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
The stable sergeant, who was carrying a saddle, dropped it. Had he not
been stooping he would have observed something very like a wink on the
most military countenance in America. It was directed at Tommy.
“Good-by, Sergeant Gray,” said the pretty girl, holding out her hand.
“I—I think you are the bravest person! And you will write, won’t you?”
“I wish I was as sure of my commission.”
The stable sergeant swallowed hard.
“But you’ll get that now, of course. I’ll go right in and tell Uncle
Jimmy.”
“Oh, I say!” protested Sergeant Gray. “You—you mustn’t do that, you
know.”
“Aw, rats!” muttered the stable sergeant; and clutching the saddle
furiously moved away. Up the road he met a military policeman, and
stopped him.
“Better grab that fellow.” He indicated Sergeant Gray behind him, now
shamelessly holding the hand of the general’s niece.
“Why?”
“Awol,” replied the stable sergeant darkly—being military brevity for
absent without leave. “And you might observe,” he added, “that he isn’t
in uniform.”
The girl got into the little car. Hat in hand, eyes full of many things
he dared not put into words, Sergeant Gray of the Headquarters Troop of
the ——th Division watched her start the car, smile into his eyes and
move away. He came to at a touch on his arm.
“What’re you doing in that outfit?” demanded the M. P. sharply.
“Having an acute attack of heart trouble, if you want to know,” said the
sergeant, staring after the little car.
“Have to arrest you.”
“Oh, go to it!” said the sergeant blithely. “I’m used to it now. Look
here,” he added, “your name’s not Joe, by any chance?”
“You know my name,” said the M. P. sourly.
“Sorry,” reflected the sergeant. “Don’t mind if I call you Joe, do you?
Always like the men who arrest me to be called Joe. It’s lucky.”
He stopped and looked back; the little car was almost out of sight.
“All right, Joe, old top!” he said blithely. And he sang in a deep bass
“_Where do we go from here, boys?
Where do we go from here?
All the way from Broadway to the Jersey City pier._”
His voice died away. In his eyes there was suddenly that curious blend
of hope and sadness which shines from the faces of those who love and,
loving, must go away to war.
“Wait a minute, Joe,” he said.
And, turning, looked back again. The little car was still in sight, and
the girl, standing up in it, waved her hand.
[Illustration]
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TRANSCRIBER’S NOTES
1. Silently corrected obvious typographical errors and variations in
spelling.
2. Retained archaic, non-standard, and uncertain spellings as printed.
3. Enclosed italics font in _underscores_.
Public-domain text, read in full here on John Shaqi.
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