tom ripley. thank you, sir.
how is dickie?
gotta run. i'm so late. thanks for the jacket.
sorry, sorry. i know. sorry.
i've always wanted to go to europe, sir, but.
don't even know if this is a man or a woman.
that's charlie parker. bird.
thanks.
yes, sir.
thanks.
excuse me?
dickie, dickie greenleaf. hello.
trying not to be. trying to jump ship.
my father wants me in new york. he builds boats. i'd rather sail them. i travel under my mother's name.
emily. just kidding.
as in the?
randall.
la fidanzata a una faccia. the fiance has a face. la fidanzata e marge.
dickie greenleaf?
it's tom. tom ripley. we were at princeton together.
well, i knew you, so i suppose you must have known me.
ripley. hullo. how do you do.
nothing. nothing much. passing through.
it's just an undercoat.
you know, a primer.
thanks. well, a coincidence.
no, still here.
i'm intruding.
sure.
forging signatures. telling lies. impersonating practically anybody.
now? okay. wait a minute. talent - the only talent my son has is for cashing his allowance.
i like to sail, believe me, i love to sail! instead i make boats and other people sail them.
jazz, let's face it, it's just an insolent noise.
i met him in new york.
pleasure to meet you, dickie's made a fine catch. i know emily thinks so.
could you ever conceive of going there, tom, and bringing him back?
i'd pay you. if you would go to italy and persuade my son to come home. i'd pay you $1000.
no, i think your mother, her illness -
i don't know, dickie, i'm just telling you what i -
you were right about the telephones. there are no lines, there's some problem.
back, i suppose, slowly as i can.
i love jazz.
bird. that's jazz.
i don't know. what's the name of your sailboat?
he's not a man, he's a god.
what time is it? oh god! do you always type your letters? that should be two ts.
this is so good of you.
i absolutely agree with marge.
that ring's so great. the green one.
it's superb.
i have to find a birthday present for frances. perhaps you can help me?
my fiance.
your parents met her.
i'm doing this wrong, aren't i?
could we sail to venice?
i have to go to venice.
and rome.
what?
i played piano in a few places.
a few places - that's a few jobs. anyway, i don't want to think about new york.
copy out from here.
no! i've got more than one shirt!
now your signature. not "dickie". your signature.
like clark kent. now superman.
pretty vile. see this: the s and the t, do you see? - fine, vulnerable - that's pain, that's secret pain.
your handwriting - nothing more naked. see - nothing's quite touching the line - that's vanity.
no, no brothers, no sisters.
means we never shared a bath. i'm cold. can i get in?
i didn't mean with you in it.
fran. i miss you, where are you coming home? stop telling me what a great time you're having, how you love dickie.  and marge and.  and this one, i think, is your dad.
he's getting impatient. he wants me to reassure him you'll be home by thanksgiving.
i can't. i can't keep spending your father's money.
where do we find a carozza for the forum, or can we hire any of them - ?
it's just there's so much to do in a single day.
freddie?
what club?
i did. and then maybe get the jacket and what have you.
you said to make sure you didn't miss the train. it leaves at eight.
oh - just amusing myself. sorry, dickie. i didn't think you were coming back.
you said i could pick out a jacket and i just.  sorry.
i thought you'd missed the train.
is freddie here?
i was just fooling around. don't say anything. sorry.
i'm fine.
sure.
so i'm learning.
what about cortina?
what's the fight about? that's her fianc, isn't it? are they blaming him?
i'll go and see what's the matter.
i know why you're upset. i know about silvana, dickie. about you and silvana.
i'm prepared to take the blame.
you've been so good to me. you're the brother i never had. i'm the brother you never had.
i'm not going to say anything - to marge, or anybody, the police - it's a secret between us and i'll keep it.
the thousand dollars, of course, was only due in the event that you succeeded in bringing dickie home. naturally, i hope the trip has afforded you some pleasure despite the failure of its main objective you need no longer consider yourself obligated to us in any way.
i thought you might write again. now that we're brothers.
what about venice? can we stick to that plan at least?
to mongibello and the happiest days of my life.
i'm suddenly quite happy to be going back.
i've got plans!
esatto. i'm always planning.
why are you asking all of a sudden?
why?
then i'll take it as a compliment.
ha.
i've gotten to like it. i've gotten to like everything about the way you live. it's one big love affair. if you knew my life back home in new york.
what?
dickie, slow down, come on!
i wanted to tell you my plan.
i thought i might come back. in the new year. under my own steam.
of course. let's say, for argument's sake, you were here - perhaps we could split the rent on a house - i'll get a job - or, better still, i could get a place in rome and when we're there we could be there and if we're here we could be here -
- you see, particularly with the marge problem, you can just blame me.
how?
yesterday you're ogling girls on the terrace, today you're getting married. it's absurd.
you love me and you're not marrying me.
no, no, it's not a threat, i've explained all of that.
what?
the funny thing - i'm not pretending to be somebody else and you are. i'm absolutely honest with you. i've told you my feelings. but you, first of all i know there's something - that evening when we played chess, for instance, it was obvious -
sure - i know, that's too dangerous for you, fair enough, hey! we're brothers, fine, then you do this sordid thing with marge, fucking her on the boat while we all have to listen, which was excruciating, frankly, plus you follow your cock around like a - and now you're getting married! i'm bewildered, forgive me. you're lying to marge then getting married to her, you're knocking up silvana, you've got to play sax, you've got to play drums, which is it, dickie, what do you really play?
shut up! just shut up! just shut up!
can i have my key, please?
no, it's - i'm.
hello marge.
how are you? sorry. is your book going well?
i was just looking at you - - so quiet.
i think he's planning on staying in rome for a few days.
i don't know. i don't understand dickie, marge, so your guess is as good as mine.
well, one day i'm invited skiing, the next day i'm not, one day we're all one family, the next day he wants to be alone. you tell me.
he was thinking of you, marge - he asked me to deliver this.
errand number one - deliver marge's perfume. errand number two, pack some clothes and his precious saxophone.
search me. i guess we're abandoned.
i think you're right.
thank you.
yes, i'd like you to telephone the hotel goldoni. yes. i want to speak to signor thomas ripley - no ripley, r, yes. grazie.
he's not there? very well. i'll leave a message - got your call. dinner tonight sounds fine. ripley. dinner tonight, yes, is okay. yes, thank you.
i'd like these to have my initials - embossed, i don't know the word in italian . embossed?
what?
how did you know that?
is freddie in rome?
i've left marge, meredith. and mongi. so the rat's here now, in rome.
don't be sorry. i've never been happier. i feel like i've been handed a new life.
i know.
i don't want too many large bills. nobody will change them.
i'll take them both.
you could drag me.
thanks so much for inviting me tonight.
there's room for a whole libretto on freddie's chest.
thanks, yes, i think we did.
marge, how are you? what are you doing in rome?
no. hello, i'm tom ripley.
ditto.
marge, you know dickie has i hate opera tattooed on his chest.
i am. i really am. and i've been travelling. i just can't seem to get that far north.
thanks.
i can't later.
tomorrow's possible. do you know dinelli's? piazza di spagna?
ten thirty?
okay. marge, see you tomorrow. it's really good to meet you.
let's go.
let's take a carozza and look at the moon.
c'mon, i need to talk to you. just the two of us.
you're such a pal to understand. it's as if marge is here now - i look at you and i see her face - and i can't, whatever i'm feeling towards you - i just can't.
otherwise you'd be fighting me off.
oh meredith, i'm sorry. of course i'll meet you. let's have coffee in the morning at dinelli's.
exactly. 10.30 -
sorry, sorry. had to renew my papers. italian bureaucracy - never one stamp when they can make you line up for three. have you been waiting long?
hi. sorry. you okay? you look as if you've seen a ghost.
i don't believe it. wild horses wouldn't drag dickie to -
really? that's swell. no, i was just - you're way ahead of me! great!
my god.
it's fantastic. i feel guilty. marge doesn't understand this, but anytime dickie does something i feel guilty.
mi piace suonare.
hello?
who is it?
hello, freddie, it's tom, tom ripley.
yes, i'm good, thank you. dickies at dinner. he's at otello's. do you know it?
i guess.
he's gone to dinner! search the place. i can't think why you would imagine dickie would hide from you.
what about christmas?
no. no, i'm staying here for a few days, in rome. that's a new piano, so you prob -
you should watch that!
hardly.
freddie, do you have something to say?
i suggest you ask dickie that yourself. otello's is on delle croce, just off the corso.
hey, if i'm drunk, think what her husband's saying.
yes?
i can't be absolutely sure - 8? 9? we'd both taken on far too many drinks - but it was dark, it was certainly dark when i walked him down to his car.
i went to bed. freddie's a big man, but i'm in trouble after a couple of drinks. i've suffered all day. who found him?
yes, if it's going to help, certainly.
postmortem?
well, he certainly wasn't dead when he drove off in his car.
marge, when did you get here?
i'd swear he didn't. of course he didn't.
dickie did it.
my face! there was an argument. i said some things i shouldn't have. about you. about the appalling way he's treating you, all of us. and the next thing i know he's launched himself at me. are you getting on?
get on. i'll take you to him.
we passed it a few blocks back, where the police were. the palazzo gioia. they don't even know i'm in rome and i'm not going to incriminate dickie -
no, well go if you want to, but don't talk to the police about my face - they find out he hit me - he's got a temper - he could've hit freddie. good luck, marge. i'll catch up with you later.
can we go up? do you mind?
my scooter. i fell off. getting chased by photographers.
i really don't want to see anybody.
even her.
what about ripley?
yes, sure, we did go to san remo. that was months ago.
was it? did you speak to tom?
i don't remember the exact date.
a few days ago.
no!
it's not a pattern, it's a coincidence. there must be fifty hotels in san remo, there must have been a hundred people renting a boat on that day.
31 people.
let her in, what's the difference? let her in. no, actually, no, i'd like it very much if you would ask her to come back later.
i think i just said. ripley was handling some business for me, nor does mr ripley want to marry me. nor did he ask me every day if i would marry him. and when.
i'm not in the habit of carrying around photographs of my male friends.
it is a little coarse, yes.
i have!
no, i have and so has miss sherwood, ask her! and if i could remember which hotel he was staying at - the goldoni! - tom was staying at the goldoni.
absolutely.
tomorrow.
peter, i'm really sorry to put you through this. i just couldn't face going to the police by myself when my italian's so rotten.
what rumour?
it's okay.
what do you mean? they're sending someone from rome?
no, but i thought that didn't happen in italy, that each region was completely separate! i was sure that was the -
it's ridiculous but now you've mentioned the stench i can hardly breathe.
in rome, about three weeks ago. i knew that one.
i've been backpacking.
no.
tell him i have a fiance, dickie has a fiance and freddie miles probably had a string of them.
what did he say?
no i did not. i did not kill freddie miles and then kill dickie greenleaf. is he accusing me? ask him if he's accusing me!
just because he doesn't like americans!
you opened this?
it's a suicide note. you ask me all these questions and you've already read this suicide note?
whatever you do, however terrible, however hurtful - it all makes sense, doesn't it? inside your head. you never meet anybody who thinks they're a bad person or that they're cruel.
don't you put the past in a room, in the cellar, and lock the door and just never go in there? because that's what i do.
then you meet someone special and all you want to do is toss them the key, say open up, step inside, but you can't because it's dark and there are demons and if anybody saw how ugly it was.
i keep wanting to do that - fling open the door - let the light in, clean everything out. if i could get a huge eraser and rub everything out. starting with myself. the thing is, peter, if.
hello marge!
i was looking forward to seeing him.
that's a terrific idea.
peter found it for me. i can afford it because it's damp and, and falling down.
look at me what?
mr greenleaf.
i'm well, thank you.
yes it is.
and you, sir? any better?
yes. what's the detective hoping to find in san remo?
i'll try my best, sir. obviously i'll do anything to help dickie.
i think it might hurt her to know.
i feel guilty. i feel like i pushed him away. i spoke and he heard you.
i'm sorry. i was asleep. i must have fallen asleep.
he's having an early night.
i'll fix some drinks.
i'm fine.
it's okay.
marge, i'm in the bath. won't be long.
what?
i can explain.
let me put on some clothes and then we can talk about this.
marge, calm down, you're being hysterical.
shut up! shut up!
marge? where are you going?
the scent you're wearing. i bought it for you, not dickie. the thing about dickie. so many things. the day he was late back from rome - i tried to tell you this - he was with another girl. i'm not talking about meredith, another girl we met in a bar. he couldn't be faithful for five minutes. so when he makes a promise it doesn't mean what it means when you make a promise. or i do. he has so many realities, dickie, and he believes them all. he lies. he lies, that's his.  half the time he doesn't even realize.
i told you. he gave them to me.
i feel as if you haven't heard anything i've been saying to you.
it's all true.
you're shivering, marge. can i hold you? would you let me hold you?
you try. you try talking to her.
i give up.
is mr greenleaf here?
hello, sir. marge, you should have waited, didn't peter tell you i'd come by and pick you up?
you know i feel ridiculous i didn't mention them yesterday - i clean forgot - ridiculous.
we could go down to the bar - no need for you to -
i could probably see my bedroom from here. i can see my house. when you see where you live from a distance it's like a dream, isn't it?
okay.
i hope she never knows.
i feel i never should have said those things to you the other evening. i was pretty flustered, the rings and - and you looked so, i don't know.
i don't know. peter has a concert in athens next month - and he's asked if i want to go along, help out. he says goodbye by the way - he's in rehearsal, otherwise -
what?
oh marge.
ask me what i want to change about this moment.
nothing.
all kinds of things. making plans.
i don't know. both. my plan right now is to go up on deck, look at the sunset. come with me.
well, that's entirely your fault. and, if i fall overboard, that'll be your fault too.
hello meredith.
well, you've spotted me and so you get the reward.
just kidding. are you alone?
of course. aunt joan.
i've thought about you.
i haven't been hiding. i've been in police custody. they've been trying to flush out freddie's killer.
they're letting me have this vacation. which is why the get-up. which is why you haven't heard from me.
i know. look, i can't talk now. later. later?
you know what - i am.
peter smith-kingsley? i haven't seen him in months. no, i'm alone.
good. but i think we should stay in here for the rest of the trip.
was who meredith?
hardly kissing. kissing off.
i lied. to her. she thought she'd seen you.
dickie and peter, that's just too good gossip, isn't it?
well that would be even better gossip.
i know. i'm lost, too. i'm going to be stuck in the basement, aren't i, that's my, that's my - terrible and alone and dark - and i've lied about who i am, and where i am, and so nobody can ever find me.
i suppose i always thought - better to be a fake somebody than a real nobody.
peter, i.  i.
you have the key. tell me some good things about tom ripley. don't get up. just tell me some nice things.
you're such a liar.