The idea that Stanley should have seen, and been a party to, his brother’s lust, was too much even for the credibility of a Harding, so Ross is made to say that Stanley couldn’t see the girl when he went behind the counter, because the screen was down, “and when the screen was down no one dared to go into the cubicle.” The absurdity of the story of the screen in one aspect has already been referred to, but a glance at the plan will show its absurdity in another aspect. But even the plan does not show that the cubicle walls were only 6 ft. 4 in. in height, the lower 3 ft. being thin lining boards, and the upper 3 ft. 4 in. being glass. There was no top or ceiling to it. A girl could scarcely breathe in that cubicle without its being noticed by a man squeezing in and out at the end of the bar counter. Everything, according to Harding, took place in the cubicle, and the girl never left it from the time she went in at 3 o’clock until she was carried out, dead and nude, between 1 and 2 o’clock next morning. There are none of the perambulations by the child when alive, or by Ross when the child was dead, backwards and forwards with the body to and from the cubicle of which Matthews speaks. According to the Harding confession, the crime was consummated soon after 6, and the girl was dead. The fact that no trace of blood was ever known to have been seen in the room had to be accounted for, so Harding makes Ross first wash out the cubicle, and then the whole bar. The washing of the cubicle would suggest itself to a much cruder imagination than Harding’s, but the little touch about the rest of the bar was worthy of him. Even Piggott and Brophy, when they had the matter so “well in hand” on the morning of the 31st, that they did not think to go into the cubicle, might be expected to notice that one part of the bar was cleaner than the other, for Harding would not have dreamt that the detectives would neglect the elementary step of looking into the cubicle. And so Harding put in the touch of verisimilitude about the washing of the whole bar. If Harding’s story be true, then it was while Ross was engaged in this labour of scrubbing out the bar, with the dead body of an outraged and murdered child keeping vigil over him, that he went out into the Arcade to borrow a lead pencil from the vaudeville artist, Alberts, who just happened to have reason, at the psychological moment, to walk half-way through the Arcade and back again, like a famous character in history. Of course Mr. Alberts may have been mistaken in his identification, but at least he, too, as has been said, has shared in the reward for the information he gave.