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The Footsteps at the Lock

by Ronald A. Knox

Length: 65,849 words, about 263 pages, about 5 hours to read

Mystery

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What it is

When an unsavory pair of cousins goes missing from their canoe holiday on the Thames, detectives are called in to solve the mystery.

The best passages

Pages from the book itself, chosen to make you want to read on. Each opens in the reader at that exact spot.

I: Two Cousins

It is an undeniable but a mystifying fact of natural ethics that a man has the right to dispose of his own property at death. They can do him no good now, those ancestral acres, those hard-won thousands, nor may any of the trees he planted, save the grim cypress, follow their ephemeral master; yet before the partnership of hand and mind is altogether dissolved, a brief flourish at the tail of a will may endow a pauper or disinherit a spendthrift, may be frittered away in the service of a hundred useless or eccentric ends. No good to him⁠—at least, there was once a theory that a man might be happier in the after state for the use of his means here, but we have abolished all that long since; no good to him, but much to expectant nephews and nieces, much to lifeboat funds and cats’ homes, much to the Exchequer, wilting for lack of death-duties. Of all this he is the arbiter. Yet we have it on the authority of all the copybooks that money does far more harm in the world than good; why, then, do we leave the direction of that harm to the one man who, ex hypothesi, will be out of the way when it happens? Why let the testator arrange for the unworthy squandering of his property, when he is to have no tenure in it henceforward except the inalienable grave?

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II: Shipcote Lock

The morning sun shone on the upper reaches of the Thames with the hazy glow that recalls a night of rain and presages a day of baking heat. It was early July, and the time of day conspired with the season of the year to produce an impression of almost uncanny perfection. The woods that threw out their flanking battalions towards the stream were heavy with consummated leafage; the hay standing in the fields glistened and steamed with the evaporations of yesterday; the larks sang in the unconscious egotism of their perpetual encore; the hedges were still fresh with the year’s last revelation, the dog-rose; white wreaths of cloud sailed lazily across the distance, as if assured that they had no speaking part today. The cows stood whisking their tails gently, reserving themselves for greater efforts in the coming heat; rabbits sunned themselves among the hillocks, and scuttled away, stricken with imaginary fears; schoolchildren dotted the lanes, their heads together in earnest debate over nothing; the air was full of promise and expectation; a wind blew, steady but with no chill, from the southwest.

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VII: The Camera Cannot Lie

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.

“Is he d-dead?” asked Angela, her hand on her husband’s shoulder.

“Dead, or dead drunk, or drugged, perhaps. I think the person who took this picture meant us to think he was dead, anyhow. He’s not a very pretty sight, you see, in any case. On the face of it, I must say it looks as if somebody had⁠—well, had finished him off and then taken a photograph of him.”

“But that’s rather horrible. It seems so disgustingly cold-blooded.”

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XII: The Secret of the Island

But this impression proved only skin-deep. They had scarcely landed, when they found an unmistakable path through the bracken; a path, as they noticed with excitement, such as would be made by the dragging of a weight through the tangled fronds, not the mere casual wake left by a foot-passenger. For a few yards it diverged only a little from the shore, then, behind a screen of overhanging bushes, it climbed up the slope towards the centre of the island, through the thickest of the fern. Here and there was a bare patch of clayey soil, and always the clay was seamed as if by the jutting extremities of some heavy weight dragged over it. Yet the direction was uncertain, as if the man who had made this path had been doubtful of his objective; it had purposeless (or were they purposeful?) windings. It came to a standstill, you might say, close to the summit of the island, where the trees grew thickly, but there was an interval in the carpet of the fern; a bare patch of clay, still wet under the protecting shadow of the branches. And here, it seemed, the burden must have been laid down, for there was a firm though indistinct impress on the clay. Bredon and Leyland drew nearer, scanning the surface for any trace of a more definite outline. “Look!” said Leyland suddenly. About halfway down the area of the disturbance was a tiny depression which only one object could have caused. It was the imprint of a button; to judge by its size, a coat-button.

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10 of the best lines

Yet we have it on the authority of all the copybooks that money does far more harm in the world than good; why, then, do we leave the direction of that harm to the one man who, ex hypothesi, will be out of the way when it happens?

I: Two CousinsKeep reading from here

If you were the kind of person who liked that kind of thing, that was the kind of thing you liked.

I: Two CousinsKeep reading from here

Nature overcrowded the canvas, like a good artist who had struck on a bad period.

II: Shipcote LockKeep reading from here

Nigel held that nothing distorts one’s vision in life like experience.

III: The Canoe AdriftKeep reading from here

Nothing stimulates the public imagination so powerfully as the existence of an official theory;

X: Discordant NotesKeep reading from here

It’s the eye does it, not the brain.

XVI: Bredon Plays PatienceKeep reading from here

It’s quite easy to suspect a person of being in disguise; not nearly so easy to suspect him of being in undisguise.

XVIII: In UndisguiseKeep reading from here

He is so ready to impart information that we never ask him questions.

XVIII: In UndisguiseKeep reading from here

As it is, I’m only provisionally shocked, if you understand what I mean.

XXIII: Bredon Plays Patience AgainKeep reading from here

The only thing is to stick to the rules of the game; and murder isn’t sticking to the rules; it’s an unfair solution, like cheating at patience.

XXIII: Bredon Plays Patience AgainKeep reading from here

All 21 The Footsteps at the Lock quotes, with the words around each

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Contents

All 26 parts
  1. Frontispiece
  2. I: Two Cousins
  3. II: Shipcote Lock
  4. III: The Canoe Adrift
  5. IV: The Indescribable Has Its Doubts
  6. V: Mr. Burgess Expands
  7. VI: The Archimedes Touch
  8. VII: The Camera Cannot Lie
  9. VIII: A Common-Room Dinner
  10. IX: Nigel Goes Down
  11. X: Discordant Notes
  12. XI: Mr. Erasmus Quirk
  13. XII: The Secret of the Island
  14. XIII: Pursued
  15. XIV: The Man in the Punt
  16. XV: A New Legacy
  17. XVI: Bredon Plays Patience
  18. XVII: Mr. Quirk Disappears
  19. XVIII: In Undisguise
  20. XIX: The Story Nigel Told
  21. XX: A Reconstruction
  22. XXI: A Walk in the Dark
  23. XXII: Another Story
  24. XXIII: Bredon Plays Patience Again
  25. XXIV: Backed Both Ways
  26. XXV: A Postscript

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About this edition

Text from Standard Ebooks. Standard Ebooks dedicate their edition to the public domain (CC0 1.0). Every passage and line on this page is the book's own words, checked against the text.