The Footsteps at the Lock · Chapter
VII: The Camera Cannot Lie explained
Angela presents Bredon with six photographs she developed.
What happens
Angela presents Bredon with six photographs she developed. Bredon analyzes each image, deducing that the final photograph shows a man who appears dead or drugged in a canoe near the lock-stream bridge. He reconstructs the sequence of events, suggesting the photographer walked up the bridge steps backwards to avoid leaving identifiable footprints, and that the photograph of the footprints was accidental. Bredon plans to confront Nigel with a fabricated story about finding the photos to gauge his reaction.
Themes in this chapter
Detection and Rational Inquiry
Bredon systematically analyzes each photograph, using logical deduction to reconstruct the sequence of events and the photographer's actions.
Appearance vs. Reality
The photographs appear to show a murder scene, but Bredon questions whether the man is actually dead, and the footprints suggest deliberate deception.
Characters to notice
- Miles Bredon
Analyzes the six photographs with keen observation, reconstructing the sequence of events and planning to use a fabricated story to test Nigel.
- Angela
Brings the developed prints to Bredon, expresses horror at the implications, and engages in speculative reasoning about the crime.
- Nigel Burtell
Implied as the photographer and possible perpetrator; Bredon plans to confront him with a deceptive story about finding the photos.
- Derek Burtell
The subject of the final photograph, appearing dead or drugged in the canoe.
- Mr. Burgess
Identified in the fourth photograph as the gardener at the lock; his back being turned is noted as an opportunity for the perpetrator.
Key passages
“The sixth was a view of the river, taken from a bridge; this was sufficiently indicated by the appearance of what looked like an iron girder, much out of focus, at the bottom of the picture. In the centre, fully focused, floated a canoe, which seemed to be nearly parallel to the bridge, nearly broadside on to the flow of the river. The water was slightly rippled, and a paddle, lying across the centre of the boat, made no clear reflection. The figure of a man lay sprawling at full length on the floor of the canoe, the knees just under the front thwart; the head was turned sideways, and was propped up by a rest and a cushion. The whole attitude suggested a complete abandonment of repose; something about the bend of the neck, something about the way in which the left arm lay crushed under the body, suggested that it was not the attitude in which a man would naturally have fallen asleep. A hat shaded most of the face, but revealed a clean-shaven chin. The back seat of the boat was empty; the other paddle leaned carelessly against it.”
The final photo shows a canoe on the river, taken from a bridge. A man lies sprawled in the boat in an unnatural position, suggesting he is dead or unconscious, with a hat partially covering his clean-shaven face.
Bredon and Angela examine the most incriminating photograph.
“He walked up the stairs backwards. You can see that, if you look at the photograph carefully. The marks are the marks of heels. You don’t walk downstairs on your heels, you walk on your toes and the flat part of the soles. These marks show that he walked up backwards.”
Bredon deduces that the footprints in the photo were made by someone walking up the steps backwards, as indicated by the heel marks.
Bredon explains his reasoning about the footprint photograph to Angela.