Furniss plunged into the business at hand, without preliminaries.
"There are two doors between our room and 416. I'll keep watch through the keyhole of one, and when I see anything and give the word, you pull open the other and Sato snaps the flash—"
"But," interposed Good, "suppose something happens—and happens in another part of the room. The camera will have to be far enough away to give clearance for the door, and then it won't cover much—"
"Perhaps you'd like to have them stage the show outdoors and let us film it for the movies," said Furniss sarcastically. The photographer laughed furtively but Good affected not to hear him.
The reporter seemed to regret his insolence a little. "It's only a hundred to one shot, of course," he explained more amicably. "Nothing may happen. It may happen where we can't get it. We can only hope for the best. But there's a table in the centre, and the light's in the centre, and if anything happens that's the most likely place for it. If we get it, we get it, and if we don't, we don't, that's all."
"I see," said Good, admiring, in spite of himself, the undeniable ability of the man, however displeasing his personality.
"One thing more," continued Furniss. "The minute they hear the flash they'll break for it. Most of 'em will run for the hall, because they're cowards and fools. But Hennessy's neither one nor the other, and he'll make straight for us. He's a big guy and ready for rough work. Furthermore he's keen. He'll see our game right off. Now while Sato and I make a getaway, it'll be up to you to stop Hennessy. I say you, because you're bigger than I am. Can you use your hands—fight?"
"I have."
"I thought so. Well, I'd suggest your pasting him if you can, before he pastes you, and then beating it, too."
"How will you leave the hotel?"