Bill simply sits at the conference tables, arms crossed, dozing with his eyes closed, pretending to be utterly bored by the whole "who's the mole" discussion.
That's a great sequence...I love the little jokes he pitches essentially making fun of the pompous Alleline, as well.
The scene where the the London Station boys are grilling Guillam is also marvelous; the way Haydon is barely holding back laughter at their ineptitude, the dialogue (Esterhase: "Remember, this is ultra, ultra
secret"; Guillam: "Then I'll keep my mouth ultra, ultra
shut"). I don't think the writers were too concerned with trying to keep Haydon's identity as the mole totally secret to the end, no more than Le Carre's novel was.
The Connie sequence is very well played. In the novel, Smiley's meeting with her is much longer--it covers, IIRC, more than a chapter--but this condenses down very nicely the essence of it. Connie is, sad to say, considered something of a joke apparently, even though she was of course dead right about Polyakov. This scene plays down that aspect, but still makes it plain that 'her lovely boys' always meant far more to her than she did to them.
One of my favorite scenes is the beginning of the first interrogation of Tarr by Smiley. At first in seems like Smiley is the one who is going to be interrogated, beeing fetchd by Peter "no matter what" and than Tarr giving him his speech standing. Than Smiley sits down, and puts on his glasses and suddenly the whole mood changes. He is no longer a feeble old man, he is the master and in total conrol.
That's a good one. I love the way the Tarr story sequence ends, with the viewer sort of being jolted back to reality in the sitting room, with Smiley, Guillam and Lacon sitting there, the sun now streaming through the windows; the only indication given that the men have been there listening to this incredible story virtually all night.