Read Online The Devil and Sherlock Holmes by David Grann - Free Book Online
Authors: David Grann
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front door, which opened onto the porch. Vasquez tried to take in everything, a process that he compared to entering one’s mother-in-law’s house for the first time: “I have the same curiosity.”
In the utility room, he noticed on the wall pictures of skulls and what he later described as an image of “the Grim Reaper.” Then he turned into the master bedroom, where Amber’s body had been found. Most of the damage there was also from smoke and heat, suggesting that the fire had started farther down the hallway, and he headed that way, stepping over debris and ducking under insulation and wiring that hung down from the exposed ceiling.
As he and Fogg removed some of the clutter, they noticed deep charring along the base of the walls. Because gases become buoyant when heated, flames ordinarily burn upward. But Vasquez and Fogg observed that the fire had burned extremely low down, and that there were peculiar char patterns on the floor, shaped like puddles.
Vasquez’s mood darkened. He followed the “burn trailer”—the path etched by the fire—which led from the hallway into the children’s bedroom. Sunlight filtering through the broken windows illuminated more of the irregularly shaped char patterns. A flammable or combustible liquid doused on a floor will cause a fire to concentrate in these kinds of pockets, which is why investigators refer to them as “pour patterns” or “puddle configurations.”
The fire had burned through layers of carpeting and tile and plywood flooring. Moreover, the metal springs under the children’s beds had turned white—a sign that intense heat had radiated beneath them. Seeing that the floor had some of the deepest burns, Vasquez deduced that it had been hotter than the ceiling, which, given that heat rises, was, in his words, “not normal.”
Fogg examined a piece of glass from one of the broken windows. It contained a spiderweb-like pattern—what fire investigatorscall “crazed glass.” Forensic textbooks had long described the effect as a key indicator that a fire had burned “fast and hot,” meaning that it had been fuelled by a liquid accelerant, causing the glass to fracture.
The men looked again at what appeared to be a distinct burn trailer through the house: it went from the children’s bedroom into the corridor, then turned sharply to the right and proceeded out the front door. To the investigators’ surprise, even the wood under the door’s aluminum threshold was charred. On the concrete floor of the porch, just outside the front door, Vasquez and Fogg noticed another unusual thing: brown stains, which, they reported, were consistent with the presence of an accelerant.
The men scanned the walls for soot marks that resembled a “V.” When an object catches on fire, it creates such a pattern, as heat and smoke radiate outward; the bottom of the “V” can therefore point to where a fire began. In the Willingham house, there was a distinct “V” in the main corridor. Examining it and other burn patterns, Vasquez identified three places where fire had originated: in the hallway, in the children’s bedroom, and at the front door. Vasquez later testified that multiple origins pointed to one conclusion: the fire was “intentionally set by human hands.”
By now, both investigators had a clear vision of what had happened. Someone had poured liquid accelerant throughout the children’s room, even under their beds, then poured some more along the adjoining hallway and out the front door, creating a “fire barrier” that prevented anyone from escaping; similarly, a prosecutor later suggested, the refrigerator in the kitchen had been moved to block the back-door exit. The house, in short, had been deliberately transformed into a death trap.
The investigators collected samples of burned materials from the house and sent them to a laboratory that could detect the presence of a liquid accelerant. The lab’s chemist reported that one of the samples
In the utility room, he noticed on the wall pictures of skulls and what he later described as an image of “the Grim Reaper.” Then he turned into the master bedroom, where Amber’s body had been found. Most of the damage there was also from smoke and heat, suggesting that the fire had started farther down the hallway, and he headed that way, stepping over debris and ducking under insulation and wiring that hung down from the exposed ceiling.
As he and Fogg removed some of the clutter, they noticed deep charring along the base of the walls. Because gases become buoyant when heated, flames ordinarily burn upward. But Vasquez and Fogg observed that the fire had burned extremely low down, and that there were peculiar char patterns on the floor, shaped like puddles.
Vasquez’s mood darkened. He followed the “burn trailer”—the path etched by the fire—which led from the hallway into the children’s bedroom. Sunlight filtering through the broken windows illuminated more of the irregularly shaped char patterns. A flammable or combustible liquid doused on a floor will cause a fire to concentrate in these kinds of pockets, which is why investigators refer to them as “pour patterns” or “puddle configurations.”
The fire had burned through layers of carpeting and tile and plywood flooring. Moreover, the metal springs under the children’s beds had turned white—a sign that intense heat had radiated beneath them. Seeing that the floor had some of the deepest burns, Vasquez deduced that it had been hotter than the ceiling, which, given that heat rises, was, in his words, “not normal.”
Fogg examined a piece of glass from one of the broken windows. It contained a spiderweb-like pattern—what fire investigatorscall “crazed glass.” Forensic textbooks had long described the effect as a key indicator that a fire had burned “fast and hot,” meaning that it had been fuelled by a liquid accelerant, causing the glass to fracture.
The men looked again at what appeared to be a distinct burn trailer through the house: it went from the children’s bedroom into the corridor, then turned sharply to the right and proceeded out the front door. To the investigators’ surprise, even the wood under the door’s aluminum threshold was charred. On the concrete floor of the porch, just outside the front door, Vasquez and Fogg noticed another unusual thing: brown stains, which, they reported, were consistent with the presence of an accelerant.
The men scanned the walls for soot marks that resembled a “V.” When an object catches on fire, it creates such a pattern, as heat and smoke radiate outward; the bottom of the “V” can therefore point to where a fire began. In the Willingham house, there was a distinct “V” in the main corridor. Examining it and other burn patterns, Vasquez identified three places where fire had originated: in the hallway, in the children’s bedroom, and at the front door. Vasquez later testified that multiple origins pointed to one conclusion: the fire was “intentionally set by human hands.”
By now, both investigators had a clear vision of what had happened. Someone had poured liquid accelerant throughout the children’s room, even under their beds, then poured some more along the adjoining hallway and out the front door, creating a “fire barrier” that prevented anyone from escaping; similarly, a prosecutor later suggested, the refrigerator in the kitchen had been moved to block the back-door exit. The house, in short, had been deliberately transformed into a death trap.
The investigators collected samples of burned materials from the house and sent them to a laboratory that could detect the presence of a liquid accelerant. The lab’s chemist reported that one of the samples