A thirty-five-year-old woman was hung by her camera’s strap, and another unknown victim was found naked in long grass, by Meadowbrook TAFE students. A third, yet-to-be-identified body, was discovered by joggers near a water storage facility — a common link being all three deaths occurring during nights of thunderstorms.
Nina de Jong’s death is a turning point in this narrative. She’s the one found dead in her own backyard. There are glass shards surrounding her muddied body, and police claim she may have been raped before she died. It’s difficult to be certain. Vital evidence is destroyed by a night of torrential downpours.
We realise there is a change in the method of Nina’s murder. This killing is more personal than the others. It’s a clue the media overlooks as it charges forward with a sensationalised serial rape and murder villain narrative. It skews the official investigation too and misleads a fearful public that’s keen to take a killer off the streets.
There were clues that could’ve led to the truth.
Sarah Foley wasn’t always a Foley. A long time ago, she went by another name Long-forgotten childhood sweethearts rarely look recognisable as aged adults thirty years later. Wrinkles and body fat alter our appearances. Marriages change their names. Samantha should’ve listened to her husband when he suspected something he saw in the news. The killings could’ve stopped right then and there. They didn’t.
Maxine’s demise was easily explained. She was an attention seeker. Investigators labelled her death to be a misadventure and closed the case based on the evidence.
But then there was Nina, a sweet blonde and single mother trying to put her life back together after a messy and violent divorce. She wanted her affair to be kept a secret.
Her friends and family knew nothing of her new relationship with the stranger. She’d barely told herself. The attention she received was amazing, and that’s what mattered most. If it was to be a brief affair, then let it be as intense as it should be. She deserved some happiness anyway.
Our murderer and mysterious lover become conscious of each other at this juncture. Nina is the key victim, but no one in her neighbourhood heard those glass doors shatter. Her screams were lost to the storm too. According to those who were interviewed, she was seeing no one at all.
We discover in SEETHINGS that, for some killers, murder is a form of escape.
It’s not about revenge.
Revenge is yet to come.
Creep you later,
–Michael Forman (Author of SEETHINGS)
Five women’s bodies are discovered after the nights of thunderstorms. Their spouses are suspected of the crimes, but it becomes clear that someone else is responsible. There’s no blood and few clues. A storm photographer who specialises in taking pictures of lightning may be the only witness.
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