Moreover he had maintained the peace with the terrible London County Council, all of whose inspecting departments seemed to have secretly decided that the Regent Theatre should be opened, not in June as Edward Henry had decided but at some vague future date toward the middle of the century. Months earlier Edward Henry had ordained and announced that the Regent Theatre should be inaugurated on a given date in June, at the full height of splendour of the London season, and he had astounded the theatrical world by adhering through thick and thin to that date, and had thereby intensified his reputation as an eccentric; for the oldest inhabitant of that world could not recall a case in which the opening of a new theatre had not been promised for at least three widely different dates. Edward Henry had now arrived at the eve of the date, and if he had arrived there in comparative safety, with a reasonable prospect of avoiding complete shame and disaster, he felt and he admitted that the credit was due as much to Mr. Alloyd as to himself. Which only confirmed an early impression of his that architects were queer people--rather like artists and poets in some ways, but with a basis of bricks and mortar to them. His own share in the enterprise of the Regent had in theory been confined to engaging the right people for the right tasks and situations; and to signing checks. He had depended chiefly upon Mr. Marrier, who, growing more radiant every day, had gradually developed into a sort of chubby Napoleon, taking an immense delight in detail and in choosing minor hands at round-sum salaries on the spur of the moment. Mr. Marrier refused no call upon his energy. He was helping Carlo Trent in the production and stage-management of the play. He dried the tears of girlish neophytes at rehearsals. He helped to number the stalls. He showed a passionate interest in the tessellated pavement of the entrance. He taught the managerial typewriting girl how to make afternoon tea. He went to Hitchin to find a mediæval chair required for the third act, and found it. In a word he was fully equal to the post of acting manager. He managed! He managed everything and everybody except Edward Henry, and except the press-agent, a functionary whose conviction of his own indispensability and importance was so sincere that even Marrier shared it, and left him alone in his Bismarckian operations. The press-agent, who sang in musical comedy chorus at night, knew that if the Regent Theatre succeeded, it would be his doing and his alone.