TINKER TAILOR SOLDIER SPY

Screenplay by BRIDGET O’CONNOR & PETER STRAUGHAN

Based on the novel by John le Carré

1.

1

EXT. HUNGARY - BUDAPEST - 1973 - DAY Budapest skyline, looking towards the Parliament building. From here the world looks serene, peaceful. Then, as we begin to PULL BACK, we hear a faint whine, increasing in volume, until it’s the roar of two MiG jet fighters, cutting across the skyline. The PULL BACK reveals a YOUNG BOY watching the jets, exclaiming excitedly in Hungarian.

1

2

EXT. BUDAPEST STREET - DAY LATERALLY TRACKING down a bustling street, as the jets scream by overhead. Pedestrians look up. All except one man who continues walking. This is JIM PRIDEAUX. ACROSS THE STREET: More pedestrians. We’re not sure who we’re supposed to be looking at - the short stocky man? The girl in the mini skirt? The man in the checked jacket? A car driving beside Prideaux accelerates out of the frame. Across the street the girl in the mini-skirt peels off into a shop. The stocky man turns and waves to us. But it isn’t Prideaux he’s greeting but another passerby, who walks over, shakes hands. Now we’re left with Prideaux and the Magyar in the checked shirt, neither paying any attention to each other. Just as we are wondering if there is any connection, the two reach a corner and the Magyar, pausing to cross the road, collides with another passerby. He looks over and sees Prideaux has caught the moment of slight clumsiness and gives the smallest of rueful smiles. A tiny moment of contact between the two. Then both men walk on around the corner, just two strangers headed in the same direction...

2

3

EXT. SUBWAY EXIT - DAY Shooting up the steps of the exit to the imposing GALERIA building on the corner ahead. Prideaux and the Magyar walk up the steps, still paying no attention to each other, and head towards...

3

4

INT. BUDAPEST - GALERIA - DAY A formerly grand arcade. Many of the shops are now closed, the one’s that are open don’t have much to sell. A CAFE occupies the middle space under the high vaulted ceiling. A JAZZ ROCK band rehearses in one of the nearby disused shops, incongruous in the window, music muffled by the glass. Customers sit around tables playing chess, drinking coffee, a mother breast-feeding, the hum of chatter. The ordinary world.

4

2.

We find Prideaux and the Magyar sitting at one of the tables. MAGYAR (Hungarian, subtitled) And porkolts. You know porkolts? JIM PRIDEAUX (Hungarian, subtitled) Yes, I’ve had it. MAGYAR It’s very good. Better than goulash. But you won’t get it in Budapest now. JIM PRIDEAUX Why’s that? MAGYAR All the pigs have gone to Moscow. He gives a sly laugh. Prideaux smiles, draws cigarette, nonchalantly examining the people around them. A WAITER arrives, belly bulging grubby shirt, hair plastered to his head. He wizened-looking sandwiches in front of them. on his at the tables out of his puts two

PRIDEAUX’S P.O.V. - A DROP OF SWEAT trickles from the Waiter’s face, drips onto the table top. The Magyar catches Jim looking at the droplet and gives a wry smile - “nice service.” Jim smiles back but a bell has begun to ring inside him. JIM PRIDEAUX When do I get to meet your friend? The Magyar chews on his sandwich, notices Prideaux is ignoring his. MAGYAR I’ll take you to him. Not eating? Prideaux pushes his sandwich across the table, his manner still easy, but his eyes flick after the Waiter, who stands at the entrance to the coffee shop, arguing with another man. He looks around the Galeria again, looking low checking the feet of the other customers? Then raising his gaze, he checks the windows of the apartments above which look down into the arcade. PRIDEAUX’S P.O.V. - An OLD WOMAN stands in the shadows by a window above. She is watching him. Catching his gaze she shrinks back into the darkness and disappears.

As we watch one of his arms slides out.KGB strides towards the scene. like actors at the end of a scene. over-coated man .V. some drawing guns. The shot misses. From around a corner a tall. KGB MAN (CONT’D) Who told you to fire? Who told you to fucking fire? THE JAZZ BAND have stopped playing and are staring at the ground. Then he’s still. blocking the exit. KGB MAN (CONT’D) Fucking Hungarian amateur! We wanted him alive! . .Prideaux lies face down in the arcade below. leaving a slick of blood. then slowly falls back and lands with a CRASH. he draws a GUN from the back of his belt. Behind him his chair teeters for a moment. arms at their sides. as behind him.3.The KGB Man has grabbed the Waiter and started to beat him. anxious not to see anything. Prideaux’s expression doesn’t change but he sets his coffee cup down and casually stands. sees Prideaux leaving.an image from a surreal NIGHTMARE: the other CUSTOMERS stop what they are doing. and begin to rise.the OLD WOMAN slips back into sight. BELOW . RICOCHETING off the tiled wall and Prideaux keeps walking. turns. out of focus . The Magyar looks up in surprise. fighting down the impulse to run.the shot echoing in the cavernous space. still bellowing in Russian. We hear a muffled voice shouting distantly in Russian. No firing! Ahead of Prideaux He looks over his this one catching him flying out of KGB MAN more figures appear. HER P. shoulder just as another SHOT rings out him above the shoulder blade and sending frame. JIM PRIDEAUX Would you excuse me a moment? He starts to walk towards the exit of the Galeria. sending pigeons fluttering up to the domed ceiling. Panic flashes across his face. The WAITER starts. aims after Prideaux and FIRES .O. In the TOP WINDOW .

Behind him we can see the breast-feeding MOTHER.“THE CIRCUS” . aware all eyes are on him.the inner circle of the intelligence service . HQ OF BRITISH INTELLIGENCE . She nods at Connie mournfully.CONFERENCE ROOM .PERCY ALLELINE. one of the secretaries or “MOTHERS” walks past.. Through the cafe window we can see a MAN. ROY BLAND and BILL HAYDON. A cigarette burns away in an already loaded ashtray. 4B INT.DAY 4B 4A A woman. his signature a simple “C. He lights a cigarette. The baby begins to WAIL. CIRCUS . TOBY ESTERHASE. A middle-aged woman. Connie looks stricken.known as CONTROL.” scrawled in GREEN INK. undisturbed.and he looks ill. The baby continues to suckle on. Smiley looks up to find Alleline’s gaze fixed on him.DAY A long conference table. a bullet hole in the centre of her forehead from the ricochet. 5 INT. She’s dead.GEORGE SMILEY.. This is the head of the Circus . He is signing documents. Beside him. The Mother walks on into. 5 . partly obscured by the crowd in front of us. his right-hand man . CIRCUS . He’s sitting on a rather ornate carving chair .“MOTHERS” OFFICE . From the thick and embarrassed atmosphere we might guess we are at the end of a coup. CONNIE SACHS. All my love. the only man still seated.DAY A bird’s eye view of the Circus. FADE TO BLACK. Alleline quickly looks down at his hands. from Ann. Around him are four lieutenants . leans against a wall. CLOSE ON THE LIGHTER as he replaces it. pushing a trolley of documents.a little like a throne . FADE IN: 4A EXT.” In the Galeria the KGB Man continues to bellow at the Waiter. We are looking at an ELDERLY MAN at the head of the table. All we hear is the ticking of a loud clock and the scratch of the pen. We can make out an inscription: “To George. a face that’s seen it all. the final ousting of a King.4.FIFTH FLOOR . smoking.

6 7 OMITTED INT.DAY PUSHING Control and Smiley as they walk down the corridor. pulls on his cigarette. .Roy Bland . PERCY ALLELINE (Scottish accent) I wish I could have done more. as though he’s been waiting for this wrong little note to make his move. walks with it out of the room. TOBY ESTERHASE What about Smiley? Control looks at Smiley..immaculate hair and suit. puts the pen back in his pocket. a man should know when to leave the party. watching for a cue. 6 7 . ON SMILEY . Percy. gauging the SHIFT OF POWER occurring in the room. red-eyed. Toby can’t wait any longer. A hint of bitter amusement on Control’s face. CLOSE ON SMILEY . urbane.FIFTH FLOOR .as he examines the others. frowning with tension. like a dog told to ‘stay’. CONTROL (Coolly) You did all you could. Beat. Control finishes. eyes on Alleline.the faintest flicker in his eyes as he tries to prepare himself for the shock of dismissal. .Toby Esterhase . (Beat) Well. flicking a guilty look up at Smiley and away. ON SMILEY . The clock suddenly gives a discordant chime as it sounds the hour. CIRCUS .realising there is no hope.5.heavy set and moustached. He grinds his cigarette out.handsome. No-one will look at him. . He hands the file to the MOTHER who. Control. CONTROL Smiley is leaving with me.Bill Haydon . His gaze impersonal..

CIRCUS . determined to walk every step of the way. Control acknowledges the salute with a flick of his eyes and we push through the doors.DAY An ancient doorman . 9 INT.INTELLIGENCE OFFICERS . we see that each floor is its own WORLD. CIRCUS . The boredom of an air-port lounge. Smiley follows.BRYANT .. Smiley and Control pass down another flight and along the third floor . This is goodbye.SCALPHUNTERS . CIRCUS . watching Control and Smiley emerge onto the pavement.DAY Control and Smiley.. The two men walk past the fourth floor REGISTRY . Alleline and the Lieutenants are waiting for them. a lack of warmth.staffed by pretty young society girls . Down to the second floor .DAY Alleline and Bland stand smoking.the DEBS .STAIRCASE ..DAY 11 10 9 8 CONTROL and SMILEY stand on the street. as if to hasten the eviction. Control sweeps past them and the lift. On down to the first floor TYPING POOL .6.ROOF OF THE CIRCUS . And finally down to. as their Chief passes them for the last time. amongst them JERRY WESTERBY.GROUND-FLOOR LOBBY . 10 EXT. From the expression on Smiley’s face we see that he is pained by this. a sunken sofa and pool-table. staffed by RESEARCHERS. CIRCUS .. 11 EXT. Toby pulls open the cage lift doors for them.leaves his sentry box and opens the main door for Control.the vast archive of intelligence. The Scalphunters watching them go in respectful silence. As we TRACK with them. Perhaps there’s a little reserve in Control’s manner. They stare at each other for a moment. A horribly awkward moment.heads poking out of offices.the muscle of the Circus. BILL HAYDON You little prick Esterhase. begin their descent through the rigid hierarchy of the Circus.feeling the moment must be marked in some way . . They shake hands.who watch open-mouthed. 8 INT. Haydon looks at him with contempt.

glassy.smoke and whiskey .a glimpse of Alleline in Control’s chair. 13 EXT. HAMPSTEAD POND .Smiley swimming through his retirement. 16 15 . She pushes on into Alleline’s OFFICE . examines the illustration of a knight and a dragon .WINTER DAY Smiley stands frying an egg in his small kitchen. CIRCUS . He turns a page.still. HAMPSTEAD POND . He takes a breath and submerges again. bobbing through the water.FIFTH FLOOR . He looks over to where a VERY ELDERLY SWIMMER is being helped into the water . trying to focus on it.AUTUMN DAY THE WATER OF THE POND . A MAN’S head breaks the surface .DAY 14 13 12 A MOTHER unloads a stack of files from a LIFT shaft and places them into her wheeled safe. locks and spins the combination. Is this his world now? 14 INT. feeling a little less ridiculous. reading a volume of Grimmelshausen. surrounded by his lieutenants .little more than trembling bones.7.loads the new files into the LARGE SAFE there.DAY Smiley sits eating his solitary lunch. Control puts his collar up and walks away.DAY Smiley dries himself under the trees. 15 INT. SMILEY’S HOUSE . Beyond him we see a straggled diagonal line of elderly heads.engaged in the business of the world. Smiley stands forlornly as Control disappears into the crowd. behind her the conference room . SMILEY’S HOUSE . 16 INT. We track with her through the HIVE-LIKE atmosphere of the fifth floor.holds it at arms length. TITLES OVER A MONTAGE 12 EXT. pink and raw in the cold fresh air. He smooths his hair down. A piece of CHRISTMAS TINSEL is wound along the trolley.

marked TOP SECRET . OPTICIANS . being fitted for spectacles. 19 EXT.BRYANT nods respectfully. 17 INT.SPRING DAY We are looking at large blurred LETTERS..are slipped inside. All the drawers of the desks are OPEN.as the files . the BRIEFCASE clutched in his hand. illuminated by their desk lamps. TRACKING through the near-empty offices. ON A BRIEFCASE . We track low level until we find our MYSTERY MAN. 20 INT.Businessmen in bowler hats. 22 INT. SMILEY’S HOUSE . A lens is slotted into our frame and the letters leap into BOLD. OPTICIANS .O. One of them is applying lipstick.8. He leans over and turns the light out.FIFTH FLOOR . A few mothers working late.EVENING P. He tries on a pair.EVENING TRACKING with the BRIEFCASE as the mystery man walks towards the main entrance. 16A INT. a conspicuous empty space next to him. 18 INT. Smiley is in a chair.DAY Smiley is selecting frames from a display.NIGHT 16A Smiley lies in the double bed. used to the pedantic ways of the retired. BINS on the tables. CIRCUS .NIGHT A HAND removes files from the LARGE SAFE.GROUND-FLOOR LOBBY . 21 INT.ALLELINE’S OFFICE . watched by a bored shop assistant.V.EVENING 22 21 20 19 18 17 A packed train . prior to leaving. CIRCUS . She doesn’t react as we track by. CIRCUS .the old and the new bumping underneath the city. . MYSTERY MAN . The ELDERLY PORTER.BEDROOM . long-haired seventies youth .. LONDON UNDERGROUND .FIFTH FLOOR .

NIGHT 28 27 26 25 From across the street a tall good-looking man . He walks towards the house. 23 24 INT. we hear the sound of the door bell. 27 INT.NIGHT Mrs McCraig opens the door and the figure passes her and the barking dog without a word and begins to walk up the stairs.MEETING ROOM .NIGHT 24 An elderly lady .. 23 EXT. the briefcase in his hand as he walks up the steps towards the front door. 25 INT.. 28 EXT.MRS McCRAIG . He picks up the camera with a smile. the dog barking and footsteps on the stairs. Calmly she dries her hands as the doorbell rings and her DOG begins to bark furiously.a muddy abstract. SAFE HOUSE .DRAWING ROOM . sorting through the contents of the briefcase as. We see the letters are all addressed to ANN SMILEY. The Mystery Man has crossed to the wall by the window and opens the GRILL on an AIR DUCT.9.NIGHT 29 The Mystery man settles at the table..DAY Smiley adds a LETTER to a pile on the mantelpiece. SAFE HOUSE . from down below. SAFE HOUSE .GROUND FLOOR ...EVENING Tracking with the BRIEFCASE as it is carried towards the house..POLYAKOV watches as the opened duct spills a star pattern of light out into the night air. SMILEY’S HOUSE .stands at the sink. Through the window she catches a glimpse of the Mystery Man’s legs passing. SAFE HOUSE .MEETING ROOM .GROUND FLOOR . Polyakov walks into the room and joins the Mystery Man at the small table. He straightens up. 26 INT. SAFE HOUSE . SAFE HOUSE .NIGHT The room is almost bare .two chairs at a small table on which stands two desk lamps and a CAMERA. finds himself staring at a PAINTING on the wall . POLYAKOV (In Russian) Shall we begin? . 29 INT.

As we watch her we hear stealthy footsteps approach. you could mistake him for a tramp. an ultra-modern cube of a building sits in rather traditional grounds. 30A INT.appears at the living room window in her night-dress. Who are you? He takes in the man before him . RICKI TARR Minister Lacon. tying his silk dressing gown as he cautiously approaches the window. OLIVER LACON.EARLY MORNING 30 Lights glowing in the early morning gloom. As we pull back a little we see the man has his other hand behind his back.10. playing with a toy. Permanent undersecretary. On the other side. Then a MAN steps into frame.JACKIE LACON . the intruder stands. He smiles./EXT. LACON’S HOUSE . And I want breakfast.MORNING 30A As we watch a young girl . feral edge. But beneath the grime he’s tanned and his eyes have a dangerous. 30B 30C OMITTED OMITTED 30B 30C . This is RICKI TARR. Jackie looks up. LACON’S HOUSE . LACON (through glass) This is private property.filthy and bearded. bone-handled KNIFE. Behind Jackie we see a string bean of a man. And in it is a long. watching the girl through the window. surprised. his back to us. He taps on the glass with one hand. smoking. This is the unlikely home of Oliver Lacon. LACON What do you want? RICKI TARR I want to talk to Control. END OF TITLES 30 EXT.

It’s Haydon. Down first thing.V.. with you bunch of cut-throats. GIRL’S P. scootering along the corridor. Haydon appears to be gliding supernaturally by. BACK ON HAYDON: HAYDON You may fuck me. They arrive at a half-paned office cubicle. HAYDON Thought I’d get a glimpse of the new girl. Guillam grins. probably no safer in here. He seen her yet? GUILLAM Oh yes. boyish. cropped above the waist. Guillam waits for him.SCALPHUNTERS .DAY 30D 31 32 33 PETER GUILLAM walks down a corridor. one foot up on his pedal. He likes this man. Mind you. as Haydon and Guillam pass. a new DEB.O. but you still have to call me sir in the morning. being shown the ropes by an older woman. bored. Before Bland gets to her. 30D 31 32 33 OMITTED OMITTED OMITTED INT. He gives a little wave. CIRCUS . Inside is a very pretty GIRL. . Handsome. He hears a TRING behind him.. staring in at her. . hand raised in farewell as Guillam turns into the Scalphunters arena. Belinda. Haydon glides off. PETER GUILLAM (of the bike) Has that been cleared? BILL HAYDON I’m not bloody chaining it outside.11.

SMILEY’S HOUSE .EVENING 38 37 36 35 Smiley places the wedge and the letters on the mantelpiece. 34 INT. LONDON STREET . examines the door. PETER GUILLAM Peter Guillam..S. Unopened. SMILEY’S HOUSE . looks over at the pool players. There’s a knock at the door. slowly falling asleep. stops. CIRCUS . his former drowsiness abruptly gone. 36 EXT.GUILLAM’S OFFICE .EVENING Smiley walks into the hallway. addressed to ANN SMILEY. walking down the street. 38B 38A . POOL PLAYER (O../EXT.DAY Guillam sits at his desk over a pile of paper-work. 38A INT. removing a WEDGE from the top of the door frame. SMILEY’S HOUSE .EVENING Smiley opens the door to PETER GUILLAM.EVENING Smiley in his NEW GLASSES.EVENING Smiley frying an egg. feeling himself watched. 34 He listens to the voice on the other end.EVENING Smiley on the steps to his home. cracking it. 38 INT.12.KITCHEN .) Sorry Peter. where a BUNDLE of LETTERS already sits. stopping to pick up post.SCALPHUNTERS . Guillam answers the phone. SMILEY’S HOUSE . After a moment he turns away from his colleagues. SMILEY’S HOUSE . Guillam jerks upright. He stops for a moment. towel rolled under his arm. 35 EXT. too bored to be angry. 38B INT. 37 INT. BANG! A pool ball thwacks the window. At the same moment the PHONE begins to ring.

LACON How’s your mother? PETER GUILLAM Very well. Smiley takes in his expression this is not a social call. talking to Lacon’s daughter.EVENING 39 Guillam enters the kitchen. It dawns on him that he really has invaded Smiley’s privacy. We pan up and through the open window see an anxious Lacon is leading Guillam towards the house. It’s a Citroen DS. taking in Guillam’s awkwardness. 40 40A OMITTED INT. They stare at each other. as Guillam drives through London. LACON’S HOUSE . sitting on a table.EVENING 39A Smiley and Guillam sit in silence. notes the single place set for dinner. 39 INT. all sleek leather and mahogany interior. GUILLAM’S CAR . He gives a thin smile. Peter. He glances at a painting on the wall .a muddy ABSTRACT. Smiley follows. (referring to the window) Is this where he got out? 40 40A . SMILEY (CONT’D) Have I time to change? Guillam nods. Smiley appears in a coat behind him. SMILEY’S HOUSE .EVENING CLOSE UP ON: A half eaten bacon SANDWICH. following Smiley into the house.13. SMILEY (Surprised) Hello. SMILEY Are we going far? 39A INT. He crosses to examine it and then notices the bundle of Ann’s unopened letters.

They reach a large room. one’s buddies? SMILEY Oh. Apologies for singling you out. minimalist apart from a grand piano framed by vast glass windows. thank you. bit of coat-trailing for a Russian convention. but. LACON Mmm. You know who he was? PETER GUILLAM Ricki Tarr..... my family.NIGHT PULLING OLIVER LACON as he leads Smiley and Guillam down the hall. Been on the run since then. Cut his throat. LACON And how are you George? Missing one’s work.. (beat) Do send her my love. A tall. sir. 41 . He gives an uncomfortable bark of laughter. Last job was Istanbul. I think I manage pretty well.. The bloody animals you people employ! 41 INT. LACON My God. If possible. LACON Why is he on the wanted list? PETER GUILLAM (beat) He killed our man in Istanbul.. but his tone is strained. well built young man FAWN .14. LACON’S HOUSE . Lacon gestures to him and Fawn opens the french windows and he and Guillam walk out onto the terrace beyond.. gesturing for his WIFE to take Jackie away. very sensitive matter. LACON (CONT’D) If one can’t trust one’s own nephew. I came back in and it was wide open. He’s been on the wanted list for a year.. One of my scalphunters. In my own home. He attempts some social niceties.stands on guard. Lacon looks even more shaken..

LACON I was sad to see you go. smokes a moment.15. Smiley absorbs this. Had no idea he was dead. If he couldn’t have a Minister. Right at the top of the Circus. And that he’s been there for years. The news obviously hadn’t reached Wonga Wonga land. SMILEY Very well. trying to read him. Then he said he would only tell it to someone outside the Circus. LACON’S HOUSE . LACON Your wife. George. Lacon lights a cigarette. Behind them. LACON (CONT’D) He said there’s a mole.. The moment is suddenly broken by a few stray notes from the piano. The two jump slightly and turn to where Jackie sits at the keyboard. LACON Do you know this man Tarr? SMILEY (Mildly) I recruited him actually. the lovely Ann? She’s in the pink. and so on. What did he say to you? LACON He said he had some intelligence for Control. very shabby. I thought it was shabby. (MORE) 42 43 . Lacon glances anxiously at Smiley. Good with women.NIGHT Smiley and Lacon stand on the terrace alone. Smiley waits him out. he would settle for the Under-secretary. Fawn closes the french doors behind him and Lacon is suddenly all business..TERRACE . Lucky me. In Penang. young JACKIE creeps back into the room and slips behind the sofa. The room has become very still. (Beat) Very bonny. Likes to talk. unnoticed. 42 43 OMITTED EXT. building up to something. smiling triumphantly.

That does happen in your business. SMILEY What did you say to him? LACON (Beat) I’m afraid I thought his paranoia had got the better of him and he was pulling his own house down. he came to me with a similar suggestion.16. doesn’t it? Outside the family? Smiley looks blandly back at him. Percy has had some marvellous results since you and Control left. And to be fair. your legacy! (MORE) . it does mean you’re rather ideally placed to look into this matter for us now. wheat from the chaff and all that. he glances at Smiley to see how much damage he’s caused. And that bloody mess in Budapest. surprised. with you being “his man”. something he hasn’t yet said. LACON Thing is. inscrutable. this is your generation. Smiley looks at him. Silence. Lacon looks uncomfortable. Smiley stares out over the rolling countryside. George.. SMILEY LACON I just thought. LACON (CONT’D) Anyway. LACON (CONT'D) But the Minister agreed with Sir Percy. when Control was still alive.. New broom.. clean sweep. Realizing how this sounds. LACON (CONT’D) He never mentioned his suspicions to you? No. LACON (CONT’D) Damn it.. so to speak. Oliver... some time back. SMILEY I am retired.

MORNING . 45 EXT..DAY Mendel. Smiley raises a hand. LACON (CONT’D) If there’s any truth in this you’d think you’d want to. driving through suburban DAGENHAM. now in an overcoat and carrying a battered briefcase. in protective hat and gloves. We hear the piano playing on as we. SMILEY (Beat) I’ll keep Peter Guillam. his relief palpable. I’d like to have him... MENDEL’S HOUSE . Do your own housekeeping. 46 EXT.MENDEL STREET .. He glances back at Guillam and Lacon’s daughter. He begins to roll a cigarette as Guillam drives away. We pull up in front of a neat Tudor semi.GEORGE SMILEY.DAY CLOSE ON A COLONY OF BEES GLOVED HANDS loading a COLONY OF BEES into a new HIVE. You and Ann never had children. The Apiarist steps away from the hive and removes his hat to reveal a long thin face. An APIARIST. keen eyes . 46 45 44 . Three years of lessons and all I hear is Edelweiss.17. we never did. LACON Yes. LONDON .INSPECTOR MENDEL. LACON (CONT’D) Damn thing cost a fortune. Mendel. picking out a melody on the grand piano.. yes. MENDEL’S GARDEN . Lacon exhales.. did you? SMILEY No. He controls himself. climbs into the back of the car with a nod to Smiley and Guillam in the front. 44 EXT. And there’s a retired special branch man. Good man. turns to examine the MAN who has appeared in his back yard .

48 INT. a WIRELESS. near Paddington station.. MENDEL (O.. . 48 47 . Smiley stares ahead in silence. HOTEL ISLAY .S. A small silence.DAY A shabby rooming house. MRS POPE GRAHAM (re the table) It’s Georgian.. You want anything you can ask Norman. I shouldn’t lend it to you but since Mister Mendel recommends you. MRS POPE GRAHAM And that’s what he shall have. a large leather CHAIR. Mendel and Guillam take it from him and set it into the room.. looking out at rooftops opposite and a travel agents sign which reads THE WIDE WORLD. no disturbances.O. Norman? And they leave. He winds down the window and the bee flies to safety.V. raising her voice a little to drown out the excesses from the room next door. HOTEL ISLAY .. A stow-away BEE appears from somewhere and begins to buzz around the car. She glances at Smiley who has his back to her looking out into the London street.NORMAN .who is struggling into the room with a rickety card table.) My friend just wants peace and quiet in order to work. 47 EXT. MRS POPE GRAHAM (CONT’D) You will love it for me won’t you? It belonged to Mister PopeGraham.. Mrs PopeGraham. can’t he. She gives the table a sentimental tap. faded floral monstrosity of a room. SMILEY’S P. From the next room comes the unmistakable sounds of someone having sex.SMILEY’S ROOM . TWO single beds.DAY A large. Smiley’s new landlady MRS POPE GRAHAM is supervising a gormless teenager . Guillam and Mendel swat at it clumsily.18.

Hiaasen. He’s already there. Properties in half of the west end judging by this list. Farling. His pension and she owns a block of bedsits in her own name in West London.. LATER: Smiley has turned his attention to the bed. G. L. SMILEY Control lived with his sister didn’t he? He straightens up from the bed. Mendel flips his notebook back. As he speaks he strips off the soiled sheet and replaces it with a clean one from his bag. Not much of a papertrail as you can imagine. GUILLAM We should. Mendel flicks another page. smooths the pristine sheet. M Cushing. LATER: Guillam is lying on the bed. Webb and Bryson are the letting agents. (MORE) . F.. SMILEY We’re only looking for short term rentals.. Cavaleri? D Weaver. Mendel slumped in an armchair. MENDEL Basingstoke.19. Within the last year. MENDEL (CONT’D) Best informant I ever had. He examines the stained sheets with distaste. MENDEL (Reading from the list) A Miss Hilliard. Guillam gives a grunt of amusement. Smiley stands at the window. Added the Pope for a touch of class. M Crowley.... MENDEL . MENDEL Her real name is plain Graham.

Kass. R. M. Been renting for a few years now. followed by Smiley. Kee. 50 INT. SMILEY How long was H. CONTROL’S FLAT .20. Staunton a tenant? MENDEL (Consulting the list) Still is.DAY A green velvet armchair sits at the centre of a room. MENDEL (CONT'D) A Mrs Hawcombe.TRACKING TOWARDS THE DOOR Guillam has reached the DOOR and disappears into the room beyond.DAY Guillam and Smiley approach outside a red-brick mansion block of flats in West London. CONTROL’S FLAT . Died in eighteen seventyfour. CONTROL’S FLAT .. Beside it an ashtray over-loaded with stubs. CLOSE on Smiley as his eyes flickers at the name.. They advance cautiously into the dirty flat...DAY 50 49 Smiley and Guillam reach a flat near the shadowy top of the building.a little WEDGE at the top.O.. MENDEL (CONT’D) K. CONTROL’S FLAT . . THEIR P.. 52 51 . 51 INT. H Staunton. He runs his fingers over the door-frame and there it is . 52 INT.V. Menzies. Something? SMILEY (Musing) Howard Staunton. 49 EXT. the windows fogged out with Windowlene.HALLWAY .DAY Guillam. pushes in against a mound of dead mail. Control used to say he was England’s greatest chess master. Smiley studies the door.

BLAND It’s the Yanks. and as he moves we see there is a FIFTH PHOTOGRAPH on a piece . . The effect is ridiculous and a little disturbing. TOBY ESTERHASE (sullenly) He’s walking the battlements. his expression ambiguous . Esterhase asks the caller to hold and places the handset on the desk. Bill leaves. 54 EXT. something insane in the sprawl of it all. PERCY ALLELINE. TOBY ESTERHASE. speaking softly in Hungarian. cup of tea in hand. ROOF OF THE CIRCUS . maps and charts. He becomes aware of Roy Bland standing behind him. The rest of the room is mounded with PILES AND PILES OF PAPERS . A look crosses his face.21. BILL HAYDON (in Hungarian. TOBY ESTERHASE Help you with something Bill? BILL HAYDON Looking for his Majesty.DAY 53 Toby Esterhase is on the telephone. Four of the chess pieces have had PHOTOGRAPHS of FACES added to them ROY BLAND. and Toby resumes the call. like some Surrealist objet d’art. BILL HAYDON all wearing paper PARTY HATS.DAY 54 Alleline stands on the rooftop. ALLELINE (Without turning) Roy. 53 INT. staring out over the London skyline. CIRCUS . They want to come in and talk. document boxes.perhaps obscurely troubled to have found himself at the top.and it is of Smiley himself. Toby’s eyes flicker toward the handset. Guillam stands with his back to us staring at a CHESS SET laid out before the chair. He suddenly notices Haydon in the doorway. as if in mid-game. Guillam hears Smiley and turns.files. Smiley stares at his image. almost guiltily.TOBY ESTERHASE’S OFFICE . subtitled) Much obliged.

We TRACK with him as he walks through the Scalphunters “quad” area . Guillam acknowledges them casually as he passes. . I need you to do something for me. piled in no logical order. Peter.. each overflowing with files and bundles of yellowing papers.a worn out sofa. She LIKES him.the “Deb” we saw earlier. He sits. CIRCUS . steeling himself for what he has to do. the old pool table. In his hand he is toying with a black chess piece labelled “KARLA”. We continue tracking with Guillam as he leaves the Scalphunters area. The far wall is now stacked to the ceiling with the contents of Control’s room . We have Witchcraft...KASPAR .22. Abruptly he stands and walks out.stands flirting with a pretty SECRETARY .BELINDA .and relief. He doesn’t. 56 INT. ALLELINE Of course they do.DAY 56 55 The “Scalphunters” floor. Guillam is in his office.thousands of files and documents. Alleline continues to stare out over the world.. but allows himself a small smile of triumph . Anywhere will do. And they don’t. MENDEL (Wryly) That enough for you to be getting on with? SMILEY (Beat) No.SMILEY’S ROOM . Kaspar stares after Guillam.DAY Mendel and Guillam carry in boxes. SMILEY Thank you. They dump the files and Smiley turns to survey his room.SCALPHUNTERS . glass above. One of the Scalphunters . The three survey the mountain of information in silence. The girl gives a little wave. turns left into. 55 INT. walks down the corridor. HOTEL ISLAY . hands on the desk. painted out panels below the waist.

Guillam is opening a safe. While you’re there get the handbook on staff duties.FAWLEY’S OFFICE .MEN’S ROOM . and the diagram of the Circus’s reorganization under Alleline.. peering out. then crosses to the door and opens it a crack. across the corridor and into.23.? Guillam straightens up to reveal his hand oozing blood from a cut..FAWLEY’S OFFICE . the office empty. A dapper little man in a club tie . He too checks his watch. Guillam counts to ten under his breath and then abruptly. Lunch time..DAY Kaspar opens the door and walks in.a Newton’s Cradle. Guillam hears a voice outside..V..) I want to see the records of staff recently retired.. idly tapping a desk toy . CIRCUS . his back to him. KASPAR (Suspicious) Sorry Peter.. walks out of the men’s room. Close on the documents as Guillam silently photographs them. He works his way around the desk.DAY 57 He stands at the basins. CIRCUS ...sits behind his desk. 59 INT. GUILLAM’S P. finds Guillam crouched down.O. We’re looking though a glass panelled door at the PERSONNEL OFFICE.FAWLEY . SMILEY (V.. whatever you were doing.steel balls clacking softly.. finding. 58 INT. checking the room is clear. Then a faint noise. CIRCUS . Examines his watch. 57 INT. pulling out documents. Gets up and walks out of his office. He draws a SMALL KNIFE from his pocket..DAY 58 The Cradle is still swinging .O. photographing them with a SUBMINIATURE CAMERA. 59 . didn’t know you were doing.

Guillam makes a mental note against Kaspar. Peter. PETER GUILLAM Cut it on a drawer handle. We’ll make it a priority on the top floor. Fawley’s got a first aid kit in one of his drawers. 61 . PUB . CIRCUS . PETER GUILLAM Smothered by the Mothers. ROY BLAND (CONT’D) (as he walks away) Where are you off to? Lunch. ROY BLAND (without looking at him) Heard you had an accident. PETER GUILLAM Trying not to bleed to death. Eyes hard. ROY BLAND Tell you the truth. They arrive on the ground floor.... (Beat) When are we going to get some new furniture round here? ROY BLAND I’ll have a word with Esterhase. Roy Bland appears suddenly and steps in beside him..24. Guillam exhales with relief. Then.LIFTS . PETER GUILLAM 60 ROY BLAND Want some company? 61 INT. Get me a plaster will you? Kaspar busies himself with the first-aid. Bland walks out ahead. 60 INT..DAY Guillam has just stepped into the lift. Silence for a moment as they descend..DAY The two men sit drinking at a table in a nearly deserted local bar. I’m in no hurry to get back up there.

Just got one. ROY BLAND (CONT’D) What are you driving? Citroen. PETER GUILLAM ROY BLAND He takes a pull of his pint. ROY BLAND (Suddenly) What do you think of Datsuns? What? PETER GUILLAM ROY BLAND Datsuns.25. Caught sight of myself in it. ROY BLAND Something like that. Bland smokes for a moment. He reaches suddenly for Guillam’s coat. I’d replace them all with those ‘naice’ girls from registry. Percy still can’t get a decent cup of tea out of them. Still. but his eyes are cold and watchful. What does? Loyalty. ROY BLAND (CONT’D) If it was up to me. lying on the seat his hand heading for the pocket that holds the SUBMINIATURE CAMERA. Those old birds. driving past a shop window and I thought to myself “Who’s that old fucker?” He stares at Guillam with faint smile. PETER GUILLAM . I imagine it takes time. Like to hear a few high heels about the place. all pining for Control. ROY BLAND (CONT’D) Scrounge a fag? PETER GUILLAM (Quickly) Here. He pushes his cigarettes into Bland’s hand before he can fish in the coat. Wife made me. Hatchback.

He turns away. reading.SMILEY’S ROOM . 63 INT. POPE GRAHAM. Lacon’s wearing a tux. stroking his hair tenderly. PETER GUILLAM Jerry Westerby. Guillam dictates from a photograph of the documents he took at the circus. and joins him at the table. He writes Connie’s name on a slip of paper. turns back to the CHESS SET.. ROY BLAND (CONT’D) Drink up and I’ll drop you back. Connie Sachs. There is a knock at the door.a CHARLIE RICH track . 62 INT. 63 62A 62 .could someone see them? He gets up and closes the curtains.NIGHT Guillam sits alone at the table reading a newspaper. his lover . retired November 28th. dismissed December 4th.a decade or so older . and Guillam feels a sickening wave of paranoia. cutting the Charlie Rich tune.RICHARD .. pastes it to a chess piece..O. a man. GUILLAM’S FLAT .NIGHT SMILEY’S P.LOOKING DOWN FROM A WINDOW A ministerial car pulls up and Lacon climbs out. He continues to stare at Guillam with the faint smile. After a moment.26.. You’ve probably got some girl waiting. HOTEL ISLAY . Smiley becomes aware that the others are watching him. Mendel lets LACON into the room excluding a very excited MRS. HOTEL ISLAY . And. .. ROY BLAND French? Ooh la la. settles back at the table.plays on a TRANSISTOR RADIO.. Smiley sits at the window listening to the MUSIC. looking extremely uncomfortable. That’s just two weeks after you and Control were forced out.NIGHT The music . passing Richard a section of the paper. Smiley considers this. tunes the radio into a DIFFERENT STATION. 62A EXT.walks behind him. a lit window .the flat opposite. almost offended at the role he finds himself playing.V. The two sit in domestic contentment. Guillam automatically checks the window .

whether we knew it or not..” What if the Mole was actually behind that sweep? What if each of us.? . LACON (Unconvinced) Control lost his position because of that fiasco in Budapest.27. I suppose I am. LACON looks around him.. SMILEY (Distracted) Hmm? He turns to him.. I wonder how Research manages without her. The Minister wondered if there was anything to report? SMILEY Not much. dripping disdain.. LACON (Indicating the chess set) Looking a little unhinged yourself. George. I’m afraid. LACON On our way to La Bohème. that poor chap. SMILEY That was one of her talents.. We were just discussing the departure of Connie Sachs. SMILEY (CONT’D) Yes. distractedly picks one up. represented a threat to the Mole? Lacon looks at a pile of files.. PETER GUILLAM Probably relieved. SMILEY (CONT’D) (To Lacon) Your “clean sweep. He starts to leaf through one. SMILEY I know that car. Perhaps that’s what we have to become? A little paranoid? He turns back to the chess board. She always struck me as unhinged.

28. He writes the name “WITCHCRAFT” and places it on a chess piece.” LACON (V.. He writes PRIDEAUX on a slip of paper.CLASSROOM . We catch a glimpse of the MINISTER in the back.. He looks to Guillam for the name. He looks up shocked. 64 INT. Yes. Smiley nods thoughtfully.rows of twelve-year old boys sawing away at their instruments. Lacon reads something implacable in Smiley’s gaze. Thanks to.) There is no connection.) Everything is connected. SMILEY (V. A teacher winces as he hacks at the air above their heads with a ruler. pastes it to a chess piece. HOTEL ISLAY .O. Smiley looks at him. The car drives away.NIGHT Lacon stalks out of the hotel.. Lacon picks up another file. he did.O. Something catches his eye: a letter head of FLAMES.DAY A third-rate English preparatory school. stuffing it in his pocket. SMILEY Yes. SMILEY Control was out. The string orchestra practice . 63A EXT.. He climbs into the waiting car. He grabs the piece of paper. THURSGOOD SCHOOL . 64 63A . And Alleline was in. SMILEY (V. PETER GUILLAM Jim Prideaux. Smiley turns back to the chess set.O.. LACON How did you get this? This is Witchcraft material.) .. Alleline’s “special source.

at the DRIVER of the blue Alvis. LONDON . appears . gathering his courage. setting up his caravan on bricks. obscuring his face. thrilled to realise he is the sole witness of this MYSTERIOUS NEW ARRIVAL. Roach instinctively takes a step back from the hooded figure. 66 EXT.DAY We’re looking down into the dip. The wind catches at his cape and it flutters to one side. loading bricks underneath. Roach watches. the last to be chosen for everything.DAY Through the window we see Smiley buying a bottle. The Driver rocks the caravan from side to side..OFF LICENSE . a temporary equilibrium. towing a battered. THE MARBLE comes to rest at the centre of the sill. As we watch a DARK STAIN appears at his shoulder blade and begins to spread. He’s wearing a waterproof cape and hood. asthmatic. something about his back.reflected in the window . LATER: Roach stands in the caravan. He’s plump. He looks out of the window. a MARBLE.DAY Roach stares out at us as the rain lashes against the window pane. he holds out his hand. perhaps from the exercise or perhaps fighting down some pain. as if it’s been knocked out of true.. The Driver has stopped. In his palm. THURSGOOD SCHOOL . Near the back of the class we find BILL ROACH. 67 66 65 . in the gloom and rain.. As we watch an old blue Alvis. giving him something of an air of mystery and menace. 67 EXT. second hand CARAVAN. breathing hard. about to call to the Driver. 65 EXT. Roach turns excitedly to the camera.an improvised spirit level. There’s something odd about the way he moves. but sees something that stops him in his tracks. THURSGOOD SCHOOL . watching the MARBLE as it rolls backwards and forwards on the windowsill .driving past. his back to us.PRIDEAUX’S CARAVAN .29. Then. trying to get the thing level. He senses something and turns to find Roach behind him. revealing the sweat-soaked shirt beneath. It’s BLOOD..

entranced. past overgrown shrubbery until he reaches the door with a bell marked “SACHS. . 69 Smiley pushes open the gate. I brought. They turn. An older woman wearing rather too much make-up is carrying a prop. is miming to the song ‘Don’t’ by Doris.V. She examines Smiley for a moment. continues walking round the house. ON SMILEY’S EXPRESSION This is not a social call. embarrassed. and then breaks into a charming smile.. Connie can’t keep the disappointment from her face.DAY A large dilapidated Victorian house. Connie gives a little girl laugh.DRAWING ROOM . a plate of scones in front of him.former Queen of Intelligence at the Circus. by the sight of a young couple kissing in the window. SMILEY (Of the tea) Oh.PADDINGTON TRAIN STATION . Doctor’s orders. CONNIE’S HOUSE . CONNIE’S HOUSE . A group of students in togas are rehearsing a musical version of Lysistrata. LONDON .O. He takes the bottle of Scotch from his briefcase..” Glancing sideways he is caught. Connie appears carrying a tray of tea. SMILEY’S P. walks down the path. holding her script.DAY 70 Smiley sits in the cluttered drawing room. A young woman.30. SMILEY Return to Oxford please. 68 69 EXT. 70 INT. CONNIE SACHS (eyeing it hungrily) Not supposed to. Smiley feigns surprise. This is CONNIE SACHS . We hear the faint sound of voices and pop music coming from the garden.DAY Smiley stands at a ticket kiosk. suddenly aware of his presence and Smiley. 68 INT.

I was dismissed. She looks at him almost sorrowfully. CONNIE SACHS (CONT’D) I miss it all so much. 71 INT. caught up in memories of their youth. disordered room.. petulant. Chucked out on the rubbish heap. SMILEY (Ignoring this) Why? She shrugs. Connie on her way to being drunk. never did.31. George. They sit. George but I feel seriously underfucked.. CONNIE SACHS I didn’t leave. Connie’s smile fades. CONNIE SACHS (CONT’D) I don’t know about you. CONNIE SACHS “Lost my sense of proportion.. (Beat) Like you. They look at each other a moment. Smiley hesitates. CONNIE’S HOUSE .DAY 71 Smiley and Connie sit in a dirty. CONNIE SACHS (CONT’D) Wicked. SMILEY Which bone? Polyakov. takes a drink. both staring at the students in the garden. She takes the teacup he pours with crooked arthritic fingers and drinks. CONNIE SACHS . All my lovely boys.. wicked George. Wouldn’t let go of a bone. As she finishes her glass Smiley fills it.” That’s what that personnel cow said. Not one hair on your head. SMILEY You left the Circus shortly after I retired. CONNIE SACHS (CONT’D) She doesn’t deserve you.

Polyakov. he was good. unkempt. CONNIE SACHS (As if summoning him) Pretty Polly. London. SMILEY But you disagreed? CONNIE SACHS Pretty Polly? Very military bearing for someone who’s never supposed to have been in the army. Smiley nods..EVENING . SMILEY Esterhase said that? CONNIE SACHS He had him graded Persil. CIRCUS . I love a man who lives his cover. But. Pretty Polly.A SURE SIGN OF INTEREST. She sits in front of a Steenbeck flatbed editing table. 72 INT. Went to Embassy functions. (Beat) Never? SMILEY She can’t help but smile. she’s chain-smoking. lectures. But that little swine Toby Esterhase told me I was seeing Spies under the bed. SMILEY CONNIE SACHS Cultural Attaché Polyakov.PAST Connie is working late. Turned up in sixty five. Whiter than white.. as soon as I laid eyes on him. but completely focused on the moving images on the screen. And I had a feeling. a look of boredom settling on his face . Never put a foot wrong. And that was that.32.RESEARCH . SMILEY Stationed where? CONNIE SACHS Here. 72 .

On the walls around her are framed STILLS from the footage she is watching: Russian Officials at ceremonies . I saw something. four medals for gallantry.Ancient SOVIET VETERANS stand in rows displaying the medals on their chests.backwards.forwards. I started spending time with the Moscow gazers combing Soviet bulletins and any material I could get. He salutes Polyakov. why hide the fact? FROM DOORWAY . each official labelled as Connie manages to identify them. outside Moscow Centre. salute our cultural attache Polly? Unless Polly was a war veteran himself? And if he was. . And again .. CONNIE SACHS (V.) (CONT’D) I saw it. Connie slows the images down. a chest full of medals. the busiest culture vulture that Embassy ever had. One of the old SOVIET VETERANS. 1969.) (CONT’D) Why would a distinguished soldier. Connie’s smile of triumph is reflected on the screen.. I was trawling through some footage of May Day in Berlin.O. CONNIE SACHS (CONT’D) For years we’d been hearing rumours that Karla was building a private army of his own.. CONNIE SACHS (V.) . in dress uniform.O. concentrating.each picture gridded. OFFICIALS in suits are walking into their designated places.O.) (CONT’D) Late one night in Research.33. ON SCREEN . Just before he is obscured by another official we see what the old veteran does. We knew he had agents scattered round the globe. LOOKS at him..O.Connie sits smoking her celebratory cigarette. We see POLYAKOV amongst them. She lights a cigarette. George. at the centre of her obsession. CONNIE SACHS (V. possibly a touch senile. CONNIE SACHS (V. Connie rewinds the tape and we see the salute . George.

73 74 75 . What on earth makes you say that? CONNIE SACHS (Surprised) I don’t know.DAY . drunk now. SMILEY (Sharply) What nonsense.O.) I went straight to Esterhase and Alleline.O.EVENING Connie is showing the footage to Alleline and Esterhase.O. 72A INT. Better off out of it. 73 74 75 OMITTED OMITTED INT. CONNIE’S HOUSE . eyes cold. CIRCUS . You’re becoming obsessed with him.) What did you do? CONNIE SACHS (V. I said . Perhaps it’s time you went out into the real world.PRESENT Connie sits on her bed. 72A He glances at Esterhase and then back to Connie.” SMILEY (V. eyes wet. (Beat)I know you never liked him. apart from Bill Haydon. CONNIE SACHS Hate the real world. (Beat) What does it matter? Old Circus is gone anyway. SMILEY (V. with Smiley. Connie. PERCY ALLELINE (Hard) You’re to leave Polyakov alone.“Polyakov is a Karla-trained Hood if ever I saw one.34. And if he’s here it’s because he’s running a mole. PERCY ALLELINE (CONT’D) You’re losing your sense of proportion.RESEARCH .) What did they say? Alleline switches off the image.

She shows him the photograph . Connie.a young Connie in Wren uniform. you behind him.NIGHT The house we saw in the title sequence.. We hear the dog barking. and Bill Haydon. She turns to the shoe box beside her.. All my boys. lost amongst his more glamorous colleagues. CONNIE SACHS (CONT’D) (Fondly) Jim Prideaux. Together of course. The Inseparables. CONNIE SACHS (CONT’D) I was right. young men in cricket whites on a mown lawn. then? About Polyakov. She traces other faces with a crooked finger. CONNIE SACHS (CONT’D) Here we are. After a moment Polyakov walks up to the door and knocks... as usual. SMILEY (Chiding) It was the war. don’t come back. The air duct opens on the front of the house. takes out a PHOTOGRAPH. She stares at the photograph with a sad smile.. George. That was a good time. 76 . 76 EXT. A younger bespectacled Smiley. The Nursery in our day. spilling out its star-shape of light. stands up to go. CONNIE SACHS (CONT’D) There’s Control himself.. I want to remember you all as you were. CONNIE SACHS A real war. SAFE HOUSE . Englishmen could be proud then. CONNIE SACHS (CONT’D) If it’s bad. More senior figures stand behind. There’s a mole? Smiley doesn’t answer.35.

GROUND FLOOR . heading upstairs.NIGHT . spools churning silently.. POLYAKOV (CONT’D) “. One of the pieces has had the photograph of POLYAKOV added to it. SAFE HOUSE .” The Priest says “That’s quite a sin..S.SMILEY’S ROOM .. 78 INT. POLYAKOV (O...36.. HOTEL ISLAY . 80 INT. opens a cupboard to reveal a huge reel to reel TAPE RECORDER. POLYAKOV .. father. 77 INT.) . SAFE HOUSE . General Secretary.NIGHT As we saw it in the titles. POLYAKOV (O. I’m telling everyone.” We hear his chuckle and the continued CLICK WHIR of the camera. the camera giving a satisfying CLICK and WHIR with each shot. and the tint MICROPHONE.GROUND FLOOR . why are you telling me?” 79 INT. We TRACK with Mrs McCraig as she walks back to her pantry.the dusty candelabra above their heads..MEETING ROOM .) (In Russian) ...NIGHT Smiley sits at his desk staring at the CHESS SET laid out before him. Krushchev says “I’m seventyseven..” HIGH ANGLE .S. but you’re an Atheist. I’ve just had sex with two 17 year old girls. With ancient fingers she presses down the clunky record button and the spools begin to revolve. nestled beside one of the bulbs.. The Mystery Man sits at the table holding up pages of a document for Polyakov who is photographing them as he talks. He says “Father. 80 79 78 .NIGHT 77 Mrs McCraig opens the door for him and he passes her with a smile.. SAFE HOUSE . The Priest is surprised to see General Secretary Krushchev..

Just what the Admiralty have been begging us for some information on.. Ranged against him are PERCY ALLELINE. ROY BLAND and TOBY ESTERHASE. the television mast creaking on the roof above him.. TOBY ESTERHASE (Protesting “cabal”) Control.37. SMILEY If it’s genuine it’s gold-dust. Esterhase.. Smiley sits down and begins to read. Percy and his little cabal walked in with it. He crosses to the door and opens it and finds CONTROL waiting for him. .all a little nervous.. Pigeons on the ledge outside the window. CONTROL (To Smiley) Sit down and take a look at this nonsense..CONFERENCE ROOM . Smiley joins them without his spectacles. Control waves him down. Smiley considers the report dispassionately. And in an instant we are in. CIRCUS .. (Beat) But its topicality makes it suspect. He begins to register the faint noises around him. BILL HAYDON sits to the side... Control throws him a FILE.PAST 81 Control is at the HEAD OF THE TABLE. 81 INT.DAY . CONTROL Shut up. feet up. CONTROL Step into my lair. CONTROL (CONT’D) Report by Soviet High Command on their recent naval exercises in the Black Sea. SMILEY (Engrossed) Where did you get it? CONTROL I didn’t. He hears footsteps approaching down the corridor and stop outside his room.

” SMILEY (Faintly) We? CONTROL Percy and his pals have bypassed us. Alleline enjoys his amazement. Everyone’s very excited. too many scandals. Smells a fake. staggered. SMILEY Where does it come from? What’s the access? CONTROL Percy doesn’t feel like telling. PERCY ALLELINE (CONT’D) We have named the operation “Witchcraft. CONTROL Smiley is suspicious.. Percy.the young lion challenging the old. . Control turns to Alleline.? PERCY ALLELINE He has access to the most sensitive levels of policy making. Percy’s to be allowed to keep the identity of his new friend top secret. If it’s true. PERCY ALLELINE A new secret source of mine. SMILEY But how could he possibly have access to. Gone straight to the Minister. Too much failure. Percy packs his pipe. too little solid intelligence! Control is still smiling but only now do we realise he is almost shaking with fury. enjoys the moment . with a mocking smile. Smiley. this is the jackpot. PERCY ALLELINE The Minister agrees with me that too many secrets are blown around here. Smiley stares at him.38.. he leans over points with bureaucratic pride to the FLAMES on the LETTER HEAD.

shaking his head and saunters out. but then he stands up. PERCY ALLELINE Meanwhile we’re losing our reputation. Bland and Esterhase leave. ROY BLAND Percy does have a point.39. CONTROL Your bloody Yanks! PERCY ALLELINE (Shouting) And we’ve had enough! There’s going to be changes. not each other.. CONTROL Luckily Percy’s cabal has come to save us. CONTROL (Contemptuous) I should have left you where I found you.. our partners. PERCY ALLELINE (Bulldozing on) It’s all office politics here. . Now the others have left. Toby Esterhase finds his moment... We should be fighting communism. Smiley! Changes. TOBY ESTERHASE We need to decide if we’re part of the past. SMILEY (Cautiously) If Witchcraft is genuine.. Control seems to sag under the weight of some unnamed fear. He turns a haggard face to Smiley. or part of the future. CONTROL OUT! ALL OF YOU! Alleline. CONTROL I don’t trust miracles. For a moment it looks as if Haydon will stay. ROY BLAND Control. Control. if we could all just..

DAY Mendel passes him the tea. MENDEL (Of the tea) Courtesy of Mrs P. SMILEY 83 82 Mendel notices one SLIP OF PAPER. So why was (MORE) . You been up all night? Smiley sits down wearily.PRESENT Mendel holds two mugs of tea in one hand. October twenty first. 82 INT.. After a moment a bleary Smiley opens the door and lets him in. We hear a KNOCKING and find ourselves back in.SMILEY’S ROOM .. sitting alone on the opposite side of the desk. MENDEL What’s that? SMILEY Request for a thousand pound’s in cash from the reptile fund. HOTEL ISLAY . Prideaux was killed in Hungary a year ago.40. Yes. gives the agreed knock at Smiley’s door again. MENDEL What’s so strange about that then? SMILEY The date. SMILEY It was one of Jim Prideaux’s work names.DAY . MENDEL Who’s Ellis? Smiley leans back. HOTEL ISLAY . rubs his tired eyes.SMILEY’S ROOM . sips his tea. 83 INT. What for? MENDEL SMILEY For a Mister Ellis. takes in the desk piled high with papers.

85 INT. SMILEY (CONT'D) someone giving him a thousand pounds two months later? He takes another sip of tea.. headed straight for Spikely who stands frozen in shock as the bird swoops towards his face. A little soot falls..CLASSROOM . One SPIKELEY . . its wings now ON FIRE. A group of BOYS watch him pass. pounding along with his odd. with a terrifying SCREECH. THURSGOOD SCHOOL .. Prideaux drops a pile of books onto the desk of a boy SPIKELY. THURSGOOD SCHOOL . continues writing.DAY 84 Prideaux is running around the track..41. The boys stare after their new teacher in SHOCKED SILENCE. thrashes in the flames before flapping out into the class.mimics the run to the amusement of the others.. Roach flinches but doesn’t say anything.JE M’APPELLE MONSIEUR ELL. loping stride. The sniggering fades out as all eyes turn nervously to the fire. continuing to walk like a HUNCHBACK.. PRIDEAUX Hand those out. NECK SNAPPED. Prideaux is THERE and grabs the burning bird from the air and in a second has it folded in on itself..PLAYING FIELDS . Prideaux hears but doesn’t turn. 85 . The class snigger. shrieking hideously. and strides out of the room with it. The BOY behind slaps the back of his neck with a ruler... ROACH sits near the back of the class. gazes at Mendel thoughtfully. 84 EXT. Behind him Spikely hands out the books. somehow. He crosses to the board begins to write on it . Then. Then from the CHIMNEY comes an unnerving SCRABBLING sound.DAY A fire burns in the little grate. The Boy does it again. an OWL drops down into the grate. what is that noise? Then..

Roach. Bill. What’s your name? BILL ROACH Sir. where Prideaux sits in the doorway. Frightened.PRIDEAUX’S CARAVAN . Prideaux pretends not to notice. my father’s left. . so. sliding down the dip to him. BILL ROACH (Blushing) My mother and father. massaging his raised shoulder. I’m a new boy.. PRIDEAUX (After a moment) Come down here. Finally his face relaxes a little. Roach obeys. PRIDEAUX (CONT’D) (Identifying him) Boy with the marble. ROACH 86 PRIDEAUX Gave me a turn up there.. What you good at? Roach tries desperately to think of something. PRIDEAUX Bill? The unpaid Bill.. and drinking something from a green beaker. PRIDEAUX New arrival.DAY Roach is hiding. THURSGOOD SCHOOL .. eh? Middle of year? What’s the story? Roach hesitates. sir. Prideaux examines him fiercely. BILL ROACH PRIDEAUX Known a lot of Bills. Anyone ever call you that? No sir. Thought you were a Juju man. spying down on the caravan below. He doesn’t know how to explain his misery any further.42. 86 EXT. Yes sir. They’ve all been good ‘uns. parked on the horizon.

Long as he’s got his specs on. busies himself with brushing at something on his shirt. Ricki. BILL ROACH Nothing sir. Best watcher in the unit. PRIDEAUX You’re a good watcher though eh? Us loners always are. SMILEY’S HOUSE . He scans the step and stoops to pick something up. RICKI TARR Hello Mister Smiley. isn’t it? Don’t waste it down here. Prideaux looks down. his absent-minded air hardening into something more ALERT. Roach sets off up the dip. come for him? He walks in and finds. No one else spotted me when I turned up here. stops. rubbing his aching shoulder. A WEDGE. examining the door. He looks back and sees Prideaux has walked into the caravan and stands with his back to him. the knife on his lap. SMILEY Hello.. 88 INT. He pads towards the drawing room. wipes sweat from his hands on his trousers. 87 EXT.. 89 . PRIDEAUX Free period.DAY Smiley walks up to the steps of his home. SMILEY’S HOUSE . Prideaux finishes his drink. SMILEY’S HOUSE . 89 INT.DAY 88 87 Smiley walks into the hallway senses alert.DAY RICKI TARR sits smoking in the darkness.43. I’ll bet. You remember me. steels himself. Is it finally Them. Bill Roach is. Right? BILL ROACH (Gratefully) Yes sir. nods to Roach. The boy’s eyes start to MIST UP. He tosses the wedge onto the table.

SMILEY I’m going to try. I could sleep for a year. Smiley notices the pile of letters for his wife Ann they’ve been disturbed. How long have you been here? RICKI TARR Few days. Smiley watches him closely.. Feel like him. RICKI TARR Losing my touch. Ricki? RICKI TARR Here. Who is? SMILEY RICKI TARR Your lot. There’s every chance they’re watching it. As he does so he’s scanning the room . Tarr rubs his beard.automatically noting the changes .. (Beat) You going to find him then? The Mole? Smiley crosses to another chair. Needed somewhere to hide. Run out of places now. I’m innocent. Smiley fights down his anger. RICKI TARR (CONT’D) I know what I must look like. Within reason. Two years. Rip Van Winkle. very aware of the knife. . They’re gonna kill me. Or their lot. RICKI TARR (CONT’D) (Following his gaze) Old habits.44. SMILEY I wouldn’t use my home as a safe house.the remains of a meal on a table. SMILEY (CONT’D) You missed a wedge. there. by the way. SMILEY Where’ve you been. Whoever gets me first.

signals to him.a boiled-looking British spy.DAY Tarr enters.S.ENTRANCE LOBBY . Groomed. idly playing with a knife with a distinctive white BONE handle. Get her back from Karla. ISTANBUL . I want you to trade for her. I wanted to see you. Tufty’s slightly foolish smile slips a little. ISTANBUL .TARR’S APARTMENT . smart. lights another. 91 INT. Tarr opens the back seat and gets in. followed by Tufty carrying one of his bags. 90A INT.AIRPORT .DAY . A car pulls up across the road TUFTY THESINGER .PAST 90 Ricki Tarr emerges blinking into the white sunshine. not over-bright.TARR’S APARTMENT . name of Boris. They’d found some Russian trade delegate. ISTANBUL . Tarr pulls his shades down and saunters over to his ride. 91 90A .45. SMILEY What do you want Ricki? RICKI TARR There’s a woman. RICKI TARR Her name’s Irina. Tarr stands at tripod mounted BINOCULARS set back from the window. figured you’d turn up here sooner or later. He was spending high and wide in the nightclubs and some idiot thought we could turn him.) I met her in Istanbul. RICKI TARR (O. But the apartment we’re in is deserted and in a state of disrepair. that same restless energy. SMILEY What woman? Tarr finishes his cigarette.NIGHT Nineteenth century European grandeur. 90 EXT. RICKI TARR Calculated risk Mister Smiley.

RICKI TARR (V. her head above the frosted glass and stares straight at us. smirking at the sounds coming from the bedroom. Irina walks past him and we track with her as she enters a BATHROOM. unconcerned. In the bedroom a heavy set man .O. trying not to laugh. 92 EXT. Irina absorbs this.O.NIGHT HER P. Then a car sweeps past on the road below and there’s a flash of light behind Ricki’s head . wait. Suddenly IRINA straightens up.the headlights reflected in the lenses of the now visible BINOCULARS.a Brutalist concrete slab.V.. Something about her has caught Tarr’s attention and he leaves the binoculars.O. walking closer to the window.V. Boris lies.NIGHT 92 TARR’S P.) I took one look and saw that he was a hood. ISTANBUL . RICKI TARR (V. RICKI TARR standing at the window opposite.46. ISTANBUL .BORIS .TARR’S APARTMENT .) (CONT’D) Probably coat trailing. where a YOUNG WOMAN has just arrived. where the Minders stare fixedly at the floor.O..) (CONT’D) He had a wife with him. Above everything else. SERGEI and IVAN.IRINA’S HOTEL .O. This is IRINA. The Maid jumps out of the bed. trying to draw one of our men out into the open. 93 EXT. .the HOTEL opposite . reaches for his cigarettes. but somehow snagged by that look. Commonlaw. We TRACK to one side. A moment between the two. grabs her clothes and flees. and see the “drawing room” of the hotel suite.is having sex with a MAID. RICKI TARR (V. the rooms have floor to ceiling windows. where Boris’ two MINDERS. 93 . We TRACK further along again and see the CORRIDOR outside the hotel room. anger at her humiliation being observed. The glass window here is two-thirds frosted and we lose her as she bends over a basin. Moscow trained. knowing he should turn away. She walks on past and into the bedroom. Irina opens the door and walks into the drawing room.

O. ISTANBUL .NIGHT Tarr approaches the night club. glancing around quickly before slipping inside. Ricki Tarr. ISTANBUL .Her husband and the Minders are heading for a row of gaudy nightclubs. As we watch he draws the curtains along the length of the room.47. Moments later Boris opens the curtains again and starts to dress. We watch as her shape is rolled along the window by the force of Boris’ blows. 94 94A EXT. spotting Tufty Thesinger at a table. And someway behind him. ISTANBUL . He scans the room for Boris. ISTANBUL . head for a night out. 94A 95 96 OMITTED EXT.V.O. 94 EXT. Finally the billowing fabric settles. grabs his knife. As Irina walks back out of the bathroom. Ricki watches the street below as Boris. trailing.NIGHT RICKI TARR’S P.NIGHT Ricki Tarr enters. picks up a vase and hurls it at Boris. Sergei and Ivan exit the hotel. Irina lies on the bed. ISTANBUL . She exhales a breath on the glass.IRINA’S HOTEL . 96A 97 INT. 97 .NIGHT CLUB . He stubs out his cigarette and calmly climbs out of the bed.IRINA’S HOTEL . TUFTY THESINGER (grinning) This is going to be a long night. . Tarr pulls on his own jacket. just missing him. watching as Boris and the two minders are entertained by the clubs hostesses.V.V. clutching a bundle of currency. Seconds later the curtains billow as Irina is thrown against them. obscuring our view.NIGHT IRINA’S P. He crosses towards him. Boris calls for more drinks.O.NIGHT CLUB . 95 96 96A EXT.NIGHT RICKI’S P.

48. I could sense it in her. ISTANBUL .PAST 101 Ricki Tarr is talking to a man. 98 INT. 101 RICKI TARR 99 100 98 INT.DAY . Ricki Tarr is on the back seat. SMILEY You were due to fly home the next day. exhilarated. Ricki walks towards us..IRINA’S HOTEL .NIGHT Irina answers the door and finds Ricki Tarr outside.. (Beat) Just wanted to check you were alright. SMILEY Sense what? A secret. Smiley studies him. The deal concluded.DOCKS . sleeping. ISTANBUL .DAY .GARAGE . 102 . 102 EXT. the man pulls back the sheet to reveal the car. SMILEY’S HOUSE . Didn’t have anything to tell yet. RICKI TARR Your bloke’s a bit of a bastard. ISTANBUL . But. free. What did you tell London? RICKI TARR Nothing.O. 99 100 OMITTED INT. A sports car lies under a sheet.DAY Irina is driving.PRESENT Tarr exhales smoke. RICKI TARR You baby-sit this one. RICKI TARR (V.) (CONT’D) There was something about her. She stares at him.

I want a new life in the West. Suddenly Irina withdraws.. We see a growing attraction between them. Michael Trench. Something big.WORKERS CANTEEN . 103 INT.DAY A workers canteen on the Bosphorus. IRINA (CONT’D) I would like to talk to your boss Control. . A Holiday Romance. flirting. Tarr feels he is the master of this situation. talking. You tell them. examining everything carefully.PRESENT 103A Smiley sits with his hooded.O. an insolent smile. SMILEY’S HOUSE . And weaknesses. Tarr waits her out. A long beat.. bored look.) I played the businessman. ISTANBUL .. Tarr desperately tries to stay looking calm. He flicks a look at the pile of Ann’s letter. Tarr and Irina sit drinking wine.O. I have something to trade. IRINA (CONT’D) That is the deal. IRINA I know what you are. RICKI TARR (V. RICKI TARR (V. 103A INT.. 103 Irina and Tarr laughing. SMILEY What made you so sure she wasn’t coat-trailing? RICKI TARR We’ve all got our strengths.49.EVENING .) (CONT’D) But second date she made this open play. They move closer to one another. Thought I’d take my time with it. Tarr gently traces a bruise on Irina’s arm. She stares at him.

RICKI TARR (CONT’D) Me. The lives of my children? Do you understand? She walks slowly towards him. I said I’d tell the Circus. I know women. Carefully) If they had more information. Tarr lets his face harden. RICKI TARR (CONT’D) (Shrugging) You can’t expect them to jump at every offer of service. 104 105 OMITTED INT. SMILEY (Beat) But you didn’t? Tarr’s smile fades. Irina doesn’t answer. So.(Beat.. if you won’t tell me more..DAY . there’s nothing I can do.) Wanted to find out more first. New life for her and her kids.PAST Irina prowls the room. Said she’d only tell Control.50. 104 105 . ISTANBUL . So. RICKI TARR (V. bends over. RICKI TARR (CONT’D) Well. SMILEY She had children in Russia? RICKI TARR That’s why they let her and Boris out. The mother of all secrets. IRINA If I tell you. paces. smoking. Tarr lounges by a window. She stares at him. She wanted to trade. I waited her out.O. She said she had a secret.TARR’S APARTMENT . I’m putting my life in your hands. begins to whisper in his ear.

amused by her efforts to keep her clothes on. The two minders clap in time to the music.TARR’S APARTMENT . Tarr responds.TARR’S APARTMENT . . He starts to strip the girl of her uniform. They want to know what the hell you’re doing.AMBITION. ISTANBUL . A long beat.over a back-room and through a STEEL DOOR to the CYPHER ROOM beyond where we find a drunk TUFTY THESINGER watching Tarr send a CODED MESSAGE.. No details to the Circus. We intercut their intense love-making with. Boris grabs the girl by the hair.NIGHT Silence.NIGHT 107 A drunk Boris groping a very young hostess on a dance floor..DAY 109 108 Tarr threads his way through the crowds of evening shoppers and tourists. ISTANBUL . encouraging him.NIGHT CLUB . 106 INT.. holding in his head the BIGGEST SECRET of his career. passionate. excited by her. Not until we’re safe. 107 INT..NIGHT 106 The two make love. biting her neck. TUFTY THESINGER You were supposed to have gone. now that she needs him.IMPORT/EXPORT OFFICE .. 108 INT. his shirt undone. RICKI TARR (genuine) I promise. 110 EXT.. ISTANBUL . barely able to stand.. 110 . Irina trying to bind him to her. through the RECEPTION . There’s something new on his face .EVENING We’re gliding above the respectable front of a Business OFFICE. laughing. ISTANBUL ... Tarr and Irina stare at each other. The inane music blares on. 109 EXT.51. ISTANBUL ..which maintains the cover story of an Import/Export outfit. IRINA (tenderly) Promise me you’ll be careful. eyes glazed with drink. London stations’s been on to me.

111 INT. . to get the proper attention. Ricki? RICKI TARR Just that I had a Moscow Centre trained hood wanting to defect. not because I’d defected or anything. One of the scalp-hunters. SMILEY (CONT’D) I understand how you felt. You wanted to do something. He colours. SMILEY And what did your message say. RICKI TARR I said that she claimed to have information crucial to the wellbeing of the Circus.S) And what else? RICKI TARR That she had information concerning a Double Agent.. I wanted to bring this one in myself. RICKI TARR (CONT’D) I was just trying to. I quite see that.. SMILEY’S HOUSE . Someone to give the dirty jobs to.PRESENT Smiley takes off his glasses and wipes them.52. (Beat) And I told them to tell Mister Guillam that this was the reason I hadn’t come home. SMILEY (O.NIGHT . SMILEY Yes. RICKI TARR I know what I am to the Circus. RICKI TARR (without turning) Fuck off. For the first time there’s something else behind his smile. What else? SMILEY 111 Tarr looks at him.

He looks up. SMILEY What happened next Ricki? RICKI TARR I waited for a reply.DAWN Tarr bolts down an alleyway. 116 EXT. a radio is playing LOUD POP MUSIC. It didn’t make sense. The hint of a mocking smile.ALLEYWAY .NIGHT 115 Boris turns from the balcony. exhaling smoke from a cigarette. ISTANBUL .DAY 117 116 The door is ajar. senses alert.53. 117 INT..NIGHT 114 113 BORIS stands looking straight at him. INSERT .NIGHT Tarr stands staring across at Irina’s hotel balcony with binoculars. ISTANBUL . Behind him we can just see SERGEI and IVAN sitting in the room. ISTANBUL . Tarr pauses on the threshold. Thesinger is asleep at his desk.IMPORT/EXPORT OFFICE . 115 INT.IRINA’S HOTEL .PAST 112 A tense Tarr sits waiting for a reply. It’s dark outside. . 113 EXT.IRINA’S HOTEL .IMPORT/EXPORT OFFICE .TARR’S APARTMENT . Tarr jumps to it.NIGHT . the faint smile still on his lips..O.“We read you” RICKI TARR (V. Tarr begins to decode the in-coming message on a one-time pad. The TICKER MACHINE begins to rattle into life. ISTANBUL . 114 EXT. ISTANBUL . his expression CHANGING. Like they were stalling. He takes out his KNIFE. ISTANBUL .) I waited hours but that was all they sent. 112 INT.

He’s been tortured.two men.54.DAY P. in a pool of blood. looks at the knife in his own hand. leaving a trail of bloody footprints on the pale carpet.follows his gaze. TINY DISTORTED FIGURES walking down the corridor towards her.IRINA’S HOTEL . Tarr absorbs this. a hand moves a little.DAY P. The other manages to convey a rather touching amazement at the violence worked on him. Irina glances at it. the shower curtain used to catch the pooling blood.O. He notices a child react to something . BATHROOM Irina is backing out of the room.WORKERS CANTEEN . ISTANBUL . 119 INT. one eye gouged out. He’s been tortured.IMPORT/EXPORT OFFICE . SPY-HOLE .V. Tufty lies on the floor.V.O. knowing it’s too late for her. 121 INT.PORT AUTHORITY . She turns to the door.The TWO FIGURES loom closer. Her P. 120 INT. a garroting wire around his neck.. Tarr watches Irina’s departure. sick with guilt.BATHROOM THROUGH THE HALF-OPEN DOOR Irina enters the hotel room. turns and runs. Then she looks towards us. . We catch a glimpse of the BUTCHERED REMAINS of BORIS hanging from the shower rail.DAY A desperate Tarr hurries towards a phone. She BACKS AWAY across the room to the door. TARR’S P.O. . 121 120 119 . She stops a moment. . ISTANBUL ...V. ISTANBUL .O. The phone starts to RING.. Tarr walks in and stops. Just before the figure disappears.DAY 118 A fan stirs the dusty air. . His throat has been slit wide open.behind glass panels . A paranoid Ricki watches from the back of the hall.a bandaged figure upon it. ISTANBUL . afraid. looks out of the SPY HOLE. 118 INT.Crowds of people throng the busy port.a glimpse of three men wheeling a gurney .V.

He stands up abruptly.LIFT SHAFT .DAY We are peering down the lift shaft as new secrets are winched towards us. That’s all I know. He looks what he is. mind still back there.NIGHT .DAY 125 Alleline sits in his baronial chair.PRESENT Tarr picks at a loose thread on his cuff. A man who knows he’s OUT OF HIS DEPTH. SMILEY’S HOUSE . Across from him the SAFE stands.. almost bewildered by his own feelings. I don’t know why.. a light film of sweat on his forehead. CIRCUS . SMILEY Where are you going Ricki? You said yourself. but. CIRCUS . SQUASH CLUB .. an almost malignant presence. Keep you safe. I keep thinking about her. 122 123 OMITTED INT. 126 . I owe her that. Alleline stares at it. Karla will be looking for you.55. heading for the door. alone in the room. I’ve done a lot of things Mister Smiley. RICKI TARR Who’s going to keep you safe? 122 123 124 INT. I can take you somewhere. RICKI TARR (CONT’D) She wasn’t even my type.EVENING A dark warren of corridors and glassed SQUASH COURTS somewhere under-ground. 124 125 INT. (Beat) I want to get her out. RICKI TARR They put her on a ship. Tarr’s face twists with mirth.CONFERENCE ROOM .. (Beat) He smiles. 126 INT.

56.

Alleline walks along the courts, new racquet in hand, uncomfortable in his too- tight white shorts. He reaches a court. Inside LACON and the MINISTER are playing a furious game of squash. 127 INT. SQUASH CLUB - EVENING 127

The three men stand talking within the transparent cube of the court. Lacon and the Minister are still sweating from their game. The Minister is smoking. OLIVER LACON Percy has always resisted suggestions of wider exploitation of Witchcraft’s intelligence. MINISTER Drop the bloody jargon, Lacon. PERCY ALLELINE I’ve refused to share Witchcraft with our allies, so far, Minister. MINISTER Greedy boy. PERCY ALLELINE My goal has been to establish his track record beyond all doubt. I think the time has come to approach our American brothers-inarms. The Minister considers this with some excitement, takes a drag on his cigarette. MINISTER You think they’ll take us back into bed? PERCY ALLELINE I’m not interested in a one-off trade. I want on-going access to American intelligence. This stops the Minister. He turns to face Alleline. MINISTER Do you think we can get it? Alleline senses he has just risen several rungs. He slashes inexpertly with his racquet.

57.

PERCY ALLELINE With Witchcraft on our side, I think we can get anything we bloody-well want. 128 EXT. HAMPSTEAD PONDS - DAY 128

Smiley swims in the placid water. We hear music. The tinkle of glasses from a happy Christmas party... CONTROL (O.S.) (mock out-rage) Percy? 129 INT. CIRCUS - FIFTH FLOOR PARTY - NIGHT - PAST - And we are back in the Circus. We find Control - arm outstretched, finger pointing. CONTROL Percy. Did you do this? A Christmas Party of the past. Control, at the height of his powers, a punch glass in hand. Noise and music: the normally earnest atmosphere of the Circus released in an unexpectedly boisterous gathering. CONTROL (CONT’D) You penny pinching Scot. Can you not take a bloody order. No one is to tamper with the recipe. It’s going to take us five hours to get drunk on this piss water. Alleline tries to smile. PERCY ALLELINE I followed the recipe. He glances nervously at his wife, a vivacious alcoholic, just beginning to make a show of herself. She puts a CROWNSHAPED party hat from the cracker onto Alleline’s head. He brushes it off, anxious not to appear the fool. PERCY ALLELINE (CONT’D) (Muttering) For God’s sake Mary... BILL HAYDON, wearing a crown from the cracker at a rakish angle, appears in the nick of time, leads Alleline’s wife out for a dance, teasing the sullenness from her. They’re good dancers. Alleline relieved, crisis averted. 129

58.

129A

INT. CIRCUS - FIFTH FLOOR PARTY - NIGHT

129A

We find Smiley trapped in a conversation with an earnestly drunk deb. Control raises his arm above the melee. He’s still at the punch bowl. CONTROL Smiley? Where’s Ann? Get me a lady of taste? Ann will sort it out. SMILEY (grateful to get away from the deb) I’ll go find her. Smiley threads his way through the party, walking amongst his colleagues, enjoying himself... Jerry Westerby and Connie Sachs are arm in arm, singing along to a song - “The Second Worst Spy in the World.” They link Smiley to them for a verse, others joining in around them. The song segues into the Russian National Anthem. The crowd sing lustily, many of them Russian-speaking, enjoying the chance to sing with vigour. Smiley walks on. Behind him the song ends to be replaced by the CHARLIE RICH song we heard earlier. His P.O.V. - One of the larger Mothers doubled up with laughter, pulling a cracker with a flushed TOBY ESTERHASE, hopelessly outweighed, but competitive to the finish. - ROY BLAND with his plain wife, eyeing one of the pretty debs as she dances by. A mother takes Smiley by the hand and leads him briefly into the dance. Smiley takes a turn with her, and extricates himself. Still smiling... 130 INT. CIRCUS - FIFTH FLOOR PARTY - CORRIDOR - NIGHT ... he walks down a dark corridor, the noise of the party fading away behind him. He stops seeing something in the shadows of an office. For a moment he doesn’t understand what he’s seen. REVERSE Two shapes locked in an embrace. Smiley stands, nakedly absorbing the body blow. Then he turns and walks back to the heat and noise of the party. 130

131 Smiley considers telling Guillam about Tarr’s visit. SMILEY Yes. Smiley has his towel. (Beat) I want you to get something for me. you can’t mention me. carrying his briefcase.. 133 INT. Peter. (Beat) If you have the slightest reservation. I need the duty officer’s log book for last November. I’m sorry. hair wet from his swim. 131 EXT. into the Lion’s den. BRYANT Mister Guillam? How’s the family? 133 . He springs up the four steps. The security guard.GROUND-FLOOR LOBBY . CIRCUS .MORNING 132 A LORRY roars past. Guillam nods.DAY . Peter. HAMPSTEAD PONDS .PRESENT Smiley and Guillam sit on a bench. Bryant. PETER GUILLAM You look tired. I’m sorry. 132 EXT. Nothing on your back. Nothing on your conscience. Beyond him is the row of lifts.DAY Guillam is at the security gate at the dingy lobby. wiping frame and revealing Guillam arriving at the circus. but I’m going to have to send you up a floor. CIRCUS .. but you’re alone. He gets up and walks quickly away. PETER GUILLAM Is feeling sick to your stomach a slight reservation? SMILEY If you’re caught. I didn’t sleep well. but an instinct for secrecy wins out. steps from his box. After a moment a MAN rises from a nearby bench and saunters over. It’s Mendel. MENDEL You’re clean.59.

He wipes his hands. JANITOR PETE Guillam is briskly frisked. Guillam climbs inside and begins to ascend.. isn’t it? BRYANT (O. . He gives him a yellow slip for the bag.S. Polished shoes appear as they reach the floor. BRYANT Okay sir.. frowning at him over his spectacles. For the first time we realize how NERVOUS he is. Guillam steps out and the Janitor checks Guillam’s pink and yellow chit and motions him through a turnstile. He gestures for Guillam to raise his arms. It’s Bill Haydon standing in a doorway. Bryant stamps a PINK chit and hands it to Guillam. Bryant. Up to Registry today. A self-important JANITOR. then the uniform trousers of a short man. PETER GUILLAM Time you oiled this thing. The search over Guillam sets off down the corridor. A moment.. unnerved by the task ahead . Then he turns. Guillam examines the chit. pulling open the lift cage.. Then he stops him short. PETER GUILLAM Fine. PETER GUILLAM You’re kidding? New rules. As Bryant’s head disappears. JANITOR PETE Pen and watch sir.) We keep asking. PETER GUILLAM Mind the jewels.60. BILL HAYDON (O.) What the hell are you doing up here? Guillam freezes.betraying his own kind. Yellow one for the bag sir. He holds up a box and Guillam hands him his fountain pen and watch. rattlingly slowly.S.

PETER GUILLAM Doing some research. the grin transforming his face.61. JANITOR ALWYN (re: Guillam’s bag) Want me to look after that for you.. A Janitor appears in the entrance. 134 INT. relief mixing with real warmth. PETER GUILLAM You don’t look pleased to see me. Bill? BILL HAYDON Why would I be? You bloody pariah. BILL HAYDON Heard it was quiet down there.. When’re you going to give us something to do? BILL HAYDON Haven’t you heard? Technology’s the future. Then Bill grins. No need for you apes anymore.DAY 134 Guillam arrives at a counter which serves to block entry to the vast archive of files beyond. PETER GUILLAM As the grave. CIRCUS . They’ve reached the end of the corridor. I can get you a posting to Northern Ireland if that helps get the blood racing. Guillam smiles back. BILL HAYDON (CONT’D) We like the Scalp-hunters to know their place. PETER GUILLAM Thanks anyway. Mister Guillam? Thanks. a hand raised in farewell.READING ROOM . Stick to sitting on my arse. Haydon peels away. PETER GUILLAM . On the second floor. Makes a change from sitting on my arse. He pushes a book towards Guillam to sign.

62.

JANITOR ALWYN Gotta give you a chit. The Dolphin’ll kill me if I don’t. New Rules. PETER GUILLAM So, chit me. The Janitor grins, slaps a chit on the bag, raises the counter and Guillam enters. 135 INT. CIRCUS - READING ROOM - DAY A few researchers sit amongst stacks of files. Guillam is filling out requisition slips. Behind the desk, a woman SAL - watches him. SAL What you up to this weekend? PETER GUILLAM (rakish) Visiting aunts. I’ll bet. SAL 135

She takes the flimsy’s from the back of the slips and posts them into her desk. SAL (CONT’D) Corridor D. She hands him back the top copies. SAL (CONT’D) The two-eights are halfway on your right, the three-ones are next alcove down. 136 EXT. GARAGE - DAY 136

Mendel sits in his car, watching the garage fore-court. He looks at his watch. 137 INT. CIRCUS - ARCHIVE - DAY 137

The LIFT CAGE we saw earlier is being raised from the floor by a Janitor at the winch. Another janitor is removing files from it. Radiating out from the lift cage are the shelves of files that make up the reading room.

63.

We find Guillam moving along the shelves reading the fluorescent number cards. He takes a file out, leaving his green slip in the brackets provided by each file. Guillam looks across at his real objective... A row of anonymous looking files on the next aisle - the archived DUTY OFFICER’S LOG-BOOKS, spines bearing the year and month they cover. And in his way - a GIRL perched on a ladder, a MAN mending a radiator. The Man turns round and stares straight at Guillam. Suddenly he POINTS STRAIGHT AT HIM. For a moment Guillam freezes, unnerved. Then he glances over his shoulder and realises the Man is communicating with another WORKMAN behind him. Abruptly, Guillam walks over to the file and swaps it, keeping the title close to his chest. He goes back to his desk, a light film of sweat on his forehead. He sits, a pencil clamped between his teeth, waiting... From somewhere nearby comes the sound of a PHONE RINGING, then being answered. Moments later... JANITOR ALWYN (To Guillam) Telephone sir. PETER GUILLAM (as though distracted) Oh to hell, who is it? JANITOR ALWYN Outside line, sir. Someone rough. The garage, I think, regarding your car. Guillam walks over to the counter, the stolen file hugged to his chest. A LOCKED BOX on a trolley is wheeled towards him and is opened to reveal the OUTSIDE LINE TELEPHONE. PETER GUILLAM (into the phone) Hello? (Beat) Well, damn. Can’t you do the bloody repair? 138 EXT. GARAGE - DAY Mendel is using the office phone, an ELDERLY GERMAN MECHANIC, stands outside guarding the office door. In the background a POP TUNE is playing on the radio. MENDEL Can’t be done sir, you’re going to need a new gear box. 138

64.

139

INT. CIRCUS - READING ROOM - DAY On Guillam... PETER GUILLAM At least get on to the main dealers first...

139

140

INT. CIRCUS - MONITOR ROOM - DAY

140

One of the Mothers is listening routinely in on the call, TAPE SPOOLS revolving, recording the conversation. The POP TUNE plays, insidiously working its way into her head. She idly taps her pen along to the tune. PETER GUILLAM (O.S.) Have you got the number? 141 INT. CIRCUS - READING ROOM - DAY PETER GUILLAM Well, hold on... He cups his hand over the mouthpiece... PETER GUILLAM (CONT’D) ... Alwyn? Chuck me the bag a minute, will you? Alwyn gets Guillam’s bag and brings it over to him. Thanks. PETER GUILLAM (CONT’D) 141

Alwyn goes back to his post. Guillam, still hugging the phone, takes out a BEIGE file from his bag and switches it with the one against his chest. He takes an address book from the bag and finds a number. PETER GUILLAM (CONT’D) (Into phone) 946-0335. OK? Thanks. He hangs up, hands the bag back to Alwyn and steps back into... 142 INT. CIRCUS - READING ROOM - DAY 142

Guillam retraces his steps, placing his dummy file in the pink stack, replacing the one he placed there in its original shelf, remembering to take the green slip from the bracket. It’s done. Guillam takes the green slip and hands it to Sal, who signs it and puts it on its spike. Guillam turns.

TOBY ESTERHASE is standing in front of him. TOBY ESTERHASE (CONT’D) Percy would like quite an urgent word with you.S. PERCY ALLELINE (O.. follows him back out through the counter.. Toby holds the door open for Guillam.) (shouting from the other room) Esterhase.65.DAY 143 The Mothers sit over their typewriters as Guillam and Esterhase walk through into the anteroom.. 143 INT. I’ll have no phone calls. PETER GUILLAM (CONT’D) (to Alwyn. TOBY ESTERHASE Could we see you Peter? For a second Guillam can’t speak. tell them. save me filling out more bloody chits? JANITOR ALWYN Will do sir. TOBY ESTERHASE The Chief will take no calls.. Can you come now to the fifth floor? That would be so kind. Unfriendly eyes. PETER GUILLAM Esterhase turns and Guillam. TOBY ESTERHASE We are having a conference. CIRCUS . inspired) You might just throw that into the lift for me. mind whirring. MOTHER (Muttering) We can hear. mark it for the second floor. ladies.FIFTH FLOOR .OUTSIDE ALLELINE’S OFFICE . please. . Of course.

a sudden roar. PERCY ALLELINE (CONT’D) What are you getting up to down there these days.66..CONFERENCE ROOM . PERCY ALLELINE (CONT’D) How’s Ricki Tarr these days? PETER GUILLAM (Not missing a beat) Fine. Everyone is staring at Guillam..DAY Alleline sits in the baronial chair.. 144 . He’ll be thrilled.mocking him? PETER GUILLAM Couple of Arab ploys look quite promising. Guillam takes in the REPORT they all seem to have spread out in front of them. Alleline lets the silence build. You can rent one but you can’t buy one. PERCY ALLELINE Arabs. Guillam catches a smirk from Esterhase . getting quite good at ping-pong. rather like a bad actor. tea-cups rattling. 144 INT. Haydon on his right. PERCY ALLELINE (Quietly) What’s that shrug for? He SLAMS a hand on the desk. apart from chasing our virgins.. affecting ease. Right Bill? He looks up from the report. Here it comes. PETER GUILLAM I’ll tell him. CIRCUS . Other than that. Bland at his left... Esterhase trots over to his seat. leans against the wall. We have tea at Fortnum’s every afternoon. PERCY ALLELINE I require the matter of your discussion with Tarr. PERCY ALLELINE (Reading) Well now young Peter Guillam. are you ready for me finally? Guillam. Guillam shrugs.

while the room digests this. PERCY ALLELINE So if I told you that Tarr had recently arrived in Paris would you be surprised? PETER GUILLAM Nothing would surprise me about Tarr. Guillam. I’m talking to you about a defector from your own damn section! I’m accusing you of consorting with an enemy agent behind my back! Don’t damn well shrug at me! How’d you like a term in prison? Guillam’s own temper comes to his rescue.67. The first peep from him you come to the grown-ups. understood? Anyone you see at this table. But not another damn soul! . would that surprise you? This DOES shock Guillam. PETER GUILLAM But I haven’t been seeing him! So get your facts straight and get OFF MY BACK! A moment. Got turned by the opposition months ago and now they’ve sent him back to us! What for? PETER GUILLAM PERCY ALLELINE Never mind what for! To muddy the water.he’s heading for home. that’s what for! Spread a whole lot of damn nonsense to get us chasing our tails! The point is this . as if he’s passed some kind of test. PERCY ALLELINE (CONT’D) Your man’s a defector. PERCY ALLELINE (CONT’D) I’m talking to you about a murderer. PERCY ALLELINE And if I told you we happen to know that thirty thousand pounds mysteriously appeared in his bank account last month. A relaxation of the tension. but he manages to hold on to his sullen expression.

CONTROL’S FLAT . to the other end of the workshop where a Vauxhall waits.68. we note he is now carrying his BAG. edges past them and on into the car body repair shop.) 148 147 . I have to see George. 148 INT. He peels off. trying to work out if this MEANS SOMETHING. Change of venue. 145 INT. 147 EXT. MECHANIC (German.CORRIDOR . turning left. Guillam reacts as he keeps on walking. We hear the door to the flat opening. There’s a large tape recorder on the table behind him. screeches to a halt as he reaches a group of children playing. Guillam strides on.S.the same POP SONG that was playing at the garage in the background of Guillam’s call. He gets and strides past the elderly GERMAN MECHANIC we saw earlier. GARAGE .DAY Tarr sits in Control’s green velvet armchair watching TV. sir. Behind him the Mechanic and his SON are already beginning to strip the plates off Guillam’s car. We track with him as his anger and PARANOIA grow.DAY 146 Guillam drives down an alleyway full speed. MENDEL Mister Smiley isn’t at the hotel. nerves at snapping point. CIRCUS . Behind him ROY BLAND is walking down the corridor. subtitled) He’s waiting for you. 146 EXT.DAY Mendel appears by Guillam’s side as they walk towards another waiting car. GARAGE .DAY 145 Guillam is walking to the lifts. MENDEL (A faint smile) All go smoothly did it? (Beat) Where we off to? PETER GUILLAM The hotel. humming a tune to himself . George? PETER GUILLAM (O. Guillam simmering with rage.

Tarr gives his sunny grin but he’s sweating. George! There is no Mole! The whole thing’s a pack of lies thought up by Moscow.69. SMILEY Ricki’s been helping us Peter. FAWN Excuse me. Guillam hurries into the room. stops.. expertly pinning his arm. Guillam punches him in the face. Behind them Smiley and Fawn appear. PETER GUILLAM (To Smiley) He’s a double. you said you sent the Circus a telegram concerning Irina’s information? Tarr sits up. SMILEY As you did take the trouble to steal it. wiping blood from his mouth. TARR Hello. (Indicating TAPE DECK) He’s been telling us all about his adventures. sir. .. sorry I took so long to come back. Guillam hands him the book and Smiley leafs through the pages. Smiley watches coolly for a moment then signals Fawn. drags him from the chair. SMILEY (CONT’D) Ricki. Guillam pulls free angrily. PETER GUILLAM (CONT’D) (To Tarr) I stole that. Do you know how that makes me feel? Smiley holds out his hand for the log book. the two struggling. because of you! I spied on my own. seeing Tarr. Mister Guillam. his eyes full of tension. who drags Guillam off Tarr. Karla’s bought him for thirty thousand pounds! He pulls the LOG BOOK out of his file.

RICKI TARR (Sullenly) S’right.the next page has been cut out. runs a thumb down the razored edge of the missing page. Guillam takes the log book from Smiley...70.. Smiley has found the right month. . examines the note. PETER GUILLAM What about the money? SMILEY Thirty thousand isn’t so much for Karla to pay if it protects his Mole. (Beat) Someone is covering their tracks Peter. It would have been November 20th. PETER GUILLAM He doesn’t know because there was no telegram! The whole thing. He holds up the book . He notices some writing on the next page. Evening. SMILEY November 20th is missing.18th November. considering. SMILEY What was the date? Tarr hesitates. RICKI TARR November 20th.” Smiley takes the book again. Unless you think that’s just a coincidence? Guillam looks thrown. 19th November. PETER GUILLAM (Reading) “Enquiries to the fifth floor. He flicks through the dated pages . SMILEY You recognize that handwriting? (Beat) That’s Toby Esterhase.. I’m afraid someone in the Circus knows all about Mister Tarr and is doing everything they can to discredit him.

HOTEL ISLAY .71. 150 INT. Smiley watches Guillam. PETER GUILLAM Why didn’t you tell me? That you had Tarr? Smiley looks at him. And I suppose you should get your reading done. Karla won years ago and we didn’t even know it.NIGHT The two men are finishing off a bottle of Scotch. It’s a sham.a result of the alcohol and the lack of sleep. staring at the PHOTOGRAPHS of the four suspects Smiley has pinned on his chessmen.SMILEY’S ROOM . estimating how badly all of this is affecting him. staring up at the unprepossessing building.. Unusually. (MORE) . They sit. Guillam rubs his eyes. Smiley nods. I’m sorry. What for? PETER GUILLAM SMILEY 150 PETER GUILLAM I wanted to believe Tarr was lying. Doesn’t move. PETER GUILLAM (CONT’D) In case I didn’t make it out of the Circus. Guillam lies on one of the single beds. Guillam reads the look correctly. Smiley is drunk . HOTEL ISLAY .EVENING 149 Smiley and Guillam pull up in front of the hotel. Karla. in weary silence. thinking I’m fighting a war. SMILEY (Beat) I met him once.. SMILEY Secrecy is a habit. 149 EXT. PETER GUILLAM I should get some rest. (Beat) All this time.

It’s incredibly hot. but Smiley doesn’t notice. SMILEY (CONT’D) No fingernails. He points to an EMPTY CHAIR in front of him. Plane had a twenty-four lay over at Delhi. Half their Agents were jumping ship and I travelled around signing them up.I’m sitting here. lost now in the past. Guillam flinches a little.. Shur... He was on his way back to Russia. SMILEY (CONT’D) I give him the usual pitch.. SMILEY (CONT’D) The Americans have had him tortured. Purge after purge. Guillam raises himself up on an elbow. Or you can catch your plane and fly home and be shot.. Muranov. Hundreds of them. Come to the West and we can give you a comfortable life. like Bykov. He holds up his right hand. .he’s sitting there. listening... I’m very tired and all I want to do is get this over with and get back home. and slightly drunkenly Guillam finds himself turning to the CHAIR for a response. Smiley stares at the room around.. SMILEY (CONT’D) One of them was calling himself Gerstmann. projecting his memory of the Delhi cell onto their present surroundings. Things weren’t going well with Ann.. Moscow Centre was in pieces. and we were pretty sure he was going to be executed.72. He stares at the CHAIR as if expecting an answer. SMILEY (CONT'D) In fifty-five. After questioning. and that’s how long I had to convince him to come over to us instead of going home to die.. SMILEY (CONT’D) Little room.

as if somehow it is acquiring the GHOSTLY PRESENCE OF KARLA.. Think about how much she. we have a lot of stock to trade. Don’t you think it’s time to recognise there is as little worth on your side as there is on mine? .” “We’re not so very different you and I.73. it seemed important to save this one. Think of her... by the way.STARES AT THE CHAIR . He mimes placing cigarettes on an invisible table... SMILEY (CONT’D) “We could arrange for her to join you.the silence stretching ... SMILEY (CONT’D) (To the chair) Look.” He breaks off in sudden impatience with himself. “Know you’re a chain-smoker. You have a wife.it’s all becoming a little surreal.. SMILEY (CONT’D) Kept harping on about the damn wife! Telling him more about me. stares at. Should have walked out. PETER GUILLAM (Beat) What did he say? Smiley doesn’t answer . don’t you? I brought you some cigarettes. of course. between him and the chair. but for some reason.. help yourself. something unsettling about it. we’ve both spent our lives looking for the weaknesses in one another’s systems. If you go back. SMILEY (CONT’D) Use my lighter. THE EMPTY CHAIR ..” He makes a vague “Etcetera” gesture. (Beat) So I go on. she’ll be ostracised. He mimes placing the lighter beside the cigarettes.. than. SMILEY (To the chair) Think of your wife.

a little awe-struck. Peter you have to assume they’re watching you. PETER GUILLAM That was Karla? And he flew back to die rather than give in? SMILEY Yes. He stands up. Smiley sits back.NIGHT 151 Guillam and his boyfriend RICHARD sit at the table. Next morning he got back on his plane. And the fanatic is always concealing a secret doubt. SMILEY (CONT’D) Never said a word. PETER GUILLAM What did he look like? SMILEY That’s the thing. dropping the game. Richard working his way through a stack of essays. Guillam stares at him. from Ann. He scores a red line down a piece of work. SMILEY (CONT’D) After today. . untouched this was a chain-smoker. Because he’s a fanatic. 151 INT.“To George. Guillam stares at him. GUILLAM’S FLAT . realising what he’s talking about. All my love.74. RICHARD (without looking up) Nearly done..” Guillam is still staring at the chair. now’s the time. Silence. It was a gift . He kept my lighter. (Beat) I can’t remember. embarrassed by what he has to say next. mind and flew off to what he presumed would be his death. If there’s anything you need tidied up.. Not one word. (Beat) And that’s how I know he can be beaten. crosses to the window. gave the pack of cigarettes back to me.

is packing his belongings. heart-broken. you can tell me.DAY 152 Prideaux’s BLUE ALVIS bumps and jolts towards us across the playing fields.75. Guillam. PRIDEAUX Who is he? Beggarman? Thief? Why doesn’t he look this way? (MORE) . He notices the way Guillam is staring at him and his smile fades. an exhilarated ROACH at the wheel. RICHARD (CONT’D) (With dignity) If there’s someone else. ROACH PRIDEAUX Who’s the fellow down there? Roach stares at the stranger eagerly. Guillam doesn’t say anything. THURSGOOD SCHOOL . Richard puts the flat keys on the side table and leaves. It’s MENDEL. stops. LATER: RICHARD. He walks past Guillam.. stares after his one time lover. sir. ROACH (Disappointed) Don’t know sir. ROACH (Braking) Time sir? Prideaux and the rest of the class stand at the “finishing line. where a MAN is walking. RICHARD (CONT’D) (to himself) For Godsakes. I think they’re all sharing the same moronic brain.. 152 EXT. PRIDEAUX (Quietly) Got your specs on Jumbo? Yes. I’m a grown-up.” but Prideaux is staring down to a line of beechtrees. bewildered and upset.

ostensibly to break it.the fight escalating as others join in the struggle. Guillam accepts the blows with a bloody grin. 155 . the deb we met earlier. 153 154 OMITTED INT. is doing up her blouse.very modern. CASINO . imposing. turned to us. don’t fight over a bit of skirt! Guillam lies on the floor taking another kick. KASPAR Keep your bloody hands off her! He kicks at Guillam. noting how his expression has darkened. registers only relief. Something of the school yard fight about it. but Roach is still anxiously watching Prideaux. Job done.POOL TABLE . CIRCUS . She’s teary and also a little excited that men are fighting over her. as the other Scalphunters gather around.? CLASS (By rote) Best car in England! They dissolve into laughter.DAY Bright morning sunshine. but his face. Might steal the Alvis. who falls. Don’t hold with odd bods hanging about.DAY 153 154 Belinda. Smiley and Guillam walk up concrete steps of a casino building . caught by a blow. joins in . which is. One of them is trying to pull Kaspar off and. 155 EXT. let me know. up but clearly enjoying the distraction.76.. BELINDA Stop it! Stop it! KASPAR has Guillam pinned against the wall and is punching him. Belinda gives a shriek of alarm. SCALPHUNTER Christ’s sake.SCALPHUNTERS . PRIDEAUX (CONT'D) Wouldn’t you look if you saw a bunch of boys flogging a car around a field? Doesn’t he like boys? Anyone sees him again..

you’re out.DUTY OFFICERS ROOM . CASINO .NIGHT Westerby is following a horse race on the radio. CIRCUS .EVENING . SMILEY (Obliging) How. 157 INT. (Beat) I need to talk to you about the night Jim Prideaux was killed. matter of fact. 158 INT. The casino is empty. How. JERRY WESTERBY But that’s the way it is. A dirty plate in front of him. He drinks from a can of beer. I was to tell him and only him. He points to a drink on the table before him. 156 INT. weren’t you? Westerby looks at them both.) Haven’t seen many of the boys and girls for a while. MAN’S VOICE (O. isn’t it? When you’re out. You were duty officer. Said someone was doing a special job for the service. If anything came in.drawers pulled open.CASINO FLOOR . Control asked me to man the phones that night.S. 158 .PAST 157 Westerby walks down the corridor. JERRY WESTERBY (CONT’D) (An old joke between them) Too much wampum not good for braves.77. George. waste paper bins standing on desks . JERRY WESTERBY Yes. CIRCUS . Jerry. He wanted someone from outside he could trust. We pass OFFICES .the end of day ritual. Guillam and the genial JERRY WESTERBY are sat at a blackjack table.DAY 156 Smiley. Too much of this stuff. a cleaner vacuums in the background.

. work-name Ellis. A knock.DUTY OFFICERS ROOM . sir.CONTROL’S OFFICE . JERRY WESTERBY (CONT’D) Can I have a brief. JERRY WESTERBY Ann? I’m sorry to bother you. The Circus is deathly quiet. other arrests imminent. A dim green lamp on his desk the only illumination. Cigarette stubs piled in the ashtray.. sir.the sound of someone running up the wooden staircase. tense with waiting. Then it is joined by a SECOND. JERRY WESTERBY (CONT’D) From the FO resident clerk.. A PHONE BEGINS TO RING. stands unsteadily. nothing stirring. Control raises his head. Then a THIRD.DUTY OFFICERS ROOM . Is George back yet? 161 . A Hungarian news bulletin. has attempted to kidnap an unnamed Hungarian general in Budapest. please? Sir? Do you want me to deny it? Controls stares at him. JERRY WESTERBY (CONT’D) I have to have a brief sir? 161 INT. lost.. 160 He listens to the solitary PHONE below him in the building..78. Control listens.. From just outside . CIRCUS . He’s been shot. begins to put on his coat.NIGHT Westerby is asleep. (Reading) British spy. He looks ill.. JERRY WESTERBY (Entering) Been a bit of a panic. travelling with false Hungarian papers.. Control stares at him.NIGHT Westerby is on the phone.NIGHT Control sits surrounded by files. nerves stretched to their limit. CIRCUS . 159 INT. CIRCUS . Then. 159 160 INT.

NIGHT . Go on. BILL HAYDON I just picked up half a story on the ticker-tape at my club. JERRY WESTERBY Jim Prideaux’s been shot.79. 163 INT. Kicks the door shut. cutting a swathe through the people gathered outside.. . Thank Christ Bill Haydon turned up when he did.NIGHT . SMILEY What did you say? JERRY WESTERBY Just that there’d been a bit of a crisis.. SMILEY 162 JERRY WESTERBY All hell broke loose . decisive. Bill sits down. BILL HAYDON (CONT’D) BILL HAYDON JERRY WESTERBY I tried to get hold of you. taking charge. Get out. CIRCUS .. She said you weren’t back yet. CASINO . Tell me.military yelling about Hungarian tank movements on the border.PAST 163 PUSHING BILL HAYDON as he walks up the corridor towards the duty room. SMILEY You rang my house? JERRY WESTERBY Just on the off chance you were back from Berlin. Lacon and the Minister baying at the door.. Tell me. 162 INT.CASINO FLOOR . The room clears.PRESENT Westerby and Smiley sit opposite each other. That was it. He pulls out all the phone lines.

He covers the receiver. LATER: Haydon is on the phones. JERRY WESTERBY (CONT’D) Bill? (Beat) Oh God. sandbag some bloody students and put them on ice at Sarratt. waiting to be cleaned. Tell him to pull in the Hungarian agents. anyone we’re onto. picks up an unframed black and white snap from the shelf.80... Haydon listens to a voice for a moment.? For a moment it looks like Haydon won’t answer but then he seems to master his emotions. his back to Westerby. Tell him to get down to the London School of Economics. . A bike up on the wall. JERRY WESTERBY Any more news on him? Haydon doesn’t turn around. He stands. It’s a picture of HIMSELF. HAYDON Get me the Hungarian Embassy.. head bowed.. PRIDEAUX’S FLAT . is he. turns to Westerby. BILL HAYDON We need to go to his flat. JERRY WESTERBY (With relief) Yes sir. Haydon walks past a shelf .. then hangs up.. a pair of muddy climbing boots on a newspaper.NIGHT 164 Haydon walks around the neat rooms. He stops. BILL HAYDON You go and tell your Masters what will happen if one hair on Jim Prideaux’s head is damaged. Clear out anything linked. 164 INT. LATER: Westerby watches Haydon on the phone from the door. Haydon goes white. BILL HAYDON (CONT’D) Get Esterhase on the phone.photographs and books.

Haydon? How could he have known? SMILEY It’s not him..WIMPY . Smiley examining the hamburger . PETER GUILLAM Then how did he know? SMILEY (gently) Because he was at my house that night. possibly crying.his first ... SMILEY The Saville. SMILEY PETER GUILLAM Jesus Christ. PETER GUILLAM At one-thirty? The ticker-tape wouldn’t be running. Peter. George. Guillam sits. mind racing.. They sit in a hideously awkward silence. Haydon stands with his back to us. With Ann. Guillam is thinking about what he’s just been told..NIGHT 165 166 167 Smiley and Guillam sit eating side by side at a bar. Westerby turns thoughtfully away. . Peter. 165 166 167 OMITTED OMITTED INT.doubtfully.. LONDON .81. PETER GUILLAM (CONT’D) So how did he know? Oh Jesus. Guillam doesn’t know what to say. PETER GUILLAM Haydon heard the news at his club? Smiley is distant.

wanting to share this moment of passenger outrage. An old QUEEN.NIGHT . OLD MAN Just in case it’s of interest. but in no hurry to move. chatting as the lights change to RED.DAY 170 Smiley sits on a platform with his back to us.. breaks the surface. . We see ALLELINE’S profile staring stonily ahead. dips in. his face almost purple with the cold. 170 EXT.82. 168 EXT. swimming up to the platform through the reeds... No I’m afraid George isn’t back yet. A woman’s hand reaches into frame and picks it up.PAST 167A The phone on the nightstand starts to ring. Another black cab pulls alongside it.. Not very subtle but there you are. It’s late afternoon. looking out over the water. dear. In the bed beside her we see Bill Haydon. An impatient woman passenger flicks a look at the passenger in the opposite cab.DAY 169 Smiley slips into the water.) Hello? (beat) Oh hello Jerry. Very still and calm. We follow his cab as it peels off into a FAMILIAR street.BEDROOM . A MAN’S HEAD appears. drying off from his swim. HAMPSTEAD PONDS .NIGHT 168 A black Cab pulls up at the lights. WOMAN’S VOICE (O.S. driving towards the house where we met Polyakov. SMILEY’S HOUSE . He clings to the edge of the platform for a moment. We are observed. 167A INT. SMILEY (CONT’D) (of the Hamburger) I quite like this. Very few swimmers. HAMPSTEAD PONDS . LONDON STREETS . The two drivers acknowledge each other. Old Filth in the bushes. 169 EXT. Smiley’s head breaks the surface.

The wind lifts up a little. He crosses to the drawing room. Smiley stares at the mail in his hand as if unwilling to look up.. The door is a little ajar and through the opening we catch a FLASH of movement in the room beyond .DAY 175 . He sits in an armchair.S. which is EMPTY. picks up the MAIL piled on the floor.PAST BACK ON SMILEY . SMILEY’S HOUSE ... rustling the trees and bushes around the pond. A FIGURE walks past Smiley abruptly.83. SMILEY’S HOUSE . He swims away. He sips a cup of tea. who is now wearing a raincoat and we realise we are in fractured memories of. 176 INT. BILL HAYDON sits in the armchair opposite in shirt and trousers. 175 INT. BILL HAYDON (O. We can hear what may be their lovemaking. Smiley doesn’t look up. He pushes open the door and moves into. starts opening some letters.a COUPLE in a passionate embrace. NO SHOES. 176 .. SMILEY’S HOUSE . watched and alone.. glimpsed for a moment before they disappear out of sight.. And a RECORD IS PLAYING. SOCKS. still looking at the mail.DAY 171 172 173 174 Smiley walks into his hallway.. The same CHARLIE RICH track Smiley reacted to in the Islay Hotel.DAY . No sense of having been caught in an act of adultery.. 171 172 173 174 OMITTED OMITTED OMITTED INT. We stay on Smiley.) Good flight? Smiley looks up.

FROM THE DOOR . There is a tap at the door.George with his back to us. listening to the whispers behind his back. BILL HAYDON (CONT’D) That’s what I’m dropping off.EVENING Prideaux lies on his bed.. Roach. 178 178A OMITTED INT. P. Ann was in bed but she insisted on getting up. She said she’ll be down in a minute. Sir? ROACH (O. What’s keeping her? We hold on Smiley but hear Haydon leave the room.O.84. Pleasant enough. JIM PRIDEAUX (CONT’D) Thought you were in sick bay? What are you. PRIDEAUX’S CARAVAN .S. . Smiley glances at a half-wrapped oil painting lying against a chair.DAY Smiley stands in front of the muddy-looking abstract painting we saw earlier.. SMILEY’S HOUSE .) 178 178A 177 JIM PRIDEAUX Come in. . staring fixedly at the picture. THE PAST SMILEY Yes. Roach walks in. BILL HAYDON I was just passing. He stops.) Awful daub really but Ann expressed a liking..V.S. a WHISPERED CONFERENCE in the hall between Haydon and Ann. BILL HAYDON (O. thought I’d call in. 177 INT. seeing the anxiety on the boy’s face.. It’s now on the wall.

and rolls to face the door. ROACH Are you going to have to leave? Prideaux stares at him. now.. gun in hand. The FIVE PHOTOGRAPHS of FACES fixed to the CHESS PIECES before him. 179 180 OMITTED INT. Prideaux aims the gun. Roach wipes his eyes and leaves. did they? Off you go. old fella. You get back to bed.SOMEONE ON THE STEPS OUTSIDE.. motions Prideaux to take another seat. He’s just sitting there.. Control. still trailing tape. With a final effort Prideaux rips his RIFLE free from its hiding place. He dissolves into tears. JIM PRIDEAUX (CONT’D) What is it. Don’t cry. PRIDEAUX (Gently) It’s alright.. a walking corpse. A KNOCK AT THE DOOR.NIGHT 181 The flat Smiley visited. surrounded by mounds of files and papers. to reveal Control peering out at us. over-flowing ashtrays. Silence. the detritus of an obsession. lowers himself into the armchair.. Jumbo? ROACH Sir there’s a stranger parked down on the road.the green armchair. working an arm further in.NIGHT .PAST 179 180 . There is a FAINT SOUND .. Then. Control leads Prideaux into the same room .. CONTROL’S FLAT . Nobody ever watched like you. He steps aside and allows a PRE-INJURY Prideaux to enter.. CONTROL’S FLAT .85... Prideaux crouches beside him. JIM PRIDEAUX I’ll be fine. grimacing with pain. . 181 INT. As soon as the door is closed Prideaux crawls under the little chest of drawers. The door opens.

Bit of politics. but he’s wondering if the rumours could be true and Control really has gone mad. What Hungarian identities do you still have running? PRIDEAUX Andras Benedek. Jim.. He has information I need. . CONTROL (CONT’D) I’ve had an offer of service. PRIDEAUX What information? CONTROL Rocketry. presuming the question is rhetorical. The name of the Mole Moscow Centre has planted at the top of the Circus. Laboriously he leans forward to the CHESS SET. CONTROL (CONT’D) Trust no-one. CONTROL (CONT’D) There’s a rotten apple Jim and we have to find it. CONTROL You weren’t followed? Prideaux sits. A Hungarian General. you keep me out of it. What else? PRIDEAUX CONTROL (Beat) Treasure. Prideaux’s face doesn’t change. bit of Private Enterprise. Especially not in the main stream. Wants to come over. You were acting alone.86. Then. Jim. Ballistics.. Understood? Prideaux watches him. Control nods thoughtfully. Hungarian journalist based in Paris. He has treasure. I want you to meet him. CONTROL If you’re caught. very still. Something in his manner alerts Prideaux.

NIGHT .PRESENT Prideaux sits with his visitor . (Points at the next photo) Haydon .87. CONTROL (CONT’D) Alleline . All I want from is one word. To think any one of you could have been a traitor. He’s drinking vodka. I’m his one you CONTROL (CONT’D) so close I can almost feel heart beating.sure he’s hiding something. SMILEY What did you make of it. madness. recalling the 182 .. Bland .Tailor. Jim? Control’s theory? PRIDEAUX (Stiff) I thought it was madness.Tinker. Smiley is watching him intently . SMILEY (CONT’D) Perhaps some part of you wanted to know if Control was right? Wanted to know if there was a Mole. who it might be? Prideaux shoots him a dangerous look.Soldier..Poorman. it’s too close to Tailor.Smiley meeting. PRIDEAUX’S CARAVAN .? PRIDEAUX You were Beggarman. I know it’s of five men. We drop Sailor. He points to the PHOTOGRAPH of PERCY ALLELINE. SMILEY But still you went? Risking your life for a mission you thought was absurd? Why? Prideaux doesn’t answer. (Pointing at next photo) Esterhase ... 182 INT. SMILEY Which means I was. Smiley nods. Just a flicker of the eyes shows us that this is painful for him to hear.

HIS P. tapping the paper against his leg... a baby is crying. He pauses for a moment. Faintly. as we CUT TO: The SHOT ..88. It’s called doing one’s duty... 184 .TRAIN STATION . 184 INT. Prideaux walks on.DAY The scene from the opening of the film.V. As he does so he glances at the other passengers walking past him. .There it is . sees the old woman. drawing a Hungarian newspaper from his pocket.V.O. Grouping and regrouping as the operation comes to an end. the SHOES they’re wearing BROWN SUEDE BOOTS.but the shoes are the one thing the surveillance agents don’t have time to change. smoking cigarettes by the doors. Those shoes again. and out towards the open doors of a waiting ambulance..a pair of BLACK GALOSHES. punching into his back. looks after the Waiter. passing us at eye-level.GALERIA . a drop of sweat from his forehead hitting the table. BUDAPEST . fakes a smile for the Magyar.DAY . The Waiter puts down Prideaux’s plate.O. Prideaux falling forward. all apparently travelling alone. scans the floor around him. The noise in the background comes to us muted and very faint. He looks at the droplet. Prideaux glances up at the apartment windows above. Hands appear and we are rolled onto a stretcher and lifted up to chest level where we seem to FLOAT past the faces of the MAGYAR and the other Officers.. FUR LINED BLACK PLASTIC BOOTS and the man .one of the women is wearing the BLACK PLASTIC BOOTS.PAST 183 Prideaux climbs off his train and walks down the platform towards us. BUDAPEST . an ambulance siren is wailing. starts to rise. PRIDEAUX (Hard) I went because Control asked me to go. 183 INT. as we CUT TO: PRIDEAUX’S P. TWO WOMEN and a MAN. Her coat is different and she’s wearing a fur hat now . stepping in the water and blood on the floor..

CLASSROOM . 186 We PULL OUT and find Prideaux.89. heavily padded walls. From a speaker in the ceiling comes a maddening jagged drone. They were blown. The story is you blew them to save your own skin. BUDAPEST . to give everyone else time to get the hell out of there.PRESENT 188 Smiley stands staring at the OWL Prideaux killed. which is now stuffed. Prideaux sits at a desk drinking the vodka. (Beat) Did they? Smiley seems to have been thinking about something else. in too much pain to walk. is being dragged down a brightly lit corridor towards an INTERROGATION ROOM at the far end. Did they get out? SMILEY (Beat) No. SMILEY (V. 185 186 INT. PRIDEAUX (V. And snap to BLACK..CELL .NIGHT . the door closed behind him. He is taken inside. puzzled.DAY 187 Prideaux. shoulders trembling. 185 INT.GALERIA .CORRIDOR .DAY We are looking at the back of Prideaux’s head. LUBYANKA PRISON .O. looks at him. THURSGOOD SCHOOL . hair damp with sweat. Lights blaze down. The cell he is in has filthy..) What did you tell them? 187 INT. LUBYANKA PRISON . PRIDEAUX (CONT’D) My networks in Hungary. 188 INT.O. like a straitjacket.) Everything. .DAY We are slid into the back of the ambulance as though into the drawers of a morgue. PRIDEAUX I held on as long as I could. a filthy dressing covering the wound on his back. keeping guard from the top of a bookshelf.

but doesn’t move. All my love. Why? SMILEY PRIDEAUX Because they already knew. I was going to bury that so deep. but inside him something has just been decided. SMILEY What did he say about me? PRIDEAUX He had a cigarette lighter. from Ann. His expression hasn’t changed. “To George. (MORE) . SMILEY (CONT’D) What was your last line of defence? PRIDEAUX The Mole.” He reckoned after Bill’s fling with her. That sort of thing. Prideaux nods. Which was a joke.90. PRIDEAUX (CONT’D) (Still looking to the side) I told him to go to hell. she might want to change the inscription. Smiley doesn’t flicker. Was Percy’s wife still drinking. Control’s crazy theory. who was Bland screwing in the office. Showed me the inscription. they’d never get it out of me. They wanted to know how far Control had got in his investigation. Smiley becomes very still. What else? SMILEY PRIDEAUX Circus gossip. makes an odd gesture as if he’s about to rise. SMILEY Did they ask about me at all? PRIDEAUX One of them did. Kept flashing it round for me to see.

blinking as she does so. A man’s voice comes from further back in the darkness. Her hair is loose and dishevelled about her face. . PRIDEAUX (CONT’D) If they had one man like Bill Haydon they could call it set and match! SMILEY (Beat. They sit in silence for a moment. Prideaux looks down at his hands.. LUBYANKA PRISON .91. SMILEY (CONT’D) Try and put it all behind you.PAST 189 190 191 192 A concrete bunker of a room. trying to control the tremble in his hand. He’s smoking. He makes to leave. Prideaux is standing in a slab of watery sunshine that falls from a sky-light above..DAY . The sense of other people watching from the shadows. Jim. PRIDEAUX He gave me a cigarette.CELL . The rest of the room is in granite shadow. The sound of a door opening and someone being led in. 189 190 191 192 OMITTED OMITTED OMITTED INT. Smiley buttons his coat. PRIDEAUX I thought it was my last one. It’s IRINA. quietly) That was well said. PRIDEAUX P.O.The patch of sunshine only extends a few yards in front of him. Jim? SMILEY Prideaux still doesn’t look up.V. . finished here. A woman walks across the dark room and into the slab of light.

PRESENT P. Another voice murmurs in Russian. 193 EXT.) (Cold) Nobody you need concern yourself with.92.O. when he was being debriefed at the Nursery. Frowns. the shot THUNDEROUS in the room.. obscuring our view. An unfortunate. bewildered and appalled. IRINA A GUARD steps out of the shadows and SHOOTS her in the head. She looks at Prideaux and gives a small polite smile.. as though good manners are going to save her. rain lashes down.) Do you know who she was? SMILEY (V.O. .O. MAN’S VOICE (Russian accent) Do you know this woman? Prideaux looks at her. MAN’S VOICE (O. SMILEY (CONT’D) He said when he got out.. PRIDEAUX I don’t know her..V. It’s horribly unexpected.. and Prideaux jerks backward.) Tell Percy Alleline what we did. Irina pins her hair up in the way we saw before. .. REVERSE .we see Guillam and Smiley are sitting in the parked car in the rain. I.NIGHT .THROUGH WINDSCREEN . HOTEL ISLAY . Who? PETER GUILLAM 193 SMILEY Toby Esterhase.GUILLAM’S CAR .S. he had a visitor. PRIDEAUX (V.

George.forget everything that happened . HOTEL ISLAY . puts the headphones on. PETER GUILLAM Yes. HOTEL ISLAY . Prideaux stands watching a small.Control’s theory. uneasy. Tinker. Just a feeling I’ve had. PETER GUILLAM You alright? SMILEY Will you watch my back. 194 195 EXT. Told him he was dead now and couldn’t come back.PAST . HOTEL ISLAY . Tailor?” 195 196 EXT. How on earth did Esterhase hear about “Tinker.NIGHT Smiley gets out of the car.PRESENT SMILEY He gave him a thousand pounds. Guillam watches as Smiley heads off into the gloom. dapper figure crossing the grounds towards him . presses play: SMILEY (O.DAY . SARRATT .) (Over headphones) What exactly did Irina say? 197 . into the rain. I’ll watch. 194 EXT.. A man who’s come up in the world. Peter? Look out for a solo..TOBY ESTERHASE. Looks around him. Had to become a Lotus Eater ..a complex pattern of related figures.GUILLAM’S CAR .SMILEY’S ROOM . 196 197 INT. Guillam stares at him.NIGHT Smiley stares at the CHESS BOARD . He turns back to the tape-deck. Tailor. ALERT. that’s what I thought. SMILEY (CONT’D) Yes. all of it.93.NIGHT .S..

He presses RE-WIND. where Alleline and the others meet Witchcraft’s London representative. MINISTER This meeting is not taking place. He goes too far. RICKI TARR (Over headphones) She said there was a General. 198 199 OMITTED INT.DAY Lacon and Smiley are meeting with the MINISTER. Minister. Smiley stares at him. watches the tape spool BACKWARDS. And I fail to see the.94. a piece of the jig-saw falls into place. work-name Polyakov who was stationed in London. MINISTER I don’t know what you’re talking about. I need the address of that house. we can tell from his expression. I thought Lacon had made it clear to you. Is that clear? SMILEY Perfectly. (To Lacon) You told me to follow in Control’s footsteps. watches the tape REVERSE DIRECTION. presses FAST-FORWARD. 198 199 . at this moment. Smiley presses STOP. He meets him regularly and takes back information the Mole gives him for Karla. And.. MINISTER (CONT’D (CONT’D) I don’t know the address. keep your nose bloody-well out of Witchcraft’s business! SMILEY (Calmly) It’s Lacon’s advice I’m following. MINISTERIAL MEETING ROOM . somewhere in this city. And that Polyakov’s real job was to service the mole. (Beat) There is a house..

SMILEY (CONT’D) The man Alleline and the others meet is called Polyakov. But you were lazy and you were greedy and so you hounded him out of the Circus and you let Karla in.this long to get us back into the race. myself . I’m sure you’ll be able to take full credit for that. MINISTER (Snapping) Well. There’s a quiet fury in him. . It’s taken Alleline . that’s not possible. MINISTER That’s. A long silence.95. his tone... By you. Lacon glances sharply at Smiley . His real role is to receive information from the Mole to take back to Karla. When he steals our secrets he does it under the very nose of the Circus. SMILEY Made possible. amongst the chicken-feed.and. I wouldn’t consider that sound advice. in the house which you persuaded the treasury to pay for. The Minister is ashen.. after the bloody mess Control left us with. He has the Minister’s full attention now. if I may say so. SMILEY I’m glad you take some of the credit. His voice is still calm.. but it’s clear what’s different now. MINISTER (Appalled) Witchcraft’s intelligence is genuine! It’s been gold! SMILEY Just enough glitter. You believe his role is to bring information from Witchcraft to you. Control didn’t believe in miracles and he didn’t believe in Witchcraft.there’s something different about him.

SMILEY (CONT’D) You’ve opened negotiations to exchange intelligence with the Americans. both men are addressing each other. They need the Enemy to look like a threat. if we have the black men getting to hear about this on Walla-Wallah News! What if we find the Mole and we move him sideways. We’re the bait.. tell them to play the game. some department where he can’t do any harm? Is the Kremlin likely to boast about this? LACON Not in their interests sir. Witchcraft’s information. They turn to him. do you want to take credit for that? Lacon and the Minister stare at Smiley. What they tell the Circus.. the “gold” Karla let you have? It wasn’t to lure you.96. momentarily forgetting Smiley.. MINISTER Well. they’ll be telling the Kremlin. MINISTER What can we do? SMILEY We have one thing the Mole wants. MINISTER Oh God. We don’t go crowing about their fuck-ups! In their panic.. 200 OMITTED 200 . It was to lure the Americans. We can’t be made to look like fucking fools again! Forget Europe. Now. SMILEY (Suddenly) We are not the prize.

RICKI TARR . Guillam speeds off. . The car pulls up on the roadside and two people climb in the back. Esterhase sits stiff. ESTERHASE’S P..GUILLAM’S CAR . Don’t care who you have to trade.DAY CLOSE on a belligerent Tarr./EXT. Ricki. Guillam absorbs the slur but his eyes are hard. I want a family.DAY ON LIFT DOORS: The doors open to reveal TOBY ESTERHASE.97. chatting to a JANITOR. SMILEY (Beat) I’ll do my utmost. LONDON STREETS .holding the door open.. 203 EXT. uncomfortably aware of Fawn’s unsettling presence behind him. then he gives Guillam a knowing look. Nobody speaks. Guillam. The radio is on.. I want your word you’ll get Irina back.. It’s Smiley and Fawn. CONTROL’S FLAT . as though deliberately provoking him.. standing by his car . He looks at Smiley.V.... RICKI TARR (CONT’D) We’re gonna live in Paris out of your hair.O. If I go. 202 INT. confidence regained. mind-whirring. 201 INT. RICKI TARR 201 PETER GUILLAM You’ll go.DAY 203 202 Guillam is driving. CIRCUS . You’ll get her back? Again a flash of the coldness in Smiley. Don’t wanna end up like you lot.

PRESENT . I suppose. CIRCUS . 206 EXT. ABANDONED AIRFIELD . SMILEY (O.PUSHING ESTERHASE .. Saved you from a KGB bullet. Esterhase scans the horizon. Toby.. you didn’t hesitate? Understandable perhaps.we can see now that the hands in the frame belong to Esterhase. Toby stumbles on. Toby starts to turn. but. locks on the black speck in the sky . TOBY ESTERHASE What..DAY .an aircraft flying towards them. 206 205 .. A vast. Someone’s been taking files from the Circus.. when the time came.PAST A FILE is placed in a briefcase .. SMILEY Intelligence has been leaked.DAY TRACKING SHOT .98..S. ABANDONED AIRFIELD . when it came to picking sides between him and Alleline.) Keep walking please. Toby. didn’t he? And yet. what’s this about George? SMILEY It’s about which Master you’ve been serving. as he stumbles through the muddy airfield. serve any Master? 204 Faintly we hear the low drone of an approaching engine. because of your ability to change sides.. 204 EXT. 205 INT. SMILEY (CONT’D) I want to talk about loyalty Toby.DAY . with your war experience.. You’ve survived this long. empty space all around. Esterhase watches the approach with mounting anxiety.. He checks the corridor is clear. Control recruited you when you were trying to escape from Hungary didn’t he? A wanted man. as he and Guillam drive Esterhase on...

ABANDONED AIRFIELD .. SMILEY The files were delivered to a Russian attache.GROUND-FLOOR LOBBY . holding up the documents for Polyakov to photograph .PRESENT TOBY ESTERHASE Yes. TOBY ESTERHASE 211B ..GROUND FLOOR .) . Esterhase holding up the documents for Polyakov to photograph.. this is all.. 211B INT....NIGHT 211A Haydon walking past Mrs McCraig and heading up the stairs to the empty room... TOBY ESTERHASE .99. I delivered them.MEETING ROOM .. weren’t they? 209 INT. Click.PAST 211 210 209 Alleline getting out of the cab by the railings. 207 208 EXT...O. SAFE HOUSE .DAY .. the dog barking from inside the house. ABANDONED AIRFIELD . SAFE HOUSE . and Bill. eyes fixed on the plane as it roars down towards them.. 211 EXT.DAY ... 211A INT..MEETING ROOM ... Bryant politely wishing him good night.PAST Esterhase leaving the Circus.PAST ..PRESENT 208 .DAY . SAFE HOUSE .. SAFE HOUSE ... 207 INT.DAY Roy Bland sits in front of Polyakov. 210 EXT. CIRCUS .... Click.Whir..DAY .. TOBY ESTERHASE This is a mistake George. but so did Percy. And yes.EVENING . Whir... TOBY ESTERHASE (V... And Roy.

SMILEY Operation Witchcraft? Yes. I don’t deserve this.. SMILEY You’re just the messenger? Running between them all.. Esterhase stops.. You know that George. so. Anything to serve Witchcraft? Esterhase flinches again.. runs a palm through his hair. every now and then we give him the odd file to take back to them.100. keep his bosses happy. part of a big operation. ABANDONED AIRFIELD . I don’t know who. One of them. Maybe Percy. just chicken-feed. TOBY ESTERHASE Why are we here? Why are we. I know. But Polyakov’s our Joe. turns to look at Smiley.? Guillam gives him a sudden VIOLENT SHOVE in the back. Esterhase straightens himself.DAY . . TOBY ESTERHASE Things aren’t always what they seem.. I don’t remember. 212 EXT. I don’t deserve this George! SMILEY Who gave you the message for Jim to forget about Tinker Tailor? Bland! TOBY ESTERHASE SMILEY To get rid of Connie Sachs? Westerby? TOBY ESTERHASE Bland or Haydon.PRESENT 212 Esterhase can’t tear his eyes away from the propeller plane descending onto the runway ahead of them. Moscow thinks Polyakov’s working for them.. real fear on his face now. TOBY ESTERHASE (CONT’D) I don’t.

And I know something you don’t. nothing.PRESENT ..DAY ... Whir of Polyakov’s camera.. SAFE HOUSE . almost hysterical. The plane has taxied to a halt ahead of them.101. the shooting just a pantomime for the microphone above.) One of you has been giving Polyakov the Crown Jewels.. I know who he is. you’ve got to believe me.DAY . I would never.. 213 214 OMITTED INT. .GROUND FLOOR . SAFE HOUSE . Something sinister about it. Guillam pushes him again. I’m loyal.. Toby.. SMILEY (CONT’D) I know all about your secret source.O. in the London House. We hear the familiar Click..DAY 215 213 214 Polyakov is photographing. SMILEY (V.. TOBY ESTERHASE I didn’t know. I’m loyal! Smiley watches him cry for a moment.PAST .. TOBY ESTERHASE (crying) George. George.MEETING ROOM . Esterhase turns to look at them in horror. Toby? Toby looks back at the plane. I swear I.. He takes out a canister of developed film and passes it to Polyakov.. standing on the airfield. his face impassive. The table in front of him is empty.! TOBY ESTERHASE 216 SMILEY You picked the wrong side. 216 EXT.. As he continues to shoot we see the Mystery man sitting across the table from him..(Beat) He’s Karla.. George. ABANDONED AIRFIELD . Unmarked. spools turning. SMILEY Are you still a wanted man. 215 INT.

SMILEY (CONT’D) And what’s the procedure? MRS MCCRAIG Whenever the gentlemen are meeting I record the session. Smiley walks upstairs. Open and all’s well. 218 INT. The tapes are sent back to the Circus. From downstairs come the crash of furniture being moved. SMILEY What are the safety signals? MRS MCCRAIG There’s an air duct.not at all happy with the invasion. rooms searched.102.MEETING ROOM . dogged by the HOUSEKEEPER MRS McCRAIG .DAY They enter the EMPTY ROOM. MRS MCCRAIG (CONT’D) What are they doing? They shouldn’t be moving things! The authority in Smiley’s voice stops her.DAY 217 A terrace of flat-fronted nineteenth century houses one of them the house we have already visited. SAFE HOUSE . A CAR draws up before one of them and Smiley. Where do you meet Polyakov? 217 EXT. SMILEY Give me the address. SMILEY Where is the mike. SAFE HOUSE . Closed and you’re not to enter. 219 INT.GROUND FLOOR 218 The men are fanning out. Mrs McCraig? She points at the candelabra. Fawn and Guillam heading into the kitchen. Fawn and Guillam get out and head for the front door. SAFE HOUSE . 219 .

) The boy stood on the burning deck whence all but he had fled.. A squat Yorkshireman . 222 INT.STREET . PARIS . climbing into the passenger side. SAFE HOUSE .MACKELVORE . The Frenchman grunts a greeting. 221 EXT.GROUND FLOOR .EVENING Establishing shot of a street in Paris.APARTMENT . Monsieur Fourcade. An elderly FRENCHMAN . ramming a gun into his side. Ricki. They’ll skin you alive if they find you. .. from the room above.looks up from his evening meal as the two pass. Yet beautiful and bright he stood.SPOOLS SLOWLY REVOLVING 220 Over the RECORDER we can hear GUILLAM’S VOICE reciting something from childhood.walks out of a nearby restaurant and gets into a car.. SMILEY If you’re at all worried you can call Lacon from the basement phone.PARIS RESIDENCY .S. Smiley is listening. Let’s try the tape recorder shall we? 220 INT. PETER GUILLAM (O. turns back to his supper. The flame that lit the battles wreck.DAY CLOSE ON TAPE RECORDER ..103. MACKLEVORE (In French) Guest from London Station. MACKELVORE (as they walk on) The whole service is looking for you. PETER GUILLAM’S VOICE . Out of nowhere Tarr suddenly appears..NIGHT 222 221 Mackelvore leads Tarr into a grand but dilapidated apartment. shone round him o’er the dead. PARIS .ex-Resistance ..

104.TAILOR’S SHOP NEAR CIRCUS .NIGHT A dark workroom. 223 INT.NIGHT Tarr stands over Mackelvore. PARIS . By a great domed window. They reach a door which he opens to reveal a STEEL DOOR beyond. Leave the books where they are and put the keys into the machines. LONDON .CYPHER ROOM . 225 224 . I’ll be talking to London presently under my own steam. Mackelvore frowns. RICKI TARR (mildly) Maybe I want them to find me.NIGHT MACKELVORE You can go home now.. who is sending a message to the Circus. RICKI TARR (Flat) Ben stays here. Ben. we find MENDEL.CYPHER ROOM . This is BEN. He slides open a bolt. As though we are moving through A ROOM FULL OF SPIES. PARIS . Some of the dummies are draped in clothes. some just shapes in the darkness. 224 INT. a double lock.. Okay boss. occasionally washed with yellow from the traffic outside. BEN 223 Tarr takes out his gun. WE TRACK through a crowd of TAILORS DUMMIES. 225 INT. He presses a bell and a hatch in the door slides open and a young man’s face appears. his back to us staring out. RICKI TARR (dictating) Ricki Tarr claims to have further information vital to the safeguarding of the Circus. and lets them into a .

LISTENING ROOM .) Smiley puts the receiver on the arm of the chair. We see a man clamber out. As he does so he spools out a WASHING LINE..) 227 A torch light flashes once from a downstairs window. PARIS . Tarr’s gun rammed into his belt. Someone. 226 INT. SMILEY (into phone) How’s he look? Busy. MENDEL (into phone) Tinker. SAFE HOUSE . Tarr is almost glittering with nerves.NIGHT Guillam... presumably Smiley. MENDEL (O. takes off his shoes and in his stocking feet crosses the room.THE CIRCUS ACROSS THE ROAD.V.105.NIGHT 229 228 The three men stand over the silent cypher machine. A taxi pulls up a few yards away from the circus doors.TOW PATH .. Then the machine clatters into life. MENDEL’S P.) (CONT’D) Here comes Soldier.S. turning the lights off until it is in complete darkness. lit by a harsh over-head light.O.LISTENING ROOM . .CYPHER ROOM .S.. MENDEL (O. 229 INT. 228 INT. 227 EXT. . It’s Percy Alleline.NIGHT Smiley sits in the darkness holding the phone to his ear.S. is moving through the house. waits on the tow-path looking back at the house.S. tying it to the far door knob. SAFE HOUSE .NIGHT 226 Smiley sits on an armchair. SAFE HOUSE . Tailor. MENDEL (O. MENDEL (O.) Full house..

CYPHER ROOM ... I better warn you Ben.. RICKI TARR Read it aloud. 233 INT. BEN (V. 231 INT..) . phone to mouth. as alert as Mendel watching from the window..ARCHIVE LIFT . BEN Personal for Tarr from Alleline. Don’t trust a fucking one of them. reads even faster.LISTENING ROOM .106. rather imperious schoolboy voice carries over the next few shots.. Ben starts to read.) . ON THE DOOR OF THE WAR-ROOM resolutely closed. require clarification before meeting your request. 230 INT. Quote information vital to safeguarding of the Circus unquote does not qualify.S. there’s some lousy people in this outfit.. 232 INT.NIGHT The tailors dummies standing to attention. gripped by a weird hilarity.. BEN . 233 232 Ben 231 230 . BEN (O..NIGHT Smiley sits in the BLACKNESS..NIGHT Tarr has begun to laugh. SAFE HOUSE .NIGHT A shot of the archive room. send further information... CIRCUS . PARIS .. TAILORS SHOP . of the lift full of secrets slowly being lowered into the ground. a slither of light burning beneath it.O.. RICKI TARR That’s the way Percy boy! You keep stalling. his high.

O.NIGHT A long silent look at the dark house. Two men’s voices start to speak in Russian.S.LISTENING ROOM .. A pale rim of light appears around the kitchen door. SAFE HOUSE . sees three long flashes. calm and contained.S. and guided by the line. Smiley puts the receiver back on the armchair. 236 INT. The mole is coming. Then the star of light spilling into the darkness from the air vent. 235 EXT.V. makes his way through the darkness to the door of the kitchen. Mendel. SMILEY I’m here. glowing faintly white in the darkness. He goes to the window in his stockinged feet.NIGHT 234 Guillam.. Smiley picks up the receiver. GUN in one hand. SMILEY’S P.) Mister Smiley. SAFE HOUSE .. groping. 234 EXT. rather like a blind man walking towards the light.) One’s gone.107. MENDEL (O. MENDEL (O.TOW PATH . SAFE HOUSE . The washing line extends ahead of him. Scrape of a key in the door. Smiley gets up.NIGHT Smiley. The tinny sound of Mendel’s voice comes from the receiver beside him. hears the sound of a CAB drawing up outside. A pair of footsteps on the path. nerves taut. Someone else enters the house. Movement in the kitchen. 236 235 . And outside the sound of a second cab drawing up..

GROUND FLOOR . his nerves taut. SAFE HOUSE .GROUND FLOOR . ON Smiley inching across the room. He turns. 239 EXT. churning the SILENCE. 238 EXT.. in Russian) This can be salvaged. No one talking. searching the shadows for movement.108. Guillam sprinting ahead. Three long flashes. Guillam starts to run. Guillam runs past. from the house.S.TOW PATH . POLYAKOV (O. POLYAKOV (O. the signal he’s been waiting for. I want absolute calm! A cab appears and Mendel jumps out. SAFE HOUSE .. PETER GUILLAM OLIVER LACON I won’t have bloodshed. SAFE HOUSE ..TOW PATH .NIGHT 241 240 . Mendel and Lacon hurry towards the house. Tarr can be found and liquidated.) (on tape.S. He’s here. SAFE HOUSE .NIGHT 238 237 Guillam waits.) (In Russian) What is your cover story in case we are disturbed? The sound of ANOTHER voice answering in Russian from further back in the room. 237 INT.NIGHT 239 A nervous Lacon is waiting on a corner.REVOLVING .NIGHT CLOSE ON THE TAPE SPOOL . The sounds of the house amplified.NIGHT The tape recorder working. Perhaps the faintest of coughs. Then. 241 EXT. For a moment he’s certain he’s being WATCHED. 240 INT. SAFE HOUSE ..

244 EXT. can barely look at him. 242 INT. Alleline. 245 Haydon waves it away. exhausted Haydon stands outside the Sarratt building in a small fenced enclosure.V. 245 INT. a broken man. We see Smiley walking towards him.DAY 244 An unshaven. They all turn to look at Guillam who stands panting in the doorway. Racing towards the FRONT DOOR and bursting through. SARRATT . bursting through into.DAY 243 242 Nissan huts surround a cricket field. SARRATT .NISSAN HUT .109. And opposite him sits BILL HAYDON. With a nod he walks on. still in his STOCKING FEET. SARRATT . 243 EXT.. taking them three at a time. Smiley offers Haydon the box of Cigarettes. Absurdly. GUN in hand. as his nerves and excitement and any hope he might have had of a sense of victory DRAINS AWAY.. SAFE HOUSE . leaving him with just an odd sense of embarrassment and shame. SMILEY I was assured there would be no coercion.NIGHT An oddly formal scene. GUILLAM’S P. POLYAKOV stands pipe in hand.. into the hallway and on up the stairs. Smiley hands him a clean handkerchief.MEETING ROOM . .DAY Haydon is weeping quietly but without emotion. Two cadets run laps. He’s brought a box of cigarettes. Smiley walks towards one of the huts. stops as Alleline walks out.O. ON GUILLAM .. Smiley sits in a chair.

(Beat) I’m surprised Karla didn’t shoot him. SMILEY BILL HAYDON There’s a boy too. Smiley looks carefully at Haydon’s profile. didn’t I? SMILEY Yes. . Of course.Would you give her some money for me? Give her a good cover story.. Take it out of the reptile fund.. Bung him a few quid to shut him up. I taught most of them. That was good of you. An over-reaction. Just a reaction. It’s all here. if you like. Craddox says I’ll be off in a few days. Don’t mind the tears. BILL HAYDON (CONT’D) I rather hoped you would do a little light house-keeping for me. yes you did. He weeps again.110. I keep thinking how I’m going to miss the cricket in Moscow. If I can. Or do you think he held back out of delicacy towards you? No response. as a matter of fact he did. BILL HAYDON It’s almost funny George. BILL HAYDON Damn it! I got him back. SMILEY I did have one or two questions. About Prideaux. SMILEY BILL HAYDON There’s a girl. SMILEY (CONT’D) Did Prideaux come and see you before he left on his Hungarian mission? BILL HAYDON Yes. If it helps tell her I love her. I know the Inquisitors little bag of tricks.

Haydon lights a cigarette. BILL HAYDON So did you. A moment of silence. SMILEY (CONT’D) (almost to himself) To warn you. BILL HAYDON (CONT’D) I had to pick a side George. feeling him shrink in stature before his eyes. the one we had to worry about. Guilt and grief. BILL HAYDON I’m someone who made his mark. The West has grown so very ugly. He looks down. Smiley watches him. But you do have a blind spot. lost in thought. BILL HAYDON I’m not his bloody office boy. SMILEY (Quietly) Is there anything you want me to pass on to Ann? For a moment Haydon looks genuinely puzzled. that was nothing personal.111. it was you all along. SMILEY Did Karla ever consider having you take over the Circus? For a moment Haydon looks rattled. Haydon stares out. deep down. SMILEY What are you then? Haydon turns to Smiley. BILL HAYDON Oh. don’t you think? Smiley doesn’t answer. It was an aesthetic choice as much as a moral one. (MORE) . Because he knew. A long pause. For the first time the tears seem real. I hope you understand that? Karla said you were good. George. a flash of hauteur. SMILEY To say what? Haydon stares at him.

Or not. BILL HAYDON (CONT'D) He reckoned if I was known to be Ann’s lover you wouldn’t be able to see me straight. SMILEY’S HOUSE . Smiley stands with his back to us. still in his coat. The little figure on the console table is in the wrong position. Smiley looks around. He’s absorbing the different atmosphere .DAY George comes up his path.home.PAST The same lively Christmas PARTY at the Circus we saw earlier.112. 247 EXT. 249 . places a CHESS PIECE on the piano. a drink in each hand. SMILEY Up to a point. cleared of Control’s possessions. listening to something from somewhere inside the house.NIGHT . A faint movement. looking old and tired. 248 INT. staring through the door at his wife beyond. And he was right. dancing to the Iglesias’ track. CONTROL’S FLAT . Suddenly we hear MUSIC . Something of a Vermeer in the image. SMILEY’S HOUSE . up to a point. a little drunk and happy. singing a disco version of LA MER . Through the HALF OPEN KITCHEN DOOR we catch a glimpse of a WOMAN beyond.JULIO IGLESIAS. We see the piece bears the name HAYDON. ANN is back. 246 INT.very seventies.” He walks away. CIRCUS . Deciding whether to go in. BILL HAYDON. Smiley puts his hand on it.DAY 248 247 He stops still inside his doorway. works his way through the packed room. but doesn’t right it. SMILEY (Quietly) “Tailor. CUT TO: 249 INT. singing along. a little tongue-in-cheek.FIFTH FLOOR PARTY .DAY 246 The flat is now empty.

. Prideaux stands in the shadows behind him. ... BILL HAYDON (Of the runners) Just like us Jim. shakes his head. CONTROL and SMILEY . We PASS PERCY ALLELINE and his DRUNK WIFE. then Haydon turns back to watch the runners. but can’t help but smile fondly at the idiot Haydon is prepared to make of himself. other members of the Circus glimpsed as we pass them CONNIE SACHS.. BLAND. but heads on to his destination.. feeling fond of everyone. We HOLD CLOSE on his face as Prideaux approaches. turns and looks back. SARRATT .. TOBY ESTERHASE talking to one of the SECRETARIES..PRESENT 250 251 252 253 254 The music continues as we see two cadets are running on the circuit... smoking. some fifteen foot away.V. The two men stare at each other. He senses something. talking. (Beat) Best days... . Haydon sits on his bench.113. 250 251 252 253 254 OMITTED OMITTED OMITTED OMITTED EXT. Finally. drunk.. their white t-shirts only just visible in the dark. grinning at us.O. The MUSIC continues as we find.. HAYDON’S P. remembering... Haydon grins at all his comrades.sitting a little apart. He smiles to himself. Alleline looking fretful and hoping no-one is noticing the scene she is making. PRIDEAUX sits watching him come with a drink towards him. watching them flit by. WESTERBY. Haydon is still working his way through the party.EVENING .... the only sound the soft wind and his hushed footsteps growing loser.

As the music continues we. He stops to light a cigarette. coiled with grief and anger. Go and join the others. Misses.DAWN Frost on the grass.114.the sound of a football game. PRIDEAUX (CONT’D) Just bloody join in. He tries again.. PRIDEAUX I don’t want you hanging around here. Roach stands frozen.a bootscrape made in woodwork.EVENING 257aA 257 256 255 Tarr is walking through a busy street. Taps again.. Keep away from me from now on. outlined in silver frost. . A woman in a YELLOW dress appears.the force blowing him sideways out of the frame. RUNNING OUT OF SHOT. 256 INT. ROACH I made you something. 257aA EXT. For a moment it looks like Irina. We find a CADET staring down at the corpse of Haydon leaning against the back of the bench. reflected in the glass. Low. Go and play damn you. From outside . CUT TO: 255 EXT. The music ends. PRIDEAUX’S CARAVAN . Roach goes to kick it.DAY Roach stands in the doorway. She’s holding the hands of two children. carrying a gift . A ball rolls towards him. Prideaux. SARRATT . PRIDEAUX’S CARAVAN . Prideaux stares at the boot scrape. A rifle is placed on the side of his head . 257 EXT. Someone taps on the door.the same execution shot that we saw used on Irina . He watches Roach walk to the edge of the field and stand mutely at the side.DAY Prideaux sits on his bed. suddenly gets up. PARIS DEPARTMENT STORE .

115. 258 . CIRCUS . then pushes on through the turnstile.DAY George takes his place at the baronial chair. He toys with it for a moment. clears his throat. We see it is labelled KARLA.DAY 257A Smiley walks back into the lobby. He stares after her.GROUND-FLOOR LOBBY . 257A EXT./INT. but the woman has disappeared. hesitates for a moment.CONFERENCE ROOM . He examines the CHESS PIECE in his hand. hoping to catch a glimpse of her again. then places it on the table in front of him. Tarr spins round. SMILEY Shall we begin? Through the open door Smiley’s new inner circle begin to enter and take their place at the table around him. CIRCUS . 258 INT.

Sign up to vote on this title
UsefulNot useful