When the train reached London, he was put in a cab and driven to Pentonville. There he was told that he was being prepared for discharge. He spent a day locked up by himself – the most miserable day, in retrospect, of his entire three years in gaol. He knew he should be happy; instead, he was as bewildered by his release as he had been by his arrest. Two detectives came and served him with papers; he was ordered to report to Scotland Yard, there to receive further instructions.

At ten thirty on the morning of October 19th, 1906, George Edalji left Pentonville in a cab with a Jew who was also being released. He did not enquire whether the fellow was a real Jew, or just a prison Jew. The cab dropped his fellow passenger at the Jewish Prisoners' Aid Society, and took him on to the Church Army's Aid Society. Prisoners who had joined such societies qualified for a double gratuity upon release. George was handed £2 9s. 10d. Officers of the Society then took him to Scotland Yard, where the terms of his release on licence were explained. He was to supply the address where he would be staying; he was to report once a month to Scotland Yard; and he was to inform them in advance of any plans to leave London.

A newspaper had sent a photographer to Pentonville to obtain a snapshot of George Edalji leaving the prison. By mistake the man photographed a prisoner released half an hour before George; and so the newspaper printed a picture of the wrong man.

From Scotland Yard he was driven to meet his parents.

He was free.

Arthur

And then he meets Jean.

He is a few months short of his thirty-eighth birthday. He is painted that year by Sidney Paget, sitting straight-backed in an upholstered tub chair, frock coat half open, fob chains on show; in his left hand a notebook, in his right a silver propelling pencil. His hair is now receding above the temples, but this loss is made irrelevant by the compensating glory of the moustache: it colonizes his face above and beyond the upper lip and extends in waxed toothpicks out beyond the line of the earlobes. It gives Arthur the commanding air of a military prosecutor; one whose authority is endorsed by the quartered coat of arms in the top corner of the portrait.

Arthur is the first to admit that his knowledge of women is that of a gentleman rather than a cad. There were certain boisterous flirtations in his early life – even an episode which had to do with flying fish. There was Elmore Weldon who, if it was not an ungentlemanly observation, did weigh eleven stone. There is Touie who, over the years, became a companionable sister to him and then, suddenly, an invalid sister. There are, of course, his real sisters. There are the statistics of prostitution which he reads at his club. There are stories told over port which he sometimes declines to hear, stories involving, for instance, private rooms in discreet restaurants. There are the gynaecological cases he has seen, the confinements he has attended, and the cases of disease among Portsmouth sailors and other men of low morals. His understanding of the sexual act is diverse, though related more to its unfortunate consequences than to its joyful preliminaries and processes.

His mother is the only woman to whose governance he is prepared to submit. With other members of the sex he has been, variously, large brother, substitute father, dominant husband, prescribing doctor, generous writer of blank cheques and Father Christmas. He is solidly content with the separation and distinction of the sexes as developed by society in its wisdom through the centuries. He is resolutely against the notion of votes for women: when a man comes home from work, he does not want a politician sitting opposite him at the fireside. Knowing women less, he is able to idealize them more. This is as he thinks it should be.

Jean therefore comes as a shock to him. It is now a long time since he looked at a young woman as young men habitually do. Women – young women – it seems to him, are meant to be unformed; they are malleable, pliant, waiting to be shaped by the impress of the man they marry. They hide themselves; they watch and wait, they indulge in decorous social display (which should always fall short of coquetry) until such time as the man makes apparent his interest, and then his greater interest, and then his especial interest, by which time they are walking alone together, and the families have met, and finally he asks for her hand and sometimes, perhaps, in a last act of concealment, she makes him wait upon her answer. This is how it has all evolved, and social evolution has its laws and its necessities just as biological evolution does. It would not be thus if there were not a very good reason for its being thus.

When he is introduced to Jean – at an afternoon tea party in the house of a prominent London Scotsman, the sort of event he normally avoids – he notices at once that she is a striking young woman. He knows from long experience what to expect: the striking young woman will ask him when he is going to write another Sherlock Holmes story, and did he really die at the Reichenbach Falls, and perhaps it would be better if the consulting detective were to marry, and how did he think up such an idea in the first place? And sometimes he answers with the weariness of a man wearing five overcoats, and sometimes he manages a faint smile and replies, 'Your question, young lady, reminds me why I had the good sense to drop him over the Falls in the first place.'

But Jean does none of this. She does not give an agreeable start at his name, or shyly confess herself a devoted reader. She asks him if he has seen the exhibition of photographs of Dr Nansen's voyage to the far North.

'Not yet. Although I was present at the Albert Hall last month when he lectured to the Royal Geographical Society and received a medal from the Prince of Wales.'

'So was I,' she replies. This is unexpected.

He tells her how, after reading Nansen's account a few years previously of crossing Norway on skis, he acquired a pair of them; how from Davos he skiied the high slopes with the Branger brothers, and how Tobias Branger wrote 'Sportesmann' in the hotel registration book. Then he begins a story, which he often tells as an adjunct to this one, about losing his skis at the top of a snow-face and being obliged to come down without them, and how the strain on the seat of his tweed knickerbockers… and this really is one of his best stories, though perhaps in the present circumstances he will amend the conclusion about being happiest for the rest of the day when standing with his trouser-seat to a wall… but she seems to have stopped paying attention. Taken aback, he pauses.

'I should like to learn to ski,' she says.

This is also unexpected.

'I have excellent balance. I have ridden since I was three.'

Arthur is somewhat piqued at not being allowed to finish his story about tearing his knickerbockers, which includes mimicry of his tailor's assurances about the durability of Harris tweed. So he tells her firmly that it is most unlikely that women – by which he means society women, as opposed to female Swiss peasants – will ever learn to ski, given the physical strength required and the dangers attendant on the activity.

'Oh, I am quite strong,' she replies. 'And I imagine I have better balance than you, given your size. It must be an advantage to have a lower centre of gravity. And being much less heavy, I should not do so much damage were I to fall.'

Had she said 'less heavy' he might have taken offence at such pertness. Because she says 'much less heavy' he bursts out laughing, and promises, one day, to teach her to ski.

'I shall hold you to it,' she replies.

It was all a rather extraordinary encounter, he reflects to himself in the subsequent days. The way she declined to acknowledge his fame as a writer, set the subject of the conversation, interrupted one of his most popular stories, exhibited an ambition some might call unladylike, and laughed – well, as good as laughed – at his size. And yet she managed to do it all lightly, seriously, enchantingly. Arthur congratulates himself on not having taken offence, even if none was intended. He feels something he has not felt for years: the self-satisfaction of the successful flirt. And then he forgets her.