Page 19 of Breaking Silence

Bishop Troyer’s buggy is still parked in the gravel near the back door of the house. Two additional buggies are parked near the barn, and I know friends and neighbors of the Slabaugh family are taking care of the livestock, mucking and feeding and doing what needs to be done to keep the farm up and running until decisions can be made. I know I’ll find the women inside with the children, comforting them with food, prayer, and reassuring words.

None of that makes what I have to do next any easier. The barn is now a crime scene, off-limits to everyone until it’s been processed and any evidence removed. More than likely, the pigs will have to be loaded onto a stock trailer and hauled away. Another disruption to four lives that have already been devastated.

“Scene is probably going to be pretty trampled,” Glock says.

“I’ll call Tomasetti and request a CSU.” I look at the barn, aware of gossamer snowflakes melting on the windshield. “We need to get it taped off. Talk to someone about getting the pigs hauled away.”

“What are we going to do about the kids?”

Thinking about the four children inside, I sigh. I can’t put off calling for a social worker much longer.

“I hate to see them uprooted or separated.” I kill the engine and punch off the lights. “But I’m going to have to contact Children Services.”

“Can’t the Amish take care of them until Slabaugh is cleared?”

I nod. “If he’s cleared.”

“He a suspect?”

The thought makes me feel slightly nauseous. “Let’s just say he’s a person of interest.”

“Got it.”

I give him a look as I reach for the door. “Let’s get the barn taped off.”

At the rear of the Explorer, I open the hatch and pull out my crime-scene kit. There’s not much to it—just a box of disposable gloves, several pair of shoe covers, yellow crime-scene tape, a sketch pad and notebook, evidence bags, a dozen tiny cone evidence markers, a couple of inexpensive field-test kits—for cocaine and crystal meth—and a digital camera.

“Going to be a tough scene to process,” Glock comments.

He’s right. The place has literally been trampled—by the fire department volunteers, the police and paramedics, whoever has been caring for the livestock. “We’re not going to find much.”

“Whatever we do find is contaminated.”

“Won’t do us much good if this ever goes to court.”

The big door still stands open, someone’s attempt to air the place out. The smells of hogs, hay, barn dust, and manure greet us like an offensive old adversary when we walk inside. The barn is filled with deep shadows. Looking around, I spot a lantern hanging from a rafter, pull it down, and light the wick.

Setting my crime-scene kit on the wood windowsill, I open it and hand disposable gloves and shoe covers, the crime-scene tape, and adhesive tape to Glock. “Let’s get it taped off.”

“A little late for shoe covers and gloves.”

“Gotta treat it like a crime scene from here on out.” I look around. “Keep your eyes open for anything that might have been used as a weapon.”

“Will do.”

Quickly, we don the protective gear. While he strings crime-scene tape, I cross to the livestock pens and look around. Someone put the hogs outside, but I can hear them grunting and slopping around in the mud beyond the door. The concrete is slick with muck, both liquid and solids. The smell is overpowering. It strikes me that the pit will need to be emptied, all of its contents gone through. Some lucky BCI agent isn’t going to have a very good couple of days.

I lift the gate latch. The steel groans when I push it open and enter the pen. A hundred or more cloven hoofprints mar the thick sheet of mud. I see human footwear marks with a dozen different treads, and I curse myself for not having been more careful. Looking at the destroyed crime scene, I tell myself there was no way any of us could have known. Still, some caution might have given us a better chance of finding something useful in terms of evidence.

Vaguely, I’m aware of Glock stringing tape a few yards away, the wind hissing through the open door behind him, sleet tapping like delicate fingernails against the glass panes. I grew up on an Amish farm. Being here brings back a lot of memories of my own childhood. We raised cattle for beef, but we also had horses, chickens, and several goats. We farmed corn, soybeans, and wheat. Our barn was much like this one: old, but built to last. The manure pit was smaller, but the concept was the same. I was a tomboy and spent many hours exploring the barn with my brother, Jacob. Datt always left the grate over the pit. I made my sister, Sarah, cry once when I told her there were monsters living in the muck. I never thought of it as an instrument of murder.

I walk the perimeter of the pen. I’m not sure what I’m looking for. Something that seems out of place. You never know when something that initially appears mundane will become a piece of evidence. Spotting a pair of leather work gloves on the windowsill, I remove the camera from my pocket and snap four shots from different angles. I do the same with a two-pound coffee can someone probably used to measure feed. I snap two more photos of a big pocketknife that was probably used to cut hay twine. Next, I take a dozen shots of the manure pit from different angles. This is the first step in documenting the scene. Once the CSU arrives, every movable object will be bagged and sent to the lab for examination.

Lowering the camera, I spot a snow shovel leaning against the far wall. The blade is caked with dried muck and I realize it was probably being used to shovel solids into the pit. I think of Solomon Slabaugh’s head wound and realize a shovel would make a pretty good weapon. Stepping back, I snap half a dozen photos. I put the camera in my pocket and squat next to the shovel to examine the blade. A quiver goes through me when I see hair on the back of the scoop. “Shit.”

“Do you mean that literally or figuratively?”

I nearly start at the sound of Glock’s voice. Rising, I glance over at him and motion toward the shovel. “There’s hair on the blade. Looks human.”