Tag Archives: Death

WAS AMANDA KNOX REALLY INNOCENT OF KILLING MEREDITH KERCHER?

The Amanda Knox story captured worldwide attention during the years she passed through the Italian legal system and was convicted—twice—of complicity in murdering her college roommate, Meredith Kercher. Now, the international spotlight is again upon Amanda Knox with the new Matt Damon movie Stillwater being based on her case. In Stillwater, Matt Damon’s fictional  character pursues justice for his daughter who is wrongfully accused and falsely imprisoned for murder. It leads to questioning if this was the truth in the real Amanda Knox story and that Knox was really innocent of killing Meredith Kercher.

There’s a lot of internet information on the Amanda Knox murder case. Some of it’s factual. Much is sensational tabloid junk about “Foxy Knoxy”—the “Ice Lady”—disseminated by socially dysfunctional trolls operating from surplus metal sea-cans converted into dwellings via an extension cord hooked to one bare light bulb. To find out the truth, it’s necessary to first look at the overall facts and then examine how the Italian legal system handled the case through a dragged-out, eight-year-long process.

In 2007, Amanda Knox was a 20-year-old student from Seattle, Washington. She moved to Perugia in central Italy (slightly north of Rome) to further her journalism studies as Perugia was well-known for outstanding universities and educational opportunities—a popular place for foreign students. Here, Knox met a British exchange student, 21-year-old Meredith Kercher, and they shared a ground-floor, four-bedroom apartment with two other young ladies.

Quickly, Knox became romantically involved with a young Italian man, Raffaele Sollecito, and Kercher did the same with Giacomo Silenzi. At the time, Knox also worked part-time in a nightclub run by Patrick Lumumba. It was this pentagon of five that the Italian prosecutors would present as a sex game gone wrong that resulted in Meredith Kercher’s death.

Meredith Kercher

On the evening of November 1, 2007, Knox, Sollecito, Silenzi, and Kercher socialized with others at Sollecito’s apartment near to where the ladies roomed. Present was a man named Rudy Guede who was invited by one of the group but who was unknown to Knox and Kercher. Around 9 pm, Kercher excused herself from the gathering and walked back to her residence alone. Bit by bit, the gathering broke up leaving Knox and Sollecito to overnight there together.

At midday on November 2, Knox repeatedly tried to phone Meredith Kercher. She got no answer and became concerned so Knox and Sollecito went to the co-habitation and found Kercher’s bedroom door locked. Knox tapped on the door and called out but Kercher didn’t answer. Then Knox and Sollecito noticed some bloodstains, including a bloody footprint, in the bathroom.

Being alarmed, Knox called her mother in America who directed Knox to call the Italian police. She did so. However, there was a significant delay which was advanced as part of the prosecution’s later case against Knox and was supported by a timeline presented through cell phone records.

The first attending police officers were not homicide detectives. They were an Italian version of postal inspectors crossed with communication fraud investigators. There hadn’t been a murder in Perugia in over twenty years, so it was a considerable time before “competent” scene processors and trained murder cops arrived. Naturally, the scene was contaminated and the ensuing DNA evidence used in convicting Amanda Knox of murdering Meredith Kecher was compromised.

What the scene processing showed was Kercher had been attacked, raped, and had her throat cut in her bedroom. Her official cause of death was exsanguination (bleeding out) after being injured with a sharp-edged weapon. Kercher’s bedroom window was open and the investigators deduced that to mean that a break-in had been staged with the real killer setting the crime up to appear that a stranger was involved.

Police initially treated Amanda Knox as a witness. She was questioned on different occasions, but the homicide investigators slowly formulated a theory that Knox was lying to protect the actual murderer. They also developed a motive theory that Kercher was killed because she refused to take part in a multi-person sexual trist. An orgy.

On November 6, the Italian homicide detectives again brought Knox in for questioning. This time it turned into a full-on, hard-core interrogation that lasted hours. This is a complex and controversial part of the Amanda Knox story and precise details—at least as precise as possible because the authorities did not audio or video record it (rather they elicited a written confession from Knox)—can be read on the website amandaknoxcase.com under The Interrogation of Amanda Knox.

In Amanda Knox’s written confession, she states to have been present while her nightclub boss, Patrick Lumbumba, raped and murdered Meredith Kercher. Knox did not supply any motive or any details which only an involved person would know. Lumbuba was arrested on the strength of Knox’s statement and it was shortly proven, beyond all doubt, that Lumbumba had an air-tight alibi and he was flat-out innocent.

Rudy Guede

 

Amanda Knox was held in custody while the prosecution put an indictable case together. Meanwhile, the scene forensic evidence identified a DNA profile from semen on Kercher’s body. They conclusively linked it to Rudy Guede who had been at the social gathering on the evening when Kercher was last seen alive. Guede was arrested in Germany where he confessed and indicated that Amanda Knox had nothing to do with Kercher’s murder.

By now, the Italian legal system had a freight train rolling along the justice track. Instead of applying the brakes, the police, prosecutors, and judges threw more coal on the fire and kept on persecuting Amanda Knox. This was due to the archaic inquisitional system Italy was trying to gentrify into a western adversarial legal framework.

The common US-style evidence rules didn’t apply in the Italian arena. Despite Amanda Knox being hardline interrogated for hours without legal representation, being informed of her rights, denied food, water, and toilet facilities, slapped around, and breaking down in the middle of the night, the Italian court accepted Knox’s coerced confession as solid evidence that had to be admitted under their law structure. It didn’t matter that the prosecution’s perceived motive—some kinky sex game—had no factual basis, and it didn’t matter that Knox’s boyfriend, Raffaele Sollecito, provided Knox with her air-tight alibi. No, the Italian legal machine went right on persecuting Amanda Knox.

Knox stood trial through the summer and fall of 2009. Her case received massive public attention and the British tabloids sensationalized it like nothing ever seen. This was now the day of the emerging internet where chatrooms and social media made a spectacle of the trial and a massive mess of Amanda Knox’s life.

Amanda Knox was convicted of Meredith Kercher’s murder on December 4, 2009. She was sentenced to 26 years in jail. She appealed and had her murder conviction overturned on October 3, 2011, now having served nearly two years in an Italian prison.

In March of 2013, Italy’s Court of Cassation ordered a new trial and on January 30, 2014, she was once again convicted for killing Meredith Kercher. By now, Amanda Knox was back in America and was not returned to Italy during her new appeal. On March 27, 2015, Italy’s highest court again overturned her conviction and her legal persecution was over.

Any rational person would have to ask how this miscarriage of justice could possibly happen. The answer to that is as complicated as the Amanda Knox story, if that’s possible to fully tell. It’s a murky mix of systematic incompetence and utter lack of regard for the truth. In the high court final ruling, the judge cited “sensational failures”, “glaring errors”, “investigative amnesia”, “guilty and culpable omissions”, “ignorance of expert forensic testimony that demonstrated contamination of evidence”, “outright falsification of forensic evidence”, and “a case without any foundation”.

The horrific Amanda Knox wrongful conviction story is best told by Amanda, herself. In a recent interview with The Atlantic titled Who Owns Amanda Knox? , Amanda says:

Does my name belong to me? Does my face? What about my life? My story? Why is my name used to refer to events I had no hand in? I return to these questions again and again because others continue to profit off my identity, and my trauma, without my consent. Most recently, there is the film Stillwater, directed by Tom McCarthy and starring Matt Damon and Abigail Breslin, which was, in McCarthy’s words, “directly inspired by the Amanda Knox saga.” How did we get here?

In the fall of 2007, a British student named Meredith Kercher was studying abroad in Perugia, Italy. She moved into a little cottage with three roommates—two Italian law interns, and an American girl. Less than two months into her stay, a young man named Rudy Guede, an immigrant from the Ivory Coast, broke into the apartment and found Meredith alone. Guede had a history of breaking and entering. A week prior, he had been arrested in Milan while burglarizing a nursery school, and was found carrying a 16-inch knife. He was released. A week later, he raped Meredith and stabbed her in the throat, killing her. In the process, he left his DNA in Meredith’s body and throughout the crime scene. He left his fingerprints and footprints in her blood. He fled to Germany immediately afterward, and later admitted to being at the scene.

I am the American girl in that story, and if the Italian authorities had been more competent, I would have been nothing more than a footnote in a tragic story. But as in many wrongful convictions, the authorities formed a theory before the forensic evidence came in, and when that evidence indicated a sole perpetrator, Guede, ego and reputation led them to contort their theory to maintain that I was still somehow involved. Guede was quietly convicted for participating in the murder in a separate fast-track trial, and then I became the main event for eight long years.

While I was on trial for the murder of Meredith Kercher, from 2007 to 2015, the prosecution and the media crafted a story, and a doppelgänger version of me, onto which people could affix all their uncertainties, fears, and moral judgments. People liked that story: the psychotic man-eater, the dirty ice queen, Foxy Knoxy. A jury convicted my doppelgänger, and sentenced her to 26 years in prison. But the guards couldn’t handcuff that invented person. They couldn’t escort that fiction into a cell. That was me, the real me, who returned to that windowless prison van, to those high cement walls topped with barbed wire, to those cold, echoing hallways and barred windows, to that all-consuming loneliness.

Ten years ago, at the age of 24, I was acquitted, and I tumbled into a kind of purgatory. I left one cell and immediately entered another: the quiet of my childhood bedroom. Outside, the telephoto lenses were fixed on my closed blinds. Prison had given me an appreciation for all the freedoms I’d taken for granted. Freedom showed me how many I still lacked.

As I walked back into the free world, I knew that my doppelgänger was there alongside me. I knew that everyone I would ever meet from then on would have already met, and judged, her. I had been acquitted in a court of law, but sentenced to life by the court of public opinion as, if not a killer, then at least a slut, or a nutcase, or a tabloid celebrity. Why doesn’t she just go away already? Her 15 minutes are over.

In freedom, I had become a pariah. Looking for work, going back to school, buying tampons at the pharmacy, everywhere I went I met people who already thought they knew who I was, what I’d done or not done, and what I deserved. I was threatened with abduction and torture in broad daylight; I was threatened with having Meredith’s name carved into my body. Strangers sent me lingerie and bizarre love letters. All over the world, people believed they knew me, a warped assumption that turned me into a monster to some and a saint to others. I felt like I was always standing behind that cardboard cutout, Foxy Knoxy, saying, Hey, back here, the real me! Even most of the strangers who offered kindness and support didn’t truly see me. They loved her.

It’s hard to make friends, to date, to be a regular person when everyone you meet has a preconceived notion of who you really are, whether positive or negative. I could have chosen to hide out, to change my name, to dye my hair, and hope no one recognized me ever again. Instead, I decided to embrace the world that had dehumanized me, and all those who turned me into a product.

From the moment I was arrested, my name and face and trauma became a source of profit for news organizations, filmmakers, and other artists, scrupulous and unscrupulous. The most intimate details of my life, from my sexual history to my thoughts of death and suicide in prison, were taken from my private diary and leaked to journalists. Those journalists turned my darkest fears into fodder for hundreds of articles, thousands of blog posts, and millions of hot takes. People speculated about my mental state and sexuality, they diagnosed me from afar, they used my predicament as a metaphor, they made TV movies about me, based characters in legal shows on me, and the worst of them took every opportunity they could, while I was in prison and while I’ve been out, to shame me for something I didn’t do, to shame me for living while Meredith is dead, to shame me for being in the very headlines they write, for being in the photographs they take without my consent. The hypocrisy and the cruelty are maddening. And yet, being under that microscope has given me insight into how wrong a media narrative can be, how easy it is for all of us to consume other people’s lives as if they were mere content to fill up our Twitter feeds.

This focus on me led many to complain that Meredith Kercher had been forgotten. But whom did they blame for that? Not the Italian authorities. Not the press. Somehow it was my fault that the police and media focused on me at Meredith’s expense. The result of this is that 14 years later, my name is the name associated with this tragic series of events I had no control over. Meredith’s name is often left out, as is Rudy Guede’s. When he was released from prison in late 2020, the New York Post headline read: “Man Who Killed Amanda Knox’s Roommate Freed on Community Service.” My name is the only name that shouldn’t be in that headline.

I never asked to become a public person. The Italian authorities and global media made that choice for me. And when I was acquitted and freed, the media and the public wouldn’t allow me to become a private citizen again. I have not been allowed to return to the relative anonymity I had before Perugia. I have no choice but to accept the fact that I live in a world where my life, and my reputation, are freely available for distortion by a voracious content mill.

———

There is no doubt—no doubt whatsoever—that Amanda Knox really is innocent of killing Meredith Kercher, She’s a true victim of crime, a victim of commercial tabloids, and a victim of vicious trolls.

DID VINCENT VAN GOGH REALLY COMMIT SUICIDE?

Dutch Post-Impressionism master, Vincent Van Gogh, was a phenomenal force who helped shape modern art culture. His influence ranks with Shakespeare in literature, Freud in psychology, and The Beatles in music. Van Gogh was also plagued with mental illness, suffered from depression, and was tormented by psychotic episodes. Conventional history records that Van Gogh died from a self-inflicted gunshot wound in 1890 at the age of 37. However, an independent and objective look at the case facts arrives at an entirely different conclusion—Vincent Van Gogh was actually shot by someone else, and it was deliberately covered up.

This isn’t to say that Van Gogh was murdered as in a homicide case. As a former police investigator and coroner, I’m well familiar with death classifications. The civilized world has long used a universal death classification system with five categories. They are natural death, accidental death, death caused by wrongful actions by another human being which is a homicide ruling, self-caused death or suicide, and an undetermined death classification when the facts cannot be slotted into one conclusive spot.

I’m also familiar with gunshot wounds. Understanding how Vincent Van Gogh’s fatal wound happened is the key to determining if he intentionally shot himself, if he accidentally caused his own death, or if someone else pulled the trigger which killed Van Gogh. Before analyzing what’s known about the Van Gogh case facts, let’s take a quick look at who this truly remarkable man really was.

Vincent Willem Van Gogh was born in 1853 and died on July 29, 1890. During Van Gogh’s life, he produced over 2,000 paintings, drawings, and sketches. He completed most of these in his later years and was in his most-prolific phase when he suddenly died.

Van Gogh didn’t achieve fame or fortune during his life. He passed practically penniless. It was after death when the world discovered his genius and assessed his works of bright colors, bold strokes, and deep insight as some of the finest works ever to appear on the art scene. Today, an original Van Gogh is worth millions—some probably priceless.

Vincent Van Gogh achieved artistic saint status. It’s not just Van Gogh’s unbounded talent that supported his greatness. It’s also the mystique of the man and the martyrdom mushrooming from his untimely death that robbed the world of an artist—a starving artist and a man who lived on the fine line between genius and nut.

Most people know some of Van Gogh’s masterpieces. Wheatfield With Crows may have been his last painting. Café Terrace At Night, The Potato Eaters, Irises, Bedroom In Arles, The Olive Trees, and Vase With Fifteen Sunflowers are extraordinarily famous. So is The Starry Night. (I happen to have a hand-painted oil reproduction of Starry Night right on the wall in front of me as I write this, and my daughter has Café hanging in her home.)

Most people know the story of Vincent Van Gogh’s ear. It’s a true story, but the truth is he only cut part of his left ear off with a razor during a difficult episode with his on-again, off-again relationship with painter Paul Gauguin. The story goes on that Van Gogh gave his ear piece to a brothel lady, then he bandaged himself up and painted one of many self-portraits. I just looked at this portrait (Google makes Dutch Master shopping easy) and was struck by the image of his right side being bandaged. Then I realized Van Gogh painted selfies by looking in a mirror.

And most people know something about Vincent Van Gogh’s time in asylums. This is true, too, and he spent a good while of 1889 in Saint-Remy where he stared down on the town and painted The Starry Night from later memory. The celestial positions are uncannily accurate.

In late 1889, Van Gogh moved to a rooming house in Auvers-sur-Oise near Paris. His painting production went into overdrive, and he was at the peak of his game. On July 27, 1890, Van Gogh left his room with his paints, canvas, and easel. He returned empty-handed with a bullet in his belly.

Vincent Van Gogh’s spirit left this world at 1:30 a.m. on July 29. He passed without medical intervention on his bed, and the medical cause was, most likely, exsanguination or internal bleeding. There was no autopsy, and Van Gogh was buried in a nearby churchyard the next day.

There are various ambiguous statements purported from Van Gogh. He did not admit to shooting himself or intentionally attempting to commit suicide. However, the record indicates he didn’t deny it. The record can also be interpreted that he covered up for someone else.

What is fairly clear is the description of Vincent Van Gogh’s gunshot wound. There are conflicting locations, (chest, stomach, abdomen), but this is explainable from Dutch/French to English translations. It’s highly probable that one bullet entered the left side of Van Gogh’s mid-section and traversed his intestines in a left-to-right direction. There was no exit wound and no serious spinal damage as Van Gogh had walked home from the shooting scene, up the stairs, and to his room where he expired a day and a half later.

There was no firearm found and absolutely no history of Vincent Van Gogh ever owning or operating a gun. He was a painter. Not a hunter or soldier. (Note: There was a rusted revolver found in an Auver field in 1960 which was said to be the weapon. There is no proof that it was.)

There was no suicide note or any deathbed confession. Aside from being an artist, Van Gogh was a prolific writer who documented many thoughts as he progressed from mental sickness to physical health. In late July of 1890, Van Gogh’s writings showed him to be optimistic and with plans to paint as much as possible before an anticipated period of blackness returned. Two days before his death, Van Gogh placed a large art supply order.

Suicide, in Van Gogh’s case, wasn’t surfaced in the early years after his death. There were murmurs among the villagers that “some young boys may have accidentally shot” Van Gogh as he went about his work in a nearby field. There was no coroner’s inquiry or inquest, but there is documentation of a gendarme questioning Van Gogh if he intentionally shot himself to which Van Gogh allegedly replied, “I don’t know.”

The first strong suicide suggestion came in 1956 with Irving Stone’s novel and movie Lust For Life. It was a documentary that took liberty with Van Gogh’s life and times. It concluded Van Gogh was a troubled soul—a beautiful soul—who ended his life intentionally. The book and movie were bestselling blockbusters and cemented the suicide seed to an adorning public.

It became ingrained in lore and public acceptance that Vincent Van Gogh was a desponded psychotic who suddenly up and killed himself rather than continue a tormented existence of interpreting beauty in nature and people. It was the gospel, according to Van Gogh historians, who were comfortable with a suspicious explanation.

Other people weren’t. In 2011, two researchers took a good and hard look into Van Gogh’s life and death. They had full access to the Van Gogh Museum’s archives in Amsterdam and spent enormous time reviewing original material. They found a few things.

One was a 1957 interview with Rene Secretan who knew Van Gogh well. Secretan admitted to being one of the boys spoken about by the villagers who were involved in Van Gogh’s shooting. Rene Secretan, sixteen years old in 1890, told the interviewer he wanted to set the distorted record straight that was misrepresented in the book and movie.

The interview documents Rene Secretan as saying the handgun that shot Van Gogh was his, and that it was prone to accidentally misfiring. Secretan self-servingly denied being present when the accidental shooting happened, claiming he was back in Paris and not at his family’s summer home in Auvers. Secretan failed to identify those directly involved or exactly what circumstances unfolded.

The researchers, Pulitzer Prize winners Steven Naifeh and Gregory White Smith who co-wrote Van Gogh: The Life, found corroborating statements placing Van Gogh near the Secretan villa on the afternoon of the shooting. They also sourced a leading expert on firearms and gunshot wounds who refuted any chance of Van Gogh being able to discharge a firearm with his own hands that could have caused the wound in its documented location.

Dr. Vincent Di Maio (a 2012 key witness in the Florida trial of George Zimmerman who shot African-American youth Trayvon Martin in a neighborhood watch altercation) concluded that Van Gogh, who was right-handed, could not possibly have held a firearm as it had to be; therefore the shot had to have been fired by another party. Dr. Di Maio also commented on the lack of reported gunshot residue on Van Gogh’s hands and clothes. In 1890, most cartridges contained black powder which was filthy stuff when burned at close range.

Researchers Naifeh and Smith also took a deep dive into what they could find on Rene Secretan’s background. They painted him as a big kid—a thug and a bully who was well known to have picked on wimpy Van Gogh throughout the month of July 1890. Secretan came from a wealthy Paris family who summered at Auvers with their second home within walking distance of Van Gogh’s rooming house.

According to the researchers of Van Gogh: The Life, Rene Secretan had seen the Buffalo Bill Wild West show in Paris, and Secretan fancied himself as a cowboy character. Secretan fashioned a costume to go with his cocky role of a western gunfighter, and he acquired a revolver that was prone to malfunction. They documented incidents where Secretan would mock Van Gogh as he painted, play pranks on him, and supply alcohol to Van Gogh who couldn’t afford it.

It was during a mocking spat, the researchers surmise, that somehow Secretan’s revolver went off and struck Van Gogh in the abdomen. According to the theory, the boys fled, disposed of the weapon, and formed a pact of silence. If this was true, the question arises of why didn’t Vincent Van Gogh report the truth, and why has the suicide conclusion remained steadfast.

Naifeh and Smith address this in their book with this quote: When all this (accidental shooting theory) began to emerge from our research, a curator at the Van Gogh Museum predicted the fate that would befall such a blasphemy on the Van Gogh gospel. “I think it would be like Vincent to protect the boys and take the ‘accident’ as an unexpected way out of his burdened life,” he agreed in an e-mail. “But I think the biggest problem you’ll find after publishing your theory is that the suicide is more or less printed in the brains of past and present generations and has become a sort of self-evident truth. Vincent’s suicide has become the grand finale of the story of the martyr for art, it’s his crown of thorns.”

As an experienced cop and a coroner, I think Naifeh and Smith are on to something. There are two huge problems with a suicide conclusion in classifying Vincent Van Gogh’s death. One is the lack of an immediate suicide threat. The other is the gunshot nature.

I’ve probably seen fifty or more gunshot suicides. All but one were self-inflicted wounds to the head. The exception was a single case where the firearm was placed against the chest and the bullet blew apart the heart. I have never seen a suicide where the decedent shot themselves in the gut, and I’ve never heard of one.

Vincent Van Gogh didn’t leave a suicide note. He made no immediate suicide threats and, by all accounts, things were going well for the struggling artist. It makes no sense at all that Van Gogh would head out for a summer’s day, begin to paint, produce a gun from nowhere, shoot himself in the stomach from the most inconceivable position, then make it home—wounded—without finishing himself off with a second shot.

If I were the coroner ruling on Vincent Van Gogh’s death, I’d readily concur the cause of death was slow exsanguination resulting from a single gunshot wound to the abdomen. I’d have a harder time with the classification. Here, I’d have to use a process of elimination from the five categories—natural, homicide, accidental, suicide, or undetermined.

There is no possibility Van Gogh died of natural causes. He was shot, and that is clear. Was he murdered or otherwise shot intentionally? There is no evidence to support a homicide classification. Did the firearm go off accidentally? It certainly could have, and there is information to support that theory but not prove it.

Suicide? Not convincing. The available evidence does not meet the Beckon Test where coroners must establish beyond a reasonable doubt that the decedent intentionally took their own life. If the death circumstances do not fulfill the requirements of the Beckon Test, then a coroner is not entitled to register a suicide classification.

This only leaves undetermined. Coroners hate closing a file with an undetermined classification. It’s like they failed in their investigation.

Unfortunately, in Vincent Van Gogh’s case—from the facts as best as are known—there’s no other conclusion than officially rule “Undetermined”.

I’m no longer a coroner, though, so I’ll stick out my neck.

On the balance of probabilities, I find Vincent Van Gogh was accidentally shot, then sadly died from this unintended and terrible tragedy.

BESIDE THE ROAD — NEW BASED-ON-TRUE-CRIME SERIES BOOK #4

Dead Men Do Tell Tales

New Book Release – June 2020 – by Garry Rodgers, DyingWords Digital & Print Media Canada

Warning! Beside The Road is based on a true crime story. It’s not embellished or abbreviated. Explicit descriptions of the crime scenes, factual dialogue, real forensic procedures, and actual police investigation, interview and interrogation techniques are portrayed. Some names, times and locations have been changed for privacy concerns and commercial purposes. 

Prologue

He lay beside the road. He lay beside the road as dawn’s first streaks smeared the eastern sky and the horizon’s weak rays cast frail shadows through early mist. Songbirds introduced the day—while an owl’s screech signed off the night—as he lay on his back in death’s putrid stench… discarded and dumped down a backwoods bank beside the road.

Light spread through the rural woods where a poorly-paved path cut a meandering trail high above him, shielding his corpse from passing view. The sun unhurriedly appeared. It evaporated the overnight dew that formed in early summer, and the temperature began to rise from a tolerable chill. Predictably, the sun climbed the cloudless sky towards another afternoon’s peak of uncomfortable heat.

By nine, the sun angle was right for direct beams to touch his torso through the picket-fence gaps in roadside trees vertically rising from the steeply-sloped bank. A stand of coastal Douglas fir, native to British Columbia’s central Vancouver Island, guarded his body while a canopy of Western red cedars sheltered his cadaver from the direct sear of mid-day heat. The forest floor was a pad of thorns and ferns and moss and sticks and leaves and sticky needles that slowly deteriorated along with him as part of the universal plan.

Hour by hour, as the world turned and time passed, intermittent sunlight radiated him into a zipper-like pattern. Low luminosity left a softening effect on his exposed skin while solar gain from higher scales scorched him with a dryness that turned his trunk zebra-striped in a way few deceased people present. He had a piano-key pattern and a rarity produced by alternating spectrums of electromagnetism.

Day by day, as the Earth evolved and entropy progressed, he became a unique specter—part putrefaction where light hit him low and part mummification where diffusing blows of afternoon rays parched his flesh.

He was clothed. Partly clothed, that is, with his feet in shoes and his privates in shorts. His singlet, or wife-beater muscle shirt, bunched about his upper chest. His head was bare and so were his arms. His hair was stringy strands of brownish sludge that trapped the decomposing flesh and fats flowing from his scalp. And, his left hand reached as if grasping for help while his right helplessly crooked behind his back.

His face was mostly exposed to the bone and his eyes were gone. His cranium sucked in the sunlight and left him with a bare-skull appearance where his teeth—a distinctly different dentition—gave a half-snarl and a half-sneer similar to a pirate’s ghastly flag.

He had a name. He once had a family, and he once kept some friends. He once had a childhood and he laughed and he played and he schooled and he fooled around like anyone passing through their youth and into their adulthood would. But, his life was extinguished and his consciousness had parted ways with his physical entity—his remains left on the slope beside the road to break down.

Now, he was a medical mess with nature’s creatures consuming his corpse. Insects cycled through their growth stages and carried on the continuous loop of evolution. Forest vermin feasted on their share of his disarticulating decay while circling birds apprehensively watched for their chance at a piece of the putrefied pie.

He had a past. He had a past not to be proud of that caused him to be in his present condition—a dead and discarded human body that lay in silent stink beside the road.

Chapter One — Tuesday, July 9th – 1:10 pm

Leaky Lewis sent me a text. body beside the road. prob foul play. can u attend?
I texted Leaky back. What road, ffs? There’s a thousand roads in this town.
Leaky replied. o sorry. nanaimo lakes rd. approx 6 mi west near gogos sawmill.
I typed. Helpful. Are you there now?
He responded. no. im in council meeting. thats why text and not call.
I returned. So who has the scene?
Leaky pecked. uniforms got it. forensics en route. i called coroner. she’ll meet u.

——

Leaky Lewis was my boss at our Serious Crimes Section. He was junior to me in service, but that was okay. I preferred investigating murders more than stretching budgets and scrambling resources like Leaky had to do. And, this case of the body beside the road stretched and scrambled our budget and resources to the max. We used almost every investigation tool and technique available before we finally solved the most baffling and bizarre homicide file of my long detective career.

Leaky’s name was Jim. Jim Lewis. He’s a great guy, but had a serious incontinence problem with post-urinary drip. That’s why the nickname. Leaky couldn’t venture far from the trough without Depends, but he made sure we had everything needed to do our job.

By “our” I mean the seven-person squad tasked with investigating violent persons offenses that happened around the Nanaimo area. We’re located on central Vancouver Island in British Columbia right across from the craziness and congestion of the City of Vancouver. Nanaimo has Canada’s mildest year-round weather. I’d been here on the southwest coast for years and had hit my best-before date. During that time, I’d seen a lot of serious crimes because Nanaimo had an extraordinarily high homicide rate.

Leaky looked after our entire plainclothes unit. Besides the Serious Crimes bunch, he supervised the Commercial Crime unit, Sex Offenses, Forensics, Drug Squad, and one poor prick plagued with frauds and bad plastic. Leaky also oversaw the secret squirrels in our intelligence branch and two notoriously bad-behaved boys on the Street Crew.

——

I pulled up to the crime scene on Nanaimo Lakes Road in my unmarked Explorer. Like Leaky texted, it was just over six miles west of the city limits near a small sawmill run by industrious Slavic immigrants called the Gogo family. There were two police cruisers parked on the right-hand shoulder, the north side, with their red and blues flashing. Two other vehicles sat along the shoulder. One was our forensic unit’s mobile shop. The other belonged to Global TV’s roaming cameraman.

A uniformed cop with a paddle-board stop sign directed traffic around the entourage. She pointed to the left lane and gave me a “get-going” motion. I didn’t recognize her. Likely a new recruit. I hit my grille lights and she startled. Then, she smiled and pointed to the steep bank beside the road.

I parked, got out, and walked toward the marked car at the front of the pack. Already I could smell it. It was that unforgettable stench—somewhere between reeking ammonia in ripe rotten eggs and the putrid aroma of deeply-decayed roadkill. It was the smell one never mistakes.

A senior officer guarded the scene. He’d been with the patrol division for a long time. The patrolman introduced me to the stop-sign gal. I was right, she was a brand-new hire.

“What’s happening?” I was matter-of-fact.

“Body down the bank.” The old harness bull thumbed to the thick stand of Douglas fir trees rooted to the slope and standing tall. Western red cedars loomed overhead. “Been there a while from the look and smell.”

“What do you think?” I stood at the edge. It was loose gravel beside the road’s crumbling pavement. I did not want to slip and take a tumble.

“At first I thought it was a deer.” He scrunched his nose. I could see the young officer kept her distance. “That’s what the guy who reported it thought, too. He was riding his bike up the grade and caught a whiff. So, he stopped and looked over and saw his dead deer wore running shoes.”

“Witness guy still around?” I looked about. The only civilian seemed to be the TV man rolling film.

“No.” The patrolman shook his head. “I got my cadet to take his statement. Gotta start somewhere, right? Then we sent him on his way.”

“Great, thanks.” I paused to look around and take in the scene.

It was bright sunshine and getting uncomfortably warm. The early afternoon sun was south-southwest and high enough to shine over the bank and flood its light on the slope. The site was at the leading edge of a tight left-hand bend, and the road was sharply inclined toward the west. It led to a double-S curve with a cautionary slow advisory sign—not the sort of place to safely pull off.

The traffic was light. A loaded logging truck approached and followed the young officer’s direction. It chugged up the grade and disappeared through the curve. A smaller silver SUV arrived. Instead of bypassing as the officer indicated, the SUV came to a stop behind my Explorer. I saw the new cop frown as the driver put it in park and shut off the engine.

I knew who it was. The door opened and a silver-haired lady with a silver clipboard matching her mane got out. Honey Phelps, our coroner, walked toward me.

“Hi, Honey. Imagine meeting you here.” I smiled. Honey. I love the name. It perfectly suited her. She’d been with the Coroners Service for years, and I’d worked with her at countless death scenes. She was always the consummate professional but with a black humor tinge.

“Is that you?’ Honey whiffed the air like a bear. “Or is that my client?”

“Probably a bit of both.” I chuckled. “I haven’t had a look yet. Waited for you to get here.”

“Looks like Forensics beat me.” She nodded toward the big rig that looked somewhere between a SWAT team’s truck and an indie rock band’s Winnebago.

“Yeah. I think they’re inside suiting up.” I motioned toward the Forensic Identification Section vehicle. “Let’s go have a chat with them.”

Honey looked at my Explorer and then at me. “You alone? No Harry today?”

I grinned. “Nope. I’m batching it. She’s tied up in a court case.” I referred to my usual partner, Sheryl Henderson who we called ‘Harry’ after the Bigfoot in the movie Harry and the Hendersons. Sheryl was a large lady with large hair and an even larger personality.

Honey and I walked up to the Forensics vehicle just as Sergeant Cheryl Hunter stepped down. Her understudy, Matt Halfyard, stayed inside. We called him Eighteen Inches.

Cheryl was dressed in her bunny suit. It’s the white Tyvek coveralls that CSI people constantly wear. I’m sure she slept in that thing.

“What do you think?” I asked Cheryl much the same thing I’d asked the senior patrolman. It was usually a pretty good opener.

“Not sure yet.” Cheryl had her digital Canon ready. Matt was loading a video camera. The first thing Forensics always do is film the scene before they enter it. That step was non-negotiable, and the guarding officers made sure no one went near the body before Forensics began their painstaking thorough task of recording the overall scene. Examining the body beside the road would follow.

“I’m not sure what to think.” Cheryl was always careful with opinions and cautious with conclusions. She was like all forensic examiners. They work with facts. Not fables. It was the nature of the beast.

“I haven’t been down to the body yet.” Cheryl looked to her left and over the bank. “It’s about twenty-five feet downslope and looks like it’s hung up against tree trunks. I have no idea if he… it looks like a he from the size and style of running shoes… that’s all I can really make out from here… if he was hit by a vehicle and sent flying over the bank or if he was driven out here and dumped.”

I looked around. The TV camera guy looked back through his viewfinder. “Doesn’t look like a suicide type of scene.”

Cheryl and Honey agreed. We’d all seen a lot of suicide scenes and this one didn’t fit. My gut feeling said dumpsite.

“Let’s just take this step-by-step till we see what we’ve got.” Cheryl was the voice of reason. “One thing’s for sure. This isn’t a recent scene. From what I can see above the shoes is bare-bones with putrefied flesh partly attached.”

“Been here a while, then.” Honey observed.

“Yeah.” Cheryl looked up at the sun. “But it doesn’t take long in this weather.”

“We’ll figure it out.” Honey smiled. “Let’s have a better look at who’s down there beside the road.”

*   *   *

Beside The Road — Book 4 in the Based-On-True-Crime Series by Garry Rodgers is just released  — June 2020 — and now downloadable from these leading EBook retailers: