The spectator and character's gazes are initially intertwined through the opening sequences medium close-ups. The opening shot of the two characters playing chess establishes directly through a medium close-up the action and underlying sense of pursuit. The director then focuses on each characters individual expression in the next shots in order to make the link between the spectator and the characters mental state, and therefore the character themselves. .
The first shot of this sequence also forces the spectators gaze to intertwine with that of the characters through actions and symbolic representation. The opening shot of the chess game puts the spectator into the mental state of both Ripley and Dickie through medium close-ups of both of their hands alternately moving chess pieces. The complete visual focus on the chess game forces the spectator to associate his/herself with each characters action, and thus their gaze. .
As the sequence progresses, shots of portions of a tub filled with water alternating with shots of Dickie reclining fully naked within the tub, reveal his abandon and vulnerability. This creates discomfort and tension in the spectator through character identification, as this response furthers the connection between the characters and spectators gazes. Having already established the spectator-character identification through the chess game, and a stronger sense of Dickie through the bathtub, Minghella next uses a shot of Ripley's reflection in the tub water. As this is a point of view shot, the spectator is forced to see themself as Ripley, as it is through his eyes that they are looking at his reflection, thus intertwining the two gazes. Minghella also makes use of the two mirror hung in the bathroom by using a small mirror just behind and to the left of Ripley to reflect Dickie's body emerging from the tub from Ripley's angle. As he emerges, Dickie walks directly in between the camera and Ripley, the mirror reflecting a oint of view similar to Ripleys.