“What about her?” Kee asked.
“Nothing, so far. She’s rattled to death, and all upset, of course, but though I think she’s trying to hide something, I’m sure it’s nothing of real importance. I mean, she thinks she knows something about somebody that seems to her of evidential value, but it isn’t.”
“How do you know it isn’t?”
“This way, Mr. Moore. She gets embarrassed at the wrong places.”
“Go on, say more about it.”
“It’s hard to explain so as to make it plausible. But when I ask her about her doings that night, or about her relations with her uncle, or her feeling towards Mrs. Dallas, she’s as unconcerned and un-self-conscious as a child. But when I refer to those waistcoats or that painted pole, she gets queer-like all in a minute.”
“And you gather from that?”
“That she is worried to death about the waistcoats because somebody must have put them in her boathouse to incriminate her, and that scares her. While any talk of the actual murder seems not to disturb her nearly so much.”
“You have imagination, Mr. March,” Moore said, looking at him with a sort of admiration. “Or you couldn’t see all that.”
“No, Mr. Moore,” the policeman looked earnest, “that’s only seeing things as they are. I saw all that in Miss Remsen’s face and attitude. It isn’t imagination a detective needs, it’s ability to read the facts right. It’s the criminal who has to have imagination.”