As he stood before a window near a corner, his ears were assailed by a waxing clamour and commotion. He stood close to the window to allow passage to the cause of the hubbub—a procession of human beings, which rounded the corner and headed in his direction. He perceived a salient hue of blue and a glitter of brass about a central figure of dazzling white and silver, and a ragged wake of black, bobbing figures.
Two ponderous policemen were conducting between them a woman dressed as if for the stage, in a short, white, satiny skirt reaching to the knees, pink stockings, and a sort of sleeveless bodice bright with relucent, armour-like scales. Upon her curly, light hair was perched, at a rollicking angle, a shining tin helmet. The costume was to be instantly recognized as one of those amazing conceptions to which competition has harried the inventors of the spectacular ballet. One of the officers bore a long cloak upon his arm, which, doubtless, had been intended to veil the candid attractions of their effulgent prisoner, but, for some reason, it had not been called into use, to the vociferous delight of the tail of the procession.
Compelled by a sudden and vigorous movement of the woman, the parade halted before the window by which Lorison stood. He saw that she was young, and, at the first glance, was deceived by a sophistical prettiness of her face, which waned before a more judicious scrutiny. Her look was bold and reckless, and upon her countenance, where yet the contours of youth survived, were the finger-marks of old age’s credentialed courier, Late Hours.
The young woman fixed her unshrinking gaze upon Lorison, and called to him in the voice of the wronged heroine in straits:
“Say! You look like a good fellow; come and put up the bail, won’t you? I’ve done nothing to get pinched for. It’s all a mistake. See how they’re treating me! You won’t be sorry, if you’ll help me out of this. Think of your sister or your girl being dragged along the streets this way! I say, come along now, like a good fellow.”
It may be that Lorison, in spite of the unconvincing bathos of this appeal, showed a sympathetic face, for one of the officers left the woman’s side, and went over to him.
“It’s all right, Sir,” he said, in a husky, confidential tone; “she’s the right party. We took her after the first act at the Green Light Theatre, on a wire from the chief of police of Chicago. It’s only a square or two to the station. Her rig’s pretty bad, but she refused to change clothes—or, rather,” added the officer, with a smile, “to put on some. I thought I’d explain matters to you so you wouldn’t think she was being imposed upon.”
“What is the charge?” asked Lorison.
“Grand larceny. Diamonds. Her husband is a jeweller in Chicago. She cleaned his show case of the sparklers, and skipped with a comic-opera troupe.”
The policeman, perceiving that the interest of the entire group of spectators was centred upon himself and Lorison—their conference being regarded as a possible new complication—was fain to prolong the situation—which reflected his own importance—by a little afterpiece of philosophical comment.