“Damn these red-headed old women!” he muttered in his beard. “There’s no doing anything with them! The idea of my going to her to propose for Miss Van Tuyn! What next, I wonder?”
When he was out in Brook Street he hesitated for a moment, then took out his watch and looked at it. Half-past three! He thought of the Wallace Collection. It seemed to draw him strangely just then. He put his watch back and walked towards Manchester Square.
He had gained the Square and was about to enter the enclosure before Hertford House by the gateway on the left, when he saw Miss Van Tuyn come out by the gateway on the right, and walk slowly towards Oxford Street in deep conversation with a small horsey-looking man, whose face he could not see, but whose back and legs, and whose dress and headgear, strongly suggested to him the ring at Newmarket and the Paddock at Ascot.
Braybrooke hesitated. The attraction of the Wallace Collection no longer drew him. Besides, it was getting late. On the other hand, he scarcely liked to interrupt an earnest tete-a-tete. If it had not been that he was exceptionally strung up at that moment he would probably have gone quietly off to one of his clubs. But who knew what that foolish old woman at Claridge’s might say to Miss Van Tuyn when she reached her hotel? It really was essential in the sacred interest of truth that he should forestall Fanny Cronin. The jockey—if it was a jockey—Miss Van Tuyn was with must put up with an interruption. But the interruption must be brought about naturally. It would not do to come up behind them. That would seem too intrusive. He must manage to skip round deftly when the occasion offered, and by a piece of masterly strategy to come upon them face to face.
Seized of this intention Braybrooke did a thing he had never done before; he “dogged” two human beings, walking with infinite precaution.
His quarry presently turned into the thronging crowds of Oxford Street and made towards the Marble Arch, keeping to the right-hand pavement. Braybrooke saw his opportunity. He dodged across the road to an island, waited there till a policeman, extending a woollen thumb, stopped the traffic, then gained the opposite pavement, hurried decorously on that side towards the Marble Arch, and after a sprint of perhaps a couple of hundred yards recrossed the street almost at the risk of his life, and walked warily back towards Oxford Circus, keeping his eyes wide open.
Before many minutes had passed he discerned the graceful and athletic figure of Miss Van Tuyn coming towards him; then, immediately afterwards, he caught a glimpse of a blue shaven face with an aquiline nose beside her, and realized that the man he had taken for a jockey was Dick Garstin, the famous painter.
As Braybrooke knew everyone, he, of course, knew Garstin, and he wondered now why he had not recognized his back at Manchester Square. Perhaps his mind had been too engrossed with Fanny Cronin and the outrage at Claridge’s. He only knew the painter slightly, just sufficiently to dislike him very much. Indeed, only the acknowledged eminence of the man induced Braybrooke to have anything to do with him. But one has to know publicly acclaimed geniuses or consent to be thoroughly out of it. So Braybrooke included Garstin in the enormous circle of his acquaintances, and went to his private views.
But now the recognition gave him pause, and he almost wished he had not taken so much trouble to meet Miss Van Tuyn and her companion. For he could say nothing he wanted to say while Garstin was there. And the man was so damnably unconventional, in fact, so downright rude, and so totally devoid of all delicacy, all insight in social matters, that even if he saw that Braybrooke wanted a quiet word with Miss Van Tuyn he would probably not let him have it. However, it was too late now to avoid the steadily advancing couple. Miss Van Tuyn had seen Braybrooke, and sent him a smile. In a moment he was face to face with them, and she stopped to greet him.
“I have been spending an hour at the Wallace Collection with Mr. Garstin,” she said. “And quarrelling with him all the time. His views on French art are impossible.”