And you'll have to learn why. He had found himself one of the thousands in the jam on Michigan Avenue, as he said. He had a place near the curb, where his big frame shut off the view of the unfortunates behind him. He waited with the placid interest of one who has subscribed to all the funds and societies to which a prosperous, middle-aged business man is called upon to subscribe in war time. Then, just as he was about to leave, impatient at the delay, the crowd had cried, with a queer dramatic, exultant note in its voice, "Here they come! Here come the boys!"
Just at that moment two little, futile, frenzied fists began to beat a mad tattoo on Jo Hertz's broad back. Jo tried to turn in the crowd, all indignant resentment. "Say, looka here!"
The little fists kept up their frantic beating and pushing. And a voice—a choked, high little voice—cried, "Let me by! I can't see! You man, you! You big fat man! My boy's going by—to war—and I can't see! Let me by!"
Jo scrooged around, still keeping his place. He looked down. And upturned to him in agonised appeal was the face of little Emily. They stared at each other for what seemed a long, long time. It was really only the fraction of a second. Then Jo put one great arm firmly around Emily's waist and swung her around in front of him. His great bulk protected her. Emily was clinging to his hand. She was breathing rapidly, as if she had been running. Her eyes were straining up the street.
"Why, Emily, how in the world!—"
"I ran away. Fred didn't want me to come. He said it would excite me too much."
"Fred?"
"My husband. He made me promise to say good-bye to Jo at home."
"Jo?"
"Jo's my boy. And he's going to war. So I ran away. I had to see him. I had to see him go."