They got to the hotel at about three o'clock. There was a message for Tracy to call Marc-Ange at the Maison Rouge at Strasbourg. They went up to her room and got through. Tracy said, 'Here he is, Papa, and almost in one piece.' She handed the receiver to Bond.
'What did he write?'
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The courtyards and cul-de-sacs of the Yard had reminded him as usual of a prison without roofs. The overhead strip lighting in the cold corridor took the colour out of the cheeks of the police sergeant who asked his business and watched him sign the apple-green chit. It did the same for the face of the constable who led him up the short steps and along the bleak passage between the rows of anonymous doors to the waiting-room.
"American performers excel in the musical comedy theatre, where dancers and singers also very often are fine actors. This is not true in England. Dancers are especially hard to cast in London, though I think that is changing now. … It's sad that the American theatre can't support serious plays. They're either musicals or they're comedies. I think a healthy theatre should be able to support the works of serious playwrights. This season, we happen to have on Broadway an important play by an American playwright — Arthur Kopit's Wings, which stars our client Constance Cummings, who is an American actress who went to England and made her reputation abroad, and has now returned here to great acclaim."