TINKER TAILOR SOLDIER SPY
Written by
Bridget O'Connor & Peter Straughan
1 EXT. HUNGARY - BUDAPEST - 1973 - DAY 1
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.
2 EXT. BUDAPEST STREET - DAY 2
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...
3 EXT. SUBWAY EXIT - DAY 3
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...
4 INT. BUDAPEST - GALERIA - DAY 4
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.
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 on his
cigarette, nonchalantly examining the people at the tables
around them. A WAITER arrives, belly bulging out of his
grubby shirt, hair plastered to his head. He puts two
wizened-looking sandwiches in front of them.
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.
3.
Prideaux's expression doesn't change but he sets his coffee
cup down and casually stands. The Magyar looks up in
surprise.
JIM PRIDEAUX
Would you excuse me a moment?
He starts to walk towards the exit of the Galeria. Behind
him his chair teeters for a moment, then slowly falls back
and lands with a CRASH, sending pigeons fluttering up to
the domed ceiling.
The WAITER starts, turns, sees Prideaux leaving. Panic
flashes across his face, he draws a GUN from the back of
his belt, aims after Prideaux and FIRES - the shot echoing
in the cavernous space.
The shot misses, RICOCHETING off the tiled wall and
Prideaux keeps walking, fighting down the impulse to run,
as behind him, out of focus - an image from a surreal
NIGHTMARE: the other CUSTOMERS stop what they are doing,
like actors at the end of a scene, and begin to rise, some
drawing guns. We hear a muffled voice shouting distantly in
Russian.
KGB MAN
No firing!
Ahead of Prideaux more figures appear, blocking the exit.
He looks over his shoulder just as another SHOT rings out -
this one catching him above the shoulder blade and sending
him flying out of frame.
From around a corner a tall, over-coated man - KGB -
strides towards the scene, still bellowing in Russian.
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, arms at their sides, anxious not to see anything.
In the TOP WINDOW - the OLD WOMAN slips back into sight.
HER P.O.V. - Prideaux lies face down in the arcade below.
As we watch one of his arms slides out, leaving a slick of
blood. Then he's still.
BELOW - The KGB Man has grabbed the Waiter and started to
beat him.
KGB MAN (CONT'D)
Fucking Hungarian amateur! We
wanted him alive!
4.
Behind him we can see the breast-feeding MOTHER. She's
dead, a bullet hole in the centre of her forehead from the
ricochet. The baby continues to suckle on, undisturbed.
Through the cafe window we can see a MAN, partly obscured
by the crowd in front of us, the only man still seated. He
lights a cigarette.
CLOSE ON THE LIGHTER as he replaces it. We can make out an
inscription: "To George, from Ann. All my love."
In the Galeria the KGB Man continues to bellow at the
Waiter. The baby begins to WAIL.
FADE TO BLACK.
FADE IN:
4A EXT. HQ OF BRITISH INTELLIGENCE - "THE CIRCUS" - DAY 4A
A bird's eye view of the Circus.
4B INT. CIRCUS - FIFTH FLOOR - - "MOTHERS" OFFICE - DAY 4B
A woman, CONNIE SACHS, a face that's seen it all, leans
against a wall, smoking. A middle-aged woman, one of the
secretaries or "MOTHERS" walks past, pushing a trolley of
documents. She nods at Connie mournfully. Connie looks
stricken. The Mother walks on into...
5 INT. CIRCUS - CONFERENCE ROOM - DAY 5
A long conference table. We are looking at an ELDERLY MAN
at the head of the table. He's sitting on a rather ornate
carving chair - a little like a throne - and he looks ill.
He is signing documents, his signature a simple "C,"
scrawled in GREEN INK, aware all eyes are on him. A
cigarette burns away in an already loaded ashtray.
This is the head of the Circus - known as CONTROL.
Around him are four lieutenants - the inner circle of the
intelligence service - PERCY ALLELINE, TOBY ESTERHASE, ROY
BLAND and BILL HAYDON.
Beside him, his right-hand man - GEORGE SMILEY.
From the thick and embarrassed atmosphere we might guess we
are at the end of a coup, the final ousting of a King. All
we hear is the ticking of a loud clock and the scratch of
the pen.
Smiley looks up to find Alleline's gaze fixed on him.
Alleline quickly looks down at his hands.
5.
CLOSE ON SMILEY - as he examines the others, gauging the
SHIFT OF POWER occurring in the room.
- Bill Haydon - handsome, urbane, frowning with tension,
pulls on his cigarette.
- Roy Bland - heavy set and moustached, flicking a guilty
look up at Smiley and away.
- Toby Esterhase - immaculate hair and suit, eyes on
Alleline, watching for a cue, like a dog told to `stay'.
No-one will look at him.
ON SMILEY - realising there is no hope.
Control finishes, puts the pen back in his pocket. He hands
the file to the MOTHER who, red-eyed, walks with it out of
the room.
PERCY ALLELINE
(Scottish accent)
I wish I could have done more,
Control.
CONTROL
(Coolly)
You did all you could, Percy.
(Beat) Well, a man should know
when to leave the party.
Beat. The clock suddenly gives a discordant chime as it
sounds the hour. A hint of bitter amusement on Control's
face, as though he's been waiting for this wrong little
note to make his move. He grinds his cigarette out.
Toby can't wait any longer.
TOBY ESTERHASE
What about Smiley?
Control looks at Smiley. His gaze impersonal...
ON SMILEY - the faintest flicker in his eyes as he tries to
prepare himself for the shock of dismissal.
CONTROL
Smiley is leaving with me.
6 OMITTED 6
7 INT. CIRCUS - FIFTH FLOOR - DAY 7
PUSHING Control and Smiley as they walk down the corridor.
6.
Alleline and the Lieutenants are waiting for them. A
horribly awkward moment. Toby pulls open the cage lift
doors for them, as if to hasten the eviction. Haydon looks
at him with contempt.
BILL HAYDON
You little prick Esterhase.
Control sweeps past them and the lift, determined to walk
every step of the way. Smiley follows.
8 INT. CIRCUS - STAIRCASE - DAY 8
Control and Smiley, begin their descent through the rigid
hierarchy of the Circus. As we TRACK with them, we see that
each floor is its own WORLD. The two men walk past the
fourth floor REGISTRY - the vast archive of intelligence,
staffed by RESEARCHERS.
Smiley and Control pass down another flight and along the
third floor - INTELLIGENCE OFFICERS - heads poking out of
offices, amongst them JERRY WESTERBY.
Down to the second floor - SCALPHUNTERS - the muscle of the
Circus. The boredom of an air-port lounge, a sunken sofa
and pool-table. The Scalphunters watching them go in
respectful silence.
On down to the first floor TYPING POOL - staffed by pretty
young society girls - the DEBS - who watch open-mouthed, as
their Chief passes them for the last time. And finally
down to...
9 INT. CIRCUS - GROUND-FLOOR LOBBY - DAY 9
An ancient doorman - BRYANT - feeling the moment must be
marked in some way - leaves his sentry box and opens the
main door for Control. Control acknowledges the salute with
a flick of his eyes and we push through the doors...
10 EXT. CIRCUS - ROOF OF THE CIRCUS - DAY 10
Alleline and Bland stand smoking, watching Control and
Smiley emerge onto the pavement.
11 EXT. CIRCUS - DAY 11
CONTROL and SMILEY stand on the street. They stare at each
other for a moment. This is goodbye. They shake hands.
Perhaps there's a little reserve in Control's manner, a
lack of warmth. From the expression on Smiley's face we see
that he is pained by this.
7.
Control puts his collar up and walks away. Smiley stands
forlornly as Control disappears into the crowd.
TITLES OVER A MONTAGE
12 EXT. HAMPSTEAD POND - AUTUMN DAY 12
THE WATER OF THE POND - still, glassy.
A MAN'S head breaks the surface - Smiley swimming through
his retirement.
He takes a breath and submerges again. Beyond him we see a
straggled diagonal line of elderly heads, bobbing through
the water.
13 EXT. HAMPSTEAD POND - DAY 13
Smiley dries himself under the trees, pink and raw in the
cold fresh air. He smooths his hair down, feeling a little
less ridiculous. He looks over to where a VERY ELDERLY
SWIMMER is being helped into the water - little more than
trembling bones.
Is this his world now?
14 INT. CIRCUS - FIFTH FLOOR - DAY 14
A MOTHER unloads a stack of files from a LIFT shaft and
places them into her wheeled safe. A piece of CHRISTMAS
TINSEL is wound along the trolley. We track with her
through the HIVE-LIKE atmosphere of the fifth floor, behind
her the conference room - a glimpse of Alleline in
Control's chair, surrounded by his lieutenants - smoke and
whiskey - engaged in the business of the world.
She pushes on into Alleline's OFFICE - loads the new files
into the LARGE SAFE there, locks and spins the combination.
15 INT. SMILEY'S HOUSE - WINTER DAY 15
Smiley stands frying an egg in his small kitchen.
16 INT. SMILEY'S HOUSE - DAY 16
Smiley sits eating his solitary lunch, reading a volume of
Grimmelshausen. He turns a page, examines the illustration
of a knight and a dragon - holds it at arms length, trying
to focus on it.
8.
16A INT. SMILEY'S HOUSE - BEDROOM - NIGHT 16A
Smiley lies in the double bed, a conspicuous empty space next
to him. He leans over and turns the light out.
17 INT. CIRCUS - FIFTH FLOOR - ALLELINE'S OFFICE - NIGHT 17
A HAND removes files from the LARGE SAFE.
ON A BRIEFCASE - as the files - marked TOP SECRET - are
slipped inside.
18 INT. CIRCUS - FIFTH FLOOR - EVENING 18
P.O.V. MYSTERY MAN
... TRACKING through the near-empty offices. All the
drawers of the desks are OPEN. BINS on the tables. A few
mothers working late, illuminated by their desk lamps. One
of them is applying lipstick, prior to leaving. She doesn't
react as we track by.
19 EXT. OPTICIANS - SPRING DAY 19
We are looking at large blurred LETTERS. A lens is slotted
into our frame and the letters leap into BOLD.
Smiley is in a chair, being fitted for spectacles.
20 INT. OPTICIANS - DAY 20
Smiley is selecting frames from a display. He tries on a
pair, watched by a bored shop assistant, used to the
pedantic ways of the retired.
21 INT. CIRCUS - GROUND-FLOOR LOBBY - EVENING 21
TRACKING with the BRIEFCASE as the mystery man walks
towards the main entrance. The ELDERLY PORTER- BRYANT -
nods respectfully.
22 INT. LONDON UNDERGROUND - EVENING 22
A packed train - Businessmen in bowler hats, long-haired
seventies youth - the old and the new bumping underneath
the city. We track low level until we find our MYSTERY MAN,
the BRIEFCASE clutched in his hand.
9.
23 EXT. SAFE HOUSE - EVENING 23
Tracking with the BRIEFCASE as it is carried towards the
house...
24 INT. SAFE HOUSE - GROUND FLOOR - NIGHT 24
An elderly lady - MRS McCRAIG - stands at the sink. Through
the window she catches a glimpse of the Mystery Man's legs
passing, the briefcase in his hand as he walks up the steps
towards the front door. Calmly she dries her hands as the
doorbell rings and her DOG begins to bark furiously.
25 INT. SAFE HOUSE - GROUND FLOOR - NIGHT 25
Mrs McCraig opens the door and the figure passes her and
the barking dog without a word and begins to walk up the
stairs...
26 INT. SMILEY'S HOUSE - DRAWING ROOM - DAY 26
Smiley adds a LETTER to a pile on the mantelpiece. We see
the letters are all addressed to ANN SMILEY.
He straightens up, finds himself staring at a PAINTING on
the wall - a muddy abstract.
27 INT. SAFE HOUSE - MEETING ROOM - NIGHT 27
The room is almost bare - two chairs at a small table on
which stands two desk lamps and a CAMERA. The Mystery Man
has crossed to the wall by the window and opens the GRILL
on an AIR DUCT.
28 EXT. SAFE HOUSE - NIGHT 28
From across the street a tall good-looking man - POLYAKOV -
watches as the opened duct spills a star pattern of light
out into the night air. He walks towards the house...
29 INT. SAFE HOUSE - MEETING ROOM - NIGHT 29
The Mystery man settles at the table, sorting through the
contents of the briefcase as, from down below, we hear the
sound of the door bell, the dog barking and footsteps on
the stairs. Polyakov walks into the room and joins the
Mystery Man at the small table. He picks up the camera with
a smile.
POLYAKOV
(In Russian)
Shall we begin?
10.
END OF TITLES
30 EXT. LACON'S HOUSE - EARLY MORNING 30
Lights glowing in the early morning gloom, an ultra-modern
cube of a building sits in rather traditional grounds. This
is the unlikely home of Oliver Lacon, Permanent under-
secretary.
30A INT./EXT. LACON'S HOUSE - MORNING 30A
As we watch a young girl - JACKIE LACON - appears at the
living room window in her night-dress, playing with a toy. As
we watch her we hear stealthy footsteps approach. Then a MAN
steps into frame, his back to us, watching the girl through
the window. He taps on the glass with one hand. Jackie looks
up, surprised.
As we pull back a little we see the man has his other hand
behind his back.
And in it is a long, bone-handled KNIFE.
Behind Jackie we see a string bean of a man, OLIVER LACON,
tying his silk dressing gown as he cautiously approaches the
window. On the other side, the intruder stands, smoking.
LACON
(through glass)
This is private property. Who are
you?
He takes in the man before him - filthy and bearded, you
could mistake him for a tramp. But beneath the grime he's
tanned and his eyes have a dangerous, feral edge. This is
RICKI TARR.
RICKI TARR
Minister Lacon.
He smiles.
LACON
What do you want?
RICKI TARR
I want to talk to Control. And I
want breakfast.
30B OMITTED 30B
30C OMITTED 30C
11.
30D OMITTED 30D
31 OMITTED 31
32 OMITTED 32
33 INT. CIRCUS - SCALPHUNTERS - DAY 33
PETER GUILLAM walks down a corridor. Handsome, boyish,
bored. He hears a TRING behind him. It's Haydon, one foot
up on his pedal, scootering along the corridor. Guillam
waits for him. He likes this man.
PETER GUILLAM
(of the bike)
Has that been cleared?
BILL HAYDON
I'm not bloody chaining it
outside. Mind you, probably no
safer in here, with you bunch of
cut-throats.
They arrive at a half-paned office cubicle. Inside is a
very pretty GIRL, a new DEB, being shown the ropes by an
older woman.
HAYDON
Thought I'd get a glimpse of the
new girl. Before Bland gets to
her. He seen her yet?
GUILLAM
Oh yes. Down first thing.
GIRL'S P.O.V. -
... as Haydon and Guillam pass, staring in at her, cropped
above the waist. Haydon appears to be gliding
supernaturally by. He gives a little wave.
BACK ON HAYDON:
HAYDON
You may fuck me, Belinda, but you
still have to call me sir in the
morning.
Guillam grins. Haydon glides off, hand raised in farewell
as Guillam turns into the Scalphunters arena.
12.
34 INT. CIRCUS - SCALPHUNTERS - GUILLAM'S OFFICE - DAY 34
Guillam sits at his desk over a pile of paper-work, slowly
falling asleep.
BANG! A pool ball thwacks the window, cracking it. At the
same moment the PHONE begins to ring. Guillam jerks
upright, looks over at the pool players, too bored to be
angry.
POOL PLAYER (O.S.)
Sorry Peter.
Guillam answers the phone.
PETER GUILLAM
Peter Guillam...
He listens to the voice on the other end. After a moment he
turns away from his colleagues, his former drowsiness
abruptly gone.
35 EXT. LONDON STREET - EVENING 35
Smiley in his NEW GLASSES, towel rolled under his arm,
walking down the street. He stops for a moment, feeling
himself watched.
36 EXT. SMILEY'S HOUSE - EVENING 36
Smiley on the steps to his home, stops, examines the door,
removing a WEDGE from the top of the door frame.
37 INT. SMILEY'S HOUSE - EVENING 37
Smiley walks into the hallway, stopping to pick up post.
38 INT. SMILEY'S HOUSE - EVENING 38
Smiley places the wedge and the letters on the mantelpiece,
where a BUNDLE of LETTERS already sits, addressed to ANN
SMILEY. Unopened.
38A INT. SMILEY'S HOUSE - KITCHEN - EVENING 38A
Smiley frying an egg.
There's a knock at the door.
38B INT./EXT. SMILEY'S HOUSE - EVENING 38B
Smiley opens the door to PETER GUILLAM.
13.
SMILEY
(Surprised)
Hello, Peter.
They stare at each other. Smiley takes in his expression -
this is not a social call.
SMILEY (CONT'D)
Have I time to change?
Guillam nods, following Smiley into the house. He glances at
a painting on the wall - a muddy ABSTRACT. He crosses to
examine it and then notices the bundle of Ann's unopened
letters.
39 INT. SMILEY'S HOUSE - EVENING 39
Guillam enters the kitchen, notes the single place set for
dinner. It dawns on him that he really has invaded Smiley's
privacy.
Smiley appears in a coat behind him, taking in Guillam's
awkwardness. He gives a thin smile.
SMILEY
Are we going far?
39A INT. GUILLAM'S CAR - EVENING 39A
Smiley and Guillam sit in silence, as Guillam drives through
London. It's a Citroen DS, all sleek leather and mahogany
interior.
40 OMITTED 40
40A INT. LACON'S HOUSE - EVENING 40A
CLOSE UP ON:
A half eaten bacon SANDWICH, sitting on a table.
We pan up and through the open window see an anxious Lacon is
leading Guillam towards the house. Smiley follows, talking to
Lacon's daughter.
LACON
How's your mother?
PETER GUILLAM
Very well.
(referring to the window)
Is this where he got out?
14.
LACON
Mmm, I came back in and it was wide
open.
(beat)
Do send her my love. Apologies for
singling you out, but... very
sensitive matter...
He gives an uncomfortable bark of laughter.
LACON (CONT'D)
If one can't trust one's own
nephew... You know who he was?
PETER GUILLAM
Ricki Tarr, sir. One of my scalp-
hunters. He's been on the wanted
list for a year. Last job was
Istanbul, bit of coat-trailing for
a Russian convention.
LACON
Why is he on the wanted list?
PETER GUILLAM
(beat)
He killed our man in Istanbul. Cut
his throat. Been on the run since
then.
If possible, Lacon looks even more shaken.
LACON
My God. In my own home... my
family... The bloody animals you
people employ!
41 INT. LACON'S HOUSE - NIGHT 41
PULLING OLIVER LACON as he leads Smiley and Guillam down
the hall, gesturing for his WIFE to take Jackie away. He
attempts some social niceties, but his tone is strained.
LACON
And how are you George? Missing
one's work, one's buddies?
SMILEY
Oh, I think I manage pretty well,
thank you.
They reach a large room, minimalist apart from a grand piano
framed by vast glass windows. A tall, well built young man -
FAWN - stands on guard. Lacon gestures to him and Fawn opens
the french windows and he and Guillam walk out onto the
terrace beyond.
15.
Behind them, unnoticed, young JACKIE creeps back into the
room and slips behind the sofa.
LACON
Your wife, the lovely Ann? She's in
the pink, and so on.
SMILEY
Very well. (Beat) Very bonny...
Fawn closes the french doors behind him and Lacon is suddenly
all business.
LACON
Do you know this man Tarr?
SMILEY
(Mildly)
I recruited him actually. In
Penang. Good with women. Likes to
talk. What did he say to you?
LACON
He said he had some intelligence
for Control. Had no idea he was
dead. The news obviously hadn't
reached Wonga Wonga land. Then he
said he would only tell it to
someone outside the Circus. If he
couldn't have a Minister, he would
settle for the Under-secretary.
Lucky me.
Lacon lights a cigarette, smokes a moment, building up to
something. Smiley waits him out. The room has become very
still.
LACON (CONT'D)
He said there's a mole. Right at
the top of the Circus. And that
he's been there for years.
Smiley absorbs this. 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, smiling triumphantly.
42 OMITTED 42
43 EXT. LACON'S HOUSE - TERRACE - NIGHT 43
Smiley and Lacon stand on the terrace alone. Lacon glances
anxiously at Smiley, trying to read him.
LACON
I was sad to see you go, George. I
thought it was shabby, very shabby.
(MORE)
16.
LACON (CONT'D)
But the Minister agreed with Sir
Percy. New broom, clean sweep,
wheat from the chaff and all that.
And to be fair, Percy has had some
marvellous results since you and
Control left...
Realizing how this sounds, he glances at Smiley to see how
much damage he's caused.
LACON (CONT'D)
Anyway, it does mean you're rather
ideally placed to look into this
matter for us now, doesn't it?
Outside the family?
Smiley looks blandly back at him.
SMILEY
I am retired, Oliver.
Silence. Lacon looks uncomfortable, something he hasn't yet
said.
LACON
Thing is, some time back, when
Control was still alive, he came to
me with a similar suggestion.
Smiley looks at him, surprised.
LACON (CONT'D)
He never mentioned his suspicions
to you?
SMILEY
No.
LACON
I just thought... with you being
"his man", so to speak.
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.
That does happen in your business.
And that bloody mess in Budapest...
Smiley stares out over the rolling countryside, inscrutable.
LACON (CONT'D)
Damn it, George, this is your
generation, your legacy!
(MORE)
17.
LACON (CONT'D)
If there's any truth in this you'd
think you'd want to...
He controls himself.
SMILEY
(Beat)
I'll keep Peter Guillam. And
there's a retired special branch
man. Mendel. I'd like to have him.
Lacon exhales, his relief palpable.
LACON
Yes, yes. Do your own housekeeping.
Good man.
He glances back at Guillam and Lacon's daughter, picking out
a melody on the grand piano.
LACON (CONT'D)
Damn thing cost a fortune. Three
years of lessons and all I hear is
Edelweiss. You and Ann never had
children, did you?
SMILEY
No, we never did.
We hear the piano playing on as we...
44 EXT. LONDON - MENDEL STREET - MORNING 44
... driving through suburban DAGENHAM. We pull up in front
of a neat Tudor semi.
45 EXT. MENDEL'S GARDEN - DAY 45
CLOSE ON A COLONY OF BEES
GLOVED HANDS loading a COLONY OF BEES into a new HIVE.
An APIARIST, in protective hat and gloves, turns to examine
the MAN who has appeared in his back yard - GEORGE SMILEY.
Smiley raises a hand.
The Apiarist steps away from the hive and removes his hat
to reveal a long thin face, keen eyes - INSPECTOR MENDEL.
46 EXT. MENDEL'S HOUSE - DAY 46
Mendel, now in an overcoat and carrying a battered
briefcase, climbs into the back of the car with a nod to
Smiley and Guillam in the front. He begins to roll a
cigarette as Guillam drives away.
18.
A stow-away BEE appears from somewhere and begins to buzz
around the car. Guillam and Mendel swat at it clumsily.
Smiley stares ahead in silence. He winds down the window
and the bee flies to safety.
47 EXT. HOTEL ISLAY - DAY 47
A shabby rooming house, near Paddington station.
48 INT. HOTEL ISLAY - SMILEY'S ROOM - DAY 48
A large, faded floral monstrosity of a room. TWO single
beds, a large leather CHAIR, a WIRELESS.
Smiley's new landlady MRS POPE GRAHAM is supervising a
gormless teenager - NORMAN - who is struggling into the
room with a rickety card table. Mendel and Guillam take it
from him and set it into the room. From the next room comes
the unmistakable sounds of someone having sex.
MRS POPE GRAHAM
(re the table)
It's Georgian, I shouldn't lend
it to you but since Mister Mendel
recommends you...
She gives the table a sentimental tap, raising her voice a
little to drown out the excesses from the room next door.
MRS POPE GRAHAM (CONT'D)
You will love it for me won't
you? It belonged to Mister Pope-
Graham.
She glances at Smiley who has his back to her looking out
into the London street.
SMILEY'S P.O.V.
... looking out at rooftops opposite and a travel agents
sign which reads THE WIDE WORLD.
MENDEL (O.S.)
My friend just wants peace and
quiet in order to work, Mrs Pope-
Graham, no disturbances.
MRS POPE GRAHAM
And that's what he shall have.
You want anything you can ask
Norman, can't he, Norman?
And they leave. A small silence...
19.
MENDEL
Her real name is plain Graham.
Added the Pope for a touch of
class.
Guillam gives a grunt of amusement.
MENDEL (CONT'D)
Best informant I ever had.
LATER:
Smiley has turned his attention to the bed. He examines the
stained sheets with distaste. As he speaks he strips off
the soiled sheet and replaces it with a clean one from his
bag.
SMILEY
Control lived with his sister
didn't he?
He straightens up from the bed, smooths the pristine sheet.
Mendel flips his notebook back. He's already there.
MENDEL
Basingstoke. Not much of a paper-
trail as you can imagine. His
pension and she owns a block of
bedsits in her own name in West
London.
GUILLAM
We should...
Mendel flicks another page.
MENDEL
... Webb and Bryson are the
letting agents. Properties in
half of the west end judging by
this list...
LATER:
Guillam is lying on the bed. Smiley stands at the window,
Mendel slumped in an armchair.
SMILEY
We're only looking for short term
rentals. Within the last year.
MENDEL
(Reading from the list)
A Miss Hilliard. L. Cavaleri?
D Weaver, M Crowley, M Cushing. F.
Farling. G. Hiaasen.
(MORE)
20.
MENDEL (CONT'D)
A Mrs Hawcombe. R. Kee. M. Kass. H
Staunton...
CLOSE on Smiley as his eyes flickers at the name.
MENDEL (CONT'D)
K. Menzies...
SMILEY
How long was H. Staunton a tenant?
MENDEL
(Consulting the list)
Still is. Been renting for a few
years now. Something?
SMILEY
(Musing)
Howard Staunton. Control used to
say he was England's greatest chess
master. Died in eighteen seventy-
four.
49 EXT. CONTROL'S FLAT - DAY 49
Guillam and Smiley approach outside a red-brick mansion
block of flats in West London.
50 INT. CONTROL'S FLAT - HALLWAY - DAY 50
Smiley and Guillam reach a flat near the shadowy top of the
building. Smiley studies the door. He runs his fingers over
the door-frame and there it is - a little WEDGE at the top.
51 INT. CONTROL'S FLAT - DAY 51
Guillam, followed by Smiley, pushes in against a mound of
dead mail.
They advance cautiously into the dirty flat, the windows
fogged out with Windowlene.
THEIR P.O.V. - TRACKING TOWARDS THE DOOR
Guillam has reached the DOOR and disappears into the room
beyond...
52 INT. CONTROL'S FLAT - DAY 52
A green velvet armchair sits at the centre of a room.
Beside it an ashtray over-loaded with stubs.
21.
The rest of the room is mounded with PILES AND PILES OF
PAPERS - files, document boxes, maps and charts, something
insane in the sprawl of it all.
Guillam stands with his back to us staring at a CHESS SET
laid out before the chair, as if in mid-game. Four of the
chess pieces have had PHOTOGRAPHS of FACES added to them -
ROY BLAND. TOBY ESTERHASE. PERCY ALLELINE. BILL HAYDON -
all wearing paper PARTY HATS. The effect is ridiculous and
a little disturbing, like some Surrealist objet d'art.
Guillam hears Smiley and turns, almost guiltily, and as he
moves we see there is a FIFTH PHOTOGRAPH on a piece - and
it is of Smiley himself.
Smiley stares at his image.
53 INT. CIRCUS - TOBY ESTERHASE'S OFFICE - DAY 53
Toby Esterhase is on the telephone, speaking softly in
Hungarian. A look crosses his face. He suddenly notices
Haydon in the doorway, cup of tea in hand. Esterhase asks the
caller to hold and places the handset on the desk.
TOBY ESTERHASE
Help you with something Bill?
BILL HAYDON
Looking for his Majesty.
TOBY ESTERHASE
(sullenly)
He's walking the battlements.
Toby's eyes flicker toward the handset.
BILL HAYDON
(in Hungarian, subtitled)
Much obliged.
Bill leaves, and Toby resumes the call.
54 EXT. ROOF OF THE CIRCUS - DAY 54
Alleline stands on the rooftop, staring out over the London
skyline, his expression ambiguous - perhaps obscurely
troubled to have found himself at the top. He becomes aware
of Roy Bland standing behind him.
ALLELINE
(Without turning)
Roy.
BLAND
It's the Yanks. They want to come
in and talk.
22.
Alleline continues to stare out over the world, but allows
himself a small smile of triumph - and relief.
ALLELINE
Of course they do. We have
Witchcraft. And they don't.
55 INT. HOTEL ISLAY - SMILEY'S ROOM - DAY 55
Mendel and Guillam carry in boxes, each overflowing with
files and bundles of yellowing papers.
SMILEY
Thank you. Anywhere will do.
They dump the files and Smiley turns to survey his room. In
his hand he is toying with a black chess piece labelled
"KARLA".
The far wall is now stacked to the ceiling with the
contents of Control's room - thousands of files and
documents, piled in no logical order. The three survey the
mountain of information in silence.
MENDEL
(Wryly)
That enough for you to be getting
on with?
SMILEY
(Beat)
No. Peter, I need you to do
something for me...
56 INT. CIRCUS - SCALPHUNTERS - DAY 56
The "Scalphunters" floor. Guillam is in his office, painted
out panels below the waist, glass above. He sits, hands on
the desk, steeling himself for what he has to do.
Abruptly he stands and walks out.
We TRACK with him as he walks through the Scalphunters
"quad" area - a worn out sofa, the old pool table.
One of the Scalphunters - KASPAR - stands flirting with a
pretty SECRETARY - BELINDA - the "Deb" we saw earlier.
Guillam acknowledges them casually as he passes. The girl
gives a little wave. She LIKES him.
Kaspar stares after Guillam. He doesn't.
We continue tracking with Guillam as he leaves the
Scalphunters area, walks down the corridor, turns left
into...
23.
57 INT. CIRCUS - MEN'S ROOM - DAY 57
He stands at the basins, checking the room is clear.
Examines his watch, then crosses to the door and opens it a
crack, peering out.
GUILLAM'S P.O.V.
We're looking though a glass panelled door at the PERSONNEL
OFFICE. A dapper little man in a club tie - FAWLEY - sits
behind his desk, idly tapping a desk toy - a Newton's
Cradle. He too checks his watch. Lunch time. Gets up and
walks out of his office.
Guillam counts to ten under his breath and then abruptly,
walks out of the men's room, across the corridor and
into...
58 INT. CIRCUS - FAWLEY'S OFFICE - DAY 58
The Cradle is still swinging - steel balls clacking softly.
Guillam is opening a safe, pulling out documents,
photographing them with a SUBMINIATURE CAMERA.
Close on the documents as Guillam silently photographs
them.
SMILEY (V.O.)
I want to see the records of
staff recently retired. While
you're there get the handbook on
staff duties... and the diagram
of the Circus's reorganization
under Alleline...
Guillam hears a voice outside. He draws a SMALL KNIFE from
his pocket.
59 INT. CIRCUS - FAWLEY'S OFFICE - DAY 59
Kaspar opens the door and walks in, finding... the office
empty.
Then a faint noise. He works his way around the desk, finds
Guillam crouched down, his back to him.
KASPAR
(Suspicious)
Sorry Peter, didn't know you were
doing... whatever you were
doing...?
Guillam straightens up to reveal his hand oozing blood from
a cut.
24.
PETER GUILLAM
Trying not to bleed to death.
Fawley's got a first aid kit in
one of his drawers. Get me a
plaster will you?
Kaspar busies himself with the first-aid. Eyes hard.
60 INT. CIRCUS - LIFTS - DAY 60
Guillam has just stepped into the lift. Roy Bland appears
suddenly and steps in beside him.
Silence for a moment as they descend...
ROY BLAND
(without looking at him)
Heard you had an accident.
Guillam makes a mental note against Kaspar.
PETER GUILLAM
Cut it on a drawer handle.
(Beat) When are we going to get
some new furniture round here?
ROY BLAND
I'll have a word with Esterhase,
Peter. We'll make it a priority
on the top floor.
They arrive on the ground floor. Bland walks out ahead.
Guillam exhales with relief. Then...
ROY BLAND (CONT'D)
(as he walks away)
Where are you off to?
PETER GUILLAM
Lunch.
ROY BLAND
Want some company?
61 INT. PUB - DAY 61
The two men sit drinking at a table in a nearly deserted
local bar.
ROY BLAND
Tell you the truth, I'm in no
hurry to get back up there...
PETER GUILLAM
Smothered by the Mothers.
25.
ROY BLAND
Something like that. Those old
birds, all pining for Control.
Percy still can't get a decent
cup of tea out of them. Still, I
imagine it takes time.
PETER GUILLAM
What does?
ROY BLAND
Loyalty.
He takes a pull of his pint.
ROY BLAND (CONT'D)
If it was up to me, I'd replace
them all with those `naice' girls
from registry. Like to hear a few
high heels about the place.
He reaches suddenly for Guillam's coat, lying on the seat -
his hand heading for the pocket that holds the SUBMINIATURE
CAMERA.
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. Bland smokes for a moment.
ROY BLAND
(Suddenly)
What do you think of Datsuns?
PETER GUILLAM
What?
ROY BLAND
Datsuns. Just got one. Wife made
me. Hatchback. Caught sight of
myself in it, driving past a shop
window and I thought to myself
"Who's that old fucker?"
He stares at Guillam with faint smile, but his eyes are
cold and watchful.
ROY BLAND (CONT'D)
What are you driving?
PETER GUILLAM
Citroen.
26.
ROY BLAND
French? Ooh la la...
He continues to stare at Guillam with the faint smile, and
Guillam feels a sickening wave of paranoia.
ROY BLAND (CONT'D)
Drink up and I'll drop you back.
You've probably got some girl
waiting...
62 INT. GUILLAM'S FLAT - NIGHT 62
Guillam sits alone at the table reading a newspaper. After
a moment, a man, his lover - RICHARD - a decade or so
older - walks behind him, stroking his hair tenderly, and
joins him at the table. Guillam automatically checks the
window - the flat opposite, a lit window - could someone
see them? He gets up and closes the curtains, settles back
at the table, passing Richard a section of the paper. The
two sit in domestic contentment, reading.
62A EXT. HOTEL ISLAY - NIGHT 62A
SMILEY'S P.O.V. - LOOKING DOWN FROM A WINDOW
A ministerial car pulls up and Lacon climbs out.
63 INT. HOTEL ISLAY - SMILEY'S ROOM - NIGHT 63
The music - a CHARLIE RICH track - plays on a TRANSISTOR
RADIO. Smiley sits at the window listening to the MUSIC.
Guillam dictates from a photograph of the documents he took
at the circus.
Smiley becomes aware that the others are watching him. He
turns away, tunes the radio into a DIFFERENT STATION,
cutting the Charlie Rich tune.
PETER GUILLAM
Jerry Westerby, dismissed
December 4th. And... Connie
Sachs, retired November 28th.
That's just two weeks after you
and Control were forced out.
Smiley considers this, turns back to the CHESS SET. He
writes Connie's name on a slip of paper, pastes it to a
chess piece.
There is a knock at the door. Mendel lets LACON into the
room excluding a very excited MRS. POPE GRAHAM. Lacon's
wearing a tux, looking extremely uncomfortable, almost
offended at the role he finds himself playing.
27.
SMILEY
I know that car.
LACON
On our way to La Bohème. The
Minister wondered if there was
anything to report?
SMILEY
Not much, I'm afraid. We were
just discussing the departure of
Connie Sachs. I wonder how
Research manages without her.
PETER GUILLAM
Probably relieved. She always
struck me as unhinged.
SMILEY
That was one of her talents.
LACON looks around him, dripping disdain.
LACON
(Indicating the chess
set)
Looking a little unhinged
yourself, George.
SMILEY
(Distracted)
Hmm?
He turns to him.
SMILEY (CONT'D)
Yes, I suppose I am. Perhaps
that's what we have to become? A
little paranoid?
He turns back to the chess board.
SMILEY (CONT'D)
(To Lacon)
Your "clean sweep."
What if the Mole was actually
behind that sweep? What if each
of us, whether we knew it or not,
represented a threat to the Mole?
Lacon looks at a pile of files, distractedly picks one up.
He starts to leaf through one...
LACON
(Unconvinced)
Control lost his position because
of that fiasco in Budapest...
that poor chap...?
28.
He looks to Guillam for the name.
PETER GUILLAM
Jim Prideaux.
Smiley nods thoughtfully.
SMILEY
Yes. Yes, he did.
He writes PRIDEAUX on a slip of paper, pastes it to a chess
piece. Lacon picks up another file, Something catches his
eye: a letter head of FLAMES. He looks up shocked.
LACON
How did you get this? This is
Witchcraft material.
He grabs the piece of paper, stuffing it in his pocket.
Smiley looks at him. Lacon reads something implacable in
Smiley's gaze...
Smiley turns back to the chess set.
SMILEY
Control was out. And Alleline was
in. Thanks to...
He writes the name "WITCHCRAFT" and places it on a chess
piece.
63A EXT. HOTEL ISLAY - NIGHT 63A
Lacon stalks out of the hotel.
SMILEY (V.O.)
... Alleline's "special source."
LACON (V.O.)
There is no connection.
He climbs into the waiting car. We catch a glimpse of the
MINISTER in the back.
SMILEY (V.O.)
Everything is connected.
The car drives away.
64 INT. THURSGOOD SCHOOL - CLASSROOM - DAY 64
A third-rate English preparatory school. The string
orchestra practice - rows of twelve-year old boys sawing
away at their instruments. A teacher winces as he hacks at
the air above their heads with a ruler.
29.
Near the back of the class we find BILL ROACH. He's plump,
asthmatic, the last to be chosen for everything. He looks
out of the window.
65 EXT. THURSGOOD SCHOOL - DAY 65
Roach stares out at us as the rain lashes against the
window pane. As we watch an old blue Alvis, towing a
battered, second hand CARAVAN, appears - reflected in the
window - driving past.
Roach watches, thrilled to realise he is the sole witness
of this MYSTERIOUS NEW ARRIVAL.
66 EXT. THURSGOOD SCHOOL - PRIDEAUX'S CARAVAN - DAY 66
We're looking down into the dip, at the DRIVER of the blue
Alvis, setting up his caravan on bricks, in the gloom and
rain. He's wearing a waterproof cape and hood, obscuring
his face, giving him something of an air of mystery and
menace. There's something odd about the way he moves,
something about his back, as if it's been knocked out of
true...
The Driver rocks the caravan from side to side, loading
bricks underneath, trying to get the thing level.
He senses something and turns to find Roach behind him.
Roach instinctively takes a step back from the hooded
figure. Then, gathering his courage, he holds out his hand.
In his palm, a MARBLE.
LATER:
Roach stands in the caravan, watching the MARBLE as it
rolls backwards and forwards on the windowsill - an
improvised spirit level. THE MARBLE comes to rest at the
centre of the sill, a temporary equilibrium.
Roach turns excitedly to the camera, about to call to the
Driver, but sees something that stops him in his tracks...
The Driver has stopped, his back to us, breathing hard,
perhaps from the exercise or perhaps fighting down some
pain. The wind catches at his cape and it flutters to one
side, revealing the sweat-soaked shirt beneath. As we watch
a DARK STAIN appears at his shoulder blade and begins to
spread. It's BLOOD.
67 EXT. LONDON - OFF LICENSE - DAY 67
Through the window we see Smiley buying a bottle.
30.
68 INT. LONDON - PADDINGTON TRAIN STATION - DAY 68
Smiley stands at a ticket kiosk.
SMILEY
Return to Oxford please.
69 EXT. CONNIE'S HOUSE - DAY 69
A large dilapidated Victorian house. We hear the faint
sound of voices and pop music coming from the garden.
Smiley pushes open the gate, walks down the path, past over-
grown shrubbery until he reaches the door with a bell marked
"SACHS."
Glancing sideways he is caught, entranced, by the sight of a
young couple kissing in the window. They turn, suddenly aware
of his presence and Smiley, embarrassed, continues walking
round the house.
SMILEY'S P.O.V.
A group of students in togas are rehearsing a musical version
of Lysistrata. A young woman, holding her script, is miming
to the song `Don't' by Doris.
An older woman wearing rather too much make-up is carrying a
prop. This is CONNIE SACHS - former Queen of Intelligence at
the Circus. She examines Smiley for a moment, and then breaks
into a charming smile.
ON SMILEY'S EXPRESSION
This is not a social call. Connie can't keep the
disappointment from her face.
70 INT. CONNIE'S HOUSE - DRAWING ROOM - DAY 70
Smiley sits in the cluttered drawing room, a plate of scones
in front of him. Connie appears carrying a tray of tea.
SMILEY
(Of the tea)
Oh, I brought...
He takes the bottle of Scotch from his briefcase.
CONNIE SACHS
(eyeing it hungrily)
Not supposed to. Doctor's orders.
Smiley feigns surprise. Connie gives a little girl laugh.
31.
CONNIE SACHS (CONT'D)
Wicked, wicked George.
She takes the teacup he pours with crooked arthritic
fingers and drinks. They sit, both staring at the students
in the garden, caught up in memories of their youth.
CONNIE SACHS (CONT'D)
I miss it all so much. All my
lovely boys.
Smiley hesitates.
CONNIE SACHS (CONT'D)
I don't know about you, George
but I feel seriously under-
fucked.
They look at each other a moment. Connie's smile fades.
She looks at him almost sorrowfully.
CONNIE SACHS (CONT'D)
She doesn't deserve you, George.
Not one hair on your head, never
did...
71 INT. CONNIE'S HOUSE - DAY 71
Smiley and Connie sit in a dirty, disordered room, Connie
on her way to being drunk. As she finishes her glass Smiley
fills it.
SMILEY
You left the Circus shortly after
I retired...
CONNIE SACHS
I didn't leave. I was dismissed.
Chucked out on the rubbish heap.
(Beat) Like you.
SMILEY
(Ignoring this)
Why?
She shrugs, petulant, takes a drink.
CONNIE SACHS
"Lost my sense of proportion."
That's what that personnel cow
said. Wouldn't let go of a bone.
SMILEY
Which bone?
CONNIE SACHS
Polyakov.
32.
Smiley nods, a look of boredom settling on his face - A
SURE SIGN OF INTEREST.
SMILEY
Polyakov.
CONNIE SACHS
Cultural Attaché Polyakov.
SMILEY
Stationed where?
CONNIE SACHS
Here. London. Turned up in sixty
five. And I had a feeling, as
soon as I laid eyes on him. But
that little swine Toby Esterhase
told me I was seeing Spies under
the bed.
SMILEY
Esterhase said that?
CONNIE SACHS
He had him graded Persil. Whiter
than white. And that was that.
SMILEY
But you disagreed?
CONNIE SACHS
Pretty Polly? Very military
bearing for someone who's never
supposed to have been in the
army. But, he was good. Went to
Embassy functions, lectures. I
love a man who lives his cover.
Never put a foot wrong.
SMILEY
(Beat)
Never?
She can't help but smile.
CONNIE SACHS
(As if summoning him)
Pretty Polly. Pretty Polly...
72 INT. CIRCUS - RESEARCH - EVENING - PAST 72
Connie is working late. She sits in front of a Steenbeck
flatbed editing table, she's chain-smoking, unkempt, but
completely focused on the moving images on the screen.
33.
CONNIE SACHS (V.O.)
... the busiest culture vulture
that Embassy ever had.
On the walls around her are framed STILLS from the footage
she is watching: Russian Officials at ceremonies - each
picture gridded, each official labelled as Connie manages to
identify them.
CONNIE SACHS (CONT'D)
For years we'd been hearing rumours
that Karla was building a private
army of his own, outside Moscow
Centre. We knew he had agents
scattered round the globe. I
started spending time with the
Moscow gazers combing Soviet
bulletins and any material I could
get.
ON SCREEN - Ancient SOVIET VETERANS stand in rows displaying
the medals on their chests.
CONNIE SACHS (V.O.) (CONT'D)
Late one night in Research, I was
trawling through some footage of
May Day in Berlin, 1969. I saw
something, George.
Connie slows the images down, concentrating... OFFICIALS in
suits are walking into their designated places. We see
POLYAKOV amongst them.
One of the old SOVIET VETERANS, in dress uniform, a chest
full of medals, possibly a touch senile, LOOKS at him. Just
before he is obscured by another official we see what the old
veteran does.
He salutes Polyakov.
Connie's smile of triumph is reflected on the screen. She
lights a cigarette.
CONNIE SACHS (V.O.) (CONT'D)
I saw it, George.
Connie rewinds the tape and we see the salute - backwards.
And again - forwards.
CONNIE SACHS (V.O.) (CONT'D)
Why would a distinguished soldier,
four medals for gallantry, salute
our cultural attache Polly? Unless
Polly was a war veteran himself?
And if he was, why hide the fact?
FROM DOORWAY - Connie sits smoking her celebratory cigarette,
at the centre of her obsession.
34.
72A INT. CIRCUS - RESEARCH - EVENING 72A
Connie is showing the footage to Alleline and Esterhase.
SMILEY (V.O.)
What did you do?
CONNIE SACHS (V.O.)
I went straight to Esterhase and
Alleline. I said - "Polyakov is a
Karla-trained Hood if ever I saw
one. And if he's here it's because
he's running a mole."
SMILEY (V.O.)
What did they say?
Alleline switches off the image.
PERCY ALLELINE
(Hard)
You're to leave Polyakov alone.
You're becoming obsessed with him.
He glances at Esterhase and then back to Connie, eyes cold.
PERCY ALLELINE (CONT'D)
You're losing your sense of
proportion, Connie. Perhaps it's
time you went out into the real
world.
73 OMITTED 73
74 OMITTED 74
75 INT. CONNIE'S HOUSE - DAY - PRESENT 75
Connie sits on her bed, with Smiley, drunk now, eyes wet.
CONNIE SACHS
Hate the real world. (Beat) What
does it matter? Old Circus is
gone anyway, apart from Bill
Haydon. Better off out of it.
(Beat)I know you never liked him.
SMILEY
(Sharply)
What nonsense. What on earth
makes you say that?
CONNIE SACHS
(Surprised)
I don't know.
35.
She turns to the shoe box beside her, takes out a
PHOTOGRAPH.
CONNIE SACHS (CONT'D)
Here we are. The Nursery in our
day.
She shows him the photograph - a young Connie in Wren
uniform, young men in cricket whites on a mown lawn. More
senior figures stand behind.
CONNIE SACHS (CONT'D)
There's Control himself, you
behind him, as usual...
A younger bespectacled Smiley, lost amongst his more
glamorous colleagues. She traces other faces with a crooked
finger.
CONNIE SACHS (CONT'D)
(Fondly)
Jim Prideaux... and Bill Haydon.
Together of course. The
Inseparables. All my boys. That
was a good time, George.
SMILEY
(Chiding)
It was the war, Connie.
CONNIE SACHS
A real war. Englishmen could be
proud then.
She stares at the photograph with a sad smile.
CONNIE SACHS (CONT'D)
I was right, then? About
Polyakov. There's a mole?
Smiley doesn't answer, stands up to go.
CONNIE SACHS (CONT'D)
If it's bad, don't come back. I
want to remember you all as you
were.
76 EXT. SAFE HOUSE - NIGHT 76
The house we saw in the title sequence. The air duct opens
on the front of the house, spilling out its star-shape of
light.
After a moment Polyakov walks up to the door and knocks. We
hear the dog barking...
36.
77 INT. SAFE HOUSE - GROUND FLOOR - NIGHT 77
Mrs McCraig opens the door for him and he passes her with a
smile, heading upstairs.
We TRACK with Mrs McCraig as she walks back to her pantry,
opens a cupboard to reveal a huge reel to reel TAPE
RECORDER. With ancient fingers she presses down the clunky
record button and the spools begin to revolve.
POLYAKOV (O.S.)
(In Russian)
... The Priest is surprised to
see General Secretary
Krushchev...
78 INT. SAFE HOUSE - MEETING ROOM - NIGHT 78
As we saw it in the titles. The Mystery Man sits at the
table holding up pages of a document for Polyakov who is
photographing them as he talks, the camera giving a
satisfying CLICK and WHIR with each shot.
POLYAKOV
... He says "Father, father, I've
just had sex with two 17 year old
girls." The Priest says "That's
quite a sin, but you're an
Atheist, General Secretary..."
HIGH ANGLE - the dusty candelabra above their heads, and
the tint MICROPHONE, nestled beside one of the bulbs.
POLYAKOV (CONT'D)
"... why are you telling me?"
79 INT. SAFE HOUSE - GROUND FLOOR - NIGHT 79
... spools churning silently.
POLYAKOV (O.S.)
... Krushchev says "I'm seventy-
seven, I'm telling everyone."
We hear his chuckle and the continued CLICK WHIR of the
camera.
80 INT. HOTEL ISLAY - SMILEY'S ROOM - NIGHT 80
Smiley sits at his desk staring at the CHESS SET laid out
before him. One of the pieces has had the photograph of
POLYAKOV added to it.
37.
He begins to register the faint noises around him...
Pigeons on the ledge outside the window, the television
mast creaking on the roof above him...
He hears footsteps approaching down the corridor and stop
outside his room. He crosses to the door and opens it and
finds CONTROL waiting for him.
CONTROL
Step into my lair.
And in an instant we are in...
81 INT. CIRCUS - CONFERENCE ROOM - DAY - PAST 81
Control is at the HEAD OF THE TABLE. Ranged against him are
PERCY ALLELINE, ROY BLAND and TOBY ESTERHASE- all a little
nervous. BILL HAYDON sits to the side, feet up. Smiley
joins them without his spectacles. Control throws him a
FILE.
CONTROL
(To Smiley)
Sit down and take a look at this
nonsense.
Smiley sits down and begins to read.
CONTROL (CONT'D)
Report by Soviet High Command on
their recent naval exercises in
the Black Sea. Just what the
Admiralty have been begging us
for some information on.
SMILEY
(Engrossed)
Where did you get it?
CONTROL
I didn't. Percy and his little
cabal walked in with it.
TOBY ESTERHASE
(Protesting "cabal")
Control...
CONTROL
Shut up, Esterhase.
Control waves him down. Smiley considers the report
dispassionately.
SMILEY
If it's genuine it's gold-dust.
(Beat) But its topicality makes
it suspect.
38.
Control turns to Alleline, with a mocking smile.
CONTROL
Smiley is suspicious, Percy.
Smells a fake.
SMILEY
Where does it come from? What's
the access?
CONTROL
Percy doesn't feel like telling.
Percy packs his pipe, enjoys the moment - the young lion
challenging the old.
PERCY ALLELINE
A new secret source of mine.
SMILEY
But how could he possibly have
access to...?
PERCY ALLELINE
He has access to the most
sensitive levels of policy
making.
Smiley stares at him, staggered. If it's true, this is the
jackpot. Alleline enjoys his amazement, he leans over -
points with bureaucratic pride to the FLAMES on the LETTER
HEAD.
PERCY ALLELINE (CONT'D)
We have named the operation
"Witchcraft."
SMILEY
(Faintly)
We?
CONTROL
Percy and his pals have bypassed
us, Smiley. Gone straight to the
Minister. Everyone's very
excited. Percy's to be allowed to
keep the identity of his new
friend top secret.
PERCY ALLELINE
The Minister agrees with me that
too many secrets are blown around
here. Too much failure, too many
scandals, too little solid
intelligence!
Control is still smiling but only now do we realise he is
almost shaking with fury.
39.
CONTROL
Luckily Percy's cabal has come to
save us.
PERCY ALLELINE
(Bulldozing on)
It's all office politics here.
ROY BLAND
Percy does have a point, Control.
We should be fighting communism,
not each other.
PERCY ALLELINE
Meanwhile we're losing our
reputation, our partners...
CONTROL
Your bloody Yanks!
PERCY ALLELINE
(Shouting)
And we've had enough! There's
going to be changes, Smiley!
Changes.
Toby Esterhase finds his moment.
TOBY ESTERHASE
We need to decide if we're part
of the past, or part of the
future.
CONTROL
(Contemptuous)
I should have left you where I
found you.
ROY BLAND
Control, if we could all just...
CONTROL
OUT! ALL OF YOU!
Alleline, Bland and Esterhase leave. For a moment it looks
as if Haydon will stay, but then he stands up, shaking his
head and saunters out.
SMILEY
(Cautiously)
If Witchcraft is genuine...
Now the others have left, Control seems to sag under the
weight of some unnamed fear. He turns a haggard face to
Smiley.
CONTROL
I don't trust miracles.
40.
We hear a KNOCKING and find ourselves back in...
82 INT. HOTEL ISLAY - SMILEY'S ROOM - DAY - PRESENT 82
Mendel holds two mugs of tea in one hand, gives the agreed
knock at Smiley's door again. After a moment a bleary
Smiley opens the door and lets him in.
83 INT. HOTEL ISLAY - SMILEY'S ROOM - DAY 83
Mendel passes him the tea, takes in the desk piled high
with papers.
MENDEL
(Of the tea)
Courtesy of Mrs P. You been up
all night?
Smiley sits down wearily, sips his tea.
SMILEY
Yes.
Mendel notices one SLIP OF PAPER, 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.
MENDEL
What for?
SMILEY
For a Mister Ellis.
MENDEL
Who's Ellis?
Smiley leans back, rubs his tired eyes.
SMILEY
It was one of Jim Prideaux's work
names.
MENDEL
What's so strange about that
then?
SMILEY
The date. Prideaux was killed in
Hungary a year ago. October
twenty first. So why was
(MORE)
41.
SMILEY (CONT'D)
someone giving him a thousand
pounds two months later?
He takes another sip of tea, gazes at Mendel thoughtfully.
84 EXT. THURSGOOD SCHOOL - PLAYING FIELDS - DAY 84
Prideaux is running around the track, pounding along with his
odd, loping stride. A group of BOYS watch him pass. One -
SPIKELEY - mimics the run to the amusement of the others.
85 INT. THURSGOOD SCHOOL - CLASSROOM - DAY 85
A fire burns in the little grate.
ROACH sits near the back of the class. The BOY behind slaps
the back of his neck with a ruler. Roach flinches but
doesn't say anything. The Boy does it again.
Prideaux drops a pile of books onto the desk of a boy -
SPIKELY.
PRIDEAUX
Hand those out.
He crosses to the board begins to write on it - JE
M'APPELLE MONSIEUR ELL...
Behind him Spikely hands out the books, continuing to walk
like a HUNCHBACK.
The class snigger. Prideaux hears but doesn't turn,
continues writing.
Then from the CHIMNEY comes an unnerving SCRABBLING sound.
A little soot falls...
The sniggering fades out as all eyes turn nervously to the
fire... what is that noise?
Then, with a terrifying SCREECH, an OWL drops down into the
grate, thrashes in the flames before flapping out into the
class, its wings now ON FIRE, shrieking hideously, headed
straight for Spikely who stands frozen in shock as the bird
swoops towards his face.
Then...
... somehow, Prideaux is THERE and grabs the burning bird
from the air and in a second has it folded in on itself,
NECK SNAPPED, and strides out of the room with it.
The boys stare after their new teacher in SHOCKED SILENCE.
42.
86 EXT. THURSGOOD SCHOOL - PRIDEAUX'S CARAVAN - DAY 86
Roach is hiding, spying down on the caravan below, where
Prideaux sits in the doorway, massaging his raised
shoulder, and drinking something from a green beaker.
PRIDEAUX
(After a moment)
Come down here.
Frightened, Roach obeys, sliding down the dip to him.
Prideaux examines him fiercely. Finally his face relaxes a
little.
PRIDEAUX (CONT'D)
(Identifying him)
Boy with the marble.
ROACH
Yes sir.
PRIDEAUX
Gave me a turn up there, parked
on the horizon. Thought you were
a Juju man. What's your name?
BILL ROACH
Sir, Roach, sir. Bill. I'm a new
boy.
PRIDEAUX
New arrival, eh? Middle of year?
What's the story?
Roach hesitates.
BILL ROACH
(Blushing)
My mother and father... my
father's left, so...
He doesn't know how to explain his misery any further.
Prideaux pretends not to notice.
PRIDEAUX
Bill? The unpaid Bill. Anyone
ever call you that?
BILL ROACH
No sir.
PRIDEAUX
Known a lot of Bills. They've all
been good `uns. What you good at?
Roach tries desperately to think of something.
43.
BILL ROACH
Nothing sir.
The boy's eyes start to MIST UP. Prideaux looks down,
busies himself with brushing at something on his shirt.
PRIDEAUX
You're a good watcher though eh?
Us loners always are. No one else
spotted me when I turned up here.
Best watcher in the unit,
Bill Roach is, I'll bet. Long as
he's got his specs on. Right?
BILL ROACH
(Gratefully)
Yes sir.
Prideaux finishes his drink, nods to Roach.
PRIDEAUX
Free period, isn't it? Don't
waste it down here.
Roach sets off up the dip. He looks back and sees Prideaux
has walked into the caravan and stands with his back to
him, rubbing his aching shoulder.
87 EXT. SMILEY'S HOUSE - DAY 87
Smiley walks up to the steps of his home, stops, examining
the door, his absent-minded air hardening into something
more ALERT. He scans the step and stoops to pick something
up. A WEDGE.
88 INT. SMILEY'S HOUSE - DAY 88
Smiley walks into the hallway senses alert. He pads towards
the drawing room, wipes sweat from his hands on his
trousers, steels himself. Is it finally Them, come for him?
He walks in and finds...
89 INT. SMILEY'S HOUSE - DAY 89
RICKI TARR sits smoking in the darkness, the knife on his
lap.
RICKI TARR
Hello Mister Smiley. You remember
me.
SMILEY
Hello, Ricki.
He tosses the wedge onto the table.
44.
SMILEY (CONT'D)
You missed a wedge.
RICKI TARR
Losing my touch.
Smiley watches him closely, very aware of the knife. Tarr
rubs his beard.
RICKI TARR (CONT'D)
I know what I must look like. Rip
Van Winkle. Feel like him. I
could sleep for a year. Two
years.
SMILEY
Where've you been, Ricki?
RICKI TARR
Here, there. Run out of places
now. They're gonna kill me.
SMILEY
Who is?
RICKI TARR
Your lot. Or their lot. Whoever
gets me first. I'm innocent, by
the way. Within reason. (Beat)
You going to find him then? The
Mole?
Smiley crosses to another chair. As he does so he's
scanning the room - automatically noting the changes - the
remains of a meal on a table...
SMILEY
I'm going to try. How long have
you been here?
RICKI TARR
Few days. Needed somewhere to
hide.
Smiley notices the pile of letters for his wife Ann -
they've been disturbed.
RICKI TARR (CONT'D)
(Following his gaze)
Old habits.
Smiley fights down his anger.
SMILEY
I wouldn't use my home as a safe
house. There's every chance
they're watching it.
45.
RICKI TARR
Calculated risk Mister Smiley. I
wanted to see you, figured you'd
turn up here sooner or later.
SMILEY
What do you want Ricki?
RICKI TARR
There's a woman. I want you to
trade for her. Get her back from
Karla.
SMILEY
What woman?
Tarr finishes his cigarette, lights another.
RICKI TARR
Her name's Irina.
90 EXT. ISTANBUL - AIRPORT - DAY - PAST 90
Ricki Tarr emerges blinking into the white sunshine.
Groomed, smart, that same restless energy. A car pulls up
across the road TUFTY THESINGER - a boiled-looking British
spy, not over-bright, signals to him. Tarr pulls his shades
down and saunters over to his ride.
RICKI TARR (O.S.)
I met her in Istanbul. They'd
found some Russian trade
delegate, name of Boris. He was
spending high and wide in the
nightclubs and some idiot thought
we could turn him.
Tarr opens the back seat and gets in. Tufty's slightly
foolish smile slips a little.
90A INT. ISTANBUL - TARR'S APARTMENT - ENTRANCE LOBBY - DAY 90A
Tarr enters, followed by Tufty carrying one of his bags.
91 INT. ISTANBUL - TARR'S APARTMENT - NIGHT 91
Nineteenth century European grandeur. But the apartment
we're in is deserted and in a state of disrepair. Tarr
stands at tripod mounted BINOCULARS set back from the
window, idly playing with a knife with a distinctive white
BONE handle.
46.
92 EXT. ISTANBUL - IRINA'S HOTEL - NIGHT 92
TARR'S P.O.V. - the HOTEL opposite - a Brutalist concrete
slab, the rooms have floor to ceiling windows. In the
bedroom a heavy set man - BORIS - is having sex with a
MAID.
RICKI TARR (V.O.)
I took one look and saw that he
was a hood, Moscow trained.
We TRACK to one side, and see the "drawing room" of the
hotel suite, where Boris' two MINDERS, SERGEI and IVAN,
wait, smirking at the sounds coming from the bedroom.
RICKI TARR (V.O.) (CONT'D)
Probably coat trailing, trying to
draw one of our men out into the
open.
We TRACK further along again and see the CORRIDOR outside
the hotel room, where a YOUNG WOMAN has just arrived. This
is IRINA.
RICKI TARR (V.O.) (CONT'D)
He had a wife with him. Common-
law.
Irina opens the door and walks into the drawing room, where
the Minders stare fixedly at the floor, trying not to
laugh. She walks on past and into the bedroom. The Maid
jumps out of the bed, grabs her clothes and flees. Boris
lies, unconcerned, reaches for his cigarettes.
Irina walks past him and we track with her as she enters a
BATHROOM. The glass window here is two-thirds frosted and
we lose her as she bends over a basin.
Something about her has caught Tarr's attention and he
leaves the binoculars, walking closer to the window.
Suddenly IRINA straightens up, her head above the frosted
glass and stares straight at us...
93 EXT. ISTANBUL - TARR'S APARTMENT - NIGHT 93
HER P.O.V. -
RICKI TARR standing at the window opposite, knowing he
should turn away, but somehow snagged by that look.
A moment between the two. Then a car sweeps past on the
road below and there's a flash of light behind Ricki's head
- the headlights reflected in the lenses of the now visible
BINOCULARS. Irina absorbs this. Above everything else,
anger at her humiliation being observed.
47.
94 EXT. ISTANBUL - IRINA'S HOTEL - NIGHT 94
RICKI TARR'S P.O.V.
As Irina walks back out of the bathroom, picks up a vase
and hurls it at Boris, just missing him. He stubs out his
cigarette and calmly climbs out of the bed. As we watch he
draws the curtains along the length of the room, obscuring
our view. Seconds later the curtains billow as Irina is
thrown against them. We watch as her shape is rolled along
the window by the force of Boris' blows. Finally the
billowing fabric settles. Moments later Boris opens the
curtains again and starts to dress. Irina lies on the bed.
94A EXT. ISTANBUL - IRINA'S HOTEL - NIGHT 94A
RICKI'S P.O.V.
Ricki watches the street below as Boris, Sergei and Ivan
exit the hotel, head for a night out.
Tarr pulls on his own jacket, grabs his knife.
95 OMITTED 95
96 EXT. ISTANBUL - NIGHT 96
IRINA'S P.O.V. - Her husband and the Minders are heading
for a row of gaudy nightclubs. And someway behind him,
Ricki Tarr, trailing.
She exhales a breath on the glass.
96A EXT. ISTANBUL - NIGHT CLUB - NIGHT 96A
Tarr approaches the night club, glancing around quickly
before slipping inside.
97 INT. ISTANBUL - NIGHT CLUB - NIGHT 97
Ricki Tarr enters. He scans the room for Boris, spotting
Tufty Thesinger at a table. He crosses towards him,
watching as Boris and the two minders are entertained by
the clubs hostesses.
Boris calls for more drinks, clutching a bundle of
currency.
TUFTY THESINGER
(grinning)
This is going to be a long night.
48.
RICKI TARR
You baby-sit this one.
Ricki walks towards us.
98 INT. ISTANBUL - IRINA'S HOTEL - NIGHT 98
Irina answers the door and finds Ricki Tarr outside.
RICKI TARR
Your bloke's a bit of a bastard.
(Beat) Just wanted to check you
were alright.
She stares at him.
RICKI TARR (V.O.) (CONT'D)
There was something about her.
99 OMITTED 99
100 INT. SMILEY'S HOUSE - DAY - PRESENT 100
Tarr exhales smoke. Smiley studies him.
SMILEY
You were due to fly home the next
day. What did you tell London?
RICKI TARR
Nothing. Didn't have anything to
tell yet. But... I could sense it
in her.
SMILEY
Sense what?
RICKI TARR
A secret.
101 INT. ISTANBUL - GARAGE - DAY - PAST 101
Ricki Tarr is talking to a man. A sports car lies under a
sheet. The deal concluded, the man pulls back the sheet to
reveal the car.
102 EXT. ISTANBUL - DOCKS - DAY 102
Irina is driving, exhilarated, free. Ricki Tarr is on the
back seat, sleeping.
49.
103 INT. ISTANBUL - WORKERS CANTEEN - DAY 103
A workers canteen on the Bosphorus. Tarr and Irina sit
drinking wine, talking.
RICKI TARR (V.O.)
I played the businessman, Michael
Trench. A Holiday Romance. Thought
I'd take my time with it...
Tarr gently traces a bruise on Irina's arm.
RICKI TARR (V.O.) (CONT'D)
But second date she made this open
play...
We see a growing attraction between them.
Irina and Tarr laughing, flirting. They move closer to one
another.
Tarr feels he is the master of this situation.
Suddenly Irina withdraws. She stares at him.
IRINA
I know what you are.
A long beat. Tarr waits her out.
IRINA (CONT'D)
I would like to talk to your boss
Control. I have something to trade.
Something big. I want a new life in
the West.
Tarr desperately tries to stay looking calm.
IRINA (CONT'D)
That is the deal. You tell them.
103A INT. SMILEY'S HOUSE - EVENING - PRESENT 103A
Smiley sits with his hooded, bored look, examining everything
carefully.
SMILEY
What made you so sure she wasn't
coat-trailing?
RICKI TARR
We've all got our strengths. And
weaknesses.
He flicks a look at the pile of Ann's letter, an insolent
smile.
50.
RICKI TARR (CONT'D)
Me, I know women. She said she had
a secret. The mother of all
secrets. Said she'd only tell
Control. She wanted to trade. New
life for her and her kids.
SMILEY
She had children in Russia?
RICKI TARR
That's why they let her and Boris
out. So, I said I'd tell the
Circus.
SMILEY
(Beat)
But you didn't?
Tarr's smile fades.
104 OMITTED 104
105 INT. ISTANBUL - TARR'S APARTMENT - DAY - PAST 105
Irina prowls the room.
RICKI TARR (V.O.)
Wanted to find out more first. So,
I waited her out.
Tarr lounges by a window, smoking.
RICKI TARR (CONT'D)
(Shrugging)
You can't expect them to jump at
every offer of service.(Beat.
Carefully) If they had more
information...
Irina doesn't answer, paces. Tarr lets his face harden.
RICKI TARR (CONT'D)
Well, if you won't tell me more,
there's nothing I can do.
She stares at him.
IRINA
If I tell you, I'm putting my
life in your hands. The lives of
my children? Do you understand?
She walks slowly towards him, bends over, begins to whisper
in his ear.
51.
106 INT. ISTANBUL - TARR'S APARTMENT - NIGHT 106
The two make love, passionate, Irina trying to bind him to
her. Tarr responds, excited by her, now that she needs him.
We intercut their intense love-making with...
107 INT. ISTANBUL - NIGHT CLUB - NIGHT 107
A drunk Boris groping a very young hostess on a dance
floor, his shirt undone. He starts to strip the girl of her
uniform, amused by her efforts to keep her clothes on. The
two minders clap in time to the music, encouraging him.
Boris grabs the girl by the hair, biting her neck,
laughing, eyes glazed with drink, barely able to stand...
The inane music blares on...
108 INT. ISTANBUL - TARR'S APARTMENT - NIGHT 108
Silence. Tarr and Irina stare at each other. A long beat.
IRINA
(tenderly)
Promise me you'll be careful. No
details to the Circus. Not until
we're safe.
RICKI TARR
(genuine)
I promise.
109 EXT. ISTANBUL - DAY 109
Tarr threads his way through the crowds of evening shoppers
and tourists, holding in his head the BIGGEST SECRET of his
career. There's something new on his face - AMBITION.
110 EXT. ISTANBUL - IMPORT/EXPORT OFFICE - EVENING 110
We're gliding above the respectable front of a Business
OFFICE, through the RECEPTION - which maintains the cover
story of an Import/Export outfit...
...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.
TUFTY THESINGER
You were supposed to have gone.
London stations's been on to me.
They want to know what the hell
you're doing.
52.
RICKI TARR
(without turning)
Fuck off.
111 INT. SMILEY'S HOUSE - NIGHT - PRESENT 111
Smiley takes off his glasses and wipes them.
SMILEY
And what did your message say,
Ricki?
RICKI TARR
Just that I had a Moscow Centre
trained hood wanting to defect.
SMILEY
What else?
Tarr looks at him. For the first time there's something
else behind his smile.
SMILEY (CONT'D)
I understand how you felt. You
wanted to do something.
RICKI TARR
I know what I am to the Circus.
One of the scalp-hunters. Someone
to give the dirty jobs to. I
wanted to bring this one in
myself.
SMILEY
Yes. I quite see that.
RICKI TARR
I said that she claimed to have
information crucial to the well-
being of the Circus.
SMILEY (O.S)
And what else?
RICKI TARR
That she had information
concerning a Double Agent.
He colours.
RICKI TARR (CONT'D)
I was just trying to... to get
the proper attention. (Beat) And
I told them to tell Mister
Guillam that this was the reason
I hadn't come home, not because
I'd defected or anything.
53.
SMILEY
What happened next Ricki?
RICKI TARR
I waited for a reply.
112 INT. ISTANBUL - IMPORT/EXPORT OFFICE - NIGHT - PAST 112
A tense Tarr sits waiting for a reply. It's dark outside.
Thesinger is asleep at his desk. The TICKER MACHINE begins
to rattle into life. Tarr jumps to it.
Tarr begins to decode the in-coming message on a one-time
pad.
INSERT - "We read you"
RICKI TARR (V.O.)
I waited hours but that was all
they sent. It didn't make sense.
Like they were stalling.
113 EXT. ISTANBUL - TARR'S APARTMENT - NIGHT 113
Tarr stands staring across at Irina's hotel balcony with
binoculars.
114 EXT. ISTANBUL - IRINA'S HOTEL - NIGHT 114
BORIS stands looking straight at him. The hint of a mocking
smile. Behind him we can just see SERGEI and IVAN sitting
in the room.
115 INT. ISTANBUL - IRINA'S HOTEL - NIGHT 115
Boris turns from the balcony, exhaling smoke from a
cigarette, the faint smile still on his lips. He looks up,
his expression CHANGING.
116 EXT. ISTANBUL - ALLEYWAY - DAWN 116
Tarr bolts down an alleyway.
117 INT. ISTANBUL - IMPORT/EXPORT OFFICE - DAY 117
The door is ajar... a radio is playing LOUD POP MUSIC. Tarr
pauses on the threshold, senses alert. He takes out his
KNIFE.
54.
118 INT. ISTANBUL - IMPORT/EXPORT OFFICE - DAY 118
A fan stirs the dusty air. Tarr walks in and stops. Tufty
lies on the floor, in a pool of blood. He's been tortured,
one eye gouged out. The other manages to convey a rather
touching amazement at the violence worked on him. His throat
has been slit wide open. Tarr absorbs this, looks at the
knife in his own hand, turns and runs.
119 INT. ISTANBUL - WORKERS CANTEEN - DAY 119
A desperate Tarr hurries towards a phone.
120 INT. ISTANBUL - IRINA'S HOTEL - DAY 120
P.O.V. - BATHROOM THROUGH THE HALF-OPEN DOOR -
Irina enters the hotel room. She stops a moment, afraid.
Then she looks towards us.
BATHROOM
Irina is backing out of the room. We catch a glimpse of the
BUTCHERED REMAINS of BORIS hanging from the shower rail, a
garroting wire around his neck. He's been tortured, the
shower curtain used to catch the pooling blood.
She BACKS AWAY across the room to the door, leaving a trail
of bloody footprints on the pale carpet.
She turns to the door, looks out of the SPY HOLE.
Her P.O.V. - two men, TINY DISTORTED FIGURES walking down
the corridor towards her.
The phone starts to RING. Irina glances at it, knowing it's
too late for her.
SPY-HOLE - The TWO FIGURES loom closer.
121 INT. ISTANBUL - PORT AUTHORITY - DAY 121
P.O.V. - Crowds of people throng the busy port.
A paranoid Ricki watches from the back of the hall. He
notices a child react to something - follows his gaze...
TARR'S P.O.V. - behind glass panels - a glimpse of three men
wheeling a gurney - a bandaged figure upon it. Just before
the figure disappears, a hand moves a little...
Tarr watches Irina's departure, sick with guilt.
55.
122 OMITTED 122
123 INT. SMILEY'S HOUSE - NIGHT - PRESENT 123
Tarr picks at a loose thread on his cuff, mind still back
there.
RICKI TARR
They put her on a ship. That's
all I know. I've done a lot of
things Mister Smiley, but... I
don't know why... I keep thinking
about her. (Beat)
He smiles, almost bewildered by his own feelings.
RICKI TARR (CONT'D)
She wasn't even my type. (Beat)
I want to get her out. I owe her
that.
He stands up abruptly, heading for the door.
SMILEY
Where are you going Ricki? You
said yourself, Karla will be
looking for you. I can take you
somewhere. Keep you safe.
Tarr's face twists with mirth.
RICKI TARR
Who's going to keep you safe?
124 INT. CIRCUS - LIFT SHAFT - DAY 124
We are peering down the lift shaft as new secrets are
winched towards us.
125 INT. CIRCUS - CONFERENCE ROOM - DAY 125
Alleline sits in his baronial chair, alone in the room. He
looks what he is. A man who knows he's OUT OF HIS DEPTH.
Across from him the SAFE stands, an almost malignant
presence.
Alleline stares at it, a light film of sweat on his
forehead.
126 INT. SQUASH CLUB - EVENING 126
A dark warren of corridors and glassed SQUASH COURTS
somewhere under-ground.
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-in-
arms.
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 129
- 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 CROWN-
SHAPED 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.
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 130
... 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.
59.
131 EXT. HAMPSTEAD PONDS - DAY - PRESENT 131
Smiley and Guillam sit on a bench. Smiley has his towel,
hair wet from his swim.
PETER GUILLAM
You look tired.
Smiley considers telling Guillam about Tarr's visit, but an
instinct for secrecy wins out.
SMILEY
Yes. I didn't sleep well. (Beat)
I want you to get something for
me, Peter. I need the duty
officer's log book for last
November. I'm sorry, but I'm
going to have to send you up a
floor, into the Lion's den.
(Beat) If you have the slightest
reservation...
PETER GUILLAM
Is feeling sick to your stomach a
slight reservation?
SMILEY
If you're caught, Peter, you
can't mention me. I'm sorry, but
you're alone.
Guillam nods. He gets up and walks quickly away. After a
moment a MAN rises from a nearby bench and saunters over.
It's Mendel.
MENDEL
You're clean. Nothing on your
back. Nothing on your conscience.
132 EXT. CIRCUS - MORNING 132
A LORRY roars past, wiping frame and revealing Guillam
arriving at the circus, carrying his briefcase. He springs
up the four steps.
133 INT. CIRCUS - GROUND-FLOOR LOBBY - DAY 133
Guillam is at the security gate at the dingy lobby. The
security guard, Bryant, steps from his box. Beyond him is
the row of lifts.
BRYANT
Mister Guillam? How's the family?
60.
PETER GUILLAM
Fine, Bryant. Up to Registry
today.
BRYANT
Okay sir. Yellow one for the bag
sir.
Bryant stamps a PINK chit and hands it to Guillam, pulling
open the lift cage. He gives him a yellow slip for the bag.
Guillam climbs inside and begins to ascend, rattlingly
slowly. As Bryant's head disappears...
PETER GUILLAM
Time you oiled this thing, isn't
it?
BRYANT (O.S.)
We keep asking...
Guillam examines the chit. He wipes his hands. For the
first time we realize how NERVOUS he is.
Polished shoes appear as they reach the floor, then the
uniform trousers of a short man. A self-important JANITOR.
Guillam steps out and the Janitor checks Guillam's pink and
yellow chit and motions him through a turnstile. Then he
stops him short. He gestures for Guillam to raise his arms.
PETER GUILLAM
You're kidding?
JANITOR PETE
New rules.
Guillam is briskly frisked.
PETER GUILLAM
Mind the jewels.
JANITOR PETE
Pen and watch sir.
He holds up a box and Guillam hands him his fountain pen
and watch.
The search over Guillam sets off down the corridor,
unnerved by the task ahead - betraying his own kind.
BILL HAYDON (O.S.)
What the hell are you doing up
here?
Guillam freezes. Then he turns. It's Bill Haydon standing
in a doorway, frowning at him over his spectacles. A
moment.
61.
PETER GUILLAM
You don't look pleased to see me,
Bill?
BILL HAYDON
Why would I be? You bloody
pariah.
Then Bill grins, the grin transforming his face. Guillam
smiles back, relief mixing with real warmth.
BILL HAYDON (CONT'D)
We like the Scalp-hunters to know
their place. On the second floor.
PETER GUILLAM
Doing some research. Makes a
change from sitting on my arse.
BILL HAYDON
Heard it was quiet down there.
PETER GUILLAM
As the grave. When're you going
to give us something to do?
BILL HAYDON
Haven't you heard? Technology's
the future. No need for you apes
anymore. I can get you a posting
to Northern Ireland if that helps
get the blood racing.
PETER GUILLAM
Thanks anyway. Stick to sitting
on my arse.
They've reached the end of the corridor. Haydon peels away,
a hand raised in farewell.
134 INT. CIRCUS - READING ROOM - DAY 134
Guillam arrives at a counter which serves to block entry to
the vast archive of files beyond. A Janitor appears in the
entrance. He pushes a book towards Guillam to sign.
JANITOR ALWYN
(re: Guillam's bag)
Want me to look after that for
you, Mister Guillam?
PETER GUILLAM
Thanks...
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 135
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.
SAL
I'll bet.
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 138
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.
64.
139 INT. CIRCUS - READING ROOM - DAY 139
On Guillam...
PETER GUILLAM
At least get on to the main
dealers first...
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 141
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.
PETER GUILLAM (CONT'D)
Thanks.
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.
65.
TOBY ESTERHASE is standing in front of him. Unfriendly
eyes.
TOBY ESTERHASE
Could we see you Peter?
For a second Guillam can't speak.
TOBY ESTERHASE (CONT'D)
Percy would like quite an urgent
word with you. Can you come now
to the fifth floor? That would be
so kind.
PETER GUILLAM
Of course.
Esterhase turns and Guillam, mind whirring, follows him
back out through the counter.
PETER GUILLAM (CONT'D)
(to Alwyn, inspired)
You might just throw that into
the lift for me, mark it for the
second floor, save me filling out
more bloody chits?
JANITOR ALWYN
Will do sir.
143 INT. CIRCUS - FIFTH FLOOR - OUTSIDE ALLELINE'S OFFICE - DAY
143
The Mothers sit over their typewriters as Guillam and
Esterhase walk through into the anteroom.
PERCY ALLELINE (O.S.)
(shouting from the other
room)
Esterhase, I'll have no phone
calls, tell them...
TOBY ESTERHASE
The Chief will take no calls,
please, ladies...
MOTHER
(Muttering)
We can hear.
Toby holds the door open for Guillam.
TOBY ESTERHASE
We are having a conference.
66.
144 INT. CIRCUS - CONFERENCE ROOM - DAY 144
Alleline sits in the baronial chair, Bland at his left.
Haydon on his right. Esterhase trots over to his seat.
Guillam takes in the REPORT they all seem to have spread
out in front of them.
PERCY ALLELINE
(Reading)
Well now young Peter Guillam, are
you ready for me finally?
Guillam, affecting ease, leans against the wall.
PERCY ALLELINE (CONT'D)
What are you getting up to down
there these days, apart from
chasing our virgins...
Guillam catches a smirk from Esterhase - mocking him?
PETER GUILLAM
Couple of Arab ploys look quite
promising. Other than that,
getting quite good at ping-pong.
PERCY ALLELINE
Arabs... You can rent one but you
can't buy one. Right Bill?
He looks up from the report. Here it comes...
PERCY ALLELINE (CONT'D)
How's Ricki Tarr these days?
PETER GUILLAM
(Not missing a beat)
Fine. We have tea at Fortnum's
every afternoon.
PERCY ALLELINE
I require the matter of your
discussion with Tarr.
Guillam shrugs.
PETER GUILLAM
I'll tell him. He'll be thrilled.
Alleline lets the silence build, rather like a bad actor.
Everyone is staring at Guillam.
PERCY ALLELINE
(Quietly)
What's that shrug for?
He SLAMS a hand on the desk, tea-cups rattling, a sudden
roar.
67.
PERCY ALLELINE (CONT'D)
I'm talking to you about a
murderer. 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.
PETER GUILLAM
But I haven't been seeing him! So
get your facts straight and get
OFF MY BACK!
A moment, while the room digests this. A relaxation of the
tension, as if he's passed some kind of test.
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.
PERCY ALLELINE
And if I told you we happen to
know that thirty thousand pounds
mysteriously appeared in his bank
account last month, would that
surprise you?
This DOES shock Guillam, but he manages to hold on to his
sullen expression.
PERCY ALLELINE (CONT'D)
Your man's a defector, Guillam.
Got turned by the opposition
months ago and now they've sent
him back to us!
PETER GUILLAM
What for?
PERCY ALLELINE
Never mind what for! To muddy the
water, that's what for! Spread a
whole lot of damn nonsense to get
us chasing our tails! The point
is this - he's heading for home.
The first peep from him you come
to the grown-ups, understood?
Anyone you see at this table. But
not another damn soul!
68.
145 INT. CIRCUS - CORRIDOR - DAY 145
Guillam is walking to the lifts, we note he is now carrying
his BAG. Behind him ROY BLAND is walking down the corridor.
He peels off, turning left, humming a tune to himself - the
same POP SONG that was playing at the garage in the
background of Guillam's call. Guillam reacts as he keeps on
walking, trying to work out if this MEANS SOMETHING. We
track with him as his anger and PARANOIA grow.
146 EXT. GARAGE - DAY 146
Guillam drives down an alleyway full speed, screeches to a
halt as he reaches a group of children playing, edges past
them and on into the car body repair shop. He gets and
strides past the elderly GERMAN MECHANIC we saw earlier.
MECHANIC
(German, subtitled)
He's waiting for you.
Guillam strides on, nerves at snapping point, to the other
end of the workshop where a Vauxhall waits.
Behind him the Mechanic and his SON are already beginning
to strip the plates off Guillam's car.
147 EXT. GARAGE - DAY 147
Mendel appears by Guillam's side as they walk towards
another waiting car, Guillam simmering with rage.
MENDEL
(A faint smile)
All go smoothly did it? (Beat)
Where we off to?
PETER GUILLAM
The hotel. I have to see George.
MENDEL
Mister Smiley isn't at the hotel,
sir. Change of venue.
148 INT. CONTROL'S FLAT - DAY 148
Tarr sits in Control's green velvet armchair watching TV.
There's a large tape recorder on the table behind him. We
hear the door to the flat opening.
PETER GUILLAM (O.S.)
George?
69.
Guillam hurries into the room, stops, seeing Tarr. Tarr
gives his sunny grin but he's sweating, his eyes full of
tension.
TARR
Hello, Mister Guillam, sorry I
took so long to come back.
Guillam punches him in the face, drags him from the chair,
the two struggling.
Behind them Smiley and Fawn appear. Smiley watches coolly
for a moment then signals Fawn, who drags Guillam off Tarr,
expertly pinning his arm.
FAWN
Excuse me, sir.
Guillam pulls free angrily.
SMILEY
Ricki's been helping us Peter.
(Indicating TAPE DECK) He's been
telling us all about his
adventures.
PETER GUILLAM
(To Smiley)
He's a double, George! There is
no Mole! The whole thing's a pack
of lies thought up by Moscow.
Karla's bought him for thirty
thousand pounds!
He pulls the LOG BOOK out of his file.
PETER GUILLAM (CONT'D)
(To Tarr)
I stole that, because of you! I
spied on my own. Do you know how
that makes me feel?
Smiley holds out his hand for the log book.
SMILEY
As you did take the trouble to
steal it...
Guillam hands him the book and Smiley leafs through the
pages.
SMILEY (CONT'D)
Ricki, you said you sent the
Circus a telegram concerning
Irina's information?
Tarr sits up, wiping blood from his mouth.
70.
RICKI TARR
(Sullenly)
S'right.
SMILEY
What was the date?
Tarr hesitates, considering.
PETER GUILLAM
He doesn't know because there was
no telegram! The whole thing...
RICKI TARR
November 20th. It would have been
November 20th. Evening.
Smiley has found the right month. He flicks through the
dated pages - 18th November, 19th November...
He holds up the book - the next page has been cut out.
SMILEY
November 20th is missing. (Beat)
Someone is covering their tracks
Peter. Unless you think that's
just a coincidence?
Guillam looks thrown.
PETER GUILLAM
What about the money?
SMILEY
Thirty thousand isn't so much for
Karla to pay if it protects his
Mole. I'm afraid someone in the
Circus knows all about Mister
Tarr and is doing everything they
can to discredit him.
Guillam takes the log book from Smiley, runs a thumb down
the razored edge of the missing page. He notices some
writing on the next page.
PETER GUILLAM
(Reading)
"Enquiries to the fifth floor."
Smiley takes the book again, examines the note.
SMILEY
You recognize that handwriting?
(Beat) That's Toby Esterhase.
71.
149 EXT. HOTEL ISLAY - EVENING 149
Smiley and Guillam pull up in front of the hotel. They sit,
in weary silence, staring up at the unprepossessing
building.
PETER GUILLAM
Why didn't you tell me? That you
had Tarr?
Smiley looks at him. Guillam reads the look correctly.
PETER GUILLAM (CONT'D)
In case I didn't make it out of
the Circus...
SMILEY
Secrecy is a habit.
Guillam rubs his eyes.
PETER GUILLAM
I should get some rest. And I
suppose you should get your
reading done.
Smiley nods. Doesn't move.
150 INT. HOTEL ISLAY - SMILEY'S ROOM - NIGHT 150
The two men are finishing off a bottle of Scotch.
Unusually, Smiley is drunk - a result of the alcohol and
the lack of sleep.
Guillam lies on one of the single beds, staring at the
PHOTOGRAPHS of the four suspects Smiley has pinned on his
chessmen.
PETER GUILLAM
I'm sorry.
SMILEY
What for?
PETER GUILLAM
I wanted to believe Tarr was
lying. (Beat) All this time,
thinking I'm fighting a war. It's
a sham. Karla won years ago and
we didn't even know it.
Smiley watches Guillam, estimating how badly all of this is
affecting him.
SMILEY
(Beat)
I met him once. Karla.
(MORE)
72.
SMILEY (CONT'D)
In fifty-five. Moscow Centre was
in pieces. Purge after purge.
Half their Agents were jumping
ship and I travelled around
signing them up. Hundreds of
them.
Guillam raises himself up on an elbow, listening.
SMILEY (CONT'D)
One of them was calling himself
Gerstmann. He was on his way back
to Russia, and we were pretty
sure he was going to be executed.
Plane had a twenty-four lay over
at Delhi, and that's how long I
had to convince him to come over
to us instead of going home to
die.
Smiley stares at the room around, projecting his memory of
the Delhi cell onto their present surroundings.
SMILEY (CONT'D)
Little room...I'm sitting
here...he's sitting there...
He points to an EMPTY CHAIR in front of him.
SMILEY (CONT'D)
The Americans have had him
tortured.
He holds up his right hand.
SMILEY (CONT'D)
No fingernails. It's incredibly
hot. I'm very tired and all I
want to do is get this over with
and get back home. Things weren't
going well with Ann.
Guillam flinches a little, but Smiley doesn't notice, lost
now in the past.
SMILEY (CONT'D)
I give him the usual pitch...
Come to the West and we can give
you a comfortable life. After
questioning. Or you can catch
your plane and fly home and be
shot, like Bykov, Shur,
Muranov...
He stares at the CHAIR as if expecting an answer, and
slightly drunkenly Guillam finds himself turning to the
CHAIR for a response.
73.
PETER GUILLAM
(Beat)
What did he say?
Smiley doesn't answer - STARES AT THE CHAIR - the silence
stretching - it's all becoming a little surreal.
SMILEY
(To the chair)
Think of your wife. You have a
wife, don't you? I brought you
some cigarettes, by the way.
He mimes placing cigarettes on an invisible table, between
him and the chair.
SMILEY (CONT'D)
Use my lighter.
He mimes placing the lighter beside the cigarettes.
SMILEY (CONT'D)
"We could arrange for her to join
you, we have a lot of stock to
trade. If you go back, she'll be
ostracised. Think of her. Think
about how much she..."
He breaks off in sudden impatience with himself.
SMILEY (CONT'D)
Kept harping on about the damn
wife! Telling him more about me,
than... Should have walked out,
of course, but for some reason...
it seemed important to save this
one. (Beat) So I go on. "Know
you're a chain-smoker, help
yourself," "We're not so very
different you and I.."
He makes a vague "Etcetera" gesture, stares at...
THE EMPTY CHAIR
... something unsettling about it, as if somehow it is
acquiring the GHOSTLY PRESENCE OF KARLA.
SMILEY (CONT'D)
(To the chair)
Look, we've both spent our lives
looking for the weaknesses in one
another's systems. Don't you
think it's time to recognise
there is as little worth on your
side as there is on mine?
74.
Silence. Smiley sits back, dropping the game.
SMILEY (CONT'D)
Never said a word. Not one word.
Next morning he got back on his
plane, gave the pack of
cigarettes back to me, untouched -
this was a chain-smoker, mind -
and flew off to what he presumed
would be his death. He kept my
lighter. It was a gift - "To
George, from Ann. All my love."
Guillam is still staring at the chair, a little awe-struck.
PETER GUILLAM
That was Karla? And he flew back
to die rather than give in?
SMILEY
Yes. (Beat) And that's how I know
he can be beaten. Because he's a
fanatic. And the fanatic is
always concealing a secret doubt.
PETER GUILLAM
What did he look like?
SMILEY
That's the thing. (Beat) I can't
remember.
He stands up, crosses to the window, embarrassed by what he
has to say next.
SMILEY (CONT'D)
After today, Peter you have to
assume they're watching you. If
there's anything you need tidied
up... now's the time.
Guillam stares at him, realising what he's talking about.
151 INT. GUILLAM'S FLAT - NIGHT 151
Guillam and his boyfriend RICHARD sit at the table, Richard
working his way through a stack of essays. Guillam stares
at him.
RICHARD
(without looking up)
Nearly done.
He scores a red line down a piece of work.
75.
RICHARD (CONT'D)
(to himself)
For Godsakes... I think they're
all sharing the same moronic
brain.
He notices the way Guillam is staring at him and his smile
fades.
LATER:
RICHARD, bewildered and upset, is packing his belongings.
He walks past Guillam, stops.
RICHARD (CONT'D)
(With dignity)
If there's someone else, you can
tell me. I'm a grown-up.
Guillam doesn't say anything. Richard puts the flat keys on
the side table and leaves.
Guillam, stares after his one time lover, heart-broken.
152 EXT. THURSGOOD SCHOOL - DAY 152
Prideaux's BLUE ALVIS bumps and jolts towards us across the
playing fields, an exhilarated ROACH at the wheel.
ROACH
(Braking)
Time sir?
Prideaux and the rest of the class stand at the "finishing
line," but Prideaux is staring down to a line of beech-
trees, where a MAN is walking. It's MENDEL.
PRIDEAUX
(Quietly)
Got your specs on Jumbo?
ROACH
Yes, sir.
PRIDEAUX
Who's the fellow down there?
Roach stares at the stranger eagerly.
ROACH
(Disappointed)
Don't know sir.
PRIDEAUX
Who is he? Beggarman? Thief? Why
doesn't he look this way?
(MORE)
76.
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, let
me know. Don't hold with odd bods
hanging about. Might steal the
Alvis, which is...?
CLASS
(By rote)
Best car in England!
They dissolve into laughter, but Roach is still anxiously
watching Prideaux, noting how his expression has darkened.
153 OMITTED 153
154 INT. CIRCUS - SCALPHUNTERS - POOL TABLE - DAY 154
Belinda, the deb we met earlier, is doing up her blouse.
She's teary and also a little excited that men are fighting
over her.
BELINDA
Stop it! Stop it!
KASPAR has Guillam pinned against the wall and is punching
him. Guillam accepts the blows with a bloody grin. Something
of the school yard fight about it, as the other Scalphunters
gather around, ostensibly to break it, up but clearly
enjoying the distraction. One of them is trying to pull
Kaspar off and, caught by a blow, joins in - the fight
escalating as others join in the struggle.
KASPAR
Keep your bloody hands off her!
He kicks at Guillam, who falls. Belinda gives a shriek of
alarm.
SCALPHUNTER
Christ's sake, don't fight over a
bit of skirt!
Guillam lies on the floor taking another kick, but his face,
turned to us, registers only relief. Job done.
155 EXT. CASINO - DAY 155
Bright morning sunshine. Smiley and Guillam walk up
concrete steps of a casino building - very modern,
imposing.
77.
MAN'S VOICE (O.S.)
Haven't seen many of the boys and
girls for a while, matter of
fact.
156 INT. CASINO - CASINO FLOOR - DAY 156
Smiley, Guillam and the genial JERRY WESTERBY are sat at a
blackjack table. The casino is empty, a cleaner vacuums in
the background.
JERRY WESTERBY
But that's the way it is, George,
isn't it? When you're out, you're
out. Too much of this stuff.
He points to a drink on the table before him.
JERRY WESTERBY (CONT'D)
(An old joke between them)
Too much wampum not good for
braves. How.
SMILEY
(Obliging)
How. (Beat) I need to talk to you
about the night Jim Prideaux was
killed, Jerry. You were duty
officer, weren't you?
Westerby looks at them both.
JERRY WESTERBY
Yes. Control asked me to man the
phones that night. Said someone was
doing a special job for the
service. He wanted someone from
outside he could trust. If anything
came in, I was to tell him and only
him.
157 INT. CIRCUS - EVENING - PAST 157
Westerby walks down the corridor. We pass OFFICES - drawers
pulled open, waste paper bins standing on desks - the end
of day ritual.
158 INT. CIRCUS - DUTY OFFICERS ROOM - NIGHT 158
Westerby is following a horse race on the radio. A dirty
plate in front of him. He drinks from a can of beer.
78.
159 INT. CIRCUS - DUTY OFFICERS ROOM - NIGHT 159
Westerby is asleep. The Circus is deathly quiet, nothing
stirring. Then...
A PHONE BEGINS TO RING.
160 INT. CIRCUS - CONTROL'S OFFICE - NIGHT 160
Control sits surrounded by files. A dim green lamp on his
desk the only illumination. He looks ill, tense with
waiting. Cigarette stubs piled in the ashtray.
He listens to the solitary PHONE below him in the building.
Then it is joined by a SECOND. Then a THIRD...
Control listens, nerves stretched to their limit. From just
outside - the sound of someone running up the wooden
staircase. A knock.
JERRY WESTERBY
(Entering)
Been a bit of a panic, sir.
Control raises his head.
JERRY WESTERBY (CONT'D)
From the FO resident clerk... A
Hungarian news bulletin, sir.
(Reading) British spy, work-name
Ellis, travelling with false
Hungarian papers, has attempted
to kidnap an unnamed Hungarian
general in Budapest. He's been
shot, other arrests imminent...
Control stares at him, stands unsteadily, begins to put on
his coat.
JERRY WESTERBY (CONT'D)
Can I have a brief, please? Sir?
Do you want me to deny it?
Controls stares at him, lost.
JERRY WESTERBY (CONT'D)
I have to have a brief sir?
161 INT. CIRCUS - DUTY OFFICERS ROOM - NIGHT 161
Westerby is on the phone.
JERRY WESTERBY
Ann? I'm sorry to bother you. Is
George back yet?
79.
162 INT. CASINO - CASINO FLOOR - NIGHT - PRESENT 162
Westerby and Smiley sit opposite each other.
SMILEY
You rang my house?
JERRY WESTERBY
Just on the off chance you were
back from Berlin.
SMILEY
What did you say?
JERRY WESTERBY
Just that there'd been a bit of a
crisis. She said you weren't back
yet. That was it.
SMILEY
Go on.
JERRY WESTERBY
All hell broke loose - military
yelling about Hungarian tank
movements on the border, Lacon
and the Minister baying at the
door. Thank Christ Bill Haydon
turned up when he did.
163 INT. CIRCUS - NIGHT - PAST 163
PUSHING BILL HAYDON as he walks up the corridor towards the
duty room, cutting a swathe through the people gathered
outside.
BILL HAYDON
Get out.
The room clears.
Bill sits down. He pulls out all the phone lines, decisive,
taking charge. Kicks the door shut.
BILL HAYDON (CONT'D)
Tell me.
JERRY WESTERBY
I tried to get hold of you...
BILL HAYDON
I just picked up half a story on
the ticker-tape at my club...
Tell me.
JERRY WESTERBY
Jim Prideaux's been shot.
80.
Haydon goes white.
HAYDON
Get me the Hungarian Embassy.
JERRY WESTERBY
(With relief)
Yes sir...
LATER:
Haydon is on the phones.
BILL HAYDON
You go and tell your Masters what
will happen if one hair on Jim
Prideaux's head is damaged...
He covers the receiver, turns to Westerby.
BILL HAYDON (CONT'D)
Get Esterhase on the phone. Tell
him to pull in the Hungarian
agents, anyone we're onto. Tell him
to get down to the London School of
Economics, sandbag some bloody
students and put them on ice at
Sarratt.
LATER:
Westerby watches Haydon on the phone from the door. Haydon
listens to a voice for a moment, then hangs up. He stands,
his back to Westerby.
JERRY WESTERBY
Any more news on him?
Haydon doesn't turn around, head bowed.
JERRY WESTERBY (CONT'D)
Bill? (Beat) Oh God, is he...?
For a moment it looks like Haydon won't answer but then he
seems to master his emotions.
BILL HAYDON
We need to go to his flat. Clear
out anything linked.
164 INT. PRIDEAUX'S FLAT - NIGHT 164
Haydon walks around the neat rooms. A bike up on the wall,
a pair of muddy climbing boots on a newspaper, waiting to
be cleaned. Haydon walks past a shelf - photographs and
books. He stops, picks up an unframed black and white snap
from the shelf. It's a picture of HIMSELF.
81.
Haydon stands with his back to us, possibly crying. Westerby
turns thoughtfully away.
165 OMITTED 165
166 OMITTED 166
167 INT. LONDON - WIMPY - NIGHT 167
Smiley and Guillam sit eating side by side at a bar, Smiley
examining the hamburger - his first - doubtfully. Guillam
is thinking about what he's just been told.
PETER GUILLAM
Haydon heard the news at his
club?
Smiley is distant...
SMILEY
The Saville.
PETER GUILLAM
At one-thirty? The ticker-tape
wouldn't be running.
Guillam sits, mind racing.
PETER GUILLAM (CONT'D)
So how did he know? Oh Jesus,
George...
SMILEY
Peter...
PETER GUILLAM
Jesus Christ. Haydon? How could
he have known?
SMILEY
It's not him, Peter.
PETER GUILLAM
Then how did he know?
SMILEY
(gently)
Because he was at my house that
night. With Ann.
Guillam doesn't know what to say. They sit in a hideously
awkward silence.
82.
SMILEY (CONT'D)
(of the Hamburger)
I quite like this.
167A INT. SMILEY'S HOUSE - BEDROOM - NIGHT - PAST 167A
The phone on the nightstand starts to ring. A woman's hand
reaches into frame and picks it up.
WOMAN'S VOICE (O.S.)
Hello?
(beat)
Oh hello Jerry. No I'm afraid
George isn't back yet.
In the bed beside her we see Bill Haydon.
168 EXT. LONDON STREETS - NIGHT 168
A black Cab pulls up at the lights. Another black cab pulls
alongside it. The two drivers acknowledge each other,
chatting as the lights change to RED, but in no hurry to
move.
An impatient woman passenger flicks a look at the passenger
in the opposite cab, wanting to share this moment of
passenger outrage.
We see ALLELINE'S profile staring stonily ahead.
We follow his cab as it peels off into a FAMILIAR street,
driving towards the house where we met Polyakov.
169 EXT. HAMPSTEAD PONDS - DAY 169
Smiley slips into the water. It's late afternoon. Very
still and calm. Very few swimmers. Smiley's head breaks the
surface, dips in, breaks the surface...
170 EXT. HAMPSTEAD PONDS - DAY 170
Smiley sits on a platform with his back to us, drying off
from his swim, looking out over the water. A MAN'S HEAD
appears, swimming up to the platform through the reeds. An
old QUEEN, his face almost purple with the cold. He clings
to the edge of the platform for a moment.
OLD MAN
Just in case it's of interest,
dear. We are observed. Old Filth
in the bushes. Not very subtle
but there you are...
83.
He swims away. The wind lifts up a little, rustling the
trees and bushes around the pond. We stay on Smiley,
watched and alone.
171 OMITTED 171
172 OMITTED 172
173 OMITTED 173
174 INT. SMILEY'S HOUSE - DAY 174
Smiley walks into his hallway, picks up the MAIL piled on
the floor. He crosses to the drawing room, still looking at
the mail.
The door is a little ajar and through the opening we catch
a FLASH of movement in the room beyond - a COUPLE in a
passionate embrace, glimpsed for a moment before they
disappear out of sight. We can hear what may be their love-
making. And a RECORD IS PLAYING. The same CHARLIE RICH
track Smiley reacted to in the Islay Hotel.
Smiley stares at the mail in his hand as if unwilling to
look up.
He pushes open the door and moves into...
175 INT. SMILEY'S HOUSE - DAY 175
... which is EMPTY. He sits in an armchair, starts opening
some letters.
A FIGURE walks past Smiley abruptly. Smiley doesn't look
up.
BILL HAYDON (O.S.)
Good flight?
Smiley looks up.
BILL HAYDON sits in the armchair opposite in shirt and
trousers, SOCKS, NO SHOES. He sips a cup of tea. No sense
of having been caught in an act of adultery.
176 INT. SMILEY'S HOUSE - DAY - PAST 176
BACK ON SMILEY
... who is now wearing a raincoat and we realise we are in
fractured memories of...
84.
THE PAST
SMILEY
Yes. Pleasant enough.
BILL HAYDON
I was just passing, thought I'd
call in. Ann was in bed but she
insisted on getting up. She said
she'll be down in a minute.
Smiley glances at a half-wrapped oil painting lying against
a chair.
BILL HAYDON (CONT'D)
That's what I'm dropping off.
177 INT. SMILEY'S HOUSE - DAY 177
Smiley stands in front of the muddy-looking abstract
painting we saw earlier. It's now on the wall.
BILL HAYDON (O.S.)
Awful daub really but Ann
expressed a liking... What's
keeping her?
We hold on Smiley but hear Haydon leave the room, a
WHISPERED CONFERENCE in the hall between Haydon and Ann.
P.O.V. - FROM THE DOOR - George with his back to us, staring
fixedly at the picture, listening to the whispers behind his
back.
178 OMITTED 178
178A INT. PRIDEAUX'S CARAVAN - EVENING 178A
Prideaux lies on his bed. There is a tap at the door.
ROACH (O.S.)
Sir?
JIM PRIDEAUX
Come in, Roach.
Roach walks in.
JIM PRIDEAUX (CONT'D)
Thought you were in sick bay? What
are you...
He stops, seeing the anxiety on the boy's face.
85.
JIM PRIDEAUX (CONT'D)
What is it, Jumbo?
ROACH
Sir there's a stranger parked down
on the road. He's just sitting
there.
He dissolves into tears. Prideaux crouches beside him.
PRIDEAUX
(Gently)
It's alright, old fella. Don't cry.
Nobody ever watched like you, did
they? Off you go, now.
ROACH
Are you going to have to leave?
Prideaux stares at him.
JIM PRIDEAUX
I'll be fine. You get back to bed.
Roach wipes his eyes and leaves. As soon as the door is
closed Prideaux crawls under the little chest of drawers,
grimacing with pain, working an arm further in...
There is a FAINT SOUND - SOMEONE ON THE STEPS OUTSIDE.
With a final effort Prideaux rips his RIFLE free from its
hiding place, still trailing tape, and rolls to face the
door, gun in hand. Silence. Then...
A KNOCK AT THE DOOR. Prideaux aims the gun...
The door opens...
179 OMITTED 179
180 INT. CONTROL'S FLAT - NIGHT - PAST 180
... to reveal Control peering out at us. He steps aside and
allows a PRE-INJURY Prideaux to enter.
181 INT. CONTROL'S FLAT - NIGHT 181
The flat Smiley visited. Control leads Prideaux into the
same room - the green armchair, surrounded by mounds of
files and papers, over-flowing ashtrays, the detritus of an
obsession. The FIVE PHOTOGRAPHS of FACES fixed to the CHESS
PIECES before him.
Control, a walking corpse, lowers himself into the
armchair, motions Prideaux to take another seat.
86.
CONTROL
You weren't followed?
Prideaux sits, presuming the question is rhetorical.
CONTROL (CONT'D)
Trust no-one, Jim. Especially not
in the main stream. What
Hungarian identities do you still
have running?
PRIDEAUX
Andras Benedek, Hungarian
journalist based in Paris.
Control nods thoughtfully. Then...
CONTROL
If you're caught, you keep me out
of it. You were acting alone, bit
of Private Enterprise.
Understood?
Prideaux watches him, very still.
CONTROL (CONT'D)
I've had an offer of service. A
Hungarian General. Wants to come
over. I want you to meet him. He
has information I need, Jim.
PRIDEAUX
What information?
CONTROL
Rocketry. Ballistics. Bit of
politics.
Something in his manner alerts Prideaux.
PRIDEAUX
What else?
CONTROL
(Beat)
Treasure. He has treasure. The
name of the Mole Moscow Centre
has planted at the top of the
Circus.
Prideaux's face doesn't change, but he's wondering if the
rumours could be true and Control really has gone mad.
CONTROL (CONT'D)
There's a rotten apple Jim and we
have to find it.
Laboriously he leans forward to the CHESS SET.
87.
CONTROL (CONT'D)
I'm so close I can almost feel
his heart beating. I know it's
one of five men. All I want from
you is one word.
He points to the PHOTOGRAPH of PERCY ALLELINE.
CONTROL (CONT'D)
Alleline - Tinker. (Points at the
next photo) Haydon - Tailor.
Bland - Soldier. We drop Sailor,
it's too close to Tailor.
(Pointing at next photo)
Esterhase - Poorman.
182 INT. PRIDEAUX'S CARAVAN - NIGHT - PRESENT 182
Prideaux sits with his visitor - Smiley - recalling the
meeting. He's drinking vodka.
SMILEY
Which means I was...?
PRIDEAUX
You were Beggarman.
Smiley nods. Just a flicker of the eyes shows us that this
is painful for him to hear.
SMILEY
What did you make of it, Jim?
Control's theory?
PRIDEAUX
(Stiff)
I thought it was madness. To
think any one of you could have
been a traitor... madness.
Smiley is watching him intently - sure he's hiding
something.
SMILEY
But still you went? Risking your
life for a mission you thought
was absurd? Why?
Prideaux doesn't answer.
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.
88.
PRIDEAUX
(Hard)
I went because Control asked me to
go. It's called doing one's duty.
183 INT. BUDAPEST - TRAIN STATION - DAY - PAST 183
Prideaux climbs off his train and walks down the platform
towards us. He pauses for a moment, drawing a Hungarian
newspaper from his pocket. As he does so he glances at the
other passengers walking past him. TWO WOMEN and a MAN, all
apparently travelling alone, the SHOES they're wearing -
BROWN SUEDE BOOTS, FUR LINED BLACK PLASTIC BOOTS and the
man - a pair of BLACK GALOSHES.
Prideaux walks on, tapping the paper against his leg.
184 INT. BUDAPEST - GALERIA - DAY 184
The scene from the opening of the film. The Waiter puts
down Prideaux's plate, a drop of sweat from his forehead
hitting the table. He looks at the droplet, fakes a smile
for the Magyar, looks after the Waiter, scans the floor
around him...
HIS P.O.V. - There it is - one of the women is wearing the
BLACK PLASTIC BOOTS. Her coat is different and she's
wearing a fur hat now - but the shoes are the one thing the
surveillance agents don't have time to change.
Prideaux glances up at the apartment windows above, sees
the old woman, starts to rise... as we CUT TO:
The SHOT -
... punching into his back, Prideaux falling forward... as
we CUT TO:
PRIDEAUX'S P.O.V.
Those shoes again, stepping in the water and blood on the
floor, passing us at eye-level. Grouping and regrouping as
the operation comes to an end. The noise in the background
comes to us muted and very faint. Faintly, a baby is
crying, an ambulance siren is wailing.
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, smoking cigarettes by
the doors, and out towards the open doors of a waiting
ambulance.
89.
185 INT. BUDAPEST - GALERIA - DAY 185
We are slid into the back of the ambulance as though into
the drawers of a morgue. And snap to BLACK.
186 INT. LUBYANKA PRISON - CELL - DAY 186
We are looking at the back of Prideaux's head, hair damp
with sweat, shoulders trembling.
We PULL OUT and find Prideaux, a filthy dressing covering
the wound on his back. The cell he is in has filthy,
heavily padded walls, like a straitjacket. From a speaker
in the ceiling comes a maddening jagged drone. Lights blaze
down...
SMILEY (V.O.)
What did you tell them?
187 INT. LUBYANKA PRISON - CORRIDOR - DAY 187
Prideaux, in too much pain to walk, is being dragged down a
brightly lit corridor towards an INTERROGATION ROOM at the
far end.
He is taken inside, the door closed behind him.
PRIDEAUX (V.O.)
Everything.
188 INT. THURSGOOD SCHOOL - CLASSROOM - NIGHT - PRESENT 188
Smiley stands staring at the OWL Prideaux killed, which is
now stuffed, keeping guard from the top of a bookshelf.
Prideaux sits at a desk drinking the vodka.
PRIDEAUX
I held on as long as I could, to
give everyone else time to get
the hell out of there. (Beat) Did
they?
Smiley seems to have been thinking about something else,
looks at him, puzzled.
PRIDEAUX (CONT'D)
My networks in Hungary. Did they
get out?
SMILEY
(Beat)
No. They were blown. The story is
you blew them to save your own
skin.
90.
Prideaux nods, makes an odd gesture as if he's about to
rise, but doesn't move. His expression hasn't changed, but
inside him something has just been decided.
SMILEY (CONT'D)
What was your last line of
defence?
PRIDEAUX
The Mole. Control's crazy theory.
I was going to bury that so deep,
they'd never get it out of me.
Which was a joke.
SMILEY
Why?
PRIDEAUX
Because they already knew. They
wanted to know how far Control
had got in his investigation.
SMILEY
What else?
PRIDEAUX
Circus gossip. Was Percy's wife
still drinking, who was Bland
screwing in the office. That sort
of thing.
SMILEY
Did they ask about me at all?
PRIDEAUX
One of them did.
Smiley becomes very still.
SMILEY
What did he say about me?
PRIDEAUX
He had a cigarette lighter. Kept
flashing it round for me to see.
Showed me the inscription.
"To George, from Ann. All my
love." He reckoned after Bill's
fling with her, she might want to
change the inscription.
Smiley doesn't flicker.
PRIDEAUX (CONT'D)
(Still looking to the
side)
I told him to go to hell.
(MORE)
91.
PRIDEAUX (CONT'D)
If they had one man like Bill
Haydon they could call it set and
match!
SMILEY
(Beat, quietly)
That was well said.
They sit in silence for a moment. Smiley buttons his coat,
finished here.
SMILEY (CONT'D)
Try and put it all behind you, Jim.
He makes to leave.
PRIDEAUX
He gave me a cigarette.
Prideaux looks down at his hands.
SMILEY
Jim?
Prideaux still doesn't look up.
PRIDEAUX
I thought it was my last one.
189 OMITTED 189
190 OMITTED 190
191 OMITTED 191
192 INT. LUBYANKA PRISON - CELL - DAY - PAST 192
A concrete bunker of a room. Prideaux is standing in a slab
of watery sunshine that falls from a sky-light above. He's
smoking, trying to control the tremble in his hand.
PRIDEAUX P.O.V. - The patch of sunshine only extends a few
yards in front of him. The rest of the room is in granite
shadow. The sense of other people watching from the
shadows. The sound of a door opening and someone being led
in.
A woman walks across the dark room and into the slab of
light, blinking as she does so.
It's IRINA.
Her hair is loose and dishevelled about her face. A man's
voice comes from further back in the darkness...
92.
MAN'S VOICE
(Russian accent)
Do you know this woman?
Prideaux looks at her. Frowns. Another voice murmurs in
Russian. Irina pins her hair up in the way we saw before.
PRIDEAUX
I don't know her.
She looks at Prideaux and gives a small polite smile, as
though good manners are going to save her.
IRINA
I...
A GUARD steps out of the shadows and SHOOTS her in the
head, the shot THUNDEROUS in the room. It's horribly
unexpected, and Prideaux jerks backward, bewildered and
appalled.
MAN'S VOICE (O.S.)
Tell Percy Alleline what we did.
193 EXT. HOTEL ISLAY - GUILLAM'S CAR - NIGHT - PRESENT 193
P.O.V. - THROUGH WINDSCREEN
... rain lashes down, obscuring our view.
PRIDEAUX (V.O.)
Do you know who she was?
SMILEY (V.O.)
(Cold)
Nobody you need concern yourself
with. An unfortunate...
REVERSE - we see Guillam and Smiley are sitting in the
parked car in the rain.
SMILEY (CONT'D)
He said when he got out, when he
was being debriefed at the
Nursery, he had a visitor.
PETER GUILLAM
Who?
SMILEY
Toby Esterhase.
93.
194 EXT. SARRATT - DAY - PAST 194
... Prideaux stands watching a small, dapper figure
crossing the grounds towards him - TOBY ESTERHASE. A man
who's come up in the world.
195 EXT. HOTEL ISLAY - GUILLAM'S CAR - NIGHT - PRESENT 195
SMILEY
He gave him a thousand pounds.
Told him he was dead now and
couldn't come back. Had to become
a Lotus Eater - forget everything
that happened - Control's theory,
Tinker, Tailor... all of it.
Guillam stares at him, ALERT.
SMILEY (CONT'D)
Yes, that's what I thought. How
on earth did Esterhase hear about
"Tinker, Tailor?"
196 EXT. HOTEL ISLAY - NIGHT 196
Smiley gets out of the car, into the rain. Looks around
him, uneasy.
PETER GUILLAM
You alright?
SMILEY
Will you watch my back, Peter?
Look out for a solo. Just a
feeling I've had.
PETER GUILLAM
Yes, George. I'll watch.
Guillam watches as Smiley heads off into the gloom.
197 INT. HOTEL ISLAY - SMILEY'S ROOM - NIGHT 197
Smiley stares at the CHESS BOARD - a complex pattern of
related figures.
He turns back to the tape-deck, puts the headphones on,
presses play:
SMILEY (O.S.)
(Over headphones)
What exactly did Irina say?
94.
RICKI TARR
(Over headphones)
She said there was a General,
work-name Polyakov who was
stationed in London. And that
Polyakov's real job was to
service the mole. He meets him
regularly and takes back
information the Mole gives him
for Karla.
Smiley presses STOP. He presses RE-WIND, watches the tape
spool BACKWARDS. He goes too far, presses FAST-FORWARD,
watches the tape REVERSE DIRECTION. And, at this moment, we
can tell from his expression, a piece of the jig-saw falls
into place.
198 OMITTED 198
199 INT. MINISTERIAL MEETING ROOM - DAY 199
Lacon and Smiley are meeting with the MINISTER.
MINISTER
This meeting is not taking place.
Is that clear?
SMILEY
Perfectly, Minister. (Beat) There
is a house, somewhere in this
city, where Alleline and the
others meet Witchcraft's London
representative. I need the
address of that house.
MINISTER
I don't know what you're talking
about.
Smiley stares at him.
MINISTER (CONT'D (CONT'D)
I don't know the address. And I
fail to see the... I thought
Lacon had made it clear to you,
keep your nose bloody-well out of
Witchcraft's business!
SMILEY
(Calmly)
It's Lacon's advice I'm
following. (To Lacon) You told me
to follow in Control's footsteps.
95.
MINISTER
(Snapping)
Well, I wouldn't consider that
sound advice, after the bloody
mess Control left us with. It's
taken Alleline - and, if I may
say so, myself - this long to get
us back into the race.
SMILEY
I'm glad you take some of the
credit.
Lacon glances sharply at Smiley - there's something
different about him, his tone...
SMILEY (CONT'D)
The man Alleline and the others
meet is called Polyakov. You
believe his role is to bring
information from Witchcraft to
you. His real role is to receive
information from the Mole to take
back to Karla.
He has the Minister's full attention now. A long silence.
MINISTER
That's... that's not possible.
SMILEY
Made possible. By you. When he
steals our secrets he does it
under the very nose of the
Circus, in the house which you
persuaded the treasury to pay
for. I'm sure you'll be able to
take full credit for that.
MINISTER
(Appalled)
Witchcraft's intelligence is
genuine! It's been gold!
SMILEY
Just enough glitter, amongst the
chicken-feed. Control didn't
believe in miracles and he didn't
believe in Witchcraft. But you
were lazy and you were greedy and
so you hounded him out of the
Circus and you let Karla in.
His voice is still calm, but it's clear what's different
now. There's a quiet fury in him. The Minister is ashen.
96.
MINISTER
Oh God... We can't be made to
look like fucking fools again!
Forget Europe, 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, some department
where he can't do any harm? Is
the Kremlin likely to boast about
this?
LACON
Not in their interests sir. They
need the Enemy to look like a
threat...
MINISTER
Well, tell them to play the game.
We don't go crowing about their
fuck-ups!
In their panic, both men are addressing each other,
momentarily forgetting Smiley.
SMILEY
(Suddenly)
We are not the prize. We're the
bait.
They turn to him.
SMILEY (CONT'D)
You've opened negotiations to
exchange intelligence with the
Americans. What they tell the
Circus, they'll be telling the
Kremlin. Witchcraft's
information, the "gold" Karla let
you have? It wasn't to lure you.
It was to lure the Americans.
Now, do you want to take credit
for that?
Lacon and the Minister stare at Smiley.
MINISTER
What can we do?
SMILEY
We have one thing the Mole wants.
200 OMITTED 200
97.
201 INT. CONTROL'S FLAT - DAY 201
CLOSE on a belligerent Tarr, confidence regained.
RICKI TARR
If I go...
PETER GUILLAM
You'll go...
RICKI TARR
... I want your word you'll get
Irina back. Don't care who you
have to trade. I want a family.
Don't wanna end up like you
lot...
He looks at Smiley, then he gives Guillam a knowing look,
as though deliberately provoking him.
Guillam absorbs the slur but his eyes are hard.
RICKI TARR (CONT'D)
We're gonna live in Paris out of
your hair. You'll get her back?
Again a flash of the coldness in Smiley.
SMILEY
(Beat)
I'll do my utmost, Ricki.
202 INT./EXT. CIRCUS - DAY 202
ON LIFT DOORS:
The doors open to reveal TOBY ESTERHASE, chatting to a
JANITOR.
ESTERHASE'S P.O.V.
Guillam, standing by his car - holding the door open.
203 EXT. LONDON STREETS - GUILLAM'S CAR - DAY 203
Guillam is driving. The radio is on. The car pulls up on
the roadside and two people climb in the back. It's Smiley
and Fawn. Guillam speeds off.
Nobody speaks. Esterhase sits stiff, mind-whirring,
uncomfortably aware of Fawn's unsettling presence behind
him.
98.
204 EXT. ABANDONED AIRFIELD - DAY 204
TRACKING SHOT - PUSHING ESTERHASE
... as he stumbles through the muddy airfield. A vast,
empty space all around. Toby starts to turn, but...
SMILEY (O.S.)
Keep walking please.
Toby stumbles on.
SMILEY (CONT'D)
I want to talk about loyalty
Toby. Control recruited you when
you were trying to escape from
Hungary didn't he? A wanted man.
Saved you from a KGB bullet,
didn't he? And yet, when the time
came, when it came to picking
sides between him and Alleline,
you didn't hesitate?
Understandable perhaps, with your
war experience. You've survived
this long, I suppose, because of
your ability to change sides,
serve any Master?
Faintly we hear the low drone of an approaching engine.
Esterhase scans the horizon, locks on the black speck in the
sky - an aircraft flying towards them. Esterhase watches the
approach with mounting anxiety.
TOBY ESTERHASE
What... what's this about George?
SMILEY
It's about which Master you've
been serving, Toby.
205 INT. CIRCUS - DAY - PAST 205
A FILE is placed in a briefcase - we can see now that the
hands in the frame belong to Esterhase. He checks the
corridor is clear...
206 EXT. ABANDONED AIRFIELD - DAY - PRESENT 206
... as he and Guillam drive Esterhase on.
SMILEY
Intelligence has been leaked,
Toby. Someone's been taking files
from the Circus...
99.
207 INT. CIRCUS - GROUND-FLOOR LOBBY - DAY - PAST 207
Esterhase leaving the Circus, Bryant politely wishing him
good night.
208 EXT. ABANDONED AIRFIELD - DAY - PRESENT 208
... eyes fixed on the plane as it roars down towards them.
TOBY ESTERHASE
This is a mistake George, this is
all...
SMILEY
The files were delivered to a
Russian attache, weren't they?
209 INT. SAFE HOUSE - MEETING ROOM - EVENING - PAST 209
... Esterhase holding up the documents for Polyakov to
photograph. Whir... Click....
210 EXT. ABANDONED AIRFIELD - DAY - PRESENT 210
TOBY ESTERHASE
Yes. And yes, I delivered them.
211 EXT. SAFE HOUSE - DAY - PAST 211
Alleline getting out of the cab by the railings... the dog
barking from inside the house...
TOBY ESTERHASE (V.O.)
... but so did Percy...
211A INT. SAFE HOUSE - GROUND FLOOR - NIGHT 211A
Haydon walking past Mrs McCraig and heading up the stairs
to the empty room...
TOBY ESTERHASE
... and Bill...
211B INT. SAFE HOUSE - MEETING ROOM - DAY 211B
Roy Bland sits in front of Polyakov, holding up the
documents for Polyakov to photograph - Whir... Click....
TOBY ESTERHASE
And Roy...
100.
212 EXT. ABANDONED AIRFIELD - DAY - PRESENT 212
Esterhase can't tear his eyes away from the propeller plane
descending onto the runway ahead of them.
TOBY ESTERHASE
Things aren't always what they
seem. You know that George.
Moscow thinks Polyakov's working
for them, so, every now and then
we give him the odd file to take
back to them, just chicken-feed,
keep his bosses happy. But
Polyakov's our Joe, part of a big
operation...
SMILEY
Operation Witchcraft? Yes, I
know.
Esterhase stops, turns to look at Smiley.
TOBY ESTERHASE
Why are we here? Why are we...?
Guillam gives him a sudden VIOLENT SHOVE in the back.
Esterhase straightens himself, runs a palm through his
hair, real fear on his face now.
TOBY ESTERHASE (CONT'D)
I don't... I don't deserve this.
I don't deserve this George!
SMILEY
Who gave you the message for Jim
to forget about Tinker Tailor?
TOBY ESTERHASE
Bland!
SMILEY
To get rid of Connie Sachs?
Westerby?
TOBY ESTERHASE
Bland or Haydon. I don't
remember. One of them. Maybe
Percy. I don't know who.
SMILEY
You're just the messenger?
Running between them all.
Anything to serve Witchcraft?
Esterhase flinches again.
101.
SMILEY (CONT'D)
I know all about your secret
source. And I know something you
don't. I know who he is.(Beat)
He's Karla.
Esterhase turns to look at them in horror. Guillam pushes
him again. The plane has taxied to a halt ahead of them.
Unmarked. Something sinister about it.
213 OMITTED 213
214 INT. SAFE HOUSE - GROUND FLOOR - DAY - PAST 214
... in the London House, spools turning. We hear the
familiar Click... Whir of Polyakov's camera...
215 INT. SAFE HOUSE - MEETING ROOM - DAY 215
Polyakov is photographing... nothing. The table in front of
him is empty, the shooting just a pantomime for the
microphone above. As he continues to shoot we see the
Mystery man sitting across the table from him. He takes out
a canister of developed film and passes it to Polyakov.
SMILEY (V.O.)
One of you has been giving
Polyakov the Crown Jewels.
216 EXT. ABANDONED AIRFIELD - DAY - PRESENT 216
... standing on the airfield.
TOBY ESTERHASE
I didn't know. I swear I...
SMILEY
Are you still a wanted man, Toby?
Toby looks back at the plane, almost hysterical.
TOBY ESTERHASE
George...!
SMILEY
You picked the wrong side, Toby.
TOBY ESTERHASE
(crying)
George, you've got to believe me. I
would never... I'm loyal, George.
I'm loyal!
Smiley watches him cry for a moment, his face impassive.
102.
SMILEY
Give me the address. Where do you
meet Polyakov?
217 EXT. SAFE HOUSE - DAY 217
A terrace of flat-fronted nineteenth century houses one of
them the house we have already visited.
A CAR draws up before one of them and Smiley, Fawn and
Guillam get out and head for the front door.
218 INT. SAFE HOUSE - GROUND FLOOR 218
The men are fanning out, Fawn and Guillam heading into the
kitchen. Smiley walks upstairs, dogged by the HOUSEKEEPER -
MRS McCRAIG - not at all happy with the invasion.
SMILEY
What are the safety signals?
MRS MCCRAIG
There's an air duct. Open and
all's well. Closed and you're not
to enter.
219 INT. SAFE HOUSE - MEETING ROOM - DAY 219
They enter the EMPTY ROOM.
SMILEY
Where is the mike, Mrs McCraig?
She points at the candelabra.
SMILEY (CONT'D)
And what's the procedure?
MRS MCCRAIG
Whenever the gentlemen are
meeting I record the session. The
tapes are sent back to the
Circus.
From downstairs come the crash of furniture being moved,
rooms searched.
MRS MCCRAIG (CONT'D)
What are they doing? They
shouldn't be moving things!
The authority in Smiley's voice stops her.
103.
SMILEY
If you're at all worried you can
call Lacon from the basement
phone. Let's try the tape
recorder shall we?
220 INT. SAFE HOUSE - GROUND FLOOR - DAY 220
CLOSE ON TAPE RECORDER - SPOOLS SLOWLY REVOLVING
Over the RECORDER we can hear GUILLAM'S VOICE reciting
something from childhood, from the room above.
PETER GUILLAM (O.S.)
The boy stood on the burning deck
whence all but he had fled. The
flame that lit the battles wreck,
shone round him o'er the dead...
Smiley is listening.
PETER GUILLAM'S VOICE
... Yet beautiful and bright he
stood...
221 EXT. PARIS - STREET - EVENING 221
Establishing shot of a street in Paris.
A squat Yorkshireman - MACKELVORE - walks out of a nearby
restaurant and gets into a car.
Out of nowhere Tarr suddenly appears, climbing into the
passenger side, ramming a gun into his side.
222 INT. PARIS - APARTMENT - PARIS RESIDENCY - NIGHT 222
Mackelvore leads Tarr into a grand but dilapidated
apartment. An elderly FRENCHMAN - ex-Resistance - looks up
from his evening meal as the two pass.
MACKLEVORE
(In French)
Guest from London Station, Monsieur
Fourcade.
The Frenchman grunts a greeting, turns back to his supper.
MACKELVORE
(as they walk on)
The whole service is looking for
you, Ricki. They'll skin you
alive if they find you.
104.
RICKI TARR
(mildly)
Maybe I want them to find me.
Mackelvore frowns. They reach a door which he opens to
reveal a STEEL DOOR beyond. He presses a bell and a hatch
in the door slides open and a young man's face appears.
This is BEN. He slides open a bolt, a double lock, and lets
them into a ...
223 INT. PARIS - CYPHER ROOM - NIGHT 223
MACKELVORE
You can go home now, Ben. Leave
the books where they are and put
the keys into the machines. I'll
be talking to London presently
under my own steam.
BEN
Okay boss.
Tarr takes out his gun.
RICKI TARR
(Flat)
Ben stays here.
224 INT. PARIS - CYPHER ROOM - NIGHT 224
Tarr stands over Mackelvore, who is sending a message to
the Circus.
RICKI TARR
(dictating)
Ricki Tarr claims to have further
information vital to the
safeguarding of the Circus.
225 INT. LONDON - TAILOR'S SHOP NEAR CIRCUS - NIGHT 225
A dark workroom. WE TRACK through a crowd of TAILORS
DUMMIES.
Some of the dummies are draped in clothes, some just shapes
in the darkness. As though we are moving through A ROOM
FULL OF SPIES.
By a great domed window, occasionally washed with yellow
from the traffic outside, we find MENDEL, his back to us
staring out.
105.
MENDEL'S P.O.V. - THE CIRCUS ACROSS THE ROAD.
A taxi pulls up a few yards away from the circus doors. We
see a man clamber out. It's Percy Alleline.
MENDEL
(into phone)
Tinker...
226 INT. SAFE HOUSE - LISTENING ROOM - NIGHT 226
Smiley sits on an armchair, lit by a harsh over-head light.
SMILEY
(into phone)
How's he look?
MENDEL (O.S.)
Busy.
Smiley puts the receiver on the arm of the chair, takes off
his shoes and in his stocking feet crosses the room. As he
does so he spools out a WASHING LINE, tying it to the far
door knob.
227 EXT. SAFE HOUSE - TOW PATH - NIGHT 227
Guillam, waits on the tow-path looking back at the house.
Someone, presumably Smiley, is moving through the house,
turning the lights off until it is in complete darkness.
MENDEL (O.S.)
Tailor...
A torch light flashes once from a downstairs window.
MENDEL (O.S.) (CONT'D)
Here comes Soldier...
228 INT. SAFE HOUSE - LISTENING ROOM - NIGHT 228
Smiley sits in the darkness holding the phone to his ear.
MENDEL (O.S.)
Full house.
229 INT. PARIS - CYPHER ROOM - NIGHT 229
The three men stand over the silent cypher machine. Tarr's
gun rammed into his belt. Tarr is almost glittering with
nerves. Then the machine clatters into life.
106.
RICKI TARR
Read it aloud.
Ben starts to read, his high, rather imperious schoolboy
voice carries over the next few shots...
BEN
Personal for Tarr from
Alleline...
230 INT. CIRCUS - ARCHIVE LIFT - NIGHT 230
A shot of the archive room, of the lift full of secrets
slowly being lowered into the ground.
BEN (V.O.)
... require clarification before
meeting your request...
ON THE DOOR OF THE WAR-ROOM resolutely closed, a slither of
light burning beneath it.
231 INT. TAILORS SHOP - NIGHT 231
The tailors dummies standing to attention, as alert as
Mendel watching from the window, phone to mouth.
BEN (O.S.)
... Quote information vital to
safeguarding of the Circus
unquote does not qualify...
232 INT. PARIS - CYPHER ROOM - NIGHT 232
Tarr has begun to laugh, gripped by a weird hilarity. Ben
reads even faster.
BEN
... send further information.
RICKI TARR
That's the way Percy boy! You
keep stalling. I better warn you
Ben, there's some lousy people in
this outfit. Don't trust a
fucking one of them.
233 INT. SAFE HOUSE - LISTENING ROOM - NIGHT 233
Smiley sits in the BLACKNESS.
107.
SMILEY'S P.O.V.
The washing line extends ahead of him, glowing faintly
white in the darkness.
The tinny sound of Mendel's voice comes from the receiver
beside him...
MENDEL (O.S.)
Mister Smiley...
Smiley picks up the receiver.
SMILEY
I'm here, Mendel.
MENDEL (O.S.)
One's gone.
Smiley puts the receiver back on the armchair. He goes to
the window in his stockinged feet.
234 EXT. SAFE HOUSE - TOW PATH - NIGHT 234
Guillam, nerves taut, sees three long flashes. The mole is
coming.
235 EXT. SAFE HOUSE - NIGHT 235
A long silent look at the dark house. Then the star of
light spilling into the darkness from the air vent.
236 INT. SAFE HOUSE - LISTENING ROOM - NIGHT 236
Smiley, calm and contained, hears the sound of a CAB
drawing up outside.
A pair of footsteps on the path.
Scrape of a key in the door.
A pale rim of light appears around the kitchen door.
And outside the sound of a second cab drawing up.
Someone else enters the house. Movement in the kitchen. Two
men's voices start to speak in Russian.
Smiley gets up, GUN in one hand, and guided by the line,
makes his way through the darkness to the door of the
kitchen, groping, rather like a blind man walking towards
the light.
108.
POLYAKOV (O.S.)
(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.
ON Smiley inching across the room.
237 INT. SAFE HOUSE - GROUND FLOOR - NIGHT 237
The tape recorder working...
POLYAKOV (O.S.)
(on tape, in Russian)
This can be salvaged. Tarr can be
found and liquidated.
238 EXT. SAFE HOUSE - TOW PATH - NIGHT 238
Guillam waits. He turns, his nerves taut, searching the
shadows for movement. For a moment he's certain he's being
WATCHED.
Then, from the house, the signal he's been waiting for.
Three long flashes. Guillam starts to run.
239 EXT. SAFE HOUSE - TOW PATH - NIGHT 239
A nervous Lacon is waiting on a corner, Guillam runs past.
PETER GUILLAM
He's here.
OLIVER LACON
I won't have bloodshed. I want
absolute calm!
A cab appears and Mendel jumps out. Mendel and Lacon hurry
towards the house, Guillam sprinting ahead.
240 INT. SAFE HOUSE - GROUND FLOOR - NIGHT 240
CLOSE ON THE TAPE SPOOL - REVOLVING
... churning the SILENCE. The sounds of the house
amplified. No one talking. Perhaps the faintest of coughs.
241 EXT. SAFE HOUSE - NIGHT 241
109.
GUILLAM'S P.O.V.
Racing towards the FRONT DOOR and bursting through, into
the hallway and on up the stairs, taking them three at a
time, bursting through into...
242 INT. SAFE HOUSE - MEETING ROOM - NIGHT 242
An oddly formal scene. POLYAKOV stands pipe in hand.
Smiley sits in a chair, GUN in hand. Absurdly, still in his
STOCKING FEET.
And opposite him sits BILL HAYDON.
They all turn to look at Guillam who stands panting in the
doorway.
ON GUILLAM
... as his nerves and excitement and any hope he might have
had of a sense of victory DRAINS AWAY, leaving him with
just an odd sense of embarrassment and shame.
243 EXT. SARRATT - DAY 243
Nissan huts surround a cricket field. Two cadets run laps.
Smiley walks towards one of the huts, stops as Alleline
walks out. Alleline, a broken man, can barely look at him.
With a nod he walks on.
244 EXT. SARRATT - NISSAN HUT - DAY 244
An unshaven, exhausted Haydon stands outside the Sarratt
building in a small fenced enclosure. We see Smiley walking
towards him. He's brought a box of cigarettes.
245 INT. SARRATT - DAY 245
Haydon is weeping quietly but without emotion. Smiley
offers Haydon the box of Cigarettes.
SMILEY
I was assured there would be no
coercion.
Haydon waves it away. Smiley hands him a clean handkerchief.
110.
BILL HAYDON
It's almost funny George. I know
the Inquisitors little bag of
tricks. I taught most of them.
Don't mind the tears. Just a
reaction. An over-reaction, if you
like. Craddox says I'll be off in a
few days. I keep thinking how I'm
going to miss the cricket in
Moscow.
He weeps again.
BILL HAYDON (CONT'D)
I rather hoped you would do a
little light house-keeping for me.
SMILEY
If I can.
BILL HAYDON
There's a girl...Would you give her
some money for me? Give her a good
cover story. If it helps tell her I
love her. It's all here.
SMILEY
Of course.
BILL HAYDON
There's a boy too. Bung him a few
quid to shut him up. Take it out of
the reptile fund.
SMILEY
I did have one or two questions.
About Prideaux.
BILL HAYDON
Damn it! I got him back, didn't
I?
SMILEY
Yes, yes you did. That was good
of you. (Beat) I'm surprised
Karla didn't shoot him. Or do you
think he held back out of
delicacy towards you?
No response. Smiley looks carefully at Haydon's profile.
SMILEY (CONT'D)
Did Prideaux come and see you
before he left on his Hungarian
mission?
BILL HAYDON
Yes, as a matter of fact he did.
111.
SMILEY
To say what?
Haydon stares at him. For the first time the tears seem
real. Guilt and grief. He looks down. A long pause.
SMILEY (CONT'D)
(almost to himself)
To warn you. Because he knew,
deep down, it was you all along.
BILL HAYDON
So did you.
Haydon stares out, lost in thought.
BILL HAYDON (CONT'D)
I had to pick a side George. It was
an aesthetic choice as much as a
moral one. The West has grown so
very ugly, don't you think?
Smiley doesn't answer. A moment of silence.
SMILEY
Did Karla ever consider having you
take over the Circus?
For a moment Haydon looks rattled.
BILL HAYDON
I'm not his bloody office boy.
SMILEY
What are you then?
Haydon turns to Smiley, a flash of hauteur.
BILL HAYDON
I'm someone who made his mark.
Smiley watches him, feeling him shrink in stature before his
eyes. Haydon lights a cigarette.
SMILEY
(Quietly)
Is there anything you want me to
pass on to Ann?
For a moment Haydon looks genuinely puzzled.
BILL HAYDON
Oh, that was nothing personal,
George, I hope you understand that?
Karla said you were good, the one
we had to worry about. But you do
have a blind spot.
(MORE)
112.
BILL HAYDON (CONT'D)
He reckoned if I was known to be
Ann's lover you wouldn't be able
to see me straight. And he was
right, up to a point.
SMILEY
Up to a point.
246 INT. CONTROL'S FLAT - DAY 246
The flat is now empty, cleared of Control's possessions.
Smiley looks around, places a CHESS PIECE on the piano. We
see the piece bears the name HAYDON.
SMILEY
(Quietly)
"Tailor."
He walks away.
247 EXT. SMILEY'S HOUSE - DAY 247
George comes up his path, looking old and tired.
248 INT. SMILEY'S HOUSE - DAY 248
He stops still inside his doorway. The little figure on the
console table is in the wrong position. Smiley puts his
hand on it, but doesn't right it, listening to something
from somewhere inside the house. A faint movement.
Through the HALF OPEN KITCHEN DOOR we catch a glimpse of a
WOMAN beyond. ANN is back.
Smiley stands with his back to us, still in his coat,
staring through the door at his wife beyond. Something of a
Vermeer in the image.
He's absorbing the different atmosphere - home. Deciding
whether to go in. Or not.
Suddenly we hear MUSIC - JULIO IGLESIAS, singing a disco
version of LA MER - very seventies.
CUT TO:
249 INT. CIRCUS - FIFTH FLOOR PARTY - NIGHT - PAST 249
The same lively Christmas PARTY at the Circus we saw
earlier. BILL HAYDON, a little drunk and happy, works his
way through the packed room, dancing to the Iglesias'
track, a drink in each hand, a little tongue-in-cheek,
singing along.
113.
HAYDON'S P.O.V.
... other members of the Circus glimpsed as we pass them -
CONNIE SACHS, WESTERBY, BLAND, drunk, grinning at us. TOBY
ESTERHASE talking to one of the SECRETARIES...
The MUSIC continues as we find...
CONTROL and SMILEY
...sitting a little apart, talking. Haydon is still working
his way through the party...
We PASS PERCY ALLELINE and his DRUNK WIFE. Alleline looking
fretful and hoping no-one is noticing the scene she is
making...
Haydon grins at all his comrades, feeling fond of everyone,
but heads on to his destination...
PRIDEAUX sits watching him come with a drink towards him,
shakes his head, but can't help but smile fondly at the idiot
Haydon is prepared to make of himself...
250 OMITTED 250
251 OMITTED 251
252 OMITTED 252
253 OMITTED 253
254 EXT. SARRATT - EVENING - PRESENT 254
The music continues as we see two cadets are running on the
circuit, their white t-shirts only just visible in the
dark.
Haydon sits on his bench, smoking, watching them flit by.
He smiles to himself, remembering. He senses something,
turns and looks back. Prideaux stands in the shadows behind
him, some fifteen foot away. The two men stare at each
other, then Haydon turns back to watch the runners.
We HOLD CLOSE on his face as Prideaux approaches, the only
sound the soft wind and his hushed footsteps growing loser.
Finally...
BILL HAYDON
(Of the runners)
Just like us Jim. (Beat) Best
days.
114.
A rifle is placed on the side of his head - the same
execution shot that we saw used on Irina - the force
blowing him sideways out of the frame.
As the music continues we...
CUT TO:
255 EXT. SARRATT - DAWN 255
Frost on the grass. We find a CADET staring down at the
corpse of Haydon leaning against the back of the bench,
outlined in silver frost.
The music ends.
256 INT. PRIDEAUX'S CARAVAN - DAY 256
Prideaux sits on his bed. From outside - the sound of a
football game. Someone taps on the door. Low. Taps again.
Prideaux, coiled with grief and anger, suddenly gets up.
257 EXT. PRIDEAUX'S CARAVAN - DAY 257
Roach stands in the doorway, carrying a gift - a boot-
scrape made in woodwork.
ROACH
I made you something.
Prideaux stares at the boot scrape.
PRIDEAUX
I don't want you hanging around
here. Keep away from me from now
on. Go and join the others.
Roach stands frozen.
PRIDEAUX (CONT'D)
Just bloody join in. Go and play
damn you.
He watches Roach walk to the edge of the field and stand
mutely at the side. A ball rolls towards him. Roach goes to
kick it. Misses. He tries again, RUNNING OUT OF SHOT.
257aA EXT. PARIS DEPARTMENT STORE - EVENING 257aA
Tarr is walking through a busy street. He stops to light a
cigarette. A woman in a YELLOW dress appears, reflected in
the glass. She's holding the hands of two children. For a
moment it looks like Irina.
115.
Tarr spins round, but the woman has disappeared. He stares
after her, hoping to catch a glimpse of her again.
257A EXT./INT. CIRCUS - GROUND-FLOOR LOBBY - DAY 257A
Smiley walks back into the lobby, hesitates for a moment,
then pushes on through the turnstile.
258 INT. CIRCUS - CONFERENCE ROOM - DAY 258
George takes his place at the baronial chair. He examines
the CHESS PIECE in his hand. We see it is labelled KARLA.
He toys with it for a moment, then places it on the table
in front of him, clears his throat.
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.
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