Nor do I favour
the method invariably adopted by people in cinema plays, which is to sit on
the buffers or the roofs, or conceal yourself among the brakes or whatever
they are underneath the carriages. Unless you drop off just before the
terminus, which hurts, the same objection arises as in the under-the-seat
method; and in any case you are practically certain to be spotted not only
by the officials of the railway company concerned but with axle-grease.
It is of course possible to travel without concealment and without a ticket
either, merely discovering with a start of surprise when you are asked for
it that you have lost the beastly thing. But this involves acting. It
involves hunting with a great appearance of energy and haste in all your
pockets, your reticule, your hatband, the turn-ups of your trousers, _The
Rescue_ (for you certainly used something as a book-marker) and finally
turning out in front of all the other passengers the whole of your
note-case, which proves that you cannot have been going to stay at the
"Magnificent" after all, and the envelopes of all the old letters which you
were taking down to the sea in the hopes of answering them there; and even
after that you have to give the name and address of somebody you don't like
(say Sir ERIC GEDDES) to satisfy the inspector.
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