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Updated: June 25, 2025
But her reason for remaining in London was not to be found in Arabian's presence there. And she knew that. If she went to Paris she would be separated from Alick Craven. She did not want to be separated from him. And now Dindie Ackroyde's news intensified her reluctance to yield to old Fanny's persuasions and to return to her bronzes.
Oh, for a moment of the conquering sensation she had sometimes known in the years long ago when men had made her aware of her power! Since their meeting in Dindie Ackroyde's drawing-room her friendship with Craven, renewed, had grown into something like intimacy. But there was an uneasiness in it which she felt acutely. There were humbug and fear in this friendship.
Should she go? She read Dindie Ackroyde's note once more carefully, and a strange feeling stung her. She had been angry with Beryl for being fond of Craven. It was evident to her that Beryl was behaving badly to Craven. As she looked at the note in her hand she remembered a conversation in a box at the theatre. Arabian! That was the name of the man Dick Garstin was painting, or had been painting.
As she looked at him, not knowing that he was being watched he drew a long breath, almost like a man who feared suffocation. Immediately afterwards he glanced across the room and saw her. She beckoned to him. With a reluctant air, and looking severe, he came across to her. "Are you going to play bridge?" she said. "I don't think so." "Dindie has persuaded me to stay on for the music.
She leaned with an elbow on the edge of the box and looked vaguely about the house. "I shall insist on a change of seats after the interval!" thought Braybrooke. A few minutes passed. Then the door of the box opposite was opened and Lady Wrackley appeared, followed by Dindie Ackroyde and the two young men who had dined with them.
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