The Talented Mr Ripley

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

The Talented Mr Ripley

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