"Perhaps so," said Mr. Foxman; "let's see if making a change won't work a cure. Do you see this?" and he put his hand on the sheaf of Singlebury's copy lying on his desk, under the captions he himself had done. "Well, this may turn out to be the biggest beat and the most important story that we've put over in a year. It's all ready to go to the type-setting machines--I just finished reading copy on it myself. But if it leaks out--if a single word about this story gets out of this building before we're ready to turn it loose on the street--the man responsible for that leak is going to lose his job no matter who or what he is. Understand? "Now, then, excepting you and me and the man who wrote it, nobody employed inside this building knows there is such a story. I want you to take it upstairs with you now. Don't let 'em cut it up into regular takes for the machines. Tell the composing-room foreman--it'll be Riordan, I guess--that he's to take his two best machine operators off of whatever they're doing and put 'em to work setting this story up, and nothing else. Those two men are to keep right at it until it's done. I want a good, safe-mouthed man to set the head. I want the fastest proofreader up there, whoever that may be, to read the galley proofs, holding copy on it himself. Impress it on Riordan to tell the proofreader, the head setter and the two machine men that they are not to gab to anyone about what they're doing. When the story is corrected I want you to put it inside a chase with a hold-for-release line on it, and cover it up with print paper, sealed and pasted on, and roll it aside. We've already got one hold-for-release yarn in type upstairs; it's a Washington dispatch dealing with the Mexican situation. Better put the two stories close together somewhere out of the way. Riordan will know where to hide them. Then you bring a set of clean proofs of this story down here to me--to-night. I'll wait right here for you. "I'd like to run the thing to-morrow morning, leading with two columns on the front page and a two-column turnover on page two. But I can't. There's just one point to be cleared up before it'll be safe to print it. I expect to clear up that point myself to-morrow. Then if everything is all right I'll let you know and we'll probably go to the bat with the story Friday morning; that'll be day after to-morrow. If it should turn out that we can't use it I want you to dump the whole thing, head and all, and melt up the lead and forget that such a story ever passed through your hands. Because if it is safe--if we have got all our facts on straight--it'll be a great beat. But if we haven't it'll be about the most dangerous chunk of potential libel that we could have knocking about that composing room. Do you get the point?"