDDIE LAUGHS

-Well, come and join us.

0:37:120:37:14

Hey, now I want this job of yours, Tommy.

0:37:160:37:20

I was just saying, you live in Italy,

0:37:200:37:23

you stay at Dickie's house, you eat Dickie's food,

0:37:230:37:26

wear his clothes - and his father picks up the tab!

0:37:260:37:31

FREDDIE LAUGHS

0:37:310:37:32

If you get bored, you let me know, cos I'll do it.

0:37:320:37:37

-HE LAUGHS

-I'll do it.

0:37:370:37:40

You really should go in. It's marvellous.

0:37:440:37:48

I'm fine.

0:37:480:37:50

DICKIE YELPS PLAYFULLY

0:37:500:37:52

Are you OK?

0:37:590:38:01

Sure.

0:38:020:38:04

SHE PANTS

0:38:050:38:07

The thing with Dickie...

0:38:080:38:11

it's like the sun shines on you and it's glorious.

0:38:110:38:16

And then he forgets you and it's very, very cold.

0:38:170:38:21

So I'm learning.

0:38:210:38:23

When you have his attention,

0:38:230:38:25

you feel like you're the only person in the world.

0:38:250:38:28

That's why everybody loves him.

0:38:280:38:29

It's always the same whenever someone new comes into his life.

0:38:290:38:33

Freddie, Fausto, Peter Smith-Kingsley...

0:38:330:38:35

He's wonderful - have you met him?

0:38:350:38:37

Especially you.

0:38:400:38:41

And that's just the boys.

0:38:460:38:48

DICKIE AND FREDDIE YELP PLAYFULLY

0:38:540:38:56

-FREDDIE:

-Come and get him! Come and get him!

0:38:560:38:59

Tell me, why is it that when men play,

0:38:590:39:01

they always play at killing each other?

0:39:010:39:03

-DICKIE:

-He's drowning me! He's drowning me!

0:39:030:39:06

I'm sorry about Cortina, by the way.

0:39:080:39:11

What about Cortina?

0:39:110:39:13

Didn't...didn't Dick say?

0:39:140:39:17

SHE SIGHS He spoke to Freddie

0:39:190:39:21

and apparently it's not going to work out.

0:39:210:39:23

Well, it's because everyone else can ski

0:39:250:39:28

and it affects where you stay...

0:39:280:39:30

-DICKIE:

-Come on, Freddie.

0:39:370:39:39

At least stick around for the Festival of the Madonna.

0:39:390:39:42

The whole town comes out...

0:39:420:39:44

I...I don't think so.

0:39:440:39:45

I have my own Madonna back in Rome. Why don't you come back with me?

0:39:450:39:50

-A lot of ladies. Oooh!

-HE LAUGHS

0:39:500:39:52

-Oh, God!

-Do you want to take over?

0:39:570:39:59

Mmm. Mmm, yeah, sure.

0:39:590:40:01

Just point her at Capri. Avoid the rocks.

0:40:010:40:04

Where are you going?

0:40:040:40:06

-Marge-maintenance.

-Aye, aye.

0:40:060:40:10

DICKIE LAUGHS

0:40:240:40:27

MUFFLED TALKING

0:40:290:40:32

HE WHEEZES

0:40:400:40:43

-MARGE:

-Oh, Dickie!

-DICKIE:

-Mmm!

0:40:450:40:48

Tommy? How's the peeping?

0:40:490:40:53

Tommy? How's the peeping?

0:40:550:40:58

Tommy, Tommy, Tommy, Tommy, Tommy.

0:41:000:41:02

RELIGIOUS CHANTING

0:41:160:41:19

APPLAUSE

0:41:270:41:29

MEN SING

0:41:380:41:40

CONGREGATION SINGS

0:41:440:41:46

Arggh!

0:42:150:42:17

Silvana!

0:42:170:42:19

COMMOTION

0:42:200:42:22

THEY SCREAM

0:42:240:42:26

Is someone getting an ambulance?

0:42:480:42:52

-HE SHOUTS:

-Is someone getting an ambulance?

0:42:560:42:58

THEY SOB WILDLY

0:42:580:43:00

RELIGIOUS CHANTING

0:43:060:43:09

SOBBING

0:43:140:43:17

COMMOTION

0:43:170:43:19

SIRENS WAIL What's the fight about?

0:43:270:43:29

-That's her fiance, isn't it?

-I don't know.

0:43:290:43:32

Why are you asking me?

0:43:320:43:33

Well...are they blaming him?

0:43:330:43:35

How can it take an hour to find an ambulance?

0:43:350:43:39

She was already dead, darling, wasn't she, so I suppose...

0:43:390:43:41

I don't know why people say this country's civilised.

0:43:410:43:44

-Dickie!

-It isn't. It's fucking primitive!

0:43:450:43:48

I'll go see what's the matter.

0:43:500:43:52

I'll go.

0:43:530:43:54

SAXOPHONE PLAYS

0:43:590:44:03

TOM: I know why you're upset.

0:44:110:44:12

I know about Silvana, Dickie.

0:44:150:44:17

I know about you and Silvana.

0:44:200:44:22

What about us?

0:44:230:44:24

YOU DON'T HAVE TO CLEAN UP! REALLY!

0:44:270:44:31

-Like what?

-Forget it.

0:44:380:44:41

She was pregnant. Did you know that?

0:44:430:44:45

Silvana was pregnant.

0:44:500:44:51

Do you know what that means in a place like this?

0:44:540:44:57

I'm prepared to take the blame.

0:44:570:44:58

What are you talking about?

0:44:590:45:01

You've been so good to me. You're the brother I never had.

0:45:010:45:05

I'm the brother you never had.

0:45:050:45:07

I would do anything for you, Dickie.

0:45:080:45:10

She came to me for help.

0:45:120:45:15

She needed money.

0:45:150:45:16

I didn't help her. I didn't help her.

0:45:200:45:23

Now she's drowned herself and it's my fault.

0:45:240:45:27

I'm not going to say anything to Marge, to the police or anybody.

0:45:350:45:40

It's a secret between us, Dickie.

0:45:410:45:43

And I'll keep it.

0:45:450:45:46

TOM READS FROM LETTER: "Dear Tom,

0:45:480:45:50

"In the view of the fact Dickie shows no more signs of coming home

0:45:500:45:53

"than before you went, blah blah blah..."

0:45:530:45:57

"..I hope that the trip has afforded you some pleasures

0:45:580:46:01

"despite the failure of its main objective.

0:46:010:46:03

"You no longer should consider yourself obligated to us in any way."

0:46:030:46:07

I can't blame him.

0:46:080:46:09

You could hardly expect this to go on forever.

0:46:090:46:12

Well, you can write again.

0:46:120:46:13

-Especially now we're brothers.

-I can't.

0:46:140:46:17

How can I, in all decency?

0:46:170:46:19

You said it yourself - it's my dad's money you're spending.

0:46:190:46:22

We've had a great run, though, haven't we?

0:46:220:46:24

Well, we'll still go to Venice. We could stick to that plan.

0:46:260:46:29

I don't think so, Tom.

0:46:300:46:31

You can't pay your own way, can you?

0:46:310:46:34

It's time we all moved on.

0:46:340:46:37

I'm sick of Mongi. Especially now, with everything.

0:46:380:46:43

I really want to move to the north.

0:46:430:46:45

I need to check out San Remo next week -

0:46:450:46:47

find somewhere new to keep the boat.

0:46:470:46:50

It would be great, though, if you came with me to San Remo -

0:46:500:46:53

there's a great jazz festival.

0:46:530:46:55

We could say goodbye in style. What do you think?

0:46:550:46:58

Our last trip!

0:46:580:47:00

Sure.

0:47:060:47:08

Prossima stazione San Remo.

0:47:420:47:45

Why do you do that thing with your neck?

0:48:010:48:03

Hmm. What thing?

0:48:030:48:04

On trains. You always do that thing.

0:48:060:48:09

Ssssspooky!

0:48:130:48:15

Spoo...k-k-ky, k-k-ky, k-k-ky...

0:48:170:48:21

-FAST CYMBAL RHYTHM

-..Spooky.

0:48:220:48:26

LIVELY JAZZ PLAYS

0:48:300:48:33

Oh!

0:48:460:48:47

Didn't I tell you San Remo was crazy?!

0:48:480:48:50

This is more like it! Come on!

0:48:520:48:54

To Mongibello, and the happiest days of my life.

0:49:060:49:09

To Mongi. You're cheerful tonight.

0:49:090:49:12

I'm suddenly quite happy to be going back.

0:49:120:49:15

Did I know you at Princeton, Tom?

0:49:150:49:17

I don't think I did, did I?

0:49:170:49:19

Why are you asking all of a sudden?

0:49:200:49:22

No reason. Because you're leaving, I guess.

0:49:220:49:25

I don't think you were there.

0:49:250:49:27

Why?

0:49:270:49:29

I mean it as a compliment. You've got such great taste.

0:49:290:49:33

Most of the thugs at Princeton had tasted everything and had no taste.

0:49:330:49:37

I used to say, "the cream of America - rich and thick".

0:49:370:49:41

Freddie's the perfect example.

0:49:410:49:44

Then I'll take it as a compliment.

0:49:440:49:46

I knew it! I knew it. Marge and I had a bet.

0:49:460:49:50

Do you even like jazz?

0:49:590:50:01

Or was that for my benefit?

0:50:010:50:02

-I've gotten to like it.

-Oh, yes!

0:50:030:50:06

I've gotten to like everything about the way you live.

0:50:070:50:10

It's one big love affair!

0:50:100:50:12

If you knew my life back home in New York...

0:50:140:50:16

I'm thinking of giving up the sax.

0:50:160:50:19

What do you think about the drums?

0:50:190:50:21

What?

0:50:210:50:22

So cool.

0:50:220:50:24

I'm going to rent a boat tomorrow, take a look around.

0:50:240:50:27

This is how I found my place in Mongi.

0:50:270:50:30

Took a boat up...

0:50:300:50:32

..around the bay.

0:50:330:50:35

First thing I liked...

0:50:350:50:37

I got it.

0:50:370:50:39

Whoa!

0:50:410:50:42

Come on, Dickie. Don't go crazy.

0:50:420:50:45

-Ha, ha, ha.

-Dickie, cut it...slow down.

0:50:450:50:47

-Hold on!

-No...it's...wait a minute!

0:50:470:50:48

-Whoohoo!

-Oh, God, no, stop!

0:50:480:50:50

DICKIE LAUGHS It's not funny. Stop it!

0:50:500:50:53

-DICKIE YELLS:

-Beautiful! Oh, I love it here! I love it here!

0:50:530:51:00

I'm going to move here!

0:51:000:51:01

Beautiful.

0:51:010:51:03

DICKIE MIMICS A JAZZ DRUMBEAT

0:51:050:51:07

-I want to tell you my plan.

-God...

0:51:070:51:11

-Ow.

-So tell me.

0:51:110:51:12

Well, I thought I'd come back in the new year under my own steam.

0:51:120:51:16

-Really? To Italy?

-Of course.

0:51:160:51:19

And I figured, now, just for argument's sake,

0:51:190:51:23

say I got a place or say we split the rent of a house

0:51:230:51:27

and I'd get a job, or better still, if I got a place in Rome,

0:51:270:51:31

then when we're there we'd be there and when we're here we'd be here.

0:51:310:51:34

Ah, I don't think so.

0:51:340:51:36

See, particularly with the Marge problem.

0:51:360:51:38

You just blame me.

0:51:390:51:41

Marge and I are getting married.

0:51:420:51:44

How? HOW?

0:51:450:51:48

Yesterday you were ogling girls on the terrace.

0:51:480:51:50

Today you're getting married - that's absurd!

0:51:500:51:52

I love Marge.

0:51:540:51:55

-You love me, you're not marrying me.

-Tom, I don't love you.

0:51:550:51:59

I don't mean that as a threat.

0:51:590:52:01

To be honest I'm... I'm a little relieved you're going.

0:52:010:52:03

I think we've seen enough of each other for a while.

0:52:030:52:06

What?

0:52:100:52:11

You can be a leech.

0:52:110:52:13

You know that.

0:52:130:52:15

And...

0:52:180:52:19

it's boring.

0:52:190:52:21

You can be quite boring.

0:52:230:52:25

The funny thing is I'm not pretending to be somebody else and you are.

0:52:370:52:42

Boring.

0:52:420:52:43

I've been absolutely honest with you...about my feelings.

0:52:430:52:46

Boring.

0:52:460:52:48

But you, first of all, I know there's something.

0:52:480:52:51

That evening we played chess, it was obvious.

0:52:510:52:55

-What evening?

-Oh, sure, no.

0:52:550:52:56

It's too dangerous for you to take on.

0:52:560:52:58

Oh, no, no, we're brothers...hey?

0:52:580:53:01

Then you do this sordid thing with Marge -

0:53:020:53:04

fucking on the boat while we all have to listen.

0:53:040:53:07

Which was excruciating.

0:53:070:53:08

And you follow your cock around like a...and now you're getting married.

0:53:080:53:11

No, I'm bewildered. Forgive me.

0:53:110:53:13

You're lying to Marge and then you're getting married to her.

0:53:130:53:16

You're knocking up Silvana. You're ruining everybod...

0:53:160:53:19

You want to play the sax, you want to play the drums.

0:53:190:53:21

Which is it, Dickie? What do you actually play?

0:53:210:53:24

Who are you, huh? Some third-class mooch? Who are you?

0:53:240:53:28

Who are you to say anything to me?

0:53:280:53:30

Who are you to tell me anything?!

0:53:300:53:33

Actually I REALLY don't want to be on this boat with you.

0:53:330:53:36

-I can't move without you moving.

-Shut up.

0:53:360:53:38

-Shut up.

-Gives me the creeps.

0:53:380:53:40

-YOU give me the creeps.

-You shut up!

0:53:400:53:42

Can't move without "Dickie, Dickie, Dickie," like a little girl.

0:53:420:53:45

-Shut up!

-Arggh!

0:53:450:53:47

Oh, God, Dickie.

0:53:490:53:50

-For God's sake.

-Oh, oh, God!

0:53:510:53:54

-Oh...

-OK. OK.

0:53:540:53:57

We have to get you... OK.

0:53:580:54:00

ARGHHH!!

0:54:000:54:01

-I'm going to kill you...kill you!

-Oh... Dickie!

0:54:010:54:05

-You're dead! Arggh! You're dead!

-TOM SQUEALS

0:54:050:54:10

BOTH YELL AND GRUNT

0:54:100:54:12

-Stop! Stop! Please. Please.

-Arggh!

0:54:170:54:20

Stop it...stop!

0:54:200:54:24

-Dickie, let...

-Kill you...

0:54:250:54:27

Stop it!

0:54:270:54:29

Dickie, let go. Stop.

0:54:290:54:32

STOP! ARGGH!

0:54:330:54:34

-Oh!

-Stop!

0:54:340:54:37

Stop! Stop! Stop! TOM PANTS

0:54:370:54:40

HORN BEEPS

0:56:260:56:28

Attenzione!

0:56:280:56:29

-Can I have my key, please?

-Of course.

0:56:380:56:41

You must be very cold.

0:56:420:56:43

Er... Signor Greenleaf, yes?

0:56:430:56:46

No, I'm...

0:56:460:56:47

Hello, Marge.

0:57:540:57:56

-SHE SCREAMS

-Ah! Tom!

0:57:560:58:00

-SHE LAUGHS

-You startled me.

0:58:000:58:02

-Sorry.

-You're back!

0:58:020:58:04

How are you? Your book going well?

0:58:040:58:06

Yes. I'm on a good streak, thank you.

0:58:060:58:10

I was just looking at you, so quiet. SHE LAUGHS

0:58:100:58:14

Where's Dickie?

0:58:150:58:17

I think he's planning on staying in Rome for a few days.

0:58:200:58:24

Rome? Oh. Did he say why?

0:58:240:58:27

I don't understand Dickie. Your guess is as good as mine.

0:58:270:58:30

Well, what does that mean?

0:58:300:58:31

Well, one day I'm invited skiing, next day I'm not.

0:58:310:58:36

One day we're one family, then the next day he wants to be alone.

0:58:380:58:42

You tell me.

0:58:420:58:44

Is that what he said? He wants to be alone?

0:58:440:58:46

He was thinking of you. He asked me to deliver this.

0:58:460:58:51

-Thank you.

-SHE LAUGHS

0:58:510:58:54

He knows I love this.

0:58:540:58:56

Don't know why it couldn't have waited. I...

0:58:570:59:00

Errand number one. Deliver Marge's perfume.

0:59:000:59:03

Errand number two. Pack some clothes and his precious saxophone.

0:59:030:59:09

Well, how long is he staying for?

0:59:110:59:12

Search me.

0:59:120:59:14

I guess we're abandoned.

0:59:140:59:16

SEAGULLS SQUAWK

0:59:240:59:27

Oh, damn.

0:59:420:59:43

Are you OK?

0:59:450:59:46

There was a letter from Dickie in with my perfume.

0:59:570:59:59

You realise it's more than just a few days.

1:00:021:00:05

-He's thinking of moving to Rome.

-SHE SNIFFS

1:00:051:00:09

The thing is...

1:00:101:00:12

..the night before he left we talked about moving together.

1:00:121:00:16

Somewhere north, and...and I suppose I...

1:00:181:00:20

..put some pressure on him about getting married.

1:00:211:00:25

I just...

1:00:281:00:29

I just might have scared him off.

1:00:311:00:34

There's a side to him... when our heads are on the pillow...

1:00:381:00:44

I know no-one else sees, that's so tender.

1:00:451:00:49

I just think I should come with you to Rome and confront him.

1:00:501:00:54

He hates being confronted.

1:00:591:01:01

I think you're right.

1:01:041:01:05

Grazie. Checking in.

1:01:141:01:16

Checking in.

1:01:251:01:27

Signor Ripley?

1:01:271:01:29

That's me.

1:01:291:01:30

Signor Greenleaf.

1:01:331:01:35

Of course. Welcome back.

1:01:361:01:38

Thank you.

1:01:381:01:40

-OPERATOR:

-'Pronto?'

1:01:581:01:59

Yes, I'd like to telephone the Hotel Goldoni.

1:01:591:02:01

'Goldoni? Si, Signor Greenleaf.'

1:02:011:02:03

I want to speak to Thomas Ripley.

1:02:031:02:06

-'Ripley?'

-Yes.

1:02:061:02:07

-'Subito.'

-Grazie.

1:02:071:02:09

PHONE RINGS

1:02:181:02:21

Pronto?

1:02:211:02:23

'Signor Greenleaf, Signor Ripley is not there.'

1:02:231:02:24

-He's not there?

-'No, signore.'

1:02:241:02:26

Well, I would like to leave a message.

1:02:261:02:29

He's not there? I'll leave a message.

1:02:291:02:32

Got your call. Dinner tonight sounds fine.

1:02:321:02:36

-' "..sounds fine." '

-Ripley.

1:02:361:02:37

-' "Ripley?" '

-Ripley.

1:02:371:02:39

Dickie Greenleaf.

1:02:411:02:42

-'Dickie Greenleaf.'

-Yes, Greenleaf.

1:02:421:02:46

-'Greenleaf.'

-At the Grand.

1:02:461:02:48

And I'd like to have this wallet embossed.

1:02:501:02:53

I don't know the word in Italian.

1:02:531:02:55

Embossed. Of course, Signor Greenleaf.

1:02:551:02:56

Thank you.

1:02:561:02:58

Dickie!

1:03:021:03:03

It's me...

1:03:051:03:06

-Oh, my gosh!

-Meredith.

1:03:091:03:10

-Ciao.

-Come in. Come in.

1:03:101:03:12

But you're going skiing with those Yankees, aren't you?

1:03:121:03:15

-What?

-At Christmas?

1:03:151:03:16

To Cortina with Freddie Miles.

1:03:161:03:19

How did you know that?

1:03:191:03:21

Oh, everybody knows Freddie Miles.

1:03:211:03:25

Is Freddie in Rome?

1:03:281:03:29

-Now?

-Yeah.

1:03:291:03:31

Oh, I don't think so.

1:03:311:03:33

But...but I've met him, of course, and we've chatted.

1:03:331:03:38

And...I know about you and Marge in Mongi.

1:03:381:03:44

What an unreliable rat you are.

1:03:441:03:47

Well, Freddie said you were a rat.

1:03:471:03:50

And I thought to myself, "Ah, now I know why he travels under 'R'".

1:03:501:03:55

I've left Marge, Meredith... and Mongi.

1:03:551:03:59

So, the rat's here in Rome.

1:04:001:04:01

Oh, I'm sorry...

1:04:011:04:03

Oh, don't be sorry, no. I've never been happier.

1:04:031:04:06

I feel like I've been handed a new life.

1:04:061:04:08

The truth is, if you've had money your entire life,

1:04:091:04:13

even if you despise it, which we do...agreed?

1:04:131:04:16

You're only truly comfortable

1:04:161:04:18

around other people who have it and despise it.

1:04:181:04:22

I know.

1:04:221:04:23

I've never admitted that to anyone.

1:04:251:04:27

No, because my friend, Mr Greenleaf...

1:04:321:04:35

Signor Greenleaf and I are on a little spending spree.

1:04:351:04:38

-MAN:

-I see.

1:04:381:04:40

We're behaving very badly.

1:04:401:04:41

Oh, I love Italian money. It's so dark. Doesn't make you feel guilty.

1:04:411:04:45

Grazie.

1:04:461:04:49

I don't want too many large bills. No-one will change them.

1:04:581:05:02

Va bene, Signor Greenleaf.

1:05:021:05:04

CASHIER COUNTS IN ITALIAN

1:05:071:05:10

E una bellezza vestire un fisico come il suo.

1:05:101:05:13

Lei sta proprio bene, eh? E un coloure bellissimo.

1:05:131:05:17

Avevamo ragione, visto?

1:05:171:05:19

I really like this too.

1:05:191:05:21

Well, I think I'm having that too.

1:05:211:05:23

-Anche cosi?

-Si.

1:05:231:05:24

-Si.

-Facciamo un'altro? Ah, perfetto.

1:05:241:05:26

-Allora, noi ci vediamo domani.

-A domani.

1:05:261:05:29

-Tomorrow.

-Si, si.

1:05:291:05:31

Questa e bella.

1:05:311:05:32

Va bene. Allora, lo facciamo a doppio petto, come questo.

1:05:321:05:35

-Si.

-Grazie.

1:05:351:05:36

-Arrivederci.

-Arrivederci.

1:05:361:05:38

-Ciao.

-Ciao.

1:05:401:05:42

I know you're a jazz fan but do you absolutely hate the opera?

1:05:471:05:50

I've...

1:05:541:05:55

..I've been trying to give my tickets away.

1:05:561:06:00

It's tomorrow, but if you were prepared to be dragged...

1:06:001:06:04

You could drag me.

1:06:061:06:07

LENSKY'S ARIA FROM 'EUGENE ONEGIN'

1:06:081:06:11

CROWD APPLAUDS

1:07:481:07:51

Feodor Chaliapin, an old Russian baritone.

1:07:531:07:56

Thank you so much for inviting me tonight.

1:07:561:07:58

It's...

1:07:581:07:59

Can you bear it? We hear you're a friend of Freddie's.

1:07:591:08:03

He has "I hate opera" tattooed on his chest.

1:08:031:08:06

Well, there's room for a whole libretto on Freddie's chest.

1:08:061:08:09

I am sure we've met before.

1:08:101:08:13

I was sure we'd met before, weren't you, Ted?

1:08:131:08:15

-Dick is Herbert Greenleaf's boy.

-I know.

1:08:151:08:18

Yes, I think we have.

1:08:181:08:20

One minute you people are children

1:08:201:08:22

and the next you're... getting tattooed.

1:08:221:08:24

-Cheers.

-Cheers.

1:08:261:08:27

Cheers.

1:08:301:08:32

Scusi.

1:08:361:08:38

-Oh! Excuse me.

-Excuse me.

1:08:391:08:41

-Hello.

-Hello.

1:08:411:08:43

-Tom!

-Marge!

1:08:451:08:46

How are you? Wh...what are you doing in Rome?

1:08:461:08:50

-Is he here? Are you with Dickie?

-No.

1:08:501:08:52

Um, no, um...

1:08:521:08:54

-Hello. I'm Tom Ripley.

-Peter Smith-Kingsley.

1:08:541:08:57

I've heard all about you from Marge and Dickie.

1:08:571:08:59

-Ditto.

-No...no...no glasses.

1:08:591:09:02

So, where are you hiding him? He's impossible, isn't he?

1:09:021:09:04

Is he really not here?

1:09:041:09:06

Well, Marge, you know Dickie has "I hate opera" tattooed on his chest.

1:09:061:09:10

-I thought you were going to Venice.

-Oh, yes, what happened with that?

1:09:101:09:13

Heard you were desperate to come.

1:09:131:09:15

I was rather looking forward to rowing you around.

1:09:151:09:17

THEATRE BELL RINGS Oh, I am.

1:09:171:09:19

I really am. I've been travelling.

1:09:191:09:21

I just can't seem to get that far north.

1:09:211:09:24

Well, you should hurry, before we sink.

1:09:241:09:26

Uh, look, let me give you the telephone number.

1:09:261:09:28

There.

1:09:281:09:30

Oh, look, there's Meredith, um... Meredith.

1:09:301:09:33

What's her name, Marge? The...they're textile people.

1:09:331:09:35

Um, come on, that's awful. I spent Christmas at her house.

1:09:351:09:38

I don't...I don't know her.

1:09:381:09:39

-He hasn't called.

-Oh.

1:09:421:09:44

He's hardly written. Just these cryptic notes.

1:09:441:09:47

You know, you don't just dump people.

1:09:471:09:49

-THEATRE BELL RINGS

-Look, will we see you later?

1:09:491:09:52

-Or are you with people?

-Oh! I can't later.

1:09:521:09:54

-Well, um, how about tomorrow?

-Yes. Um, maybe in the morning?

1:09:541:09:58

Do you know Caffe Dinelli? At...at the Piazza di Spagna?

1:09:581:10:01

-No.

-I know the Piazza di Spagna.

1:10:011:10:03

-What time?

-10.30?

1:10:031:10:05

-We'll be there.

-OK.

1:10:051:10:07

So, I'll see you in the morning, Marge? 10.30?

1:10:071:10:11

-Very nice to meet you.

-And you.

1:10:111:10:13

Come on.

1:10:171:10:20

-Yes.

-Let's go back in.

1:10:201:10:22

I don't understand why Tom's still in Rome.

1:10:291:10:31

(Let's go.)

1:10:311:10:34

Oh, I thought you were enjoying yourself.

1:10:341:10:36

Let's take a carazza and look at the moon.

1:10:361:10:38

Are you crazy? It's freezing out there.

1:10:381:10:39

Come on. I need to talk to you.

1:10:391:10:42

-Just the two of us.

-OK.

1:10:421:10:44

Oh, don't worry, please.

1:10:481:10:50

Don't worry.

1:10:501:10:52

You're such a pal to understand.

1:10:531:10:56

It's like Marge is here right now. I look at you and I see her face.

1:10:571:11:01

I can't...

1:11:011:11:03

No matter what I'm feeling towards you, I just can't...

1:11:031:11:06

No, I absolutely...understand, of cour...

1:11:061:11:09

Otherwise, you'd be fighting me off.

1:11:091:11:11

Beating you away.

1:11:121:11:15

Look, will you meet me tomorrow?

1:11:521:11:54

Just to say goodbye.

1:11:541:11:56

Properly, you know, in the daylight, so it's not just...this.

1:11:561:12:00

Of course. Meredith, I'm sorry. Of course I'll meet you.

1:12:001:12:03

You should always save pain for daylight.

1:12:031:12:07

Why don't we have coffee in the morning at Dinelli's?

1:12:071:12:11

-Uh...by the Spanish steps?

-Exactly.

1:12:111:12:14

10.30?

1:12:141:12:16

-10.15.

-OK.

1:12:181:12:20

OK.

1:12:201:12:22

CHURCH BELL TOLLS

1:12:301:12:33

Peter? Hello!

1:13:131:13:15

It's Meredith Logue.

1:13:151:13:17

Of course it is! Meredith, hello. Sorry, I was half-asleep.

1:13:181:13:21

-How are you?

-How are you?

1:13:211:13:23

This is Marge Sherwood. Meredith Logue.

1:13:231:13:25

How do you do?

1:13:251:13:27

Well, do join us, won't you? We're just waiting for a friend.

1:13:281:13:31

I... I won't actually.

1:13:311:13:33

I think this mi...

1:13:331:13:34

-It was you at the opera last night?

-Are...you waiting for Dickie?

1:13:341:13:38

Dickie?! Do you...do you... do you know Dickie?

1:13:391:13:43

You were at the opera. Oh, that explains it.

1:13:431:13:46

Yes, I was there. I was there with Dickie.

1:13:461:13:50

-SHE GASPS

-I knew it.

1:13:511:13:54

I told you.

1:13:541:13:55

Marge...

1:13:581:14:00

I don't know you, so I've got no right to...

1:14:001:14:03

Dickie loves you.

1:14:031:14:04

He's... I think you'll find he's on his way home to you.

1:14:041:14:09

Well, how...how would you know that?

1:14:101:14:12

He...told me everything.

1:14:141:14:16

No, I was supposed to meet him 15 minutes ago, so, er...

1:14:161:14:20

I'm going to go now, I think.

1:14:211:14:24

God, unless he meant us to meet.

1:14:251:14:27

That'd be a little cruel, wouldn't it?

1:14:271:14:30

No, no, we're meeting another friend. Tom Ripley.

1:14:301:14:33

-Do you know Tom Ripley?

-No. No.

1:14:331:14:35

I've heard about him, of course, but I didn't meet him, no.

1:14:351:14:40

WAITER ADDRESSES GROUP Not for me. No, grazie.

1:14:401:14:42

Hope I didn't complicate matters.

1:14:471:14:50

God, nothing, NOTHING... untoward happened.

1:14:501:14:55

There is nothing to prevent you from welcoming him back.

1:14:551:15:00

From marrying him.

1:15:001:15:01

Goodbye.

1:15:051:15:07

I'm happy to put a face to a name. Goodbye, Peter.

1:15:071:15:10

Please, don't get up.

1:15:101:15:12

Now I don't know what to think. You think he's coming back, or what?

1:15:301:15:35

Sorry. Sorry. Had to renew my papers.

1:15:351:15:38

Never one stamp when they can make you line up for three.

1:15:381:15:41

-You been waiting long?

-Not at all.

1:15:411:15:43

-Morning, Tom.

-Hi.

1:15:431:15:45

Sorry. You OK? You look like you've seen a ghost.

1:15:451:15:48

-Dickie was at the opera last night.

-I don't believe that.

1:15:481:15:51

Wild horses couldn't drag Dickie...

1:15:511:15:54

-SHE LAUGHS

-He was there with someone, You know,

1:15:541:15:56

so I suppose she must have dragged him.

1:15:561:15:58

(That's not fair.)

1:15:581:16:01

I think I'm going back to Mongi. I think Dickie's coming home.

1:16:011:16:05

-I'm going home.

-Really? Well, that's just swell.

1:16:051:16:07

Well, I... I... no, you're way ahead of me. Great.

1:16:071:16:10

You know, that was rather moving, what Meredith...

1:16:101:16:12

Sorry, Meredith is the American I saw at the opera last night.

1:16:121:16:15

She's been seeing something of Dickie.

1:16:151:16:17

Oh, my God.

1:16:171:16:19

But the point is Dickie -

1:16:191:16:20

and we all know this - Dickie loves Marge.

1:16:201:16:24

And he misses her.

1:16:241:16:26

I feel guilty.

1:16:261:16:27

Marge doesn't understand this, but whenever Dickie does something,

1:16:271:16:29

I feel guilty.

1:16:291:16:31

As if that makes sense.

1:16:311:16:33

-MUSIC: ITALIAN CONCERTO BY BACH

-Non so, mi patrito.

1:16:331:16:36

Mi piace suonare. Suonare?

1:16:361:16:39

Io sono sorda - la coppia di sotto e pure sorda.

1:16:391:16:42

MUSIC: ITALIAN CONCERTO BY BACH

1:16:421:16:45

Bellissima.

1:16:481:16:51

Si.

1:16:511:16:53

Allora, giovanotto, ti piace?

1:16:531:16:56

CHOIR SINGS: 'STABAT MATER'

1:17:001:17:03

LOUD KNOCK AT DOOR

1:17:361:17:38

KNOCK AT DOOR >

1:17:461:17:48

Dickie!

1:17:531:17:55

BANGING AT DOOR

1:17:561:17:58

Dickie, come on, it's me.

1:17:581:18:00

It's Freddie. Let me in.

1:18:001:18:02

Dickie.

1:18:041:18:06

Hello, Freddie. It's Tom.

1:18:121:18:13

Um...

1:18:151:18:16

Where's Dickie?

1:18:161:18:19

-How are you?

-I'm good. Yes, thank you.

1:18:191:18:21

He's gone. He went to dinner.

1:18:211:18:23

He's at Otello's. Do you know Otello's?

1:18:231:18:25

No, no, no.

1:18:251:18:27

I don't think he is at dinner at 6.30pm.

1:18:271:18:29

If you said he was still at lunch, maybe I'd believe you.

1:18:291:18:34

You know?

1:18:341:18:36

Incredible!

1:18:361:18:38

I mean, the guy's just disappeared off the face of the earth.

1:18:381:18:42

-I guess.

-You know.

1:18:421:18:44

The landlady, as far as I can tell...

1:18:461:18:48

The landlady said he was here right now.

1:18:481:18:52

Search the place.

1:18:521:18:53

I... I just... I don't know why you imagine

1:18:531:18:56

that Dickie would hide from you.

1:18:561:18:59

Because he's been hiding from me.

1:18:591:19:01

What happened at Christmas?

1:19:021:19:04

What about Christmas?

1:19:041:19:05

He was supposed to come skiing.

1:19:051:19:07

I didn't get a cable, a call or a note or a...

1:19:071:19:11

..or frankly, a card.

1:19:121:19:14

Well, he's been very involved with his music.

1:19:151:19:18

Um, I think his theory is that you have to go into a cocoon

1:19:181:19:24

before you can be a butterfly.

1:19:241:19:26

Oh?

1:19:261:19:28

Which is horseshit.

1:19:281:19:29

Have you heard him play this thing?

1:19:291:19:31

I wonder if he can't.

1:19:311:19:33

How did you find him?

1:19:351:19:37

It's such an out-of-the-way apartment.

1:19:371:19:39

-Can I fix you a drink?

-No. Thanks.

1:19:391:19:42

The American Express.

1:19:421:19:44

HITS RANDOM NOTES ON PIANO

1:19:441:19:47

Some kid.

1:19:471:19:48

Are you living here?

1:19:541:19:55

No.

1:19:551:19:58

No, I'm staying here for a few days.

1:19:581:20:00

Hmm.

1:20:001:20:02

And...

1:20:021:20:03

It's a new piano.

1:20:051:20:06

FREDDIE HITS DISCORDANT CHORD You probably shouldn't...

1:20:061:20:08

FREDDIE HITS SHARP NOTES

1:20:081:20:10

You probably shouldn't, er...

1:20:121:20:14

FREDDIE KEEPS HITTING NOTES

1:20:141:20:18

Did this place come furnished?

1:20:181:20:20

Because it doesn't look like Dickie.

1:20:211:20:23

It's, er...it's really horrible.

1:20:231:20:26

Isn't it?

1:20:261:20:29

-HE FLICKS RANDOM NOTES

-It's so, er...

1:20:291:20:31

Bourgeois.

1:20:311:20:33

Oh, that's a, er...

1:20:421:20:43

You should watch that.

1:20:431:20:45

Excuse...

1:20:451:20:46

Excuse me. Excuse me.

1:20:461:20:48

You know, in fact, the only thing that looks like Dickie is you.

1:20:511:20:56

Hardly.

1:20:561:20:58

Mmm.

1:20:581:20:59

What's that? Have you done something to your hair?

1:20:591:21:02

Is there something you'd like to say, Freddie?

1:21:021:21:04

-What?

-Do you have something you'd like to say?

1:21:041:21:08

I think I'm saying it.

1:21:081:21:10

Something's going on.

1:21:111:21:12

Either he's converted to Christianity...

1:21:141:21:16

..or there's something else.

1:21:181:21:19

Well, I would suggest you ask Dickie that yourself.

1:21:211:21:24

Otello's is on della Croce just off the Corso.

1:21:241:21:26

Is it on della Croce just off the Corso?

1:21:261:21:29

You're...you're a quick study, aren't you?

1:21:321:21:34

The last time, you didn't know your ass from your elbow

1:21:341:21:38

and now you're giving me directions.

1:21:381:21:40

But that's not fair.

1:21:401:21:41

You probably do know your ass from your elbow.

1:21:411:21:44

I'll see you.

1:21:461:21:48

DOOR CLOSES

1:21:541:21:55

-Tutto bene, ragazzo?

-Bene.

1:21:571:22:00

No Dickie Greenleaf.

1:22:001:22:01

-Thomas Ripley.

-Si!

1:22:011:22:03

Dickie sta su. Oggi gli hanno portato il piano.

1:22:031:22:06

E m'hanno sporcato tutto.

1:22:061:22:07

E stato tutto il giorno a suonare. Pla, pla, pla, pla!

1:22:071:22:11

Ciao, Dickie.

1:22:111:22:12

Yeah.

1:22:151:22:17

Dickie doesn't play the piano.

1:22:171:22:19

Tommy?

1:22:211:22:22

Tommy!

1:22:221:22:24

Tommy!

1:22:241:22:26

HE GROANS

1:22:291:22:30

Oh, now you're making me laugh!

1:23:031:23:06

No, you're just so drunk!

1:23:061:23:08

Oh, you're just...

1:23:081:23:10

What can you do, eh?

1:23:101:23:12

You should see my other friends!

1:23:121:23:14

-What can you do?

-Si vergogni, va.

1:23:141:23:16

Yes!

1:23:161:23:17

Such a pig!

1:23:171:23:19

Portalo a letto.

1:23:211:23:22

TOM IMITATES FREDDIE: Hey, if I'm drunk, think what her husband's saying.

1:23:221:23:25

Andiamo.

1:23:251:23:27

DOG BARKS IN THE DISTANCE

1:23:271:23:29

La polizia.

1:24:121:24:14

Dickie Greenleaf?

1:24:141:24:15

Yes.

1:24:151:24:17

Inspector Roverini. Can we come in?

1:24:171:24:19

Please.

1:24:191:24:21

It's a terrible shock, huh?

1:24:271:24:28

What time did Signor Miles leave yesterday?

1:24:291:24:32

Um...um, I can't be certain exactly.

1:24:321:24:36

I... 8.00, 9.00.

1:24:361:24:38

Lui dice che Freddie Miles e andato via tra le otto e le nove.

1:24:381:24:42

We'd both taken on far too many drinks.

1:24:421:24:44

But it was dark. It was certainly dark when I walked him to his car.

1:24:441:24:49

So he drove away and you did what?

1:24:501:24:53

I went to bed.

1:24:531:24:54

Il signor Greenleaf dopo e andato a dormire.

1:24:541:24:57

Freddie's a big man, but I... I'm in trouble after a couple of drinks.

1:24:571:25:01

I've been suffering all...

1:25:011:25:03

Who found him?

1:25:041:25:05

Ah, senta...you understand

1:25:051:25:07

I must ask you to stay in Rome, Signor Greenleaf.

1:25:071:25:10

Yes, if it's going to help, certainly.

1:25:121:25:14

So the doctor, he has to make the, um...

1:25:141:25:18

Com'e che si dice?

1:25:181:25:20

-Autopsia.

-Bene.

1:25:201:25:22

Post-mortem.

1:25:221:25:24

Yeah. Exactly.

1:25:241:25:25

But you know, his first conclusion

1:25:251:25:27

was that Signor Miles was killed not later than 7.00 yesterday evening.

1:25:271:25:33

Well, he certainly wasn't dead when he drove away in his car.

1:25:331:25:36

No.

1:25:381:25:40

ALL SPEAK ITALIAN

1:25:561:25:58

Va bene?

1:26:041:26:05

-It's OK? OK?

-Si, si.

1:26:051:26:07

Did he kill Freddie?

1:26:191:26:20

Marge! When did you get here?

1:26:201:26:22

Tell me the truth. Did he kill Freddie?

1:26:221:26:25

I'd swear he didn't.

1:26:251:26:26

I tried again, waiting here, watching for him.

1:26:281:26:33

Instead it's you. Whenever I look for Dickie, I find you.

1:26:331:26:36

What happened to your face?

1:26:381:26:40

Dickie. Dickie did it.

1:26:411:26:43

-Dickie?!

-My face.

1:26:431:26:44

There was an argument. I...

1:26:441:26:46

I said some things I shouldn't have said.

1:26:461:26:48

About you. About the appalling way he's treating you, all of us.

1:26:481:26:52

Next thing, he's launched himself at me.

1:26:521:26:54

-Are you getting on?

-What?

1:26:541:26:55

Get on. I'll take you to him.

1:26:551:26:57

Signor Greenleaf ha letto i giornali.

1:27:221:27:24

-Where does he live?

-We passed it a few blocks back.

1:27:391:27:42

It's where the police were.

1:27:421:27:44

The Palazzo Gioia.

1:27:441:27:46

Look, they don't even know I'm in Rome

1:27:461:27:48

and I'm not going to incriminate Dickie.

1:27:481:27:50

Perhaps I shouldn't go either.

1:27:501:27:52

No, we'll go if you want to.

1:27:521:27:54

But just don't talk to the police about my face.

1:27:541:27:57

If they know he hit me, he could have hit Freddie.

1:27:571:28:00

I'll catch up with you later.

1:28:001:28:02

SCOOTER ENGINE REVS

1:28:061:28:08

Ah, Signor Greenleaf!

1:28:191:28:21

Ah, Signor Greenleaf! Presto!

1:28:211:28:23

-Presto!

-ALL SPEAK ITALIAN

1:28:231:28:24

Open the door!

1:28:281:28:30

-Open up!

-Hey!

1:28:301:28:33

-Dove crede di andare?

-I live here.

1:28:341:28:36

Mr Greenleaf!

1:28:361:28:37

-Salve.

-Can we go up?

1:28:391:28:40

-Do you mind?

-Of course.

1:28:401:28:42

What happened to your face?

1:28:421:28:44

My scooter. I fell off.

1:28:441:28:45

Getting chased by photographers.

1:28:451:28:47

The telephone, the press, everything. I'm feeling hounded.

1:28:471:28:50

Do you think you could not give out my address?

1:28:501:28:53

Never. We've had many requests and of course, we say no.

1:28:531:28:56

Even to your fiancee.

1:28:561:28:57

-I really don't want to see anybody.

-Even your fiancee?

1:28:571:29:00

Even her.

1:29:001:29:02

What about Thomas Ripley?

1:29:061:29:07

What about Tom Ripley?

1:29:071:29:09

You and Signor Ripley went to San Remo, is that right?

1:29:101:29:13

We went to San Remo. That was months ago.

1:29:131:29:16

-November, I thought.

-Was it?

1:29:161:29:18

Did you speak to Tom?

1:29:181:29:19

November 7 is my information.

1:29:191:29:21

I don't remember the exact date!

1:29:211:29:23

When did you last see Signor Ripley?

1:29:241:29:26

A few days ago.

1:29:261:29:28

Does he stay with you here?

1:29:281:29:30

No.

1:29:301:29:32

Now...

1:29:321:29:33

..here is a pattern.

1:29:351:29:37

Two days ago, Freddie Miles's death.

1:29:371:29:41

Hmm?

1:29:411:29:42

He leaves your apartment and is murdered.

1:29:431:29:47

Yesterday, a little boat is found in San Remo full of rocks.

1:29:491:29:54

And the owner tells the police it was stolen on November 7.

1:29:541:29:58

We look at hotel records.

1:29:591:30:01

And we see...

1:30:011:30:03

Dickie Greenleaf is staying in San Remo.

1:30:041:30:06

And then our boatman remembers two Americans taking a boat.

1:30:061:30:10

That is not a pattern.

1:30:101:30:12

That's a coincidence.

1:30:121:30:13

There must be 50 hotels in San Remo.

1:30:131:30:16

There are probably 100 people renting a boat that day.

1:30:161:30:19

-31 people.

-31 people?

1:30:191:30:22

Mm-hm.

1:30:221:30:23

31, yeah.

1:30:231:30:25

C'e la signorina Sherwood.

1:30:261:30:28

Marge Sherwood.

1:30:281:30:30

That is Miss Sherwood now.

1:30:301:30:31

Let her in.

1:30:381:30:40

Let her in.

1:30:401:30:41

What's the difference? Let her in.

1:30:411:30:43

-No! Um, actually...

-Hey!

1:30:461:30:47

Actually, no.

1:30:471:30:49

I would really appreciate it

1:30:491:30:50

if you would ask Miss Sherwood to come back later.

1:30:501:30:54

Uh-huh.

1:30:541:30:56

Dille di venire piu tardi.

1:30:561:30:58

Thank you.

1:31:001:31:01

May I ask you...

1:31:031:31:04

..why would you speak to your friend and not your fiancee?

1:31:051:31:09

Well, I... I think I just said.

1:31:091:31:12

Um, Mr Ripley was handling some business for me.

1:31:121:31:15

Nor does Mr Ripley want to marry me

1:31:151:31:18

and ask me every single day if I'll marry him and when.

1:31:181:31:22

Do you keep a photograph of Signor Ripley?

1:31:221:31:25

I'm not in the habit

1:31:251:31:26

of carrying around photographs of my male friends.

1:31:261:31:28

Now I think I've upset you.

1:31:301:31:32

Sorry.

1:31:321:31:33

My English perhaps is coarse.

1:31:331:31:35

It is a little coarse.

1:31:351:31:37

Yes.

1:31:371:31:39

I'm sorry.

1:31:411:31:42

But, yet, no-one has seen Signor Ripley since San Remo.

1:31:441:31:47

-I have.

-Oh. You have. Yes.

1:31:471:31:49

And so has Miss Sherwood.

1:31:491:31:50

Ask her.

1:31:501:31:52

And, er...um...

1:31:521:31:53

If I can remember the name of his hotel...

1:31:531:31:56

Um...

1:31:561:31:57

The Goldoni. Tom was staying at the Goldoni.

1:31:571:32:00

Goldoni.

1:32:001:32:01

The Goldoni. Good. Good. But...

1:32:011:32:04

Yes, you are right.

1:32:041:32:05

You are right. A coincidence.

1:32:051:32:08

SIREN WAILS OUTSIDE

1:32:081:32:10

I look forward to our next meeting

1:32:111:32:14

when I will be more careful with my English.

1:32:141:32:16

I have a witness who thinks they saw two men getting into Mr Miles's car.

1:32:161:32:22

And she wants to identify you in a...confronto - a line-up.

1:32:221:32:26

Tomorrow then?

1:32:261:32:28

Tomorrow.

1:32:291:32:31

-Buon giorno, Miss Sherwood.

-Buon giorno.

1:32:391:32:41

He is in but I really don't think he wants to meet anyone.

1:32:411:32:45

KNOCK AT DOOR

1:32:511:32:53

Dick?

1:33:011:33:03

Dickie?

1:33:061:33:07

I know you can hear me.

1:33:091:33:12

I was going to say that I would count to three

1:33:191:33:23

and if you didn't open the door... but I won't count any more.

1:33:231:33:26

On you.

1:33:271:33:29

I won't count on you any more.

1:33:311:33:35

Whatever it is you've done or haven't done...

1:33:381:33:41

..you've broken my heart.

1:33:431:33:45

That's one thing I know you're guilty of.

1:33:471:33:50

But I don't know why.

1:33:571:33:59

And I don't know why. I just don't know why.

1:34:021:34:05

TYPEWRITER CLATTERS

1:34:101:34:12

THUNDER RUMBLES

1:34:121:34:14

"My dear Tom, I'm getting out of this.

1:34:141:34:18

"Freddie's death. Silvana.

1:34:201:34:23

"I've thought about going to the police.

1:34:231:34:25

"But I can't do it.

1:34:251:34:27

"I can't face it.

1:34:271:34:29

"I can't face anything any more.

1:34:291:34:32

"I wish I could give you the life I took for granted.

1:34:321:34:36

"You've always understood what's at the heart of me, Tom.

1:34:381:34:41

"Marge never could.

1:34:411:34:42

"I suppose that's why I'm writing this to you,

1:34:431:34:46

"the brother I never had...

1:34:461:34:49

"the only true friend I ever had.

1:34:511:34:53

"In all kinds of ways, you're much more like the son my father wanted.

1:34:581:35:03

"I realise you can change the people, change the scenery,

1:35:051:35:09

"but you can't change your own rotten self.

1:35:091:35:12

"Now I can't think what to do or where to go.

1:35:141:35:18

"I'm haunted by everything I've done and can't undo.

1:35:191:35:23

"I'm sorry.

1:35:251:35:26

"I've made a mess of being Dickie Greenleaf, haven't I?"

1:35:281:35:32

TROUBLED MUSIC

1:35:321:35:35

Tom!

1:36:341:36:35

I'll see you over there.

1:36:391:36:41

CHURCH BELLS CHIME

1:36:421:36:44

I'm so sorry to put you through this, Peter.

1:36:491:36:52

I just can't face going to the police by myself

1:36:521:36:55

when my Italian's so rotten.

1:36:551:36:57

Don't be so daft. It's fine.

1:36:571:36:59

I'm delighted you finally made it to Venice

1:36:591:37:01

and, contrary to rumour, that you're still in one piece.

1:37:011:37:04

What rumour?

1:37:041:37:05

That Dickie murdered you and is travelling under your passport.

1:37:051:37:08

I know. It's ridiculous.

1:37:081:37:10

MEN YELL IN ITALIAN

1:37:141:37:17

-Welcome to Venice.

-DOOR SLAMS

1:37:251:37:26

God, this place reeks, doesn't it?

1:37:261:37:28

Can you smell it?

1:37:281:37:30

Anyway, I've got to the bottom of the delay finally.

1:37:301:37:33

We're waiting for someone from Rome.

1:37:331:37:35

What do you mean?

1:37:361:37:38

They've sent for someone from Rome?

1:37:381:37:40

-Well, yes. That's good, isn't it?

-No.

1:37:401:37:42

I thought that didn't happen in Italy,

1:37:421:37:44

that each region is separate.

1:37:441:37:45

You've read the papers.

1:37:451:37:47

You know what a big deal it's been.

1:37:471:37:49

American tourist murdered.

1:37:491:37:51

Actually, can we not do this now?

1:37:511:37:53

The stench really is...

1:37:531:37:55

La polizia di Roma.

1:37:551:37:56

Il Colonnello Verrecchia.

1:37:561:37:58

-Chi e Ripley?

-Lui.

1:38:001:38:01

Ho assunto io la guida delle indagini

1:38:011:38:04

in seguito a quanto e accaduto a Roverini,

1:38:041:38:06

il quale non e riuscito a impedire la scomparsa del Signor Greenleaf,

1:38:061:38:10

che era l'unica persona sospettato per omicidio di Signor Miles.

1:38:101:38:14

He's taken over the case

1:38:141:38:15

because they're annoyed that the previous chap let Dickie disappear

1:38:151:38:19

when he was...he was the only suspect in Freddie's murder.

1:38:191:38:22

Quand'e stato l'ultima volta che Signor Ripley ha visto Greenleaf?

1:38:221:38:25

In Rome about three weeks ago.

1:38:251:38:27

I knew that one.

1:38:281:38:30

Um, a Roma, circa tre settimane fa.

1:38:301:38:35

Signor Ripley ha sviluppato tendenze omosessuali?

1:38:351:38:38

Are you a homosexual?

1:38:391:38:40

Interesting non sequitur.

1:38:401:38:42

No.

1:38:421:38:44

No.

1:38:451:38:47

No.

1:38:471:38:48

By the way, officially, there are no Italian homosexuals.

1:38:481:38:52

It makes Michelangelo and Leonardo very inconvenient.

1:38:521:38:55

Eh?

1:38:551:38:57

Tell him I have a fiancee and Dickie has a fiancee -

1:38:571:39:01

and that Freddie Miles probably had a string of them.

1:39:011:39:04

Il Signor Ripley ha una fidanzata e Signor Dickie ha una fidanzata -

1:39:061:39:11

e probabilmente, il Signor Freddie Miles ha molte fidanzate.

1:39:111:39:17

Mamma mia!

1:39:171:39:18

Quante fidanzate!

1:39:181:39:20

-What did he say?

-He said, "So many fiancees."

1:39:241:39:27

Lei ha ucciso prima Freddie Miles, dopo Dickie Greenleaf, vero?

1:39:271:39:31

He's asking if you killed Freddie Miles

1:39:311:39:34

and then killed Dickie Greenleaf.

1:39:341:39:36

No! No, I did not kill Freddie Miles and then kill Dickie Greenleaf.

1:39:361:39:40

-Is he accusing me?

-No.

1:39:401:39:41

-It's better to be less volatile.

-But...

1:39:411:39:43

-I've been asked these...

-But it's absurd!

1:39:431:39:45

Non e questo il luogo per le vostre coversazioni private.

1:39:451:39:48

Ha ragione! Ha ragione!

1:39:481:39:50

E c'e questa.

1:39:561:39:57

Questa lettera e stata trovata

1:39:571:39:59

nell'abitazione del Signor Greenleaf a Roma.

1:39:591:40:02

They found this in Dickie's place in Rome.

1:40:031:40:05

You opened this?

1:40:071:40:08

Of course.

1:40:081:40:10

It's a suicide note.

1:40:251:40:27

You asked me all these questions and you already read this suicide note?!

1:40:311:40:37

HE PLAYS VIVALDI'S 'STABAT MATER'

1:40:371:40:39

I don't believe that letter. Do you?

1:40:521:40:54

Dickie's letter, do you believe it?

1:40:541:40:56

I don't know what to believe.

1:40:561:40:59

Can you imagine that if he did kill Freddie

1:40:591:41:02

what that must be like?

1:41:021:41:03

Just to wake up every morning...

1:41:051:41:07

I mean, how can you... just wake up and be a person

1:41:071:41:11

and drink your coffee?

1:41:111:41:13

Whatever you do, however terrible, however hurtful,

1:41:131:41:15

it all makes sense, doesn't it, in your head?

1:41:151:41:19

You never meet anybody who thinks they're a bad person.

1:41:191:41:23

Oh, no, but you're still tormented. You must be. You've killed someone.

1:41:231:41:26

Don't you just take the past and put it in a room, in the basement,

1:41:261:41:30

and lock the door and never go in?

1:41:301:41:33

-That's what I do.

-God, yes!

1:41:331:41:35

Of course, in my case, it's probably a whole building.

1:41:351:41:38

And then you meet someone special.

1:41:401:41:43

And all you want to do is toss them the key.

1:41:431:41:46

Say, "Open up. Step inside."

1:41:471:41:50

But you can't.

1:41:531:41:54

Because it's dark and... and there are demons.

1:41:541:41:59

And if anybody saw how ugly it is...

1:42:011:42:04

Now, that's the music talking.

1:42:081:42:10

It's harder to be bleak if you're playing 'Knees Up Mother Brown'.

1:42:121:42:16

HE PLAYS 'KNEES UP MOTHER BROWN'

1:42:161:42:18

TOM CHUCKLES

1:42:181:42:19

I keep wanting to do that.

1:42:211:42:23

Fling the door open.

1:42:241:42:27

TOM PLAYS MELANCHOLY CHORDS

1:42:281:42:30

Just let the light in and clean everything out.

1:42:301:42:33

If I could take a giant eraser and rub out everything...

1:42:361:42:39

starting with myself.

1:42:391:42:41

The thing is, Peter, if...

1:42:451:42:47

Hmm.

1:42:511:42:52

If...

1:42:521:42:54

PETER CHUCKLES

1:43:001:43:02

No key, huh?

1:43:041:43:07

-BOY SINGS:

-# Stabat Mater dolorosa

1:43:071:43:14

# Dolorosa

1:43:141:43:18

# Luxta crucem lacrimosa

1:43:181:43:26

# Lacrimosa

1:43:261:43:28

# Dum pendebat... #

1:43:301:43:38

BOY CONTINUES TO SING

1:43:381:43:39

-Marge.

-Peter.

1:43:481:43:51

-SHE SIGHS

-Oh!

1:43:511:43:53

It's so good to see you.

1:43:531:43:55

-Hello, Marge.

-Tom.

1:43:551:43:56

I see you found Peter.

1:43:581:43:59

Well, I think we sort of found each other.

1:43:591:44:02

Where's Dickie's father?

1:44:021:44:03

He's not coming till the morning.

1:44:031:44:05

Evidently, his stomach -

1:44:051:44:07

I don't think the food here agrees with him.

1:44:071:44:09

I was looking forward to seeing him.

1:44:091:44:11

Dickie hasn't killed himself, I'm sure.

1:44:111:44:13

There's a private detective on the case now -

1:44:131:44:16

a Mr MacCarron - Dickie's father's employed.

1:44:161:44:18

-That's a terrific idea.

-He's American.

1:44:181:44:21

He's already discovered that Dickie cashed cheques for 1,000

1:44:211:44:25

the day before he disappeared.

1:44:251:44:27

Is that what you do before you jump into the Tiber?

1:44:291:44:32

I don't think so.

1:44:321:44:34

-Is this you?

-No, it's Tom's.

1:44:391:44:41

Splendid, eh?

1:44:411:44:43

Golly!

1:44:431:44:44

Who's paying for this?

1:44:441:44:46

Well, Peter found it for me.

1:44:461:44:48

I can afford it because it's damp and falling down.

1:44:481:44:52

Tom's transformed it.

1:44:521:44:54

This is spectacular.

1:44:541:44:55

Well, that's why Tom wanted you to stay.

1:44:551:44:58

It's better than trying to squeeze into my room.

1:44:581:45:00

And I know how you hate hotels.

1:45:001:45:03

A hotel would have been fine.

1:45:031:45:05

We'll have to tell Mr Greenleaf how far his dollar stretched.

1:45:081:45:11

Hmph.

1:45:161:45:17

What's funny?

1:45:171:45:19

I was just thinking about when Tom first came to Mongibello.

1:45:191:45:22

And look at you now.

1:45:241:45:26

Look at me what?

1:45:261:45:28

To the manor born.

1:45:281:45:30

BELLS TOLL IN DISTANCE

1:45:301:45:32

HE PLAYS SULTRY JAZZ MELODY

1:45:351:45:38

TOM: Mr Greenleaf?

1:45:441:45:46

-Mr Greenleaf?

-Tom.

1:45:511:45:53

How are you?

1:45:531:45:55

-You look well.

-Thank you, sir. I am well.

1:45:551:45:57

-A far cry from New York.

-Yes, it is.

1:45:571:46:00

Marge. Good morning.

1:46:001:46:02

-Unusual weather.

-Very.

1:46:021:46:04

And you, sir - any better?

1:46:041:46:06

Pretty good.

1:46:061:46:07

I'm sticking with hot water.

1:46:071:46:10

-Where's Mr MacCarron?

-San Remo.

1:46:101:46:12

The police are amateurs.

1:46:121:46:14

Well, my boy...

1:46:141:46:17

it's come to a pretty pass, hasn't it?

1:46:171:46:19

What is the detective hoping to find in San Remo?

1:46:191:46:22

He's being thorough.

1:46:221:46:24

I'm learning about my son, Tom.

1:46:241:46:27

Now he's missing, I'm learning a great deal about him.

1:46:271:46:30

And I hope that you can fill in some more blanks.

1:46:301:46:33

Marge has been good enough to do that about Mongibello.

1:46:331:46:36

I'll try my best, sir.

1:46:361:46:38

Obviously, I'll do anything to help Dickie.

1:46:381:46:40

Good.

1:46:401:46:41

This theory - the letter he left for you -

1:46:411:46:44

the police think that's a clear indication

1:46:441:46:47

that he was planning on doing something, er, to himself.

1:46:471:46:51

I just don't believe that.

1:46:511:46:54

You don't want to, dear.

1:46:541:46:55

I'd like to talk to Tom alone, perhaps this afternoon.

1:46:591:47:03

Would you mind?

1:47:031:47:05

Marge, what a man may say to his sweetheart

1:47:071:47:10

and what he'll admit to another fellow...

1:47:101:47:13

Such as?

1:47:151:47:17

MAN CONTINUES PLAYING SAXOPHONE

1:47:171:47:19

What a waste of lives and opportunities.

1:47:221:47:25

I'd pay that fellow 100 right now to shut up.

1:47:251:47:28

SAXOPHONE PLAYS IN DISTANCE

1:47:321:47:35

No, Marge doesn't know the half of it.

1:47:361:47:39

And his passport photo.

1:47:401:47:42

Did you hear?

1:47:421:47:43

To scratch out his own face like that?

1:47:431:47:46

Can you imagine...

1:47:461:47:48

the frame of mind you'd have to be in?

1:47:481:47:51

"I've thought about going to the police, but I can't face it.

1:47:511:47:55

"I can't face anything any more."

1:47:551:47:57

I feel guilty. I feel like I pushed him away.

1:47:571:48:01

I feel like I spoke and he heard you.

1:48:011:48:03

Well...if we all pushed him away,

1:48:031:48:06

what about him pushing us away!

1:48:061:48:08

Now, you've been a great friend to my son!

1:48:081:48:11

Everything is someone else's fault.

1:48:111:48:14

We all want to sow wild oats.

1:48:141:48:17

But somebody's got to...

1:48:171:48:18

got to, um...

1:48:181:48:20

What is the word?

1:48:201:48:21

You know, the moment someone confronts him...

1:48:221:48:24

..he lashes out.

1:48:271:48:28

He always has.

1:48:291:48:31

You know, people always say that you can't choose your parents.

1:48:321:48:35

But you can't choose your children.

1:48:401:48:42

BELLS CLANG AND ECHO

1:48:441:48:46

-TOM:

-Dickie...

-DICKIE:

-You can be a leech.

1:48:461:48:49

-VOICES DISTORT HYSTERICALLY:

-Stop it!

1:48:491:48:51

-Stop it!

-REPEATED BANGING AT DOOR

1:48:511:48:53

-GASPING FREDDIE:

-Tommy! Tommy!

1:48:531:48:57

-Tommy!

-TOM:

-Stop! Stop! Stop!

1:48:571:48:59

-TOM SHRIEKS

-Stop! Stop! Stop!

1:48:591:49:02

CACOPHONY OF VOICES, BELLS, HEAVY KNOCKING

1:49:021:49:05

-Would you stop?!

-DICKIE SCREAMS

1:49:051:49:06

KNOCKING AT DOOR

1:49:061:49:10

I'm coming.

1:49:101:49:11

I'm sorry. I'd fallen asleep.

1:49:121:49:15

-I must have fallen asleep.

-Did Dickie's Dad go?

1:49:151:49:17

You look ghastly, Tom. Did you have a nightmare?

1:49:171:49:19

-He's having an early night.

-Oh, poor man.

1:49:191:49:21

You know, we were banging on that door forever.

1:49:211:49:24

Uh-oh!

1:49:281:49:29

I think I've broken a strap.

1:49:291:49:31

Not guilty.

1:49:311:49:33

I'll fix some drinks.

1:49:331:49:35

Ow!

1:49:351:49:37

A walk in Venice!

1:49:371:49:39

Are you OK?

1:49:391:49:41

I'm fine.

1:49:431:49:44

Do you want me to stick around?

1:49:441:49:46

No. It's OK.

1:49:461:49:49

I could come back.

1:49:501:49:52

Your key.

1:50:071:50:10

-KNOCKING AT DOOR MARGE:

-Tom?

1:50:131:50:16

Marge, I'm in the bath.

1:50:161:50:18

I won't be long.

1:50:181:50:19

Tom, I have to speak to you. It's urgent.

1:50:191:50:22

I'm coming.

1:50:251:50:26

I found Dickie's rings.

1:50:381:50:40

What?

1:50:401:50:42

You have Dickie's rings.

1:50:421:50:44

I can explain.

1:50:481:50:50

Dickie promised me he'd never take off this ring.

1:50:501:50:53

-Let me put clothes on.

-I have to tell Mr Greenleaf.

1:50:531:50:56

Marge. Calm down, Marge.

1:50:561:50:57

-You're being hysterical.

-He promised me!

1:50:571:50:59

"I swear I will never take off this ring."

1:50:591:51:02

Shut up! MARGE GASPS

1:51:021:51:03

I'm wet, Marge.

1:51:051:51:07

I've lost my towel,

1:51:071:51:09

and I'd really like to put some clothes on.

1:51:091:51:12

Go and pour us both a drink.

1:51:121:51:14

Pour us a drink.

1:51:171:51:18

Marge.

1:51:511:51:52

Where are you going?

1:51:521:51:54

I wasn't snooping. I just...

1:51:551:51:58

I was just looking for a needle and thread to mend my bra.

1:51:591:52:02

That scent you're wearing...

1:52:021:52:05

..I bought that for you.

1:52:071:52:09

The thing about Dickie...

1:52:101:52:12

So many things.

1:52:121:52:14

That day when he was late coming back from Rome -

1:52:161:52:20

I tried to tell you this - he was with another girl.

1:52:201:52:23

I'm not talking about Meredith, either.

1:52:231:52:26

Another girl, that we met in a bar.

1:52:261:52:28

He couldn't be faithful for five minutes.

1:52:281:52:30

So when he makes a promise,

1:52:301:52:32

it doesn't mean what it means when you make a promise

1:52:321:52:35

or I make a promise.

1:52:351:52:37

He has so many realities, Dickie.

1:52:371:52:40

And he believes them all.

1:52:401:52:41

He lies.

1:52:411:52:43

He lies.

1:52:431:52:45

And that's his...

1:52:451:52:46

Half the time he doesn't even realise he's doing it.

1:52:461:52:49

And today...

1:52:491:52:51

I really started wondering whether he may have killed Freddie.

1:52:521:52:55

He would get so crazy

1:52:571:52:58

if anybody would contradict him - you know that.

1:52:581:53:01

You know that.

1:53:011:53:02

You know that.

1:53:021:53:04

And that's the irony, Marge.

1:53:041:53:06

I loved you.

1:53:061:53:09

You may as well know, Marge, I loved you.

1:53:091:53:11

Maybe it's grotesque of me to say this now,

1:53:111:53:14

so just write it on a piece of paper

1:53:141:53:16

and put it in your purse for a rainy day -

1:53:161:53:19

"Tom loves me."

1:53:191:53:21

"Tom loves me."

1:53:211:53:23

Why do you have Dickie's rings?

1:53:231:53:25

I told you. He gave them to me.

1:53:251:53:27

Why? When?

1:53:271:53:29

You haven't been listening to anything I've been saying to you.

1:53:291:53:31

I don't believe you.

1:53:311:53:33

-I don't believe you.

-It's all true.

1:53:331:53:36

I don't believe a single word you've said.

1:53:361:53:38

SHE GASPS

1:53:381:53:41

You're shivering, Marge.

1:53:411:53:43

Look at you, Marge. SHE WEEPS

1:53:431:53:45

SHE WAILS SOFTLY Can I hold you?

1:53:451:53:47

Will you let me hold you?

1:53:471:53:49

-SHE SHRIEKS

-Marge?

1:53:491:53:52

-Peter! Peter! Thank God you're here.

-What's going on?

1:53:521:53:54

Get me out of here. Get me out of here!

1:53:541:53:58

-Please!

-Tom, are you OK?

1:53:581:53:59

Get me out of here.

1:53:591:54:01

You try.

1:54:021:54:03

You try talking to her.

1:54:031:54:06

Tom...

1:54:061:54:08

-I give up.

-Tell me what's going on. Tom!

1:54:081:54:11

I never did any... What did I ever do to her?

1:54:111:54:14

Listen, you can't be angry with her.

1:54:141:54:18

She's confused and she needs someone to blame.

1:54:191:54:23

-So she blames you.

-PETER SIGHS

1:54:231:54:25

I'll go back home and talk to her.

1:54:251:54:28

As for you, either get a safety razor or grow a beard.

1:54:281:54:33

KNOCK AT DOOR

1:54:401:54:42

Is Mr Greenleaf here?

1:54:441:54:46

-Mr Ripley?

-Yes.

1:54:461:54:48

I'm Alvin MacCarron.

1:54:481:54:50

-WOMAN:

-I don't know, I don't know. I just know it.

1:54:521:54:55

-MAN:

-Marge, there's female intuition and then there are facts.

1:54:551:54:58

-Tom.

-Sir.

1:55:011:55:02

Marge, you should have waited.

1:55:021:55:04

Didn't...didn't Peter say I'd come by and pick you up?

1:55:041:55:08

Marge has been telling us about the rings.

1:55:091:55:11

Yes, I feel ridiculous I didn't mention them yesterday.

1:55:111:55:14

I clean forgot. Ridiculous.

1:55:141:55:16

Perhaps you didn't mention them

1:55:181:55:20

because there's only one conclusion to be drawn.

1:55:201:55:22

I'm going to take Marge for a little walk, Tom.

1:55:241:55:27

Mr MacCarron wants a talk.

1:55:271:55:28

No need - we could go to the bar...

1:55:281:55:30

No, no.

1:55:301:55:32

I think you should stay here.

1:55:321:55:34

I could probably see my room from here.

1:55:551:55:58

I can see my house.

1:55:581:55:59

When you see where you live from a distance

1:56:011:56:04

it's like a dream, isn't it?

1:56:041:56:05

I don't care for BS.

1:56:051:56:07

I don't care to hear it. I don't care to speak it.

1:56:071:56:11

OK.

1:56:131:56:14

Did you know that at Princeton Dickie Greenleaf half-killed a boy?

1:56:141:56:18

At a party, over some girl.

1:56:181:56:20

Kicked the kid several times in the head.

1:56:201:56:22

Put him in the hospital.

1:56:221:56:24

Boy had a wire fixed in his jaw. Lost some hearing.

1:56:241:56:27

Why do you think Dickie's father

1:56:271:56:29

sent him to Europe in the first place?

1:56:291:56:31

The Rome police didn't think to ask Mr Greenleaf.

1:56:331:56:36

Nor did they think to check on whether a Thomas Ripley

1:56:361:56:40

had ever been a student at Princeton University.

1:56:401:56:43

Oh, I... I turned up a Tom Ripley,

1:56:431:56:47

who had been a piano tuner in the music department.

1:56:471:56:52

You see, in America we are taught to check a fact

1:56:531:56:57

before it becomes a fact.

1:56:571:56:59

We're taught to nose around when a girl drowns herself,

1:56:591:57:04

find out if that girl is pregnant.

1:57:041:57:06

Find out if Dickie had an embarrassment there.

1:57:061:57:10

Mr Greenleaf appreciates your loyalty, he really does.

1:57:111:57:14

Marge, she has 100 theories.

1:57:141:57:17

There are a few things that she doesn't know.

1:57:171:57:19

We hope she never knows.

1:57:201:57:22

I hope she never knows.

1:57:221:57:24

Three different people saw Dickie get into Freddie's car.

1:57:241:57:29

One man, who will not testify

1:57:301:57:34

because he was jumping somebody else's wife at the time,

1:57:341:57:36

saw Dickie removing licence plates from a red sports car.

1:57:361:57:40

The police know about this man

1:57:401:57:42

because he happens to be a policeman.

1:57:421:57:44

I found these in the basement of Dickie's apartment.

1:57:461:57:48

They belonged to Freddie's car.

1:57:491:57:51

Mr Greenleaf has asked me...

1:57:511:57:55

..to lose these in the canal this evening.

1:57:561:57:59

BELL CHIMES IN DISTANCE

1:58:001:58:03

Mr Greenleaf feels

1:58:031:58:05

there was a silent promise in Dickie's letter to you,

1:58:051:58:07

which he intends to honour.

1:58:071:58:09

He also intends to transfer

1:58:091:58:11

a good portion of Dickie's income from his trust into your name.

1:58:111:58:16

He does not intend

1:58:161:58:18

to give the Italians any information about Dickie's past.

1:58:181:58:22

He's rather hoping that you will feel the same.

1:58:241:58:28

-Thank you so much, Tom.

-Sir.

1:58:451:58:47

Goodbye.

1:58:471:58:48

Marge, I feel I never should have said

1:58:531:58:55

those things to you the other evening.

1:58:551:58:57

I was pretty flustered - the rings, and you looked so...

1:58:571:59:01

..I don't know.

1:59:011:59:03

But I hope

1:59:031:59:04

that note goes in your purse to New York for a rainy day.

1:59:041:59:09

What are you going to do now, Tom?

1:59:111:59:13

I don't know.

1:59:131:59:15

Peter has a concert in Athens next month.

1:59:151:59:17

He asked me to come along and help out.

1:59:171:59:20

He says goodbye, by the way.

1:59:221:59:24

He was in rehearsal, so he couldn't...

1:59:241:59:26

Why do I think there's never been a Ripley rainy day?

1:59:261:59:30

What?

1:59:301:59:31

I know it was you.

1:59:311:59:34

-I know it was you.

-Marge.

1:59:341:59:36

-I know it was YOU!

-Marge, Marge!

1:59:361:59:39

Marge, please.

1:59:391:59:41

I know you killed Dickie!

1:59:411:59:43

-Marge!

-I know, I know!

1:59:431:59:44

-SHE SOBS

-I KNOW it was you.

1:59:441:59:48

Marge, Marge, please.

1:59:481:59:50

It's not Tom. Really.

1:59:501:59:53

MARGE SOBS

1:59:551:59:59

'# We are called gondolieri

2:00:012:00:04

'# But that's a vagary

2:00:042:00:06

'# It's quite honourary'

2:00:062:00:08

# The trade that we ply... #

2:00:082:00:12

THEY LAUGH

2:00:122:00:13

Ask me what I'd change about this moment.

2:00:142:00:16

What would you change about this moment?

2:00:162:00:18

Nothing.

2:00:182:00:20

I'm freezing. Coming down?

2:00:232:00:26

Later. I want to catch the sunset.

2:00:262:00:29

-You're mad.

-I am. TOM LAUGHS

2:00:292:00:33

-WOMAN:

-Dickie?

2:00:432:00:44

Dickie!

2:00:472:00:49

Dickie!

2:00:532:00:54

Oh, my God.

2:01:052:01:07

Hello, Meredith.

2:01:092:01:11

I was looking at you -

2:01:142:01:16

your clothes - I wouldn't have known you.

2:01:162:01:19

Well, you spotted me, so you get the reward.

2:01:192:01:22

-What?

-Just kidding.

2:01:242:01:26

Are you alone?

2:01:262:01:28

Oh...hardly.

2:01:282:01:31

I couldn't be less alone.

2:01:312:01:33

-Aunt Joan.

-And co.

2:01:332:01:36

No. A LOT of co.

2:01:372:01:40

Oh, God.

2:01:412:01:43

It's...seeing you again.

2:01:432:01:48

I've thought about you, so much.

2:01:502:01:55

I've thought about you.

2:01:552:01:57

Yeah, well, when I thought about you, I was mostly hating you.

2:01:582:02:02

Oh.

2:02:052:02:06

Where have you been hiding?

2:02:082:02:10

I haven't been hiding.

2:02:102:02:12

I've been in police custody.

2:02:142:02:16

They've been trying to flush out Freddie's killer.

2:02:172:02:19

You're kidding!

2:02:192:02:21

Well, they're giving me this vacation,

2:02:212:02:23

which is why the get-up.

2:02:232:02:25

Which is why you haven't heard from me.

2:02:252:02:28

The whole world thinks you killed Freddie.

2:02:282:02:30

-Oh, it's terrible.

-I know.

2:02:302:02:33

Listen, I can't talk now. Later?

2:02:332:02:37

Later? Later?

2:02:392:02:43

So...

2:02:532:02:54

..are you travelling under R?

2:02:592:03:02

You know what? I am.

2:03:022:03:08

Dickie, are you with Peter Smith-Kingsley?

2:03:082:03:10

I bet you are.

2:03:102:03:12

My aunt thought she saw him.

2:03:122:03:14

Peter Smith-Kingsley? No.

2:03:152:03:16

I haven't seen him in months.

2:03:162:03:18

No, I'm alone.

2:03:202:03:22

KNOCK AT DOOR

2:03:372:03:39

Hi.

2:03:412:03:43

-How was it?

-It was good.

2:03:452:03:48

But I'll tell you something.

2:03:482:03:50

I want us to stay in here for the rest of the trip.

2:03:502:03:53

PETER CHUCKLES

2:03:532:03:55

Was that Meredith?

2:03:582:03:59

Was who Meredith?

2:04:022:04:04

Meredith Logue.

2:04:042:04:05

You were kissing someone - it looked like Meredith.

2:04:052:04:07

I came out to find you.

2:04:142:04:16

Hardly kissing.

2:04:172:04:19

Kissing off.

2:04:212:04:23

Didn't look that way.

2:04:232:04:24

You know, from a distance.

2:04:252:04:28

I lied.

2:04:322:04:33

To her.

2:04:332:04:35

She thought she'd seen you.

2:04:362:04:38

Why lie?

2:04:392:04:40

Dickie and Peter together? That's just too good gossip.

2:04:402:04:45

Or Tom and Peter even.

2:04:462:04:47

That would be even better gossip.

2:04:472:04:50

Really? Why?

2:04:502:04:51

Uh, um...I'm completely lost.

2:04:562:05:01

I know.

2:05:032:05:05

I'm sorry, Peter.

2:05:062:05:08

I'm lost.

2:05:092:05:11

I'm going to be stuck in the basement, aren't I?

2:05:142:05:18

Aren't I?

2:05:182:05:19

That's my...

2:05:212:05:23

..terrible...

2:05:262:05:27

..and alone and dark.

2:05:292:05:32

And I've lied.

2:05:342:05:36

About who I am

2:05:372:05:39

and where I am.

2:05:392:05:41

Now no-one will ever find me.

2:05:412:05:45

What do you mean, lied about who you are?

2:05:462:05:48

I always thought it would be better...

2:05:482:05:51

to be a fake somebody

2:05:512:05:53

than a real nobody.

2:05:532:05:55

What are you talking about?

2:05:562:05:58

You're not a nobody - that's the last thing you are.

2:05:582:06:01

Peter.

2:06:092:06:11

Tell me some good things about Tom Ripley.

2:06:132:06:15

No, don't get up, don't get up. Don't get up.

2:06:172:06:20

Just...

2:06:222:06:24

Just tell me some nice things about Tom Ripley.

2:06:272:06:31

Good things about Tom Ripley?

2:06:332:06:35

That could take me some time.

2:06:392:06:40

Tom is talented.

2:06:432:06:44

Tom is tender.

2:06:442:06:46

Tom is beautiful.

2:06:472:06:50

TOM SOBS You're such a liar.

2:06:502:06:53

Tom is... Tom is a mystery.

2:06:552:06:57

'Tom is NOT a nobody.

2:07:042:07:06

'Tom has secrets he doesn't want to tell me

2:07:102:07:12

'and I wish he would.

2:07:122:07:15

'Tom has nightmares.

2:07:202:07:21

'That's not a good thing.

2:07:262:07:28

'Tom has someone to love him.

2:07:332:07:35

'That is a good thing.'

2:07:372:07:39

-PETER LAUGHS

-'Tom is crushing me.

2:07:422:07:44

'Tom is crushing me.

2:07:462:07:48

-TOM SOBS

-'Tom... Tom, you're crushing me!

2:07:492:07:54

PETER GASPS AND CHOKES, TOM SOBS Oh, God. Oh, God. Oh, God.

2:07:542:07:59

Oh, God. Oh, God. Peter...

2:08:052:08:09

DOOR CREAKS

2:08:182:08:21

Drama based on the novel by Patricia Highsmith.

A young man who yearns to belong in society is mistaken for a college contemporary of a shipping magnate's wayward son. Playing along, the man agrees to go to Italy in an attempt to persuade the son to return to America. Once in Italy, he manages to fool the son and gain his trust, while becoming entranced both by Italy and the lifestyle of his new high-society friend.


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