Farther up stage the city-hall reporter, who because he has passed his fortieth birthday and has grey in his hair is known as Pop, and the ship-news reporter, who because he is the ship-news reporter is known as Skipper, the same as in all well-regulated newspaper offices, are pasting up their strings, both of them being space men. Otherwise the big bare room with its rows of desks and its scrap-strewn floor is quite empty. This hour, coming between six and seven, in the city room of _The Clarion_ or any other big paper, is apt to be the quietest of all hours between starting time, early in the afternoon, and quitting time, early in the morning. The day city editor, having finished his stint, has gone off watch, leaving behind for his successor, the night city editor, a single scrawled sheet upon which is recorded the tally of things accomplished, things undertaken and things failed at. The reporters who got afternoon assignments have most of them turned in their stories and have taken other assignments which will keep them out of the office until much later. So almost an ecclesiastical quiet fills the city room now. For the matter of that, it is only in the dramatic versions that a newspaper office ever attains the aspect of frenzied tumult so familiar and so agreeable to patrons of plays purporting to deal with newspaper life. As usually depicted upon the stage, a city room near press time is something like a skating rink, something like the recreation hall of a madhouse, something like a munitions factory working overtime on war orders, and nothing at all like a city room. Even when its manifold activities are in full swing the actual city room, save for the click of typewriter keys, is apt to be as sedately quiet as--let's see now! What would make a suitable comparison? Well--as sedately quiet, say, as the reading room of the average Carnegie Library. Six-thirty-four--enter the villain. The practical door at the right opened and Mr. Foxman came in. In just what he stood in he might have posed for the typical picture of the typical New York business man; not the tired business man for whom the musical shows are supposed to be written but the kind of business man who does not tire so easily. A close-cropped, greyish moustache, a pair of nose glasses riding a short, pugnacious nose in front of two keen eyes, a well-knit middle-age shape inside of a smart-fitting suit, a positive jaw, an air of efficiency and a square shoulder--that briefly would be Mr. Hobart Foxman, managing editor of _The Clarion_. His nod included the city-hall reporter and the ship-news man. Passing by Hemburg without speaking, he halted a minute alongside the desk where the head copy boy speared his shearings upon his battery of spindles. "Singlebury come in yet?" asked Mr. Foxman. "No, sir; not yet, sir," said the head copy boy. "But he's due any minute now, I guess. I phoned him you wanted to see him at a quarter to seven."