BERLINER (Frazier)

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EXT. STREETS OF BERLIN - 1945 - DAWN
The sun rises over the bombed-out husk of Berlin. Allied

forces corral surrendered Nazi soldiers and raise flags high
over the city.
FOUR OSS OPERATIVES, three men and a woman, climb down from
a troop transport. A multinational intelligence agency, the
OSS was the precursor to the CIA and integral in destroying
the Reich from behind the scenes.
DAVID DUNHAM (30), unfolds a map of the city, crossing out

destroyed buildings one by one: a Nazi barracks, fuel depot,
garage. Pleased, he rounds the corner...
And stops dead in his tracks.
Staring at the charred remains of an apartment block marked

CIVILIAN on his map. Somber, Dunham crosses the building
out.
He kicks aside some rubble and finds an OLD POCKETWATCH.

Examining it, there's a faded inscription on the inside hatch.
He squints to read:
DUNHAM
(reading)
Magpie, Magpie. One for sorrow...
EXT. FOREST - NIGHT
A man lies dead, face down in the soggy leaves.
DUNHAM (V.O.)
...Two for mirth.
EXT. KITCHEN - NIGHT
A woman slumped over the counter, a knife in her back.
DUNHAM (V.O.)
Three for death...
EXT. STREET - NIGHT
The husk of a blown-out car smolders at the curb.
DUNHAM (V.O.)
...Four for birth.
2.
INT. OFFICE - NIGHT
Three men dead. Blood spattered on the walls and soaking

into the carpet.
DUNHAM (V.O.)
Five for silver...
EXT. ALLEY - NIGHT
A man's body hidden in a dumpster.
DUNHAM (V.O.)
...Six for gold...
EXT. NO MAN’S LAND - DAY
A MAN IN A FEDORA walks across an open expanse. A SECOND

MAN draws a gun and takes aim. His finger on the trigger.
DUNHAM (V.O.)
...Seven for a secret, never to be
told.
EXT. STREETS OF BERLIN - DAY
Dunham winds the pocketwatch, holds it to his ear: TICK-TOCK-

TICK-TOCK. Pleased, Dunham snaps the watch closed and we
CUT TO BLACK.
EXT. FRITZCLUB - NIGHT
On the corner of a busy intersection. Brandenburg Gate lit

up in the distance. Diffuse rock music bleeds out.
TITLE OVER: BERLIN, 1961
Dunham rounds the corner -- older now, sixteen years removed

from the Battle of Berlin. Tired eyes and a weathered heart.
He carries with him a sense of uneasy caution, a man who
survived one war and very much expects another on the horizon.
INT. FRITZCLUB - NIGHT
Dunham descends a concrete stairwell into an underground R&B

club, the bass-thump catching in his chest.
3.
On stage, four mop-tops play a familiar rockin' melody to a

frenzied audience of BERLIN YOUTHS.
Dunham orders a drink and scans the crowd. Studying faces,

tracking movements, absorbing every last detail.
When he spots a MAN WITH HORN-RIMMED GLASSES at the end of

the bar. The only person besides Dunham not watching the
show. Glancing over at Dunham every few seconds, trying not
to make it obvious... But failing miserably.
INT. FRITZCLUB - BATHROOM - NIGHT
Dunham stands at the urinal, pretending to take a piss.

Horn-Rimmed Glasses enters, washes his hands.
Though Dunham is in the blind, Horn-Rimmed Glasses has a

perfect sight line in the mirror.
Dunham reaches into a shoulder holster--

Unsnaps the gun hidden inside--
Horn-Rimmed Glasses shuts off the sink--

Draws a triangular push-blade--
Outside, the band finishes their song--

The crowd explodes into applause--
Dunham swallows--
Inhales--
When the door opens and a mass of CLUBGOERS rush inside --

Horn-Rimmed Glasses spins -- but Dunham’s already gone --
INT. FRITZCLUB - NIGHT
-- Shoving through the mingling crowd --
EXT. JONASSTRASSE - NIGHT
-- Coming out the back of the club. Hustling down a small

side street toward a YELLOW STUDEBAKER parked nearby. Dunham
folds his coat over his right arm, acting casual --
WHA-BOOM!
The Studebaker EXPLODES -- Dunham is thrown back by the blast --

his head hits the ground hard and
4.
INT. HOSPITAL ROOM - NIGHT
Dunham blinks awake. Groggy, confused.
BETTINA
I'm here, I'm here.
BETTINA DUNHAM -- the female OSS officer from our opening --

leans over her husband. She kisses him, holds him close.
DUNHAM
How long...?
BETTINA
Two days.
DUNHAM
Charlie... Charlie was with me, is
he...
Solemn, Bettina shakes her head.
EXT. DUNHAM'S BROWNSTONE - NIGHT
Dunham limps up the steps. Bettina helps, bearing his weight

without complaint.
INT. DUNHAM'S DINING ROOM - NIGHT
Dunham and Bettina eat quietly. She reaches into her apron
and pulls out that same POCKETWATCH Dunham found all those
years ago. She gives it to him, closing his fingers around
it. A private ceremony we don't yet understand...
BETTINA
Simply because Charlie died doesn't
mean we shouldn't celebrate you
living.
INT. DUNHAM'S BEDROOM - NIGHT
They make love well into the night. Afterward, Bettina

snuggles up against Dunham and taps a MORSE CODE MESSAGE
onto his leg with her finger. He smiles.
DUNHAM
I love you, too.
A passing S-BAHN COMMUTER TRAIN whistles right outside their

window. They both chuckle, an inside joke between lovers.
5.
EXT. CEMETERY - DAY
Drizzling rain. Pallbearers hoist a coffin. Dunham limps

toward the open grave. He unfolds a short speech -- written,
crossed out, and obsessively rewritten.
DUNHAM
Charlie Roarke was...
Dunham stares off. The crowd murmurs, uncomfortable. Bettina

gives her husband a reassuring smile. The moment drags on...
Raindrops splash in puddles --
FLASHBACK TO:
INT. AMERICAN EMBASSY - MEN'S ROOM - DAY
-- As CHARLIE ROARKE, 25, splashes water on his face. He's

handsome, clean-cut, the platonic ideal of a Norman Rockwell
All-American.
He looks himself over in the mirror, straightens his tie.

Dunham pokes his head through the door.
DUNHAM
Morning meeting in five, Harvard.
CHARLIE
Be right there.
INT. AMERICAN EMBASSY - CIA SECTION - DAY
Charlie takes us through the open-floor office where CIA

ANALYSTS and AGENTS work tirelessly to prevent World War
Three. The place is a maze of cubicles and desks and phone
banks and filing cabinets, but Charlie knows every shortcut.
He offers a wave and a nod to everyone he passes. A warm
smile, the cock-of-the-walk, everybody's friend.
INT. AMERICAN EMBASSY - CONFERENCE ROOM - DAY
As Charlie fixes a cup of coffee, BOB COLESON, VIVIAN TATE,

and RICHARD KITTER -- three high-level CIA case officers --
argue over his shoulder.
BOB
-- Ich bin ein Berliner? "Ein" is
an indefinite article implying he's
non-human -- the word Berliner in
that context means jelly doughnut.
6.
VIVIAN
But since he was speaking in a
figurative sense, since he's not,
you know, literally from Berlin, you
need the indefinite article.
RICHARD
You couldn't be more wrong. Roarke,
back us up -- is JFK a jelly doughnut
or what?
Charlie glances over his shoulder, sheepish.
CHARLIE
I don't speak -- I'm still not that
great with German.
VIVIAN
I can see how that wouldn't be a
priority, you know, living and working
in Germany.
BOB
Say something for us.
CHARLIE
(German, mangled)
Mein name ist Charlie Roarke. Ich
bin ein Berliner.
VIVIAN
Oh yeah, I hear it now. Yeah, OK he
called himself a jelly doughnut.
Dunham enters, in a huff.
DUNHAM
Confession time -- what asshole keeps
stealing The Times off my desk?
RICHARD
New York or Los Angeles, old sport?
DUNHAM
What the fuck could that possibly
matter, Dick?
Charlie brings the cup of coffee over to Dunham.
CHARLIE
Dodgers won, six-four. Wills went
three for four, home run and a couple
RBIs.
7.
MARTIN KINCAIDE, the CIA's new Chief of Station enters.

Young, hungry, a consummate cover-your-ass bureaucrat.
KINCAIDE
Anybody seen Greer?
DUNHAM
Sleeping one off be my guess.
KINCAIDE
Who saw him last? Bob, when'd you
see him?
BOB
The Armistice party I suppose...
CHARLIE
You see the woman he left with?
Kincaide scans the bullpen one last time for Greer, then
shuts and locks the door.
VIVIAN
What is it, Marty?
KINCAIDE
I think we have a fourth.
RICHARD BOB
Oh God, you don't think -- Greer? Why would anybody --
VIVIAN
Peter's, you know, gone on plenty of
benders in the past --
DUNHAM
-- I'm with Vivian -- doesn't fit
Magpie's MO.
Kincaide takes the seat across from Dunham. Stares him down.
KINCAIDE
By all means... Elaborate.
DUNHAM
I'm not even sure Magpie is a threat
any more -- it's been months since
his last victim turned up --
KINCAIDE
-- Except for Greer of course.
DUNHAM
If I buy the premise, which I don't.
(MORE)
8.
DUNHAM (CONT'D)
Magpie killed three, high-level NOC
agents working East Berlin counter-
intelligence and set each one up to
look like an accident. Meanwhile,
Greer's a low-level asset handler
who can't stay sober long enough to
actually handle any assets and he
may or may not even be missing.
Kincaide smiles.
KINCAIDE
Then I suppose you won't mind if I
hand the file over to Richard? Let
him poke at it?
Charlie shoots Dunham the briefest of looks, clearly doesn't

want Dunham to hand anything over.
DUNHAM
By all means.
INT. AMERICAN EMBASSY - HALLWAY - DAY
Charlie pulls Dunham aside. Whispering, conspiratorial.
CHARLIE
We're fucked -- this is so -- we're
fucked -- with Richard looking into
Magpie it's only a matter of time
before he'll --
DUNHAM
-- Find nothing, he'll -- Dick
couldn't catch The Clap in a
whorehouse. We're fine, calm down.
CHARLIE
I'm not good at this part -- when do
we tell them?
DUNHAM
Never. We keep our secrets secret.
CHARLIE
And no one ever knows we stopped a
traitor who infiltrated the highest
levels of American Intelligence?
DUNHAM
Yes, because -- and here's the hardest
part of the job: no one ever says
thank you.
9.
KNOCK-KNOCK-KNOCK. Bettina answers the door, Charlie waits

on the stoop with a WRAPPED BIRTHDAY PRESENT in hand.
BETTINA
And where is our lovely fraulein
Rachel?
CHARLIE
The Limey keeps his staff until eight --
she'll join us by supper.
INT. DUNHAM'S LIVING ROOM - NIGHT
Dunham unwraps the present, finds a HANDHELD RADIO inside.
CHARLIE
Picks up signals from across the
Atlantic -- never miss another
Dodgers' game.
DUNHAM
Charlie... This is too much.
CHARLIE
Not really -- got a friend works the
line where they're made. Happy
Birthday.
Dunham hugs Charlie close. Paternal, beaming. The phone

rings, Dunham answers.
DUNHAM
Hello?
EXT. PHONE BOOTH - NIGHT
RACHEL CLARKE, 30, taps her fingernails against the glass.

Normally as poised as British women get, right now she's
scared for her life.
RACHEL
David? David please -- someone's
following me -- they followed me
from work --
INTERCUT WITH DUNHAM'S LIVING ROOM
DUNHAM
-- Calm down, Rachel -- who's
following you, how many?
10.
CHARLIE
Rachel? What is it?
Charlie grabs the phone from Dunham.
CHARLIE
Rachel? Are you OK? What's
happening?
RACHEL
I don't know -- please come get me,
please --
CHARLIE
-- OK, listen to me, listen --
Fritzclub, three blocks from the
Gate -- it'll be packed right now,
you'll be safe there, just get there
and wait --
RACHEL
-- Charlie, please --
CHARLIE
-- I love you, now go.
EXT. PHONE BOOTH - SAME TIME
Rachel pulls her hat low and pushes out of the phone booth.
Across the street, Horn-Rimmed Glasses watches her.
Charlie hangs up. Bettina enters from the kitchen with a

casserole... Immediately knows something is going on.
DUNHAM
I'm sorry we -- it's work.
Bettina nods. Dunham hands her his pocketwatch.
CHARLIE
I'll drive.
EXT. FRITZCLUB - NIGHT
On the corner of a busy intersection. Brandenburg Gate lit

up in the distance. Diffuse rock music bleeds out. The
yellow Studebaker pulls up across the street.
11.
INT. DUNHAM'S STUDEBAKER - NIGHT
Charlie behind the wheel. Dunham in the passenger seat.
DUNHAM
You're in the car on overwatch, coat
over my right arm means be ready --
CHARLIE
-- No, no more overwatch, I want --
DUNHAM
-- You're in the car so when she
shows up with a tail you don't get
made. Circle the block a few times,
then park around the corner on
Jonasstrasse and wait for me -- you
see anything funny it's olly-olly-
oxen-free, got it?
EXT. JONASSTRASSE - NIGHT
Charlie waits in the Studebaker behind the club. Nervous,

anxious, this is taking way longer than it should.
Finally, Dunham appears from an alley in the rearview mirror.

Walking toward the car, folding his coat over his right arm --
WHA-BOOM!
The Studebaker's engine DETONATES -- sets off a CHAIN REACTION

throughout the interior -- the car EVAPORATES in a ball of
fire -- Charlie doesn't even have a chance to scream -- and
from the ROARING CHURN of the flames we
CUT BACK TO:
EXT. GRAVE SITE - DAY
-- The hollow silence of Charlie's funeral. Dunham snaps

out of his fugue and looks back at his speech...
But the rain has caused the ink to bleed down the page in
dark rivulets and the words are completely unreadable.
DUNHAM
Charlie Roarke was... My friend.
12.
Dunham and Bettina eat a quiet dinner. She's almost done,

he's barely cut into his steak.
BETTINA
David? David, are you --
DUNHAM
-- I made him stay, don't you see?
I made him stay in the car. No, no
I'm not OK.
INT. PHYSICAL THERAPY ROOM - DAY
Dunham takes a few hobbled steps with a cane.
DUNHAM
You'll sign off I can go back to
work?
PHYSICAL THERAPIST
Sitting a desk? Sure. But I doubt
you'll run the hundred-meter dash
any time soon.
DUNHAM
There go my weekend plans.
Dunham steps off the elevator and limps across the bullpen.
Everyone stops what they're doing to look. Whispers follow
him. He does his best to ignore the unwanted attention.
DUNHAM (O.S.)
(prelap)
Is this a joke?
INT. AMERICAN EMBASSY - KINCAIDE'S OFFICE - DAY
Dunham paces, his limp pronounced. Kincaide sits behind his

desk, straightens his CHIEF OF STATION nameplate.
KINCAIDE
Calm down, sit down. We both want
the same thing, we both want to fix
Berlin.
13.
DUNHAM
He was murdered. Charlie Roarke was --
they put a goddamn bomb in my car!
I know you haven't been here that
long but -- if we roll over after
they murder one of ours, we come off
as toothless little -- Jesus-fucking-
Chirst even the silver-spooned son
of a Senator can't be this dense.
Kincaide notices the knot in his tie is crooked. He unties

it, carefully ties it back up again.
KINCAIDE
Logic it out with me. You start
fucking around Hell's half-acre,
asking questions none of us know the
answers to -- say you finger a guy,
OK great. Real mean son of bitch
too, KGB Polkovnik -- what then?
Retaliation? Revenge? What's
Moscow's response?
DUNHAM
How the hell should I know?
KINCAIDE
And that's the entire goddamn point.
You're a sledgehammer in a ball-peen
world.
Kincaide finishes his tie. Absolutely flawless. Dunham

finally sits, can't take the pain in his leg anymore.
KINCAIDE
I was sent here to do one thing:
cure Berlin. We got a hundred-plus
refugees coming over every day, a
deep-seated hatred between the two
most powerful empires the world has
ever known, and sixteen years of
things getting worse --
DUNHAM
-- You come and sit behind a desk
and think you're suddenly --
KINCAIDE
-- Listen to me, Berlin is diseased
and I'm the goddamn surgeon on call.
No more spy games, no more
backstabbing --
14.
DUNHAM
-- Turning the other cheek in Berlin
just gets you slapped twice as much.
KINCAIDE
You had your shot at Humpty Dumpty,
so excuse me if I'm skeptical taking
advice from all the king's horses
and all the king's men.
Dunham stares down Kincaide. Their verbal chess match about

to hit the endgame.
DUNHAM
Where'd you land on D-Day? Omaha?
KINCAIDE
I was twelve.
DUNHAM
Oh right, well then you must have
fought in Korea.
KINCAIDE
Flat-feet.
DUNHAM
So what? It's twenty months minding
the store and then home to a hundred-
grand-a-year at the State Department?
KINCAIDE
Seat in the House if I'm lucky.
(then)
DUNHAM
You feckless, gutless, pissant piece
of shit.
KINCAIDE
Actually, it's pronounced Chief of
Station.
A long fucking beat.
KINCAIDE
Lay Charlie Roarke to rest, Berlin
isn't worth your revenge.
DUNHAM
Don't you mean your career?
15.
KINCAIDE
It was a leaky fuel line killed
Charlie Roarke. That goddamn jalopy
of yours. Say it with me... Or I
dissolve your passport and bust down
your security clearance, either way...
Another long fucking beat.
DUNHAM
It was a leaky fuel line.
The afternoon meeting. Bob and Richard give a presentation

on bread manufacturing in East Germany. Dunham sits in his
usual chair, not listening, a hundred yard stare. Charlie's
seat noticeably empty beside him.
Bettina and their BLACK ROTTWEILER greet Dunham at the door.

She hands him his pocketwatch, notices his obvious distress.
BETTINA
Kincaide?
INT. DUNHAM'S KITCHEN - NIGHT
Dunham and Bettina eat dinner.
DUNHAM
He wants to play politics, asshole
can drown in treaties all I care.
I'll find Charlie's killer, bring
him to justice on my own.
BETTINA
Where do you start? The bomb? The
club? The man with the horn-rimmed
glasses?
DUNHAM
Rachel set up the meet, Rachel put
us in play -- so I'll start with
Rachel.
16.
EXT. BUS STOP - NIGHT
Dunham listens to a Dodgers game on his handheld radio. A

bus comes and goes, but Dunham remains on the bench, staking
out an apartment building across the street.
INT. PHONE BOOTH - NIGHT
Dunham places a call. The line rings. He stares up at that

same apartment building.
INT. RACHEL'S FLAT - NIGHT
Dunham sneaks around in the dark. Pokes at everything.

Discovers a bowl of MATCHBOOKS in the kitchen. Sorts through
them. Finds the one he's looking for and --
EXT. HOTEL AMANO - NIGHT
-- Flips the MATCHBOOK between his fingers. The LOGO printed

on the book matches the hotel sign above.
INT. HOTEL AMANO - NIGHT
Dunham at the front desk.
DUNHAM
(German)
I'm expecting a package. Room 405.
The DESK MANAGER disappears into the back. Dunham leans

over the counter and pages through the guest registry.
INT. HOTEL AMANO - SEVENTH FLOOR - NIGHT
Dunham pulls a FIRE ALARM and moves down the hall as the
sirens SCREECH out. Guests hurry from their rooms. Dunham
presses up against the wall outside room 710. The door opens,
Dunham rolls off the corner and intercepts Rachel --
INT. HOTEL AMANO - ROOM 710 - CONTINUOUS
-- Pressing his hand against her mouth, slamming the door

closed behind them, holding Rachel down on the bed.
DUNHAM
Who set us up?
17.
Rachel knees Dunham in the balls. He recoils. She shoves

him back. Dives off the bed. Runs for the door.
Dunham grabs a table lamp and in one smooth motion throws it

into the back of her head. It shatters, she crumples.
He grabs her ankle, drags her back. She kicks, catches him
in the mouth. Kicks again, catches him in the eye. But he
somehow holds on. She grabs a shard from the lamp, twists,
and stabs it into his arm. He lets go. She scurries away.
Dunham draws his gun. Knocks the hammer back.
DUNHAM
Easiest thing in the world, shooting
someone in the back.
RACHEL
He told me. Charlie told me. Don't
trust anyone.
DUNHAM
Well Charlie's dead and here we are.
RACHEL
...So it's true then?
DUNHAM
Why didn't you show up for the meet?
Rachel crumples to the floor. Weeping.
RACHEL
I was followed, I was trying to lose
my tail before I went to the club,
like Charlie taught me, I was late,
I was on my way --
DUNHAM
-- Bullshit, you've been playing him
from the word go.
RACHEL
No, no -- I loved him -- we were
going to -- he asked me just last
week.
Rachel offers her hand, shows Dunham an ENGAGEMENT RING.
DUNHAM
Christ... Oh all the stupid things...
(then)
The man who was following you, what'd
he look like?
18.
RACHEL
Tall, brown hair, horn-rimmed glasses.
DUNHAM
You ever seen him before?
Rachel wipes her eyes, shakes her head.
DUNHAM
We all got set up. It's not safe
for you --
RACHEL
-- Wait. Wait-wait-wait.
Rachel pulls a BALL BEARING from her pocket.
RACHEL
I found these scattered up and down
the street outside the club after I
finally got there.
Dunham takes the ball-bearing, holds it up to the light.
RACHEL
Does it mean anything?
DUNHAM
You need to leave Berlin, resign
your post at the Embassy and --
RACHEL
-- Is this because of what we did?
Is this because of Magpie?
By the look on Dunham's face, that's exactly it.
DUNHAM
There's a train to London first thing
in the morning. Be on it.
FLASHBACK TO:
EXT. WEST BERLIN HISTORY MUSEUM - NIGHT
A line of limousines and town cars pull up to the curb as

POLITICIANS and CELEBRITIES head inside, a banner overhead
reads: ARMISTICE DAY ANNIVERSARY.
INT. SAFEHOUSE - SAME TIME
Dunham stands at a window overlooking the gala. Behind him,

Rachel applies make-up in a mirror, dressed to the nines.
19.
Charlie works at something over a table.
DUNHAM
Run it again.
CHARLIE
Seven o'clock, party starts.
RACHEL
Greer arrives, I approach at the bar
once he's had at least two drinks.
Take him out the front, get our
picture taken together.
Charlie uses a gold pen and writes Rachel's name on a FORGED

INVITATION. He blows on the paper to dry the ink.
CHARLIE
I pick-up at the curb, you join us a
block away. Dose him with Ketamine
in the car, transport to Templehoff,
two hour flight to London, Company
Men waiting to pick him up at Heathrow
and interrogate.
DUNHAM
All right -- now what'd you forget?
A beat. Charlie thinks it through.
CHARLIE
Nothing.
Dunham pats Charlie on the shoulder, proud.
INT. WEST BERLIN HISTORY MUSEUM - NIGHT
Rachel hands her invitation to the security guard. She's

scrutinized up and down. The security guard waves over his
boss. His boss inspects her invitation, scratching his
thumbnail against the still-wet gold ink...
RACHEL
Is there a problem?
Finally, the guard motions Rachel into the party.
INT. WEST BERLIN HISTORY MUSEUM - NIGHT
PETER GREER, 50s, hangs out at the bar, waving for another
round. Rachel sidles up next to him, offers a smile.
20.
RACHEL
What a party. Have you ever seen
such a party?
GREER
Twice this week -- boring, staid,
dull-dull-dull.
RACHEL
So what if we nip out to a better
one?
EXT. WEST BERLIN HISTORY MUSEUM - NIGHT
Greer and Rachel exit together. The sea of flashbulbs pop.
INT. TOWN CAR (DRIVING) - NIGHT
Greer reaches over for Rachel, but she pushes him back.
RACHEL
Wait -- no -- not here.
GREER
You came on to me, remember?
Greer PUSHES her down against the seat -- Rachel KICKS out --
KNOCKS Greer against the door -- then PUNCHES him across the
jaw and he sloughs unconscious into the footwell.
The car stops at a light. Charlie and Dunham open the door.
RACHEL
Never mind on the sedatives then.
EXT. CITY STREETS - NIGHT
The town car passes a road sign for "Templehoff Airport" and
turns in the opposite direction, merging onto a small two-
lane back road that leads out of the city.
INT. TOWN CAR (DRIVING) - NIGHT
Greer passed out in the back. Dunham driving.
CHARLIE
What about the airport, what about
the plane to London?
DUNHAM
Change of plans.
21.
CHARLIE
Kincaide know about this?
Dunham glances over at Charlie.
DUNHAM
Two truths and a lie.
CHARLIE
I don't want to play your stupid
game -- does Kincaide know?
DUNHAM
Who do you work for, me or Kincaide?
Give me two truths and a goddamned
lie.
CHARLIE
I don't like games, I don't like
surprises, my name is Charlie Roarke.
Dunham shakes his head.
EXT. KILOMETER MARKER 7 - NIGHT
The town car pulls to a stop in the middle of the forest.

Its headlights the only ward against the dark.
EXT. CLEARING - NIGHT
Dunham and Charlie drag Greer out of the car. Dunham pulls
a BURLWOOD HANDGUN from his jacket and offers it to Charlie.
Charlie shakes his head.
DUNHAM
Peter Greer is a traitor to the
Central Intelligence Agency and his
country, our country -- he took money
from the Soviets and in exchange he
murdered American agents -- he did
this under the guise of being our
friend and confidant --
CHARLIE
-- Is this another one of your tests --
DUNHAM
-- This is the job -- you said you
would do anything to help me find
Magpie... Well here he is.
CHARLIE
So send him home, put him on trial.
22.
DUNHAM
This is Berlin. This was his trial.
Dunham presses the gun against Charlie's chest. Charlie

stands over Greer, his finger on the trigger, his hand
shaking... Looks like he's about to do it when --
CHARLIE
-- I can't.
He hands the gun back to Dunham. Dunham sighs, moves quickly

and efficiently, taking aim and
POP!
Simple as that. Charlie turns and vomits into the brush.

Dunham pats him on the shoulder.
DUNHAM
We'll work on it.
Dunham grabs a shovel from the trunk of the car and tosses
it at Charlie's feet.
DUNHAM
But I pulled the trigger so you dig
the hole, that's the rule.
Charlie reluctantly digs and --
-- Splashes water on his face. Looks himself over in the

mirror. Unsure if he should feel pride or self-loathing.
Dunham pokes his head through the door.
DUNHAM
Morning meeting in five minutes,
Harvard.
CHARLIE
Be right there.
Charlie towels off his face and SLAMS out as we
CUT BACK TO:
-- Bettina closing the oven. Placing a loaf of fresh

sourdough among nearly a dozen others. She turns and finds
Dunham standing in the door, watching her.
23.
DUNHAM
You should start a bakery for anxious
housewives.
BETTINA
You should start a telephone exchange
for inconsiderate husbands.
Bettina hugs Dunham and he winces. She pulls up the sleeve

to reveal the nasty, bleeding wound from where Rachel stabbed
him with the lamp shard.
BETTINA
Scheissa! Come on then, I'll stitch
you up.
INT. DUNHAM'S BATHROOM - NIGHT
Bettina cuts away the sleeve of Dunham's shirt. Pours vodka

to wash away the dried blood and disinfect the wound. She
threads a needle, burns the end with a candle.
BETTINA
Find anything useful?
DUNHAM
The bombmaker maybe -- this guy called
The Turk. I actually hired him on a
thing a few years back -- asshole
puts ball bearings in his blasting
caps, kind of his trademark.
BETTINA
And did you hurt the girl?
Dunham winces as Bettina pierces his skin with the needle.

He admires her handiwork, but the question hangs in the air.
DUNHAM
What would I do without you?
BETTINA
Bleed mostly would be my guess.
DUNHAM
I'll visit Tenenbaum first thing --
this new project they got him working
on should be a piece of cake to track
down the Turk.
Bettina finishes the stitch. Ties off the thread.
BETTINA
And then what?
24.
DUNHAM
And then I kill the man who murdered
my friend.
EXT. TEUFELSBERG - NIGHT
On the outskirts of Berlin, an artificial hill built in the

years following World War Two, it's a literal pile of rubble
and debris...
And atop the hill, a construction project is underway,

including THREE LARGE, POCKMARKED DOMES -- powerful, state-
of-the-art listening posts. Dunham shows his ID at the gate
and is waved through past ARMED GUARDS.
ALAN TENENBAUM waits just inside, greeting Dunham. An old

friend of Dunham's and another one of the OSS officers from
our opening, he's somehow both caustic and endearing.
TENENBAUM (O.S.)
(prelap)
Lead-lined walls, signal-scrambling
arrays, the absolute latest in burst-
transmission technology...
INT. TEUFELSBERG - DAY
Tenenbaum leads Dunham through a maze of claustrophobic

hallways, a constant electronic hum in the background. Wire
mesh runs along the walls, floor, and ceiling.
TENENBAUM
...Believe me when I say, in Berlin
we hear everything.
DUNHAM
Who authorized all this? Who pays
for it?
TENENBAUM
That's the beauty of it -- no one.
Everything's off books -- the agency
doesn't even have a name yet. No
budgets to approve, no sub-committee
breathing down our neck. You're
looking at the future of intelligence --
untethered, unobstructed -- it's how
we'll beat the Commies, mark my words.
25.
INT. TENENBAUM'S OFFICE - DAY
Audio equipment everywhere: on shelves, in nooks, covering

every surface. Tenenbaum hands Dunham a slip of paper.
TENENBAUM
Scanning phone lines we got a ninety-
five percent voice match on your
Turk. Couldn't pin down the exact
apartment, but your man's somewhere
at this address. Only thing is --
Dunham reaches out to touch a HIGH-TECH RADIO but feedback

screeches out. Tenenbaum grabs the device and throws it
onto the ground, shattering it into pieces.
TENENBAUM
Sorry about that -- little bastards
have been acting up since day one.
DUNHAM
You found The Turk, but the only
thing is...?
TENENBAUM
Only thing is he's a bit outside the
neighborhood...
Dunham checks the address against a MAP OF BERLIN hung on

the wall. It's deep in East Berlin.
DUNHAM
Shit.
INT. BANK NATIONAL - VAULT - DAY
Dunham opens a safety deposit box, revealing PASSPORTS and

CASH. He flips through the passports, finds the one he wants --
EXT. CHECKPOINT CHARLIE - DAY
-- And hands it to an EAST GERMAN VOLKSPOLEZI (VoPo) on duty

in a small corrugated shack. The guard examines the passport
thoroughly: the name reads "MICHAEL WIBBERLY."
Dunham's "name" is recorded and his papers are handed back.

He steps across an invisible line -- the smooth concrete of
West Berlin transforms into dirty, cracked cobblestone.
A rusted sign greets him at the end of the block:
Herzlich Willkommen in Ost-Berlin.

26.
Welcome to East Berlin.
EXT. COMMUNIST HEADQUARTERS - DAY
Dunham enters a large, opulent building surrounded on all

sides by decrepit, pre-war architecture.
INT. SECURITY CHECKPOINT - DAY
Dunham strips. Two EAST GERMAN SOLDIERS check every seam

and stitch of his clothing, then hand it back to him a piece
at a time... But keep his shoes and his belt.
INT. ELEVATOR - DAY
Shoeless, holding up his pants with a finger through a belt

loop, Dunham descends deep underground.
INT. UNDERGROUND HALL - DAY
Dunham walks down a long corridor, PAIRS OF GUARDS on sentry

every fifty feet. Staring at the Westerner as he passes.
INT. VISILI'S OFFICE - DAY
Dunham sits across from a downtrodden KGB OFFICER signing

papers. In his 50's, VISILI VOLKOV is the last OSS operative
from our opening.
VISILI
I've killed more men with this pen
than I ever did with a gun.
Dunham shuffles in his seat, glancing back at the two BURLY

BODYGUARDS standing against the wall over his shoulder.
VISILI
You are lucky to see me, few have
had such an honor. But they said
David Dunham is upstairs, I said
send him down.
DUNHAM
Nice digs.
VISILI
Soundproof even.
27.
DUNHAM
That right? Not a bad way to spend
the twilight years.
VISILI
It's a gilded cage, my friend --
listen to me sing.
Visili keys an INTERCOM. Barks out an order in Russian.

Turns back to Dunham and sips from a SILVER FLASK.
VISILI
How's Betty?
DUNHAM
Visili, I'm here for a --
VISILI
-- Miss seeing her like the old days,
wasting nights, all of us together --
DUNHAM
-- I need a favor, Visili. There's
a bombmaker, came after me last week.
VISILI
I promise my friend, I had nothing
to do with it.
DUNHAM
No, not that. I have it under good
authority his safehouse is on your
side of the line.
VISILI
So better luck next time, you're
still alive aren't you?
DUNHAM
But a friend of mine isn't.
VISILI
Oh David, I'm very sorry... This
horrible game we play...
GREGOR, a young KGB AGENT enters with a stack of papers.
VISILI
Gregor, say hello.
GREGOR
Hello.
Visili takes another bitter drink the silver flask. Offers

it to Dunham, but he refuses.
28.
VISILI
David and I worked together during
the war -- called in the bombs as
Stalin's honorable comrades brought
an end to the fighting.
DUNHAM
With no help whatsoever from FDR's
Army, Navy, or Air Force of course.
VISILI
No, I should think your fat American
friends were off in Paris, my friend.
Wasting money on the wine and whores,
yes?
DUNHAM
Silly capitalists -- in Soviet Nation,
wine and whores are free for the
proletariat.
VISILI
See my friend, you get it.
(holding up flask)
Nothing but the best wine...
(holding up left hand)
And only the finest whores!
Dunham guffaws. Visili slaps the signed papers against

Gregor's chest. Gregor leaves with a sneer.
VISILI
There goes the future of Lenin's
grand experiment -- violence in his
heart but no idea why we even fight.
DUNHAM
Give the kid a break -- we fought
our war, now he gets his.
VISILI
You'll say hi to Betty for me?
A beat.
DUNHAM
Yeah. Sure.
VISILI
Then let us go and find your
bombmaker, my friend.
29.
EXT. EAST GERMAN APARTMENT BLOC - NIGHT
A BLONDE WOMAN on the sidewalk lights a cigarette as THREE

MILITARY VEHICLES round the corner and skid to a stop.
ARMED VOPO jump out and swarm inside the apartment building.
Gregor and Dunham climb out of the first vehicle and follow.
INT. APARTMENT BLOC - 1ST FLOOR - NIGHT
The VoPo move quickly between apartments. Knocking on doors,

pushing inside, scanning the squalid residences.
INT. THE TURK'S SAFEHOUSE - NIGHT
THE TURK works in solitude. His face covered in scars and

burns, he carries with him the tell-tale mark of a
professional bombmaker: two missing fingers. He chain-smokes,
hacking and wheezing in between every drag.
INT. APARTMENT - NIGHT
The VoPo clear another apartment. They allow the blonde

woman to reenter her home. She closes the door behind them,
waits five seconds... Then runs to the bathroom.
She grabs a wrench from under the sink and bangs it against
an exposed pipe. The sound rises up through the building --
INT. THE TURK'S SAFEHOUSE - CONTINUOUS
-- All the way up to the Turk's bathroom. His ears perk up,
he goes to the window and presses his forehead against the
glass to look straight down... Where he sees the MILITARY
VEHICLES parked at the curb. Shit. He snatches his go-bag
and hustles out the door --
INT. APARTMENT BLOC - 4TH FLOOR - CONTINUOUS
-- Only to be confronted by six VoPo down the hall, blocking

his only exit. They see him, and raise their rifles, shouting
in German --
INT. APARTMENT BLOC - 1ST FLOOR - CONTINUOUS
-- The voices ECHOING down the stairwell.

30.
GREGOR
We have him, fourth floor!
Gregor charges up the stairs. Dunham hangs back, suspicious.

Clocks a door that leads to the COAL ROOM...
The Turk drops a metal bar across his front door at the very
last second. The VoPo crash against the other side, banging
on the door, shouting and screaming.
The Turk grabs a crowbar and uses it to pry away a weakened

section of drywall, revealing a dark hole that drops into
the bowels of the building. The Turk jumps inside and --
INT. COAL ROOM - NIGHT
-- Smashes out of the wall five floors below, rolling down a

pile of coal. He brushes himself off, thinks he's home free.
Opens the door and finds Dunham's waiting for him.
DUNHAM
End of the line.
Dunham pistol-whips The Turk and everything goes BLACK.
INT. VAN - NIGHT
The Turk gasps awake in complete darkness. He tries to stand

but finds he's handcuffed to the floor.
A match flares in the darkness, illuminating Dunham's face.

He lights a cigarette and sticks it in The Turk's mouth.
DUNHAM
Two lies and a truth.
THE TURK
Huh? What?
DUNHAM
It's a game I used to play with --
Charlie wasn't very good at it, I
could always pick out his lie. The
game is you say three statements --
two are lies, one is true -- and I
have to guess which is which.
THE TURK
Who are you? You're not VoPo.
31.
Without warning, Dunham STABS the red-hot cigarette into The

Turk's ankle -- flesh SIZZLES -- the Turk SCREAMS -- STRUGGLES
against his restraints -- WHEEZES through the pain and then --
Dunham relents. Takes a beat. And lights another cigarette.
DUNHAM
Two lies and a truth.
THE TURK
My n-n-name is Sami -- I am m-m-
married -- I am forty-two years old.
DUNHAM
That's a good first move. Simple
stuff. Normally hard for me to figure
out, but I've spent the last fifteen
years listening to liars, so I always
take the Pennant. You stuttered on
the first two, makes me think those
were the lies. Am I right?
The Turk nods.
Dunham STABS the cigarette into The Turk's arm -- he SCREAMS

out -- KICKS and WRITHES at the pain -- teeth CLENCHED tight
and then --
Dunham relents. Takes a beat. And lights another cigarette.
DUNHAM
Your goal -- how you win -- is to
get me to guess wrong. Go again,
your move.
THE TURK
My father died in the war. I have
six brothers. My lungs are shot
from all the smoking, the doctors
say.
Dunham contorts his face, puts on a show. The Turk smiles,

thinks he's stumped him.
DUNHAM
No I bet your lungs are shot from
all the chemicals you work with, am
I right?
Dunham WRENCHES The Turk's head to the side -- STABS the

cigarette into his neck -- HOLDS it there -- the ember BURNING
through flesh -- The Turk SCREAMS and WHEEZES and --
Dunham pulls back. The Turk gasps and gasps and gasps.
32.
Dunham upends the pack of cigarettes, all gone.
The Turk sighs out, relaxes...
Dunham snaps his fingers, reaches into his back pocket and
pulls out a second unsealed pack of cigarettes.
DUNHAM
Your move.
THE TURK
Please, I, please, I don't know what
you want, tell me what you want me
to do and I'll do it.
DUNHAM
I want you to take your move.
Dunham lights a cigarette.
THE TURK
I was born in Constantinople. I am
deaf in my left ear from an accident
when I was a child. My favorite
food is sausage and peppers.
DUNHAM
Homemade bomb went off in your ear,
is that it?
Dunham moves in with the cigarette --
THE TURK
-- No! You lose, I win, I win, I'm
deaf in my right ear, it was a lie,
I win, you didn't catch the lie!
Dunham stubs the cigarette out on the floor. Crouches down

to eye level with The Turk.
DUNHAM
Fair enough... But in this game --
did I forget to mention? In this
game I get three guesses.
Like a hawk snatching it's prey, Dunham shoves The Turk

against the floor, forearm locked against his larynx.
DUNHAM
Who hired you to kill my friend?
THE TURK
I don't know...
33.
Dunham pushes in tighter, The Turk's eyes bulge from his

face, he hacks up a glob of blood.
THE TURK
An American, please, he's American!
He works out of the embassy --
DUNHAM
-- You murdered my friend, you think
I'll stand here all night and listen
to you lie?
THE TURK
No, no, no, truly -- he calls himself
Magpie.
Dunham pushes in tighter. The Turk wriggles helplessly.
DUNHAM
Three strikes my friend -- I buried
Magpie myself just last week.
THE TURK
No, no, I swear, please asshole --
Magpie paid me ten-thousand Marks in
cash not two days ago, check my bank
account!
Dunham slowly pulls back. Can tell The Turk is telling the
truth.
THE TURK
Whoever it was you buried, it wasn't
Magpie, you buried the wrong guy --
Magpie's still alive.
Off Dunham's look: Holy. Fucking. Shit.
EXT. VOPO VAN - NIGHT
Dunham climbs down from the van, the Turk still handcuffed
inside. Gregor and his VoPos climb inside.
THE TURK
Please, please, I don't want to die,
please don't let them kill me.
DUNHAM
Work hard enough, a man can live a
long time in the Gulags, ain't that
right Gregor?
Gregor grunts, slams the door shut. As the van drives away,
The Turk audibly pounds against the inside walls:
34.
THUNK-THUNK-THUNK! THUNK-THUNK-THUNK!
Dunham, a silhouette in the fading red taillights, stands on

the corner and watches for a long moment, until the van turns
a corner and is out sight completely.
INT. DUNHAM'S BEDROOM - DAWN
Bettina lies awake in bed as Dunham quietly enters.
DUNHAM
I screwed up.
INT. DUNHAM'S HOME OFFICE - DAY
Dunham pulls decorations off the wall. Bettina sorts through

a collection of old photo albums.
BETTINA
Mark Cosgrove?
DUNHAM
No, he moved back to DC last year.
BETTINA
Sarah Liston?
DUNHAM
Second pile from the left.
Bettina pulls a photo from the album, a group shot from an

embassy party. She cuts out a woman from the photo...
LATER
Dunham and Bettina look over their handiwork. The wall is

now covered in photos, the faces of Dunham's co-workers.
DUNHAM
This all started when Magpie murdered
three deep-cover NOCs -- which means
we're talking someone with at least
security clearance five...
Dunham takes a red pen and goes through the photos row by
row, X'ing out more than half of the suspects.
BETTINA
When was the first operative killed?
DUNHAM
March.
35.
BETTINA
So get rid of anyone transferred to
the embassy after that.
Dunham nods, X'ing out another dozen suspects, including

most notably, Kincaide.
Dunham steps back for a wider view of the wall. TEN SUSPECTS
REMAIN: including his friends Bob, Richard, and Vivian.
BETTINA
Where does that leave us?
INT. AMERICAN EMBASSY - CIA BULLPEN - DAY
Dunham steps off the elevator into a pit of vipers. Cautious.

Heads turn, everyone seems to be staring right at him...
DUNHAM (V.O.)
Leaves me going to work in two hours
to smoke out the traitor who killed
Charlie --
Dunham plays it cool, acts normal. Crosses the bullpen as

fast as he can on his bad leg.
DUNHAM (V.O.)
-- And it's a sure bet whoever it is
knows I'm coming.
INT. CONFERENCE ROOM - DAY
The morning meeting. Richard and Vivian give a presentation

on alcohol consumption in East Germany. Kincaide watches
from the back. Bob brews a pot of coffee.
Dunham is in his normal seat, barely paying attention to the

presentation. Studying each agent in turn, everyone a
potential threat. Bob brings Dunham a cup of coffee.
Dunham offers a fake smile, about to take a sip, the cup to

his lips... When he stops himself at the last second and
surreptitiously pours it out into the trash can.
INT. AMERICAN EMBASSY - BREAK ROOM - DAY
Dunham brews his own pot of coffee. Sees Bob pass the door
and whistles for him.
36.
DUNHAM
Listen, do me a favor -- I got a
Soviet wants to defect -- he's an
engineer, real smart guy -- he calls
me up twenty minutes ago, says he
needs to go tonight.
BOB
Yeah, and?
DUNHAM
It's Betty birthday and I promised
her I'd take her to that new French
place and -- look, come on, I'll be
divorced if I cancel.
BOB
Fine, sure -- but the collar goes in
my file. Where and when?
INT. EAST BERLIN BAR - NIGHT
Dunham sits with a DRUNK PROLETARIAN at the bar. Dunham

slips a stack of cash in the man's pocket.
EXT. EAST BERLIN COAL FACTORY - NIGHT
Bob stands on the corner, impatient. The Drunk Proletarian

stumbles around the corner even as --
EXT. SIDE ALLEY - SAME TIME
-- Dunham watches from the shadows. Bob and the Drunk meet,
exchange a few words, then Bob helps him into his car and
they drive off together.
INT. AMERICAN EMBASSY - CAFETERIA - DAY
Bob comes up behind Dunham in line.
BOB
Thanks for the tip. Your so-called
engineer turned out to be a truck
driver.
DUNHAM
Ah shit, sorry -- you pull him out
anyway?
37.
BOB
On a plane to Boca Raton as we speak.
Don't say we never did anything for
these poor bastards.
INT. DUNHAM'S HOME OFFICE - NIGHT
Dunham X's out Bob's photo on the wall.
Vivian walks away from her desk. Dunham slips into her
cubicle, pokes through her files and drawers and then --
INT. DUNHAM'S STUDY - NIGHT
-- X's out her photo on his wall of suspects. Bettina hugs

Dunham from behind, kisses him on the neck.
BETTINA
Come to bed.
DUNHAM
Soon.
INT. AMERICAN EMBASSY - KINCAIDE'S OFFICE - DAY
Kincaide sorts through a stack of mail. Finds a POSTCARD

hidden at the bottom. On the front is a picture of The
Grunewald, the dense forest just outside of the city.
He flips the card over, sees something is written on the

back. We don't see what it says, but it's clearly caught
his interest.
EXT. STREETS OF BERLIN - NIGHT
Dunham trails TWO CIA CASE OFFICERS as they leave a pub,

stumbling drunk. A nearby clock tower strikes two as --
-- Bettina wakes up from a bad dream. Rolls over to snuggle

up against her husband... But he's not there. She sighs.
38.
Dunham X's out more photos on the wall. Clearly frustrated

by his lack of progress. Bettina stands in the door.
BETTINA
I do not like it when you get like
this.
DUNHAM
Like what?
BETTINA
Obsessed.
DUNHAM
Sorry, I'm sorry, I just -- I'll
make it up to you -- I'll make dinner
tomorrow -- not a shred of work, I
promise.
INT. GROCER - NIGHT
Dunham waits at the counter as the grocer pulls down a bottle

of wine from the middle shelf.
DUNHAM
Something higher -- a bottle that --
put me in debt is what I'm saying.
EXT. GROCER - NIGHT
Dunham exits with a bag of groceries and wine. His head not
in the game, he doesn't notice that Horn-Rimmed Glasses is
back and following him from a few blocks away...
Dunham turns at an intersection. Still hasn't spotted Horn-

Rimmed Glasses. The mystery man drops a triangular push
knife out of his sleeve and into his palm.
Dunham rounds the next corner, his leg hurting, his limp
pronounced. Horn-Rimmed Glasses picks up the pace, silently
gaining ground.
Dunham rounds the next corner into an alley. Horn-Rimmed

Glasses right on top of him, knife primed for the kill, he
turns the corner and --
39.
-- Dunham's just gone. The grocery bag dropped in a hurry,

its contents scattered on the sidewalk. Horn-Rimmed Glasses
looks around, confused. Where the hell did he go?
TWO DRUNKS slam out of a nearby biergarten. Horn-Rimmed

Glasses pulls the knife back up into his sleeve. Out of
anger he kicks the bag of groceries. The wine bottle
shatters, the food goes flying even as --
EXT. ROOFTOP - SAME TIME
-- Dunham strains with all his weight to hold up a fire

escape, the last rung suspended bare inches over Horn-Rimmed
Glasses' head.
The mystery man finally walks off. Dunham lets go of the

fire escape, gasping for breath.
The dining room table is set with Bettina's fine china. Two
candles are burned down to their nubs, pools of wax solidified
at their bases.
INT. DUNHAM'S BROWNSTONE - NIGHT
Dunham creeps down the hall. Finds his pocketwatch hanging

from the bedroom doorknob. He tries to enter but the door
is locked.
DUNHAM
That's about right.
EXT. KILOMETER MARKER 7 - DAY
AMERICAN SOLDIERS pile out of a troop transport. Their

Sergeant approaches Kincaide, staring out into the Grunewald.
SERGEANT
Alright, here we are on our week of
R&R -- now what?
Kincaide holds up that same postcard he received in the mail.

Flips it over and we finally see what's written on the back:
KM-7. START DIGGING.
KINCAIDE
Start digging.
40.
The soldiers grab shovels and head out into a familiar-looking

clearing -- the clearing where Dunham and Charlie killed
Greer. The clearing where they buried his body.
Kincaide adjusts the knot in his tie as in PRELAP we hear

the sound of someone knocking on a door and we
FLASHBACK TO:
INT. APARTMENT HALLWAY - NIGHT
Charlie opening the door for Kincaide.
KINCAIDE
How'd it go?
Charlie ushers Kincaide inside quickly, peers down the hall,

nervous, before shutting and locking the door behind him.
INT. CHARLIE'S APARTMENT - NIGHT
Kincaide looks at a framed photo on the mantle: an AMERICAN

GI who bears more than a passing resemblance to Charlie.
KINCAIDE
Your dad?
CHARLIE
Yeah, uh, in Italy -- couple days
before he died.
KINCAIDE
Bet he'd be happy, see his son
following in his footsteps.
CHARLIE
(abruptly)
I can't spy on Dunham for you anymore.
I'm sorry. I can't. I'm out.
Kincaide puts the photo back. Straightens the frame so it

lines up with the other mantle-pieces.
KINCAIDE
Guy was a war hero, I get it, I do.
We all need someone to worship. But
it's a new world order out there and
Dunham's out-of-touch dogma is gonna
get innocent people killed.
CHARLIE
So fire him, don't make me sneak
around behind his back --
41.
KINCAIDE
-- Dunham has too many friends in
Langley. If I'm going to get rid of
him, I have to catch him with his
hand in the cookie jar.
CHARLIE
Just because you don't care for his
methods doesn't mean he's wrong.
KINCAIDE
Hey. You're out, you're out. We
all gotta look out for number one.
Kincaide heads for the door. Stops short.
KINCAIDE
Dunham will screw up one day. And
anybody stupid enough to be close to
him when it happens is gonna hang
from the same goddamn rope...
(pointed)
Wonder what your dad would think of
you then.
EXT. COFFEE SHOP - DAY
Charlie exits with a pair of steaming to-go cups. Dunham

picks him up at the curb in the Studebaker.
EXT. BRIDGE - DAY
Dunham parks. The RIVER SPREE divides portions of East and

West Berlin, with checkpoints on both sides of the bridge.
INT. STUDEBAKER - DAY
Nervous waiting, Charlie absentmindedly bounces his leg.
DUNHAM
Tell me a joke.
CHARLIE
What?
DUNHAM
Doesn't even have to be funny -- a
beginning, a middle, and an end, but
it has to be fiction -- go.
42.
CHARLIE
Um... Guy takes a table at a breakfast
counter, waitress asks him what he
likes. Guy says: "Two eggs, runny
on the top and rubbery on the bottom.
Five strips of bacon, blackened to a
crisp on one side and bleeding raw
on the other. Two pieces of burnt
toast and a cold cup of coffee.
Indignant, the waitress says "I can't
serve you that." Guy says "Funny,
it's exactly what I had yesterday."
Dunham doesn't even chuckle, just keeps staring out the

window. Finally:
DUNHAM
Now say it backwards.
CHARLIE
Why?
DUNHAM
Tell me the joke backwards.
CHARLIE
Guy says "Funny, that's what you
served me yesterday." Waitress is
indignant, tells him "We don't serve
that stuff here." Guy orders three
eggs, runny and uh, four strips of
bacon crisp and raw and toast and a
cup of coffee and --
DUNHAM
-- Stop.
CHARLIE
I think maybe you didn't get the
joke.
DUNHAM
You want to catch a liar, you ask
him to tell you his story backwards.
The details get fuzzy -- too many
parts of his brain all trying to
work simultaneously.
CHARLIE
Well I'll do my best to make you
laugh at my backwards joke one day.
DUNHAM
At the very least you're not so damn
antsy anymore.
43.
Charlie looks down. His nerves forgotten. He smiles at

Dunham's weird -- but effective -- lessons.
EXT. WESTERN RIVERBANK - NIGHT
Across the river, a VOPO CAPTAIN tosses a rock into the air
three times, then skips it across the river. It smacks into
the brick embankment right below Dunham and Charlie.
DUNHAM
Run it for me, beat by beat.
CHARLIE
Your mole meets you at the checkpoint --
frisks you, makes it look like a
stop, takes you back to the barracks
to interrogate you. Inside, he hands-
off the microfilm, puts on a show as
he brings you back outside, rips up
your papers, tells you to never come
back to East Berlin again.
DUNHAM
Good. Where are you?
CHARLIE
On overwatch. I see anything, I
honk three times.
MOMENTS LATER
Charlie watches from the railing as Dunham walks up to the

East German Checkpoint on the bridge.
The VoPo Captain waves off the other GUARDS and shoves Dunham
up against the railing, frisking him violently. He then
grabs Dunham by the collar and leads him away.
Charlie moves down along the railing, walking parallel with

Dunham and the VoPo Captain across the river.
Dunham is manhandled, shoved inside a GUARD BARRACKS.
Charlie waits.
And waits.
And even though he knows it's all part of the show, he can't
help but worry. And the longer it goes on, the worse it
gets...
When a DECORATED VOLKSWAGEN drives around the corner across

the river, stops at the guard post on the eastern riverbank.
44.
CHARLIE
Shit...
A VOPO MAJOR steps out for a spot inspection. The guards

all snap to attention. Charlie watches helplessly from three-
hundred feet away.
CHARLIE
Shit... Shit... Shit...
Charlie hustles back to the Studebaker. Leans through the

window and jams on the horn...
And nothing fucking happens.
Frantic, he rapidly jams on the horn.
Again, no sound.
He runs back to the railing. Picks up a rock and chucks it

across the river. It falls short. He grabs another rock,
throws again, misses again...
Meanwhile, the VoPo Major moves down the line of guards,

inspecting their uniforms and weapons, getting closer and
closer to the barracks.
CHARLIE
Shit-shit-shit-shit-shit-shit.
Charlie grabs the last rock in sight. Takes careful aim.

And throws it across the river...
Where it finally CLUNKS against the barracks door. A long

beat. But Dunham never appears. It didn't work.
CHARLIE
Shit!
The VoPo Major heads for the barracks. Tries the door but
finds it's locked. One of the guards approaches, says
something to the Major.
CHARLIE
Shhhhhhhhit.
The VoPo Major gesticulates wildly. His voice rising, the

timbre is audible from Charlie's position, but not the words.
Two of the VoPo guards try kicking in the door to the

barracks. No good. They get a running start and shoulder
through the door, the wood cracks and splinters.
CHARLIE
Shit. Shit. Shit.
45.
The VoPo Major shoves his way inside. The screaming and
shouting grows louder and louder. The VoPo Captain --
Dunham's Mole -- is dragged out of the barracks at gunpoint.
Though still no sign of Dunham.
A KLAXON screams to life. The East German guards grab weapons

and form up into search parties. The West German guards
close off the bridge crossing...
CHARLIE
Shit.
Charlie scans the Eastern bank, not sure what to do. When a
SILHOUETTE appears on the barracks' rooftop...
Dunham gets a running start and jumps to the roof of a nearby

building. Landing hard and rolling, he comes up running,
leaping from rooftop to rooftop.
CHARLIE
Shit.
VoPo Guards shout out. They've heard the racket Dunham is

making. Searchlights scan the rooftops, trying to pinpoint
him. But just as the light is about to catch up with him,
Dunham dives off the last building and into the river.
The splash is drowned out by the klaxon. The guards are

still confused, still looking for Dunham up above.
Charlie runs to the riverbank, getting down on his stomach,

hoisting Dunham up onto dry land and --
INT. DUNHAM'S STUDEBAKER (DRIVING) - NIGHT
-- Dunham races down narrow streets, running red-lights,

attempting to get away from the bridge as fast as possible.
DUNHAM
Nice job, Grade-A.
CHARLIE
Your goddamn horn's broken!
DUNHAM
I know.
CHARLIE
You know?
DUNHAM
Wanted to test your improvisation
skills in the face of trouble...
46.
They race through an intersection, nearly getting t-boned by

a truck, the driver leaning on his horn -- HOOOOOOOOOONK!
Charlie stares at his mentor in disbelief.
DUNHAM
You passed, by the way.
EXT. BIERGARTEN - NIGHT
Dunham and Charlie drink. Dunham opens a water-proof pouch

and pulls out a strip of MICROFILM. He holds it up to the
light and uses a jeweler's loupe to study it.
DUNHAM
Son of a bitch...
CHARLIE
What happens now?
DUNHAM
You're not going to believe this.
Peter Greer is Magpie. It's his
accounts the KGB's been funneling
money into -- big deposits
corresponding almost exactly with
the dates of the three NOC murders --
CHARLIE
-- No, with your asset. What happens
to him?
DUNHAM
Are you even listening to me? We've
just uncovered proof a CIA case
officer has been working for the KGB
and you sit there -- he's just an
asset.
CHARLIE
This is a real person we're talking
about -- an innocent life.
Dunham pockets the microfilm, waves over another round.
DUNHAM
Khrushchev wakes up one morning, bug
up his ass, God forbid pushes the
button, how many Americans you think
die? The blast, the fallout, the
war? How many? Ballpark it.
CHARLIE
A hundred thousand.
47.
DUNHAM
Try a hundred million. And that's
not me ballparking it, that's official
Company projections. Dozen of your
Harvard friends sat in a basement
one weekend and ran the math. A
hundred million. How do I justify
one life here, two there, three every
so often? How can you not?
The drinks arrive. Dunham drinks. Charlie grinds his teeth.
DUNHAM
He's just an asset, Charlie -- a
piece on the board and every last
Chess player in the world will tell
you not a game goes by where they
don't sacrifice their pawns.
Kincaide enters, steps up to the urinal. A second later

Charlie enters, locks the door behind him.
CHARLIE
Dunham is going after Greer. What
do you want me to do?
Kincaide zips up. Smiles.
KINCAIDE
Nothing.
CUT BACK TO PRESENT:
EXT. KILOMETER MARKER 7 - NIGHT
The soldiers have dug dozens of shallow holes around the

clearing. Kincaide "supervises" from the truck.
SERGEANT
We got something!
Kincaide runs over, peers into the hole the soldiers are
gathered around. They pull an object from the dirt:
A Burlwood Handgun.
Kincaide adjusts his cufflinks, smiles for the first time

since we've met him.
48.
Dunham waits for the elevator.
KINCAIDE
Dunham? My office.
INT. KINCAIDE'S OFFICE - DAY
Kincaide eats his lunch. Dunham watches, impatient.
KINCAIDE
When was the last time you were across
the line?
DUNHAM
Weeks ago. Before Charlie died.
KINCAIDE
Before Greer went on walkabout?
DUNHAM
Sorry?
KINCAIDE
I said, the last time you went across
was before Greer disappeared, that
right?
DUNHAM
He still missing?
Dunham reaches over and plucks a sausage off Kincaide's plate

with his fingers. Kincaide is clearly disgusted, tries not
to let it show.
KINCAIDE
Charter pilot out of Templehoff says
he flew a man matching Greer's
description and a mystery woman to
London the night of the Armistice
party.
DUNHAM
Told you it wasn't Magpie -- only
thing Peter loved more than booze
was pussy.
Kincaide dabs a napkin around the corners of his mouth.

49.
KINCAIDE
It's just Greer had a heart condition,
has these horse pills he has to take,
doctor's orders. One a day or else
ack-ack-ack, know what I mean?
DUNHAM
That right?
KINCAIDE
Damnedest thing... Greer left the
pills in his desk.
Kincaide looks up, locks eyes with Dunham. Neither man

willing to blink first.
KINCAIDE
Well, keep your ear to the ground,
huh?
EXT. AMERICAN EMBASSY - ROOF - DAY
Dunham slams out. Trying to piece it all together. Knows

Kincaide is on to him, just not sure how.
DUNHAM
FUCK!
Dunham stares at his wall of suspects. The list dwindling.

He's lost, doesn't know his next move. He peers down the
hall, sees his pocketwatch is once again hanging from the
bedroom doorknob...
INT. DUNHAM'S BEDROOM DOOR - MOMENTS LATER
Dunham knocks lightly.
DUNHAM
What about a date night? Maybe that
French place you keep talking about?
(admitting)
I miss you. I need your help.
He waits for a long beat, but there's no response. Finally:
BETTINA (O.S.)
But no work tonight. And leave your
gun at home.
50.
INT. FRENCH RESTAURANT - NIGHT
Dunham holds the door open for Bettina. Her body language
says it all: she's here for the food, she couldn't care less
Dunham trying to apologize.
EXT. FRENCH RESTAURANT - NIGHT
Looking through the window, Dunham and Bettina eat a quiet

dinner amongst West Berlin's creme-de-la-creme.
Bettina still has yet to thaw. As the first course is

removed, Dunham reaches over the table and takes her hand.
A small gesture, but she finally smiles.
But then, in the reflection of the window, we see Horn-Rimmed

Glasses walk up toward the restaurant... Watching them.
EXT. INTERSECTION - NIGHT
Dunham and Bettina, both a little tipsy, wave for a cab.
INT. CAB - NIGHT
Dunham and Bettina kiss in the backseat like a couple of

teenagers. She lays her head on his shoulder, content.
But as a streetlamp passes overhead she catches a quick

glimpse of the driver in the rear-view mirror...
And most notably his horn-rimmed glasses.
Keeping a straight face, Bettina taps a MORSE CODE WARNING

onto Dunham's leg. At first he doesn't acknowledge it, his
eyes closed to the dizzy world outside.
But she keeps tapping the message and finally he perks up.
Immediately on edge. Looking for an out.
Horn-Rimmed Glasses draws a revolver...
Slowly, quietly cocks back the hammer...
Dunham reaches into his coat...
But he left his gun at home...
The cab comes to a stop at a red light...
Dunham checks his other pockets...

51.
Pedestrians stroll in front of the cab...
Oblivious to the drama unfolding inside...
The light turns green...
Dunham finds something in his pocket...
And Horn-Rimmed Glasses makes his move --
-- When Dunham LUNGES forward -- LASHING his pocketwatch

chain around Horn-Rimmed Glasses' throat -- CHOKING him --
Horn-Rimmed Glasses KICKS out -- JAMMING the accelerator --
Bettina SCREAMS -- the cab RACES down the street -- CAROMS
off the curb -- Dunham YANKS the chain taut -- Horn-Rimmed
Glasses FLAILS about -- FIRES off a shot at Dunham -- POP --
the bullet PUNCHES the headrest an inch off Dunham's head --
stuffing EXPLODES -- POP-POP-POP -- the bullets GRAZING
Dunham's shoulder and neck -- but too little too late, as
Horn-Rimmed Glasses finally GAGS on his own blood and FLOPS
lifeless behind the wheel -- the cab comes to a slow stop --
and that all happens in one shot, one take, no cuts, don't
even think about it...
INT. ALLEY - NIGHT
Dunham heaves Horn-Rimmed Glasses' body into a dumpster.

Bettina stands at the mouth of the alley, on look-out.
Dunham sits on the toilet as Bettina stitches up the bullet

wound in his shoulder. She won't look him in the eye, so he
purposefully leans into her sight line.
DUNHAM
Tell me.
BETTINA
There's always been two men inside
of you: the man who kills and the
man who protects. One of those men
I love a great deal more than the
other.
DUNHAM
Sometimes I don't have a choice --
to protect I have to kill.
BETTINA
There is always a choice.
Dunham kisses her.

52.
BETTINA
Promise me I won't lose the man I
love to the other one.
DUNHAM
Promise.
INT. DUNHAM'S STUDY - DAY
Dunham stands at his wall. More resolute than ever. Bettina

brings him in a cup of coffee.
DUNHAM
The cabbie last night -- no reason
to move on me.
BETTINA
Unless you're getting close.
DUNHAM
Unless I'm getting close.
EXT. ANALYST'S HOUSE - DAY
A MUSTACHIOED CIA ANALYST leaves his house for the day.

Locks the door behind him. Dunham listens to a Dodgers game
on a bench across the street.
INT. ANALYST'S HOUSE - DAY
Dunham plants a bug inside a telephone mouthpiece. Screws

the cap back on.
Dunham listens in on the analyst's phone calls. Suddenly,

he yanks off the headphones, then X's out the mustachioed
analyst's photo...
Dunham takes a step back and we see that was the last one.
All his suspects are X'd out. The game is over, no more
moves to make. He screams out in frustration. Punches his
fist through the wall.
Now what?
53.
Dunham looking worse for wear at his desk. Bags under his
eyes, a ten o'clock shadow, wearing the same clothes for the
last three days. He's losing it...
Across the bullpen, there's a sudden commotion. Dunham peers

over his cubicle wall as Richard steps off the elevator with
a BLOND GERMAN in tow, handcuffed, escorted by MARINES.
The agents and analysts applaud and whistle. Richard gives

a wave, beaming. Dunham pulls Vivian aside.
DUNHAM
The hell is going on?
VIVIAN
You didn't hear? Richard harpooned
your white whale -- Richard caught
Magpie.
INT. AMERICAN EMBASSY - OBSERVATION ROOM - DAY
Dunham looks through a one-way mirror into an interrogation

room where the blond german is cuffed to a metal table.
DUNHAM
It's not him.
RICHARD
Don't be a wet-blanket, the man
confessed! Better luck next time,
old sport.
Dunham can't sleep, the gears turning overtime. Outside,

the S-BAHN COMMUTER TRAIN whistles loudly as it passes...
Then, something finally clicks and Dunham sits straight up.
DUNHAM
Bullshit.
INT. RICHARD'S BEDROOM - NIGHT
Richard blinks awake... Startles when he finds Dunham

straddling him in bed, gun in hand.
DUNHAM
You're lucky, Dick.
(MORE)
54.
DUNHAM (CONT'D)
Just the other day I made a promise
to my wife -- no more killing.
Richard struggles. Dunham slaps him across the face with

the gun, jams the barrel into his mouth.
DUNHAM
That Jerry we got in our holding
cell ain't Magpie -- which means you
got played or you're playing us --
which is it, Dick?
Richard punches Dunham in the kidneys. Dunham grinds his

knee into Richard's balls.
DUNHAM
Where'd you find the Jerry?
Richard nods frantically, stops struggling. Dunham pulls

the gun out of his mouth.
RICHARD
It was an asset from the other side --
a new guy I just turned -- he said
he knew who Magpie was -- he gave me
the Jerry's name, the address -- I
knew it was too good to be true but
the asshole confessed, he confessed.
DUNHAM
What was the communication protocol?
How'd you get in touch with the asset?
RICHARD
Hounds Hunt in Tiergarten, there's a
hollow in the western face. Circle
in chalk when I leave a drop, X in
chalk when he does.
Dunham climbs off Richard. Satisfied.
DUNHAM
You were having a nightmare, Dick.
Go back to sleep.
EXT. TIERGARTEN - DAY
An expansive park at the center of Berlin. Dunham walks the

paths with his rottweiler in tow.
55.
EXT. THE HOUNDS HUNT - DAY
A bronzed hunter holds the carcass of a fox over his head as

his hunting hounds leap up in celebration. The statue sits
on top of a plinth in a secluded section of the park.
Dunham approaches the statue. His rottweiler sniffs around

at the base. Dunham kicks the western corner, revealing a
hollow in the statue's base.
DUNHAM
(German)
Ruger, do your business.
On cue, the trained pooch squats in front of the statue. As

Dunham kneels to pick up the poop, he drops a letter into
the hollow, then draws a small circle in chalk.
EXT. THE HOUNDS HUNT - NIGHT
Raining now. Dunham and his dog walk past the statue. The
chalk circle has been replaced with a chalk X. Dunham opens
the hollow and finds a POSTCARD inside: a photo of a CHURCH
on the front, 11AM scrawled on the back.
EXT. KAISER WILHELM MEMORIAL CHURCH - DAY
The same church from the postcard, half-demolished from the

war and never to be rebuilt. It's a tourist attraction now.
Dunham listens to a Dodgers game on a bench. Eyes scanning

the crowd. Just about 11AM...
When he sees someone in the crowd he recognizes. Couldn't

be, right? He stands, hurries across the courtyard. It's
just his eyes playing tricks, right?
Moving faster and faster. Doesn't want to lose her. Pushing

a TOURIST out of the way, he finally gets a clear view of
the woman...
It's Bettina.
She waits on the corner. Still hasn't seen Dunham yet. He

ducks behind a tree.
DUNHAM
No, no, no... Please, no...
A car pulls up to the curb in front of Bettina. A MAN climbs

out from behind the wheel and opens the door for Bettina.
56.
Dunham recognizes him immediately -- it's Visili's second in

command, Gregor.
Bettina climbs into the car. Dunham can't believe what he's
seeing, rage bubbling up to the surface --
INT. DUNHAM'S BROWNSTONE - DAY
-- And Dunham TEARS his house apart -- pulling china from

the cabinet, the dishes SHATTERING on the floor -- cutting
into the sofa, YANKING out the stuffing -- UP-ENDING the
coffee table -- WRENCHING the window treatments down --
KICKING over the record player...
He finally gives up, gasping for a breath. Whatever he was

looking for, he didn't find it.
Then he has one last idea.
INT. DUNHAM'S KITCHEN - CONTINUOUS
Dunham grabs Bettina's FLOUR TIN off the counter and looks
at the bottom. Nothing there. Maybe he's being paranoid.
He dumps the flour out on the table. Sifts through it with
his fingers. Please, just be paranoia...
Only it's not. Deep in the flour he feels something. Slowly

draws it out. A small, black microphone with an inch-long
MICRO-TRANSCEIVER coiling off the bottom.
Dunham stares at the device. Such great portent in such a

small object. He's dumbfounded, shellshocked...
His world crumbling before our eyes, he drops the device on

the table as we
FLASHBACK TO:
INT. KINCAIDE'S OFFICE - NIGHT
-- Kincaide pouring out the contents of a zippered pouch

onto his desk: a DOZEN MICRO-TRANCEIVERS.
KINCAIDE
Boys in Maryland cooked these up,
the absolute latest in audio
surveillance. Little bastards could
be submerged in water, still pick up
every voice within twenty feet. I
need one in every room of Dunham's
house.
57.
Charlie picks up a micro-tranceiver and stares at it.
CHARLIE
What if he catches me?
KINCAIDE
Don't let him.
EXT. AMERICAN EMBASSY - CIA SECTION - DAY
Charlie slips out of Kincaide's office, trying not to be

noticed. Makes it all the way back to his desk and --
DUNHAM (O.S.)
What'd the asshole want?
Charlie jumps. Dunham leans in close.
CHARLIE
Some paperwork I didn't fill out
right -- reamed me for it.
A beat. Dunham studies Charlie. Always so good at knowing

when Charlie's lying...
DUNHAM
See you tonight, right?
CHARLIE
We'll bring some wine.
Dunham uncorks the wine with a soft POP. Pours glasses for
Bettina and Rachel, then himself and Charlie.
DUNHAM
So we win the Series in Fifty-Five,
then two years later the team up and
moves to California -- can you imagine
that kind of betrayal. The Los
Angeles Dodgers... Can't even say
it, it'll never sound right.
RACHEL
But you're still a fan? How odd.
DUNHAM
And I suppose you like what, Cricket?
CHARLIE
No tests, please, not tonight.
58.
DUNHAM
If I was worried about her character
she wouldn't be here right now.
RACHEL
And what would an uncouth American
know about character?
CHARLIE
David put a call into your embassy
to ask about you.
RACHEL
Is that so? What'd they say?
DUNHAM
In a nutshell -- you're not a
Communist spy.
RACHEL
I could have told you that.
BETTINA
But he wouldn't have believed you.
DUNHAM
Never trust, even after you verify.
RACHEL
Tell me, in your eyes which would be
a worse betrayal -- if you found out
I thought baseball was a dreadful
sport or that I was, in fact, a
Communist spy?
Charlie and Bettina both "Ooooh."
BETTINA
Well, Mr. Dunham?
DUNHAM
I'm thinking, I'm thinking.
The timer in the kitchen DINGS.
BETTINA
Let's continue the inquisition in
the dinning room, shall we?
As they change rooms, Charlie puts his arm around Dunham's

shoulder.
59.
CHARLIE
Don't know how you can stand it --
Red Sox ever left I think Boston
might fall into the ocean.
DUNHAM
Give it time -- the things you love
the most always end up hurting you
the worst.
Laughter. The group is halfway through the meal.
DUNHAM
Normally the kids who come through
the Analyst Pool are either stupid
or slow or both.
CHARLIE
Thank you, I think?
DUNHAM
The night after I first met you I
came home -- tell him what I told
you, Betty -- tell him what I said.
BETTINA
He said has was going to groom you,
he said he finally found someone who
could take over for him in Berlin.
CHARLIE
You're retiring?
DUNHAM
Eventually -- what's important is I
finally found someone I know can do
the job. Someone I can trust.
CHARLIE
I appreciate that, sir.
BETTINA
And even better -- that David can
finally get out of Berlin.
DUNHAM
I'll toast to that.
They toast. Charlie sips his wine, guilty as all hell.

60.
Charlie splashes water on his face. Looks himself up and

down in the mirror. "You can do this, you can do this..."
After a long, contemplative beat, he reaches into his pocket

and pulls out a MICRO-TRANSCEIVER, planting it behind the
toilet.
No going back now.
Dunham and Bettina say good night to Charlie and Rachel.

Hugs and kisses and promises to do it again real soon.
Charlie sits at an AUDIO RECEIVER, listening to a conversation

between Dunham and Bettina over a set of headphones.
DUNHAM
You should see him at work, puts two
and two together faster than anybody.
I wouldn't even know Magpie existed
if it weren't for him.
BETTINA
Berlin will eat Charlie Roarke alive.
DUNHAM
No it won't, you know why? He reminds
me of me.
Off Charlie's look of absolute self-loathing we
INT. DUNHAM'S DINING ROOM - DAY
-- Dunham sitting at the table, six MICRO-TRANSCEIVERS spread

out before him. The front door opens.
BETTINA (O.S.)
David? David are you here? Are you
hurt? What happened, answer me!
She enters the dining room and jumps when she sees Dunham.
BETTINA
What are you --
61.
DUNHAM
-- Where were you this morning?
BETTINA
What happened to our house? Were we
robbed?
DUNHAM
Where were you this morning?
BETTINA
I was out -- I went shopping and --
DUNHAM
-- What'd you buy?
BETTINA
Nothing I -- I realized -- I forgot
my pocketbook --
DUNHAM
-- Where were you this morning?
A long stretch of silence. Bettina suddenly gets it.
BETTINA
Please, I can explain.
Dunham stands.
DUNHAM
You didn't stop to think what if you
were caught --
BETTINA
-- Please, calm down --
DUNHAM
-- Do you know what they do to
traitors? They hang them --
BETTINA
-- Traitor? No, it's not like that.
Dunham picks up a handful of the MICRO-TRANSCEIVERS and throws

them at Bettina.
DUNHAM
Well someone planted these goddamn
microphones and I'm guessing it wasn't
the fucking dog!
Bettina stares at the tiny microphones, trying to figure out

what's going on. Realizing the mistake that's been made.
62.
BETTINA
I don't know what those are --
DUNHAM
-- After fifteen years you think I
don't know when you're lying --
BETTINA
-- Please, let's just -- leave with
me, tonight, we need to leave Berlin
together. Take me to New York --
this city is killing you. We'll
leave together, we'll start over --
Bettina moves to hug Dunham but he lashes out and shoves her
back into the wall, knocks her down...
And regrets it almost immediately. But he knows you can't

undo something like that.
BETTINA
The fact that you don't even seem to
care I fucked another man but God
forbid if I'm helping the other side
in this silly little game of yours.
DUNHAM
What?
BETTINA
Leave me alone.
DUNHAM
You're cheating on me?
BETTINA
No. I cheated on you, more than a
decade ago.
DUNHAM
The man at the Church yard -- I saw
you get in his car -- he works for
the --
BETTINA
-- I know who he works for, they've
been blackmailing me. Almost five
months now, since March. Look in my
purse, they send me postcards to
meet.
Dunham opens Bettina's purse. In a zipper pocket, he finds

a STACK OF WORN POSTCARDS, landmarks from around the city.
63.
BETTINA
They said they would tell you about
the affair unless I --
DUNHAM
-- Unless you kept them up on my
work, my cases, my movements --
BETTINA
-- They said no harm would to come
to you.
DUNHAM
What about Charlie?
Bettina weeps. Dunham offers no comfort.
DUNHAM
It was Visili, wasn't it?
BETTINA
He always loved me, even during the
war. It was a childish thing, it
was --
Something clicks in Dunham's mind.
DUNHAM
-- Wait. When did the blackmailing
start?
BETTINA
What does it matter?
DUNHAM
When? What month?
BETTINA
Months ago, April, maybe March, why?
DUNHAM
Son of a bitch!
Dunham slaps his pocketwatch on the table and runs out --
-- Pulling a PASSPORT from his safety deposit box --
EXT. CHECKPOINT CHARLIE - DAY
-- Handing it to the VoPo Border Guard who examines it

closely, the name this time reads RYAN JOHNSON --
64.
INT. COMMUNIST HEADQUARTERS - SECURITY CHECKPOINT - DAY
-- Waiting impatiently as the GRD SOLDIERS search him --
INT. VISILI'S UNDERGROUND OFFICE - DAY
-- And finally sitting down across from Visili.
VISILI
My friend, two visits in as many
weeks, what a treat.
DUNHAM
When'd you come back to Berlin?
VISILI
March, I think... I don't know the
exact date, my friend.
DUNHAM
But probably right around the time
American NOCs started getting
assassinated in Berlin and you started
blackmailing my wife?
Visili freezes. Takes a drink from his silver flask. Glances

up at his two BURLY BODYGUARDS. They both offer a quick
nod, ready for whatever happens.
DUNHAM
Moscow's position on the world stage
is precarious, Kruschev needs a show
of force -- not one that will get
them bombed back to the stone age,
but one that will get them respect.
You were sent from Moscow on special
assignment, to sow disorder and
discontent around West Berlin -- how
am I doing so far, Magpie?
VISILI
Who is Magpie?
DUNHAM
You come to Berlin and take out
contracts on the lives of randomly
selected American agents -- you didn't
care who died because what you're
really looking for is for Washington
to throw the first public punch.
But then Charlie Roarke and I start
poking around --
65.
VISILI
-- Whatever this is -- whatever you
think you've uncovered --
DUNHAM
-- And you know this because you're
blackmailing Bettina, using her to
keep an eye on me.
The burly bodyguards inch closer to Dunham, ready to grab

him from behind. He's focused solely on Visili.
DUNHAM
Back at the end of the war I found
this pocketwatch, I give it to Betty
when I leave every day, a promise
that I'll always come back. And
there's this poem on the inside hatch --
Magpie, Magpie -- about all the
different kinds of luck you run into
in life. Good luck, bad luck,
coincidence -- and this stupid fucking
little bird gets to choose how our
lives play out. That's you, you're
the Magpie. But I'm done with it --
I want my life back.
VISILI
You are delusional -- David, listen
to me, I was sent to Berlin because
we were losing a hundred workers
over the line every day --
DUNHAM
-- You tricked me into killing Greer,
you fucked my wife, you murdered
Charlie Roarke --
VISILI
-- Please, David, please -- you're
making a terrible mistake -- whoever
this Magpie is I'm not him, I'm not,
I swear I'm not. I can explain.
A long beat. Dunham and Visili stare one another down.
DUNHAM
Explain it backwards.
VISILI
What?
Suddenly Dunham's up and out of the chair -- SNATCHING a pen

off Visili's desk and STABBING it into the first bodyguard's
eye -- even as the second bodyguard grabs him in a bear-hug --
66.
-- And Visili reaches into his desk for a gun -- coming up

to take aim -- as Dunham KICKS the gun out of his hand --
then SHOVES backward and TOPPLES the bodyguard -- Dunham
wrenches free -- DIVES for the loose gun -- Visili on top of
him -- Dunham STRIPS the gun -- bullets and parts go flying --
-- The bodyguard STOMPS on Dunham's leg -- Dunham bites back

his scream and CHOPS Visili in the throat -- Visili stumbles
back over the desk -- Dunham gets to his feet -- wobbly --
SMASHING the wooden chair over the bodyguard's head -- the
bodyguard RUSHES him -- Dunham STABS a splintered leg through
the man's bare neck -- blood SPURTS --
-- Visili runs for the door -- Dunham TACKLES him to the

ground -- SLAPS one hand against Visili's mouth to stop him
from screaming -- and WRAPS his other hand around Visili's
throat -- thumb GOUGING his Adam's apple --
-- Visili's eyes BULGE from his face -- panicked, he reaches

out for the intercom -- his fingers inches from finding
purchase -- when Dunham grabs the SILVER FLASK off the floor
and BASHES it into Visili's face --
WHACK!
WHACK!
WHACK!
CRUNCH!
Dunham drops the flask. Stands. Visili's face a ruin of

red pulp. He takes a beat to catch his breath...
Then moves quickly. Focused.
INT. UNDERGROUND HALL - NIGHT
Dunham slips out of Visili's office and turns toward the

elevator --
-- And remembers the long walk back, with a PAIR OF ARMED

SOLDIERS every twenty feet. Dunham acts casual. Puts one
foot in front of the other and starts walking.
Nodding to each pair of soldiers in turn. Moving slowly.

Can't draw any attention to himself. Fifty feet and he's
home free. Offers a smile to the last pair of soldiers.
DUNHAM
Gute nacht...
And steps onto the elevator, pressing the button for the
lobby.
67.
He looks down and realizes his hand is smeared with blood.

He quickly hides it behind his back as the SOLDIERS stare at
him. The doors finally slide closed and --
EXT. STREETS OF EAST BERLIN - NIGHT
-- Dunham runs flat out.
EXT. CHECKPOINT CHARLIE - NIGHT
A MARINE stamps his passport and ushers him back into West
Berlin. Over their shoulder, somewhere in East Berlin, a
KLAXON sounds out.
DUNHAM
Somebody's in trouble.
Bettina pulls a fresh loaf of sourdough out of the oven.

Turns and jumps when she finds Dunham standing in the door.
DUNHAM
I broke my promise.
A long silence stretches out between them. Bettina takes a

few steps toward him. He takes a few steps toward her.
They meet in the middle. And find, if not absolution, than
at least comfort in each other's arms...
FADE TO:
INT. DUNHAM'S KITCHEN - DAY
Dunham and Bettina eat breakfast in silence.
BETTINA
You're going to be late.
DUNHAM
First time for everything.
He reaches across the table and takes her hand. Tops off
her coffee. She blushes at the attention.
Dunham and the team wait for the morning meeting to start.
A YOUNG CASE OFFICER enters.
68.
KINCAIDE
Want you all to meet John Newton,
joining us from Rome.
John shakes hands with everyone, Dunham last. Then sits in

the open seat next to Dunham... Charlie's seat.
FLASHBACK TO:
Dunham at his desk. He flips through CHARLIE'S EMBASSY

DOSSIER. He dials a phone number. It rings once.
PHONE VOICE
Darling Paper Products.
DUNHAM
Yeah, hi, I was interested in speaking
to someone about hundred-pound card-
stock.
PHONE VOICE
Please hold.
Dunham flips further and further through Charlie's dossier.

It's commendation after commendation. A "PAPER SALESMAN"
finally picks up the other line.
"PAPER SALESMAN"
Who's this?
DUNHAM
David Dunham, Company rep out of
Berlin.
"PAPER SALESMAN"
What can I do you for?
DUNHAM
You were Stateside with Charlie
Roarke?
"PAPER SALESMAN"
Fortunate enough to say I was --
real sorry to see him go. He out in
Berlin right now?
DUNHAM
Working the analyst pool.
"PAPER SALESMAN"
Waste of talent -- waste of
everybody's time you ask me.
69.
DUNHAM
Why's that?
"PAPER SALESMAN"
I've been doing this for going on
twenty years now, OSS before it got
changed over to CIA, I trained --
God, I don't know how many recruits,
a thousand, easy -- never met one
before or since like Roarke.
Dunham looks over his cubicle wall, sees Charlie in the

analyst pool, working hard over his typewriter.
DUNHAM
I had a similar impression myself...
Dunham stares off into space as Kincaide drones on in the

background. Suddenly, Dunham snaps out of his fugue, stands
up, and walks out of the meeting.
Dunham grabs his hat and coat from his desk. Heads for the
elevator. Pushes the button, but the car takes too long to
arrive. He goes down the stairs instead.
INT. TRAVEL AGENCY - DAY
Dunham sits with a TRAVEL AGENT.
DUNHAM
...Next week if possible.
INT. DUNHAM'S LIVING ROOM - DAY
Dunham races through the front door. Bettina comes out of

the kitchen wiping off her hands. Dunham grabs her, pulls
her tight and kisses.
BETTINA
What has gotten into...
Dunham pulls two PLANE TICKETS from his pocket.
BETTINA
What are those?
70.
DUNHAM
Tickets. To New York. One way plane
tickets to New York.
BETTINA
I don't understand.
DUNHAM
Next Thursday. We're going to New
York and we're never coming back.
Bettina finally gets it. And just starts crying. She grabs
his face, planting kisses all over --
-- And they make love well into the night. Afterward, they
lie in each other's arms. Sleeping soundly, even as the
whistling S-Bahn passes outside their window...
EXT. DUNHAM'S STREET - NIGHT
The middle of the night. The streets are quiet, empty.

Then, off in the distance, the sound of a siren. Moving
closer. An indistinct VOICE over a loudspeaker.
LOUDSPEAKER VOICE
(German)
Stay in your houses! Do not stand
near the windows, do not attempt to
leave the district! For your own
safety, stay in your houses!
Dunham wakes. Slow at first, the voice and siren growing

louder outside his window. He climbs out of bed to look as
a WEST GERMAN POLICE CRUISER rolls down the street.
POLICE LOUDSPEAKER
Stay in your houses! Do not stand
near the windows!
Bettina stirs in bed behind him.
BETTINA
What is it?
71.
EXT. DUNHAM'S ROOFTOP - NIGHT
Dunham and Bettina look over the edge of the roof. A block
east, just on the other side of the demarcation line, hundreds
of SOVIET SOLDIERS, ENGINEERS, and WORKERS set up barricades.
Strands of razor-wire pulled taut across intersections.

Sandbags stacked three feet high at every street. Windows
in buildings are boarded up, bricked up. Machine-gun
emplacements jack-hammered into cobblestone and concrete.
DUNHAM
Crazy sons of bitches did it...
BETTINA
What? What is it?
This is history in the making. This is sixteen years of an

international cold war coming to a boiling point...
They are -- we are -- witnessing the construction of the

Berlin Wall.
DUNHAM
Moscow just declared war on the West.
EXT. STREETS OF BERLIN - DAY
Dunham drives down the near empty streets of West Berlin.

Travels parallel to "The Wall" as it snakes through the city.
Passing by AMERICAN MARINES and EAST GERMAN VOPO in prolonged

stand-offs, guns trained on one another at nearly every
intersection.
Dunham passes Checkpoint Charlie. An M48 PATTON has been

parked on the west side of the razor wire, its short-shell
cannon pointed at its Russian cousin to the east, the T-54.
Dunham stops at a red light less than fifty yards from a

border crossing. A long line of EAST GERMANS push and shove
and scream and shout, trying to get across, but the VoPo
hold them back with rifles...
A YOUNG BOY jumps out of line and takes off for West Berlin.
The run is short, barely fifty feet, the kid can easily jump
the sandbags. The Marines on the other side of the line see
what's happening and wave him on. His MOTHER screams out
for him, Dunham holds his breath --
BAM! BAM-BAM-BAM!
72.
The boy is SHOT in the back. Five feet from West Berlin.
Five feet from safety.
The Marines can do nothing but watch...
Dunham can do nothing but watch...
His mother can do nothing but watch...
The VoPo grab the boy's body and drag him away. The other
East Germans in line quickly disperse.
Dunham drives off in a haze.
Chaos. A hundred conversations happening at once. Dunham

steps off the elevator. Kincaide in the middle of a tirade.
KINCAIDE
-- And if anybody wants to clue me
in on how we didn't catch a hundred-
fucking-thousand Soviet workers and
engineers sneaking into Berlin in
the middle of the fucking night, I'm
all-fucking-ears!
The case officers all gathered, everyone talking a mile a

minute, this is the worst day imaginable.
BOB VIVIAN
I got three guys on -- The trains have stopped
the other side, they're running --
trapped over there --
RICHARD
-- Do we know if they're going to
stop at razor wire --
BOB
-- Phone lines are dead, I can't
reach any of my assets --
VIVIAN RICHARD
-- Seeing mass -- What I mean is do we
evacuations -- is it a need to start worrying
prelude to a bombing, about land mines? Should
an attack -- the Marines move back?
73.
BOB
Do we even have a contact with DoD --
the army, anybody -- who do we
coordinate with?
Dunham steps into the room.
DUNHAM
How'd this happen? What's the word
from the other side?
BOB
It's a mess -- a real shit show --
VIVIAN
-- I heard some high-up KGB Polkovnik
got got last week -- everybody thinks
we did it and that's the straw that
broke the Communist's back, you know?
Off Dunham's look: oh holy shit.
EXT. AMERICAN EMBASSY - DAY
Dunham runs from the embassy.
DUNHAM (O.S.)
(in prelap)
Everything, everything -- shred it
all -- burn it all.
INT. PHONE BOOTH - DAY
Dunham on the phone with Bettina.
DUNHAM
-- Every last scrap, every notebook --
put it all in the shredder -- get it
done in twenty minutes --
BETTINA
-- Our flight isn't until tomorrow.
DUNHAM
Trust me.
Dunham slams the receiver down as --
INT. DUNHAM'S STUDY - DAY
-- Bettina throws a stack of folders into the roaring fire

place.
74.
She grabs files from Dunham's desk and feeds them into the
shredder. All of his work from the last sixteen years,
destroyed.
There's a loud KNOCK-KNOCK-KNOCK at the front door --
-- And Bettina hurries to answer it...
Only it's not Dunham. Someone else. Shoving their way

inside, grabbing Bettina, throwing her to the ground --
EXT. DUNHAM'S STREET - DAY
-- Her scream immediately cut-off by the screeching whistle

of the passing S-BAHN COMMUTER TRAIN.
Dunham moves fast, yanks his safety deposit box from the
wall, and opens it --
-- Only where there used to be all of his passports and cash,

there's now a DEAD BLACKBIRD, a Magpie. Dunham recoils,
mind reeling.
EXT. KILOMETER MARKER 7 - DAY
Kincaide climbs out of his car. Walks into the clearing

where the soldiers have now dug hundreds of holes over the
last few days. Their Sergeant approaches.
KINCAIDE
So you found what I'm looking for?
SERGEANT
If it ain't what you're looking for,
this is one fucked up stretch of
highway.
EXT. BERLIN INTERSECTION - DAY
Dunham waits, stuck at an intersection, as a MILITARY CONVOY

chugs down the street. When they finally pass, he takes off
running.
75.
Dunham comes through the front door. All is quiet.
DUNHAM
Betty? Is it done?
Dunham peers into his study, the fire still going. He peers
into the bedroom, Bettina's luggage is open on the bed, half-
packed. He opens the bathroom door and finds his rottweiler
whimpering inside.
DUNHAM
Where's Betty? Where's mom?
The dog takes off into the kitchen, barking loudly.
DUNHAM
Betty? Betty?
Dunham pushes through the kitchen door--

The place is in shambles--
A thick, viscous puddle on the floor--
Three bullet holes in the wall--
Glass and shattered dishes everywhere--
The sink faucet running endlessly--
And Bettina.
Slumped over the counter.
A kitchen knife stabbed into her back.
Dunham shatters. Breaks down. Bare-naked emotion from a

man who closed himself off to such things decades ago. He
falls on her, grabbing her, holding her, knowing nothing he
can do will change things, but trying everything he can think
of anyway...
When the rottweiler starts barking again. Charging out into

the living room. Dunham follows --
INT. DUNHAM'S LIVING ROOM - CONTINUOUS
-- Where he finds Kincaide waiting for him.
KINCAIDE
Door was open, I let myself in.
Dunham turns for the back door, sees TWO ARMED MARINES waiting
outside, blocking his only other exit. Bob, Richard, and
Vivian come through the front door from behind Kincaide.
76.
KINCAIDE
End of the line.
Dunham heels the kitchen door closed -- no one's seen

Bettina's body yet.
DUNHAM
I've been set-up.
KINCAIDE
I could have sic'd the FBI on you,
you know that? Hoover's thugs hate
Communists... But they hate Communist
sympathizers even more.
DUNHAM
Magpie killed Charlie because he
knew how I'd respond --
KINCAIDE
-- Magpie? We caught Magpie.
DUNHAM
You caught a patsy.
Bob shuts the front door, stands in front of it. Vivian

circles the room toward Dunham, hand-cuffs at the ready.
KINCAIDE
Let's make this easy. I know about
everything. The bank accounts you
opened in Greer's name --
DUNHAM
-- What? No, I --
KINCAIDE
-- The trips over the line on your
secret passports --
DUNHAM
-- I can explain --
KINCAIDE
-- Michael Wibberly, Ryan Johnson --
DUNHAM
-- Can you let me explain --
KINCAIDE
-- I found Greer. Dug him up two
hours ago. I have the gun that killed
him, too. Your gun.
77.
DUNHAM
It was all Magpie -- he tricked me --
he used me, used my anger and my
obsession and he's still out there --
KINCAIDE
-- David, stop. You've spent so
long in the dark everything's starting
to look like a shadow.
Dunham's eyes betray him, glancing over his shoulder at Vivian

as she nears the kitchen door...
It's open a crack, she'll see Bettina's body as soon as the

angle's right.
RICHARD
What's this?
Richard finds the PLANE TICKETS on the coffee table. Hands

them to Kincaide. Offers the rottweiler a pet on the head.
DUNHAM
We're going to New York.
KINCAIDE
A day after the Soviet's put up a
wall?
DUNHAM
It was a coincidence, I bought those
tickets a week ago -- Marty, come
on, you know me -- you know me.
KINCAIDE
New York, Cuba, is that it?
DUNHAM
What?
Kincaide hands Dunham the tickets. Down at the bottom, the

FINAL DESTINATION: Havana, Cuba.
DUNHAM
He must have switched the tickets --
that's the only thing I can think
of, he must have switched --
KINCAIDE
-- Enough! Stop. Just stop.
Dunham and Kincaide stare one another down...
Vivian approaches with the handcuffs...

78.
When she looks into the kitchen and finally sees Bettina's
body. She lets out a scream --
DUNHAM
(German)
Ruger! Attack!
-- As Ruger SNAPS into action -- from cuddly pup to attack-

dog in a second flat -- CHOMPING on Richard's arm -- he drops
the gun -- Dunham CHARGES across the room -- TACKLING Bob
through the front door -- LANDING HARD on the concrete steps --
rolling down to the sidewalk -- Dunham's up and running --
EXT. STREETS OF BERLIN - MOMENTS LATER
-- The MARINES on his tail -- they'll catch up to him on his

bad leg no sweat -- Dunham limps onto a footbridge -- jumps
the railing and drops fifty feet into the river below.
The Marines reach the railing, guns at the ready. They scan
the water for him, but he never surfaces. Kincaide runs up.
MARINE
No way he survived that.
KINCAIDE
You don't know David Dunham -- the
man's immortal.
EXT. BERLIN SHOPPING CENTER - DAY
Soaked, Dunham pushes through a crowd, limping on his bad

leg, bleeding from a puckered bullet wound in his shoulder.
A POLICE CAR pulls up the curb and two WEST GERMAN COPS jump
out, moving through the crowd, checking faces.
Across the courtyard, Dunham spots a bus. Makes a beeline

for it. But fifty feet off a PAIR OF TOWNCARS scream through
the intersection and slam on their brakes.
Bob, Vivian, and Kincaide climb out and swarm the shopping
center. Dunham ducks into a store --
EXT. ALLEY - MOMENTS LATER
-- And slams out the back. Looking for an escape. Checking

every door in the alley. All locked.
BOB (O.S.)
I think I saw him.
79.
Dunham grabs a loose brick from one of the buildings and

uses it to SMASH in a door knob. Bob's voice grows louder
as the knob grows looser, finally cracking open.
Dunham shoves the door open, then hides behind a dumpster

just as Bob steps into the alley, cautious. He sees the
open door and moves for it.
Dunham sneaks out from behind the dumpster and grabs Bob.
Puts him in a choke-hold. Bob struggles, but his body quickly
goes slack. Dunham lowers him, unconscious, to the ground.
Dunham plucks a MICRO-RADIO from Bob's ear, fits it in his

own, and hurries through the open door.
KINCAIDE (O.S.)
(over radio)
Anybody have him? Report in?
EXT. OFFICE PLAZA - DAY
Dunham rounds the corner, listening to the chatter over the

radio --
COMPANY MAN (O.S.)

I think he circled back toward the
shopping plaza.
KINCAIDE (O.S.)
I want a three block cordon --
VIVIAN (O.S.)
-- Headed west on Rainerstrasse.
Dunham looks up at the street sign... He's headed east on

Rainerstrasse. Dunham looks up, sees Vivian rounding the
corner two blocks ahead...
He doubles back the way he came. When a WEST GERMAN POLICE

CAR cuts him off. No one has spotted him yet, but he's
trapped and they're all closing in.
DUNHAM
Shit.
When a VOLKSWAGON screeches up to the curb beside him.

Tenenbaum behind the wheel, popping open the passenger door.
TENENBAUM
Get in!
Dunham doesn't hesitate, jumping in the car as Tenenbaum

drives down the street, past Vivian and the patrolling cop
cars...
80.
INT. TENENBAUM'S VOLKSWAGON (DRIVING) - DAY
Dunham catches his breath. Looks over his shoulder. No

one's following them, they made a clean getaway.
DUNHAM
How'd you know where to find me?
TENENBAUM
I told you, in Berlin, we hear
everything.
A POLICE CAR passes, siren blaring. Dunham ducks in his

seat until it's out of sight.
DUNHAM
I never should have said yes...
TENENBAUM
What's that?
DUNHAM
The kid -- when he begged me to be a
case officer -- I never should have
said yes. If I had said no, they'd
still be alive.
TENENBAUM
Who?
DUNHAM
Everyone.
FLASHBACK TO:
Dunham exits the conference room where Charlie's waiting for

him with a stack of folders in hand.
CHARLIE
Mr. Dunham -- Agent Dunham, I wanted
to -- my name is Charlie Roarke --
DUNHAM
-- Harvard, hey, you need something?
CHARLIE
I found something I think you would
find interesting.
81.
DUNHAM
Sorry kid, there's a protocol to
this sort of -- you need to take it
to Simmonds -- you need to take it
to Middleton --
CHARLIE
-- I did but they just -- if you'd
take a look at it for just a second --
DUNHAM
-- I got too much going on today --
maybe try again tomorrow.
Dunham goes through a door marked SECURITY CLEARANCE 5 and

closes the door in Charlie's face.
EXT. AMERICAN EMBASSY - PARKING LOT - NIGHT
Dunham exits the building, finds Charlie waiting for him.
CHARLIE
It's just I think I found a connection
between the deaths of Agents Lyle,
Sommers, and Fenton.
DUNHAM
Lyle died in a car accident, Fenton
got mugged, and Sommers drowned while
swimming in an otherwise empty pool.
CHARLIE
No sir -- no, I think that's wrong,
sir.
DUNHAM
Which part?
CHARLIE
All of it.
Dunham climbs into his Studebaker. Turns over the engine.
DUNHAM
Take it to Simmonds. Take it to
Middleton.
Dunham drives off.

82.
Dunham exits the stall. Charlie's washing his hands. Dunham

sighs, trying to figure out if their meeting here was just a
coincidence...
Probably not.
CHARLIE
Did you know before working for the
Central Intelligence Agency, Henry
Sommers missed joining the American
Olympic team by one slot in 1924?
DUNHAM
I suppose I didn't.
CHARLIE
Guess his event.
DUNHAM
I'm really not sure what this has to
do with --
CHARLIE
-- Swimming.
Charlie walks out. Leaves Dunham behind, confused.
Dunham sits at his desk. Can't concentrate.
Charlie prepares the room for an upcoming meeting, placing

files at each seat. Looks up, finds Dunham in the door.
DUNHAM
What about Lyle?
CHARLIE
Um, ah -- at the accident scene there
were no skid-marks, no tire marks,
which says to me Lyle didn't attempt
to course correct before going through
the railing.
DUNHAM
And Fenton?
83.
CHARLIE
Had over three hundred marks in his
wallet when his body was found --
kind of an odd way to mug someone,
leave all their money behind.
A beat. They stare one another down.
DUNHAM
...Show me everything you have.
INT. AMERICAN EMBASSY - CIA SECTION - NIGHT
Only Dunham and Charlie remain, the building having cleared

out for the evening hours ago. Dunham closes Charlie's file.
DUNHAM
You did this all by yourself?
CHARLIE
Does it make sense?
DUNHAM
This is some of the finest analysis
I've ever seen. I'll take it from
here.
Dunham gathers his things, including the file and heads for
the elevator. Charlie looks crushed. Dunham reaches out to
push the button for the elevator, but stops at the last
second.
DUNHAM
You're not going to try and stop me?
CHARLIE
I figured --
DUNHAM
-- You want to be a case officer.
Or did I read it wrong.
CHARLIE
Maybe -- I guess -- how did you --
DUNHAM
-- No one by the name of Simmonds or
Middleton works in this embassy, so
either you're a terrible analyst --
which we already know isn't the case --
or you never even bothered to find
them.
Charlie balks.
84.
DUNHAM
Lesson one, everybody lies. Come
on, I'll buy you a beer.
INT. PUB - NIGHT
Dunham and Charlie in a booth, drinking.
DUNHAM
Two truths and a lie.
CHARLIE
What's that?
DUNHAM
Personal things -- tell me three
things about yourself, but only two
of which are true.
CHARLIE
It's not a fair game -- you've read
my personnel file.
DUNHAM
So then they better be good lies.
Charlie sips his beer.
CHARLIE
I was born and raised in New York.
I went to Harvard and graduated in
three years. My favorite book is
Ulysses by James Joyce.
Dunham looks Charlie up and down.
DUNHAM
You understand the work of a case
officer?
CHARLIE
To a certain extant. Training at
The Farm was more general education.
DUNHAM
Berlin is nothing like The Farm.
Berlin is... Complicated.
Dunham waves over another round.
DUNHAM
During the war I was responsible for
identifying enemy positions and
(MORE)
85.
DUNHAM (CONT'D)
coordinating their destruction. In
the three weeks leading up to the
invasion I marked one-hundred-and-
twelve structures for the Allies to
bomb. The work I did allowed the
Soviets to reach the center of the
Berlin and take down the Reich. The
work I did killed more civilians
than I could ever know or count.
CHARLIE
I'm willing to get my hands dirty.
DUNHAM
No, that wasn't my -- I made a promise
to myself I'd see this city rebuilt.
My point is getting your hands dirty
is the easy part -- it's cleaning up
after that's the real work.
EXT. PUB - NIGHT
Dunham pulls his jacket against the cold. Charlie follows

close behind, still unsure what's happening.
DUNHAM
How's your Russian?
CHARLIE
(bad Russian)
Is good but not the greater.
DUNHAM
What about your German?
CHARLIE
(even worse German)
Not being gooder than my Russian.
DUNHAM
Even my dog speaks German.
Dunham turns and walks off. Charlie confused, about to open

his mouth when --
DUNHAM
-- And nobody likes Ulysses. You
need to learn how to tell a lie.
CHARLIE
Sir?
86.
DUNHAM
I'll put in a transfer request on
Monday. Welcome to the CIA, Agent
Roarke.
And with that Dunham's gone. Charlie beams.
Charlie opens the door to Rachel. Smiling wide.
RACHEL
Well?
CHARLIE
He said yes.
Rachel hugs him tight. He pours them each a glass of wine.

She offers him a toast.
RACHEL
To Charlie Roarke.
CHARLIE
The Central Intelligence Agency's
newest man in Berlin.
They clink glasses and we --
EXT. STREET CORNER - NIGHT
Tenenbaum has spliced into a telephone junction box, using a

portable handset to make a phone call. He unplugs from the
box, hurries across the street to his Volkswagon --
INT. TENENBAUM'S VOLKSWAGON - NIGHT
-- Where Dunham waits, slouched low in his seat.
TENENBAUM
My contact can get you identification
documents, but if you're stopped --
DUNHAM
-- I'll be fine.
TENENBAUM
Impersonating someone and showing
falsified identification papers are
both grounds for execution.
87.
DUNHAM
I'll be fine.
TENENBAUM
What is it you hope to find over
there?
DUNHAM
Revenge.
EXT. BRANDENBURG GATE - NIGHT
The massive structure rises up into the night sky. SAW-HORSES

and SANDBAGS bisect the courtyard down the middle. ARMED
PATROLS are stationed on both the east and west sides.
SPOTLIGHTS criss-cross the open space between checkpoints.
EXT. DARK ALLEY - NIGHT
Dunham and Tenenbaum stand in the mouth of the alley,

Brandenburg Gate visible just across the street.
DUNHAM
How far you think that is?
TENENBAUM
I dunno, hundred yards give or take.
DUNHAM
That's what I thought.
EXT. BRANDENBURG GATE - NIGHT
Dunham sneaks through the shadows. Watching as the spotlights

move back and forth in a random pattern.
Dunham massages his bad leg, waits for a break in the lights,
then flat out runs.
It's a narrow path through the courtyard. Dodging side to

side in between the lights.
Halfway there, he reaches the saw-horses and clambers over.

One of the spotlights passes within a few inches, Dunham
freezes in place, the light hanging in the air in front of
him for just a beat, but he's still concealed in darkness...
The light finally moves away and Dunham hops down from the
saw horse. He crouches low, waiting for an EAST GERMAN PATROL
to pass, his leg burning. The path in front of him opens up
again and he books it. Hobbling out of the courtyard and
into East Berlin...
88.
INT. EAST BERLIN STREETS - NIGHT
A VoPo PATROL CAR passes. Its light sweeping the shadows

before disappearing around the corner. Dunham steps out of
the recess of a door and hustles off, following a hand-drawn
map and hastily written directions.
EXT. HILDE'S HOUSE - DAY
Dunham knocks on a steel door three times, then twice more a

beat later. HILDE, a long-suffering East German woman, opens
it a crack, eyes him suspiciously, then waves him inside.
INT. HILDE'S KITCHEN - DAY
Dunham waits at the table as Hilde picks at a hunk of ice,

eventually pulling out a plastic baggie with EAST GERMAN
TRAVELING PAPERS inside. Dunham inspects the papers up close.
DUNHAM
How much?
Dunham opens his wallet. Hilde takes all his money, counts
it out, hands him back a little less than half.
DUNHAM
Our mutual friend said you may also
have something to help defend myself.
HILDE
A small selection.
INT. HILDE'S BASEMENT - DAY
Hilde pulls the chain on a free-hanging bulb, illuminating

the room, revealing a space nearly two-hundred square feet
and packed to bursting with guns of every kind.
HILDE
They are my son's... Says he wants
to be ready when the Americans come
knocking.
DUNHAM
You should tell him if it ever comes
to that, I doubt we'll use the front
door.
HILDE
He is a silly boy.
(MORE)
89.
HILDE (CONT'D)
He hates all you westerners... But
he doesn't know why and that can eat
at man's soul, don't you think?
Dunham grabs a REVOLVER from the shelf. Checks the weight

and tang.
DUNHAM
How much?
HILDE
Gun is gift.
DUNHAM
And the bullets?
HILDE
Oh the bullets are very expensive.
EXT. HILDE'S HOUSE - DAY
Hilde hands Dunham a small sack of food, and closes the door
behind him. He loads THREE BULLETS into the revolver and
then crosses the street in front of a bus.
INT. BUS - DAY
Dunham rides on a bus crammed to capacity with FACTORY

WORKERS. The MUSCLED WORKER in the seat next to him looks
him up and down, suspicious. Dunham stares out the window,
trying not to make eye contact. A dilapidated amusement
park passes in the distance, a singularly ironic testament
to both Communism's hubris and deficiencies.
The bus drops Dunham off at the curb. He enters the massive
housing project just as we realize we've been here before...
INT. APARTMENT BLOC - 4TH FLOOR - NIGHT
Dunham comes up the stairs with his gun drawn. The coast is
clear, but he's not taking any chances. Rounds the corner
and finds a MOP-HEADED BOY dribbling a soccer ball. He
freezes when he sees Dunham. They stare at one another.
Dunham reaches into his pocket and pulls out a chocolate

bar. Offers it to the kid. He's at first suspicious, but
eventually plucks it from Dunham's hand.
90.
DUNHAM
(German)
I was never here.
Dunham rips through RED TAPE covering the door. The Turk's
safehouse is almost exactly as he left it when he tried to
flee from Dunham and the VoPo. There's a half-built pipebomb
on the table, with various parts and mechanisms strewn about.
Dunham doesn't know what he's looking for exactly, but figures
he'll know it when he sees it. Starts slow, pulling all the
furniture off the walls, ripping into the couch cushions.
Checking every drawer for secret compartments. Finds nothing
but rusted silverware, canned food, and yellowed pornography.
Looking all around, there are too few hiding places and he's
picked them all over. He leans on the table and it wobbles
under his weight. He bends down low, finds one of the legs
is plugging up a hole in the floor.
He wrenches the leg free and peers down into the hole. Sticks
his finger inside and pulls back the loose floorboard.
Inside is a secret stash. Money, bombs, envelopes...
Dunham takes the bombs out one at a time. Carefully sets

them aside. Counts up the money, takes as much as his wallet
will hold. Flips through the envelopes and finds one of
interest. Inside are TWO SURVEILLANCE PHOTOGRAPHS: one of
Charlie and one of Dunham himself.
DUNHAM
Bingo.
Dunham checks the postmark on the envelope. It was originally

mailed from Dresden. He pockets it all, digging deeper into
the hidden stash when --
-- CLANG! CLANG! CLANG! CLANG!
Dunham's ears perk up. The ringing gone just as quick as it

came. The hell was that?
CLANG! CLANG! CLANG! CLANG!
Dunham follows the sound into the bathroom. The pipes are
ringing -- CLANG-CLANG-CLANG -- up through the building.
Dunham freezes, realizes:
DUNHAM
Oh no.
91.
Dunham runs to the window, looking down on the street. All

clear. Then he presses his forehead hard against the glass
to look straight down, where he finally sees FIVE MILITARY
VEHICLES parked at the curb.
Shit.
Gregor climbs out of the lead vehicle. Looks up towards The

Turk's safehouse as DOZENS OF VOPO storm into the building.
He lights a cigarette, pleased with himself.
INT. APARTMENT BLOC - 4TH FLOOR - MOMENTS LATER
Dunham hustles down the hall just as SIX ARMED VOPO come
charging up the stairs. As soon as they see him, they OPEN
FIRE, bullets SHREDDING wood and RICOCHETING off concrete.
Dunham falls backward, SCRAMBLING on his hands and knees --
INT. THE TURK'S SAFEHOUSE - CONTINUOUS
-- Back into the safehouse. The VoPo coming down the hall.
He's trapped. Looking all around, suddenly remembers:
DUNHAM
The coal room.
Dunham glances across the apartment where the Turk's escape

route remains, a scar in the wall. But if he runs he'll
open up a sight line to the VoPo.
DUNHAM
Hell with it.
Dunham runs -- bullets chase -- he dives through the hole in

the wall and WE FOLLOW HIM -- into the pitch-black chute --
falling faster and faster through the guts of the building --
glancing off a metal pipe -- cutting his arm on an errant
nail -- smashing through drywall and sheetrock -- finally
landing with a hollow THUD on the ground floor --
INT. COAL ROOM - CONTINUOUS
-- As Dunham rolls down a hill of coal. He stands, his arm

bleeding, his legs barely able to hold his weight --
92.
-- And limps from the building, only to find three VoPo

stationed nearby. Their backs to Dunham, they haven't seen
him yet, but he's trapped and it's only a matter of time --
-- THUNK!
From out of nowhere, a soccer ball plonks one of the VoPo in

the side of the head. The trio look up and find the Mop-
Headed boy nearby. They scream and shout and give chase,
opening up an escape route for Dunham.
EXT. EAST BERLIN STREETS - NIGHT
Dunham walks casually, a bus parked at the curb less than

two blocks away. If he makes it there, he's home free...
When a SIREN blasts just behind him and a VoPo PATROL CAR
picks him up with its spotlight. Dunham turns down an alley
and flees as the VoPo give chase --
EXT. AMUSEMENT PARK - NIGHT
-- Into a maze of dilapidated carnival rides and kiosks.

Like the rest of East Berlin, it's all seen better days.
The lights all broken or in disrepair, the place is pitch-
dark save for the dim glow of the moon.
Dunham runs around the corner, catching his breath. Gasping

for air.
He moves deeper into the amusement park, but up ahead THREE

VOPO appear, spreading out. Dunham backtracks, circles around
a DECREPIT CAROUSEL, using the structure to keep out their
sight line.
Over his shoulder, a car pulls up. TWO MORE VOPO climb out,
flanking Dunham. Dunham climbs up into the carousel,
disappearing in the deep shadows between fiberglass horses
and lions.
VOPO CAPTAIN
Coming out, coming out, wherever you
is.
Dunham gently, quietly opens the revolver chamber. And

gently, quietly rotates it so the first bullet lines up with
the barrel.
The carousel CREAKS and GROANS from his weight.

93.
Two VoPo approach Dunham. Only a few feet until they'll

clear the horse and see Dunham. Dunham holds his breath...
When a VoPo steps wrong, puts his foot right through a rusted
section of the platform. Falls, jammed up to his knee.
He curses in German. The others laugh at him.
As he tries to yank himself out, Dunham spins out from behind

the horse and CRACKS him over the head.
The others stop laughing. They run toward Dunham.
He books it across the carousel, shoving his way between the

horses. The VoPo FIRE. Bullets PING against metal, RIP
through the carousel from every direction.
Dunham leaps from the carousel. Comes up and SHOOTS two

VoPo -- POP-POP -- but aims for their legs, wounding them.
He turns on the fourth man -- POP -- and shoots him in the

arm, disarming him -- Dunham grabs up the man's rifle and
spins around to face the VOPO CAPTAIN...
A standoff. The men stare each other down. Rifles pointed

at one another. Dunham stands solid, ready. The VoPo captain
shakes, probably the first time he's had a gun pointed at
him.
He's also young. Barely a man. His teeth chatter. He pisses

his pants...
Finally, the VoPo Captain loses his nerve and throws down
his rifle.
VOPO CAPTAIN
Pleasing, I be pleasing you, pleasing.
A long beat. Silence.
DUNHAM
(German)
I let you live, I'll have a five
minute head start. I kill you, I'll
have closer to twenty.
The VoPo Captain shakes his head. Pleading in an

unintelligible English-German hybrid. Dunham motions. The
kid turns and runs...
Dunham lets him go. Dunham lets him live.

94.
EXT. FRIEDRICHSTRASSE TRAIN STATION - NIGHT
Dunham enters the massive structure, a glass-ceilinged station

at the heart of East Berlin.
INT. FRIEDRICHSTRASSE TRAIN STATION - NIGHT
Joining thousands of commuters in the claustrophobic press

of humanity. Slowly moving through a turnstile onto the
main platform, Dunham is a face amongst the crowd, quickly
lost in the hustle and bustle.
INT. TICKET COUNTER - NIGHT
Dunham buys a train ticket.
DUNHAM
(German)
One to Dresden, the quickest way
possible.
The TICKET SELLER looks over Dunham's Travel Papers. Stares

at them for a much longer period of time than commuters in
the other lines. Finally she hands Dunham the papers back,
takes his cash, and writes out a ticket for him, stamping it
with a loud THUNK --
INT. TRAIN - NIGHT
-- As Dunham falls into his seat, absolutely exhausted. Two

VoPo pass through the car, checking tickets. Dunham offers
his, but keeps his head lowered. The VoPo study the ticket
for an extra beat before moving on. Dunham closes his eyes,
he's earned at least a twenty minute nap.
INT. TRAIN PLATFORM - NIGHT
Gregor and THREE PLAIN-CLOTHES KGB MEN push through the crowd,
led by the VoPo Captain Dunham let live. They board the
train just as it pulls out of the station...
INT. TRAIN - NIGHT
Dunham sleeps soundly in the darkened passenger car. The

East German scenery zipping past outside in a blur of
silhouettes --
-- When a MEATY HAND clamps down over Dunham's mouth, holding

him down in his seat.
95.
GREGOR
(Whispering)
Calm down, calm down. No use waking
everyone for our little conversation.
Dunham relaxes. Gregor is seated beside him, a MASSIVE KGB

AGENT is in the seat directly behind him, restraining him.
GREGOR
Who is responsible for Visili's
murder?
DUNHAM
Go to hell.
GREGOR
Yes I thought you might be so
inclined...
Gregor draws a pistol from his coat. Twists a silencer onto

the end of the barrel. Takes aim at Dunham's stomach.
GREGOR
They say the key to man's heart is
his stomach. I've seen men shot in
the gut, they scream so loud it hurts
my ears. Takes days to die.
Gregor slowly moves the gun down Dunham's leg, and eventually
rests it against his knee.
GREGOR
The knee is interesting -- so much
bone and cartilage -- and a man faced
with the threat of never walking
again usually has presence of mind
to reveal his secrets.
Gregor takes aim at Dunham's foot.
GREGOR
The foot is no good. The foot is
painful but survivable.
Gregor presses the gun against Dunham's temple.
GREGOR
I could always just threaten to kill
you dead but that's a game I would
most likely lose. A bluff you can
easily call.
Gregor pulls the gun away. Stands. Straightens his jacket.

96.
GREGOR
You are not motivated by pain. I
could stand here and put bullets in
every part of you all night long and
still you'd tell me to go to hell...
Gregor turns and takes aim at the SLEEPING PASSENGER seated

right across the aisle.
GREGOR
...But what about other people?
DUNHAM
I don't know what you want me to
tell you.
GREGOR
The truth. Who is responsible for
Visili's murder?
DUNHAM
I don't know.
Gregor nods. Then pulls the trigger and -- PLIPT -- kills

the passenger without ever taking his eyes off Dunham.
GREGOR
Who is responsible?
DUNHAM
Jesus Christ, are you insane -- are
you --
-- PLIPT! Gregor shoots the next SLEEPING PASSENGER then

moves onto the next.
GREGOR
Who is responsible?
DUNHAM
I don't know what you're even talking
about -- stop this -- I don't know
what you want me to say --
GREGOR
-- I want you to say that the
Americans ordered the murder of my
comrade Visili Volkov. Tell me that
and you are free to go.
DUNHAM
I did it. I killed him. Stop this,
please just --
97.
-- PLIPT! Gregor shoots the third and final SLEEPING

PASSENGER. He looks up and down the car. No more
passengers...
Then Gregor snaps his fingers, has an idea. Opens the door
to the next car, revealing DOZENS OF SLEEPING PASSENGERS.
DUNHAM
I just told you -- I just said I did
it --
GREGOR
-- That's not good enough. Who
ordered the murder? The CIA? The
ambassador? The President?
DUNHAM
No one -- no one please you have to --
there was no one else --
GREGOR
-- That's not good enough, you're
clearly lying --
DUNHAM
-- No -- please -- it was me -- I
made the choice, I killed Visili --
there was no one else it was only me --
leave them out of this, they have
nothing to do with this -- I'm
responsible, I'm the only one
responsible. I killed him. I killed
them all, every last one, I killed
them all.
Gregor nods. Quietly closes the door to the next car.
GREGOR
Well, that's disappointing.
The KGB Agent cracks Dunham over the head and everything
CUTS TO BLACK.
INT. CELL
Dunham sits on a concrete floor of a small cell, no more

than ten by ten feet. No windows. Bitter cold.
INT. CELL
Dunham SCREAMS and pounds on the metal door until he's hoarse
and deaf and his hands are numb.
98.
INT. CELL
Dunham huddled in the corner. His beard grown in. The door
opens, he shields his eyes against the blinding light.
INT. MILITARY VEHICLE (DRIVING) - NIGHT
Dunham in the backseat between two VOPO GUARDS, a burlap

sack over his head. He can't see out the windows, can't see
where they're headed.
DUNHAM
Where are you taking me? Am I going
to be executed? At least tell me
that -- at least tell me that.
No one answers. They drive on in silence.
EXT. GLIENICKE BRIDGE - NIGHT
Closed to all civilian foot traffic the day the wall went
up, the simple green-and-grey bowstring bridge spans the
Havel river on the outskirts of Berlin.
Two MILITARY VEHICLES approach from the eastern side. Gregor

climbs out of the first, Dunham is pulled from the second.
GREGOR
Walk.
DUNHAM
Fuck you -- you want to shoot me you
can shoot me from the front.
GREGOR
Walk.
Gregor shoves Dunham away. Hesitant, Dunham walks in the

direction he was pointed.
DUNHAM'S POV
We're trapped inside the burlap sack. Our hands tied behind
our back. There's almost no light, but the weave of the
burlap makes it possible to see vague shapes and forms in
the distance. Someone passes us, walking in the other
direction. Sweat drips in our eye, our breathing gets
erratic. We're waiting for that gunshot we know is coming,
waiting for the bullet to tear through our back, waiting to
pitch forward, waiting to die...
99.
Only the gunshot never comes--

And we break out into a run --
BACK TO SCENE
-- Toward the West End of the bridge where Kincaide and a

phalanx of ARMED MARINES wait. Nervous, on edge.
One MARINE intercepts Dunham while the others keep their

guns trained on the VoPo and KGB AGENTS across the bridge.
Kincaide yanks off the burlap sack.
DUNHAM
What the hell is going on?
KINCAIDE
Spy swap. Richard nabbed Magpie if
you can believe that, caught her
going through your safety deposit
box.
Dunham, confused, looks back over his shoulder as the RUSSIAN

SPY is intercepted by Gregor.
DUNHAM
What...?
KINCAIDE
Magpie was a deep cover Russian mole.
They put her up in a special school,
taught her how to act like a
Westerner, set her up with a job at
the British embassy, a whole family
history, the perfect cover. She
confessed to everything, David --
Greer, Charlie, our three dead NOC
agents.
DUNHAM
And you traded her for me? You could
have made your career taking her
back to Washington.
KINCAIDE
Yeah, well -- Berlin ain't worth my
career.
Dunham smiles. Then slowly realizes --
DUNHAM
-- Wait, she? Who is it...?
Dunham turns around just as Gregor pulls the burlap sack off
the Russian spy's head... Revealing Rachel underneath.
100.
DUNHAM
No. No. No.
KINCAIDE
It's over, it's done.
DUNHAM
Like hell.
Dunham draws the Marine's SIDEARM from his holster and turns
back across the bridge --
KINCAIDE
-- David, don't be an idiot!
Immediately, every armed man within the vicinity pulls their

weapons and takes aim. It's a tense, bare-knuckle stand-
off...
Rachel stares down Dunham. He has her dead-to-rights, all

he has to do is pull the trigger and he wins.
KINCAIDE
You pull that trigger -- you so much
as fire one shot across the line --
you kill her, it's war.
DUNHAM
She doesn't get to win.
KINCAIDE
Nobody wins, look at us. It's a
goddamn draw, everybody loses.
The YOUNG MARINES behind Dunham start shaking. Sweating.

Their Cold War Nightmare come to life...
Finally Dunham throws the gun off the side of the bridge.
Everyone immediately lower their weapons.
Kincaide puts his arm around Dunham's shoulder. Fraternal,

conciliatory. He leads his wounded friend back toward the
car...
The soldiers all relax, pack up their gear. Game called

early on account of rain and --
-- Dunham gasps awake from a nightmare. Rolls over to cuddle

up against Bettina... But of course her side of the bed is
empty. Old habits die hard.
101.
EXT. GRAVE SITE - DAY
Bright, summer sunlight. Dunham stands over a grave, a crowd

of mourners gathered around. He thinks of just the right
word to say.
DUNHAM
Bettina was...
He stares at the grave. The crowd grows uncomfortable.

Murmuring to themselves. The suddenly:
DUNHAM
Bettina was my life.
EXT. THE WALL - DAY
Dunham walks past The Wall. SOVIET WORKERS slowly add onto
it with brick and mortar, the structure rising nearly fifteen
feet high now.
NEWS VANS are parked every few blocks, and TELEVISION CAMERAS
are constantly watching, waiting for something grizzly to
happen.
On the Eastern Side of the wall, the Soviets have begun

constructing a "No Man's Land" of wide open space.
Construction vehicles knock down buildings and dig out roads
for near perfect sight lines should anyone attempt to cross.
The group gathered as Richard offers a presentation.
RICHARD
It's been a slow week. I was able
to contact one asset on the other
side, he's willing to talk for help
getting his family across... But it
turns out he's a shoemaker so I wasn't
sure if that was something we wanted
to waste our time on.
VIVIAN
Dick, come on -- think of the
intelligence this man could offer --
Kruschev's shoe size? That's the
war winner right there!
Everyone around the table laughs.

102.
BOB
We could have him plant a microphone
in Fearless Leader's boot -- finally
know how long he paces the Kremlin.
More laughter. Growing louder and louder --
DUNHAM
-- Enough! These are real people,
these are innocent people -- if we're
not protecting them we might as well
be killing them.
Silence through the room.
KINCAIDE
He's right. Bring him across. A
shoemaker, a chef, a janitor -- I
don't care, bring them all across.
INT. TENENBAUM'S OFFICE - DAY
Tenenbaum at his desk, feet kicked up. Dunham pokes around

with the audio equipment on the shelf.
DUNHAM
The first ever joint operation between
the Central Intelligence Agency and
the -- you boys back in DC ever decide
on a name?
TENENBAUM
Lot of back and forth but they finally
settled on National Security Agency.
DUNHAM
NSA? Has a nice ring to it. I've
assured Kincaide you can be a help
on this project and --
Suddenly, the equipment on Tenenbaum's shelf SCREECHES to

life -- shrill feedback sounding out of the speakers. Dunham
backs away and the feedback slowly fades out.
TENENBAUM
What are you wearing a wire or
something?
DUNHAM
No...
Dunham pats down his pockets, pulls out his handheld radio.
103.
DUNHAM
Charlie got it for me, to listen to
the Dodgers.
TENENBAUM
So turn it off, problem solved.
DUNHAM
It is off...
Curious, Dunham holds the radio toward the audio equipment.

The feedback quickly returns. He pulls it back and the
feedback fades away.
Dunham grabs a hammer off Tenenbaum's workbench and SMASHES

the radio. He sifts through the heap of parts, hoping it's
just paranoia...
But of course it's not paranoia.
Right there in the middle of the pile, incongruous to the

rest of the parts, a small, fingernail-sized TRANSPONDER.
DUNHAM
You ever seen anything like this
before?
TENENBAUM
Sonar-ping location tracker...
Russians put a couple thousand of
these on their subs to track them
out in the waters. What the fuck's
it doing in your radio?
Good question.
INT. CHARLIE'S FLAT - DAY
Dunham kicks in the door. The place is exactly as he saw it

previously. He makes a beeline for that photo on the
mantel...
He struggles to pop open the back. In frustration, he smashes

it on the ground, the glass shattering. He picks through
it, pulls out the photo, something off about it...
He flips the photo over, revealing a couple columns of

newsprint. The photo was cut out of a newspaper.
DUNHAM
GODDAMNIT!
Dunham tears Charlie's flat apart. In the closet he finds a

hidden storage chest full of weapons.
104.
In the kitchen he finds files and dossiers on nearly every

important person in West Berlin.
And finally, in Charlie's bedroom, a collection of photos of

Dunham. Hundreds of photos posted up on the walls.
Surveillance photos. Charlie had been spying on Dunham for
months.
DUNHAM
SON OF A BITCH!
FLASHBACK TO:
INT. CHARLIE'S FLAT - NIGHT
Charlie works over something as Rachel tacks those same

surveillance photos of Dunham up on the wall.
CHARLIE
And if a player gets around all the
bases and back home he scores a point.
RACHEL
It's called a run, but yes. How
many innings are there in a standard
game?
CHARLIE
...Ten?
RACHEL
Nine. Same as the number of players
on the field.
There's a knock at the door. Rachel grabs a gun, waits a

beat, listens for a second knock. She opens the door, finds
Horn-Rimmed Glasses outside.
HORN-RIMMED GLASSES
The operation is go.
Charlie holds up what he was working on -- a FORGED EMBASSY

ID with his photo on the front. Smiles, proud of his work.
CHARLIE
About goddamn time.
INT. AMERICAN EMBASSY - SECURITY CHECKPOINT - DAY
Charlie hands his ID to a MARINE who gives it the most cursory

of glances before handing it back and letting him past.
105.
Charlie stands at the dead center of the bullpen, activity

all around, no one seems to even notice him.
Charlie finds an empty desk and sits. Unpacking his attaché

case, can't believe it was this easy.
ANALYST
Hey, you, you got anything on your
plate right now?
CHARLIE
Not a thing.
ANALYST
Great, help me out with these
projections, huh?
CHARLIE
Yeah, sure, of course...
Charlie stops at a crosswalk. Bends down to tie his shoe.

Horn-Rimmed Glasses walks up, waits for the signal.
CHARLIE
Tell Mom and Dad I got the job.
Horn-Rimmed Glasses nods. The signal changes and he walks

off. Charlie finishes tying his shoe, heads off in the
opposite direction.
INT. AMERICAN EMBASSY - BREAK ROOM - DAY
Charlie waits for the coffee to brew with a handful of

analysts. Suddenly, a voice rises up in the bullpen:
DUNHAM (O.S.)
Who keeps taking the goddamn Times
off my desk? Anybody?
Charlie pours himself a cup of coffee. Dunham pokes his

head into the break room.
DUNHAM
Anybody know the Dodgers' score from
last night?
CHARLIE
One-nothing. A real pitcher's duel.
106.
DUNHAM
Thanks.
EXT. AMERICAN EMBASSY - NIGHT
Charlie leaves for the night. Pulls a folded copy of the LA

TIMES from his coat and tosses it into a trash can.
INT. AMERICAN EMBASSY - RECORDS ROOM - DAY
Charlie enters a ramshackle basement storage room. The

RECORDS KEEPER is a harried old man.
CHARLIE
I was sent to receive a file for
upstairs on Hamburg?
RECORDS KEEPER
All outgoing should be on the desk
over there.
Charlie looks through the files. But as soon as the Records

Keeper turns his back, Charlie heads off into the stacks.
Walking among the shelves of personnel files, Charlie stops

at the letter R. He takes a FORGED PERSONNEL FILE out from
under his coat and shoves it onto the shelf.
EXT. DUNHAM'S BROWNSTONE - DAY
Charlie and Rachel sit on the bench across the street. They
watch as Dunham kisses Bettina goodbye and gives her his
pocketwatch.
CHARLIE
Wife's name is Bettina, calls her
Betty for short. He was born and
raised in New York, but came to Berlin
for the war and never left. A real
patriot, thinks he can save the world.
Dunham, aggravated, pulls apart his desk. Once again, his

newspaper is missing. Charlie passes, stops.
CHARLIE
Dodgers lost, four-two. Couple errors
were the difference.
107.
DUNHAM
You a fan?
CHARLIE
Of the sport. But I went to Harvard
so --
DUNHAM
-- Oh God, a Red Sox supporter, huh?
That's OK, nobody's perfect.
INT. LOCKER ROOM - NIGHT
HENRY SOMMERS, an athletic man, changes into his swimsuit.
INT. INDOOR SWIMMING POOL - DAWN
The sun just starting to rise over Berlin. Shining through

the vaulted glass ceiling above. A private facility, Sommers
has the whole place to himself.
As he snaps a swim cap over his head, he hears a door bang

shut somewhere distant. He peers across the room, sees no
one. Shakes it off. Stretches, about to dive into the pool --
-- When he's grabbed from behind. A needle stabbed into his

neck. The plunger depressed, 500ccs of Ketamine injected in
his system, he passes out almost immediately, falling forward
into the water.
Charlie watches as Sommers floats for a few seconds, then

slowly sinks as his lungs take on more and more water.
Bubbles form underwater then pop on the surface. It takes

almost two minutes for a man to drown...
And Charlie stays for the whole damn show.
INT. CHARLIE'S APARTMENT - DAY
Dunham sits in silence. Looking all around. Can't believe

he missed all of this. Can't believe how easily he got
played.
DUNHAM
Well. Alright.
108.
Dunham pulls Charlie's (forged) personnel file out of a

drawer. Finds the phone number for Charlie's "training
officer" and dials it. It rings and rings, Dunham still
holding out hope, maybe he's wrong, maybe --
PHONE VOICE
-- Guttentag, Fritzclub.
Dunham hangs up. Of course.
EXT. FRITZCLUB - DAY
Back where it all started. Dunham crosses the street.
INT. FRITZCLUB - DAY
Dunham descends a concrete stairwell. His steps echoing.

Below him, only silence.
He pushes the curtain aside, revealing the main room of the

club, empty save for the COCK-EYED BARTENDER...
Who immediately recognizes Dunham, turns, and runs out the

back door.
INT. FRITZCLUB - OFFICE - DAY
Dunham enters. Finds a MAN breaking down and packing up

what used to be, until very recently, a well-equipped
safehouse and hideout. Dunham watches for a minute without
saying anything...
The man turns around and we see his face for the first time
along with Dunham.
It's Charlie.
Alive and well. He jumps at the sight of Dunham.
CHARLIE
David, Jesus, you scared me half to
death.
DUNHAM
Which is a hell of a trick for a guy
who's been dead three weeks.
109.
CHARLIE
I wanted to tell you but I -- they
made me swear not to.
DUNHAM
Who?
CHARLIE
Langley, the Company, who else?
DUNHAM
That doesn't make any sense.
CHARLIE
They've known about Magpie for years --
a mole in their Berlin station, you
think they didn't know? They sent
me to --
DUNHAM
-- Stop it, just stop it.
Dunham draws his gun.
CHARLIE
Jesus Christ David, let me explain,
listen to me before you -- you're
making a horrible mistake --
DUNHAM
-- I will shoot you --
CHARLIE
-- It's the God's honest -- listen
to me, David you know me, please --
the Company sent me here to infiltrate
the KGB, to smoke out Magpie from
the inside.
DUNHAM
They would have told me. Someone
would have told me.
CHARLIE
David, I know it's not the easiest
thing to -- you have to believe me --
this was a high-level op and you've
been here so long they didn't know
if they could trust you.
DUNHAM
No. No. No. No.
110.
CHARLIE
The mission was to get me noticed
for my work, get the KGB to start
sniffing around --
DUNHAM
-- Then why did the phone ring here
when I tried to call your training
officer?
CHARLIE
That was all part of the play --
that was the play -- how can you not
see the game right under your nose?
Dunham shakes his head. Doesn't know what to believe.
DUNHAM
The car bomb?
CHARLIE
The KGB set it up for me -- to get
out clean from the Company -- but
I'm still a CIA man -- I'm still a
good guy -- I wanted to tell you
this whole time, it was eating me up
inside, but Langley made me swear.
DUNHAM
No.
CHARLIE
But you can't stay here -- the
bartender is a lookout -- I can
explain it away why you were here
but not if you don't leave right
now.
A long fucking beat.
Charlie pleads with his eyes.
Dunham's spent his entire life listening to liars, and in

this one moment, he just can't tell.
CHARLIE
David, please. It's me. It's
Charlie.
Dunham, hand shaking, lowers his gun. Charlie exhales.

Turns his back on Dunham and heads for the back door.
When something in one of the boxes catches Dunham's eyes.

Can't believe what he's seeing, yet there it is...
111.
CHARLIE
Come on, you can sneak out the back,
hopefully nobody else will even know
you're here.
DUNHAM
Tell it to me backwards.
Charlie freezes. Glances over his shoulder. Dunham has the

gun pointed at his back now.
CHARLIE
No more games, come on, we're running
out of...
Dunham reaches down and pulls out his pocketwatch from a

box. He gives it a shake, the gears catch, TICK-TOCK.
DUNHAM
Tell it to me backwards.
A long beat.
CHARLIE
Yeah, OK, you win. Ask me then.
DUNHAM
Did you kill Betty?
CHARLIE
No.
(then)
Yes.
(then)
Maybe...
DUNHAM
Stop it.
CHARLIE
Two lies and a truth, it was your
game.
DUNHAM
Who are you?
CHARLIE
My name is Charlie Roarke.
(then)
My name is Dieter Schreff.
(then)
My name is Ivan Dragonov.
DUNHAM
Why?
112.
CHARLIE
For revenge.
(then)
For country.
(then)
For money.
Just outside the back door, Charlie sees shadows under the
frame. Men whisper back and forth.
CHARLIE
My bartender friend went and got
reinforcements it seems.
DUNHAM
And I brought three-dozen Marines
with me, camped out in the club, so
you wanna lay a bet on who wins that
fight?
CHARLIE
You're lying.
DUNHAM
Maybe we both are. But right now
I'm the one with the gun and it's
the easiest thing in the world to
shoot a guy in the back.
CHARLIE
But you won't, cause there's too
many unanswered questions.
DUNHAM
Gotta be honest, last few weeks I'm
learning to live with a little mystery
in my life.
CHARLIE
It has to be eating you up inside --
did Rachel let herself get caught?
Why confess? Why reveal herself as
Magpie? Was it an honest mistake,
or just another move from six steps
ahead? Why let you go?
DUNHAM
I don't care.
CHARLIE
And was I always a spy, was I always
a mole, or did they turn me? And if
they turned me was it years ago, or
was it after we became friends? Was
any of it real?
113.
DUNHAM
I don't care.
CHARLIE
Why'd I kill Betty? Why'd I send
you after Greer? Why kill Sommers
and Fenton and Lyle?
DUNHAM
I don't care.
CHARLIE
Because they were assets. Pieces to
be used, pawns to be sacrificed.
DUNHAM
It was all about Visili?
CHARLIE
Visili was an old man who didn't
understand the war we're fighting.
He wanted peace, he wanted a truce.
He was in the way and he had just
enough power left to stall progress
forever.
DUNHAM
Moscow doesn't know you orchestrated
all of this?
CHARLIE
Moscow's a mess right now -- we needed
a wall and we needed the West to
throw the first punch. One day Moscow
will thank us.
DUNHAM
Who are you?
CHARLIE
(in perfect fucking
German)
Mein name ist Charlie Roarke -- und
ich bin ein Berliner.
The side door BANGS open -- and a HALF-DOZEN KGB MEN charge
inside -- they OPEN FIRE on Dunham -- he DIVES back -- the
bullets RIP THROUGH the desks and chairs and boxes --
INT. FRITZCLUB - CONTINUOUS
-- As Dunham CRASHES out into the club -- TRIPPING over tables --

RUNNING for the stairs -- the KGB men chasing after him --
they have him dead to rights --
114.
-- When SIX MARINES pop up from hiding spots all around the
room, they have the KGB men surrounded and out-gunned.
Dunham skids to a stop. Turns around and smiles at the trap

he sprung. But then realizes Charlie isn't with them.
DUNHAM
Shit.
EXT. FRITZCLUB - MOMENTS LATER
Dunham slams out of the club, looking up and down the block.
Spots Charlie for a bare second, turning the corner, running
on foot. Dunham gives chase --
EXT. STREETS OF BERLIN - MOMENTS LATER
-- Dunham hobbles after Charlie, losing ground with every

step they take --
EXT. INTERSECTION - MOMENTS LATER
-- Dunham tries to take a shortcut -- crosses in the middle

of the street and gets CLOBBERED by a passing car -- he tucks
and rolls and comes up gasping --
EXT. OPEN-AIR MARKET - MOMENTS LATER
-- As Charlie runs -- glancing over his shoulder -- no sign

of Dunham -- he thinks he's lost him -- the wall visible in
the distance -- he's almost home free --
EXT. THE WALL - MOMENTS LATER
-- Charlie rounds the corner and Dunham is right there.

Dunham draws his gun and takes aim --
DUNHAM
-- STOP --
-- Just as Charlie clears an unfinished section of the wall.

Landing in No-Man's-Land. Glancing back at Dunham.
Nearby, NEWS REPORTERS and BORDER GUARDS have seen the chase
and run up to watch. Cameras recording the whole thing.
Charlie smiles. Worked out perfectly for him.

115.
CHARLIE
Thank you for the game. I'll be
around for the re-match whenever
you're up for it.
DUNHAM
It's not over. It's fifty yards to
the closest cover.
CHARLIE
Yeah. Well. You shoot me it's war.
Charlie lets that sink in. Dunham knows he's right.
Then, as if taunting, Charlie turns his back on Dunham and

begins to cross the long, open space of No-Man's-Land.
Dunham keeps his gun trained on Charlie the entire time, his
finger tense on the trigger.
A hundred different thoughts flashing through his mind.
Charlie almost out of range.
Only a few seconds left to decide.
Dunham exhales and --
CUT TO BLACK.

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BERLINER (Frazier)

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berliner

The sun rises over the bombed-out husk of Berlin. Allied

DAVID DUNHAM (30), unfolds a map of the city, crossing out

And stops dead in his tracks.

Staring at the charred remains of an apartment block marked

He kicks aside some rubble and finds an OLD POCKETWATCH.

EXT. FOREST - NIGHT

A man lies dead, face down in the soggy leaves.

EXT. KITCHEN - NIGHT

A woman slumped over the counter, a knife in her back.

EXT. STREET - NIGHT

The husk of a blown-out car smolders at the curb.

INT. OFFICE - NIGHT

Three men dead. Blood spattered on the walls and soaking

EXT. ALLEY - NIGHT

A man's body hidden in a dumpster.

EXT. NO MAN’S LAND - DAY

A MAN IN A FEDORA walks across an open expanse. A SECOND

EXT. STREETS OF BERLIN - DAY

Dunham winds the pocketwatch, holds it to his ear: TICK-TOCK-

EXT. FRITZCLUB - NIGHT

On the corner of a busy intersection. Brandenburg Gate lit

TITLE OVER: BERLIN, 1961

Dunham rounds the corner -- older now, sixteen years removed

INT. FRITZCLUB - NIGHT

Dunham descends a concrete stairwell into an underground R&B

On stage, four mop-tops play a familiar rockin' melody to a

Dunham orders a drink and scans the crowd. Studying faces,

When he spots a MAN WITH HORN-RIMMED GLASSES at the end of

INT. FRITZCLUB - BATHROOM - NIGHT

Dunham stands at the urinal, pretending to take a piss.

Though Dunham is in the blind, Horn-Rimmed Glasses has a

Dunham reaches into a shoulder holster--

Horn-Rimmed Glasses shuts off the sink--

Outside, the band finishes their song--

When the door opens and a mass of CLUBGOERS rush inside --

INT. FRITZCLUB - NIGHT

-- Shoving through the mingling crowd --

EXT. JONASSTRASSE - NIGHT

-- Coming out the back of the club. Hustling down a small

The Studebaker EXPLODES -- Dunham is thrown back by the blast --

INT. HOSPITAL ROOM - NIGHT

Dunham blinks awake. Groggy, confused.

BETTINA DUNHAM -- the female OSS officer from our opening --

Solemn, Bettina shakes her head.

EXT. DUNHAM'S BROWNSTONE - NIGHT

Dunham limps up the steps. Bettina helps, bearing his weight

INT. DUNHAM'S DINING ROOM - NIGHT

INT. DUNHAM'S BEDROOM - NIGHT

They make love well into the night. Afterward, Bettina

A passing S-BAHN COMMUTER TRAIN whistles right outside their

EXT. CEMETERY - DAY

Drizzling rain. Pallbearers hoist a coffin. Dunham limps

Dunham stares off. The crowd murmurs, uncomfortable. Bettina

Raindrops splash in puddles --

INT. AMERICAN EMBASSY - MEN'S ROOM - DAY

-- As CHARLIE ROARKE, 25, splashes water on his face. He's

He looks himself over in the mirror, straightens his tie.

INT. AMERICAN EMBASSY - CIA SECTION - DAY

Charlie takes us through the open-floor office where CIA