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War-maimed ex-soldiers, represented in the book by crippled friends of Rudi Gerlach, try to teach the young English newcomer, Arnold, about the new political landscape of the postwar. Everything is measured in power units, they say; the English, though civilized, are paupers, soon to be crushed between the Americans and the Russians (p. 70). German cruelties may prove of use to the new powers if on the same side (p. 72). The soldiers play on Arnold’s guilt over the excessive bombing of Germany, forcing him to relive Hamburg and Dresden, to acknowledge his own role in bombing Berlin.

For Greene, Lime was supposed to be an internationalized Englishman, as he and Martins first meet at a British school. In the original Greene–Reed script, Martins muses: ‘It seems like yesterday – that school corridor and the cracked bell and all those British children kidding me about my accent’ (The Third Man, ed. Sinclair, p. 25). This was cut from the film in production, though, perhaps because Reed felt it would be more interesting to raise questions about exactly which country Lime came from.

To Brett, Renn’s scruples have obliterated his face; he is ‘one of your self-devourers’, living ‘meagrely on his own entrails’ (p. 189). 6 This terrible knowledge gives Renn a Gothic understanding of the Cold War choices faced by London as a broken political power in Europe. It is he who meets the representative Russian, Kalitin, in the Soviet zone: admiring his energy and freedom, seeing through the easy lies and politicking, he fears the dangerous power he can wield. It is Renn who builds up a dossier on von Rechberg, the extent of his collaboration with the Nazi Reich, the secret links with American finance, his cynical trafficking with the Soviets over East Germany.

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