Explore "Call for the Dead" by John le Carré on Textopian. Read with annotations and highlights.
The Sheridan’s three-act production of Edward II was playing to a full house. Guillam and Mendel sat in adjacent seats at the extreme end of the circle, which formed a wide U facing the stage. The left-hand end of the circle afforded a view of the rear stalls, which were otherwise concealed. An empty seat separated Guillam from a party of young students buzzing with anticipation.
They looked down thoughtfully on a restless sea of bobbing heads and fluttering programmes, stirring in sudden waves as later arrivals took their places. The scene reminded Guillam of an Oriental dance, where the tiny gestures of hand and foot animate a motionless body. Occasionally he would glance towards the rear stalls, but there was still no sign of Elsa Fennan or her guest.