Twenty-three and a half hours' leaveRinehart, Mary Roberts
History
Twenty-three and a half hours' leave
Rinehart, Mary Roberts
Man-woman relationships -- Fiction; Soldiers -- Fiction; World War, 1914-1918 -- Fiction
“Leggo that thing,” said the elevator man, now wildly terrified. “Want
to shoot down into the subway?”
Thoroughly frenzied, Sergeant Gray pulled the lever the other way. The
car stopped, trembled, ascended. For a moment two stenographers waiting
on the ground floor had a vision of a strange figure in undershirt,
cotton, one, and nether garments to match, surmounted by a distorted
face, passing on its way to the upper floors.
Sergeant Gray surrendered the lever, and ran a trembling hand across his
forehead.
“You’ve got to hide me somewhere,” he shouted. “Look at me!”
“I see you,” said the elevator man. “Y’ought to be ashamed of yourself.”
“You’ve got to hide me,” insisted Sergeant Gray; “and then you’ve got to
go out and buy me some clothes.”
They had reached the top floor, and the car had stopped.
“I’ll tell you later. You can get me a pair of pants somewhere, can’t
you?”
There was pleading in his voice. Almost tears. But the tears were of
rage.
“I’ll lose my job if I leave this car,” observed the elevator man. He
had recovered from his fright, and besides he had recognised the boy’s
service hat.
“Soldier, aren’t you?”
“Yes. Look here, old man, I’m in a devil of a mess. Lot of our fellows,
met them outside—it’s a joke. I’ll joke them!” he added vindictively.
“Some fellows got a queer idea of humour,” observed the elevator man. “I
might send out for you. Got any money?”
The full depth of his helplessness struck Sergeant Gray then and turned
him cold. His money, thirty-nine dollars and sixteen cents, was in the
slicker.
“They took my money too.”
The elevator man’s face grew not less interested but more suspicious.
“Why don’t you get a good story while you’re at it?” he demanded. “Looks
like you’re running away from something.”
“Great heavens, I should think I am!”
“You fellows,” observed the elevator man, “think you can come to this
town and raise hell and then pull some soldier stuff and get out of it.
Well, you haven’t any effect on me.”
The buzzer in the cage had been ringing insistently.
“I’ll have to go down. Crawl out, son.”
“Crawl out! Where to?”
“Don’t know. Can’t let you in an office. You may find some place.” He
threw open the door. “Out with you!” he commanded. “I’ll look you up
later.”
“Run me to the cellar,” gasped Sergeant Gray.
“Tailor’s shop there. Full of girls.”
With a hoarse imprecation Sergeant Gray left the elevator and scuttled
down the hallway. To his maddened ears the place was full of sounds, of
voices inside doorways and about to emerge, of footsteps, of hideous
laughter. He had wild visions of finding a window and a roof, even of
jumping off it. Then—he saw on a door the name of J. M. Booth,
Photographer; and hope leaped in his heart.
Public-domain text, read in full here on John Shaqi.
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