as it would be viewed as a defection. Thomas calls into Tally-Ho while he considers his options, but Tally-Ho orders him to break contact immediately, explaining that Stephanie had been deported and that he was in danger. As Thomas makes his way to a London Underground station he is followed - his pursuer being Krivosheyev, who suddenly corners Thomas, calls him a traitor and attempts to stab him. However, a British agent who had been following both of them approaches from behind and kills Krivosheyev with a poisoned dart. As Krivosheyev falls, Thomas makes his escape. Back in his lodgings, Thomas finds out from Neville that Harris left a note for him. The note suggests that they meet and talk over his problems. Thomas tells Yvonne his entire story and that he must leave. He shows her the photograph of Melanie and explains that for 17 years the photo was the only part of him that was 'real', but that now she (Yvonne) had made him feel 'real again'. At dawn Thomas on a remote air-strip has a rendezvous with Tally-Ho who is nothing other than Bothringaye. He explains that the British believed Thomas to be Dennis' successor, and so wanted him to defect. In order to persuade him to do so, they made the KGB believe he had already defected, by way of telling Stephanie and by killing Krivosheyev. Bothringaye / Tally-Ho is actually a triple-agent and Thomas merely a pawn in his game. Tally-Ho gives Thomas a new passport with some US Dollar bills as a hint and suggests that he disappear. 1966 While sitting in his car at a remote gas station in Mexico, Thomas notices two men observing him. He worries that they are government agents tracking him, but they eventually drive away. Yvonne returns to the car and she and Thomas drive off as well. Cast Tom Schilling as Thomas Bernadette Heerwagen as Melanie Suzanne von Borsody as Melanie's mother Lea Mornar as Astrid Ricci Harnett as Harry Stone Criticism Nick Hasted wrote in The Independent, "Inspired by historical accounts that chronicle suffering within the Third Reich, cinema is starting to look compassionately at the Nazis", and, more specifically, "Reg Traviss's Joy Division, most remarkably, ignores the Holocaust, instead following a German boy soldier in 1944 through to his life as a Soviet spy in Sixties London, showing the subjective experience of German civilians as