Murder and Mayhem (36 page)

Ranges include: purple to red, pastel blue to pink, and green gold to shimmering gold. You get the picture.

They would likely undergo their characteristic temperature-related color changes whether they were on a living person or a corpse. Of course, corpses tend to be cold, so the color range of the product would tend toward the cold end of its scale. However, if the body was found after several hours in a very warm room, because the corpse's temperature becomes that of the environment and these products reflect that temperature level, they would move toward their warmer range of color.

Cool idea, or is it hot? I never can keep those straight.

How Was Death Determined in the Seventeenth Century?

Q: I am working on a story set in seventeenth-century England. The uncle of my young female protagonist lapses into a coma from too much alcohol and opium, and is nearly buried alive. Her love interest, a doctor in training, discovers he is alive before the burial can take place. My question is, how was death determined during that time period?

A: Today we have sophisticated methods for determining death. Blood pressure, pulse, and respiration are examined, of course, but these can be inaccurate in certain circumstances. A person who

overdoses on drugs, such as barbiturates, opium and its derivatives (heroin, morphine, and so forth), and tetraodontoxin (puffer fish toxin), to name a few, may appear dead. Their pulse may be so slow, their blood pressure so low, and their respirations so shallow that these vital signs may not be readily obtainable. This is particularly true if they are found in a cold environment where they are also cold to the touch and appear pale or blue-gray in color. An electrocardiogram (EKG) can determine if cardiac activity is present, and an electroencephalogram (EEG) can show brain activity. Death will be diagnosed if either is absent.

These technologies were not available three hundred years ago. Instead, tobacco smoke enemas, vigorous nipple pinching either manually or with pliers, hot pokers shoved into various bodily orifices, and aggressive tongue pulling were all used to determine if the corpse was truly dead. Tongue pulling was so popular that a device was developed that clamped the tongue and yanked it in and out when a crank was turned. This continued for several hours, and when the victim didn't complain, a pronouncement of death occurred. As you can guess, the occasional corpse rose from the dead during such procedures.

Many physicians of that era stated that the only true way to ascertain death was to await the appearance of putrefaction. Since families preferred not to have rotting corpses in the house, a system of "vitae dubiae asylums" or "waiting mortuaries" was established. The suspected dead person was placed in these institutions in a warm spot (to hasten the decomposition) until decay appeared, after which he could be buried. If he was indeed alive, he could signal this by pulling on a string, which was attached to a bell. Since corpses may manifest twitches and jerks from involuntary contractions of the decomposing muscles, false alarms were not uncommon. This was a disconcerting event to the person charged with overseeing the mortuary, I would suspect.

Another contraption available was the "security coffin." Again, the corpse could signal that he was indeed among the living by use
of
a bell, horn, or flag. And again, involuntary movements could cause false alarms.

Your young physician could pinch the uncle's nipples or yank on his tongue, or he could visit the mortuary and see a waving flag or hear a bell ringing and find the uncle now sober and very much alive.

ODDS AND ENDS, MOSTLY ODDS

Do the Pupils Enlarge or Shrink with Death?

Q: I'm confused. Do the pupils enlarge or shrink at death? Exactly when does this happen—before death, after, or at the exact moment?

A: The pupils dilate (enlarge) at death. This makes the eyes of a dead person appear black. The pupils dilate before death in most cases. This occurs because the sympathetic nervous system (the fight-or-flight part) is activated in any stressful situation, which impending death would definitely fit. This activation causes release of epinephrine (adrenaline) from the adrenal glands, which increases blood pressure and heart rate as well as dilates the pupils.

At death the pupillary muscles relax, which also opens up the pupils.

Do Bodies Move During Cremation?

Q: I have read that when a body is cremated using modern techniques (crematorium), there is a tendency for the body to sit up at some point due to the sudden contrac-

tion of the abdominal muscles. Is this true? Is it common, or does it happen only under certain conditions?

A: This may occur. More likely the body would assume the "pugilistic position." The legs draw up, the body hunches forward, and the arms flex so that the fists are beneath the chin, like a fighter. This happens when people die in fires and is due to muscular contraction that occurs as the heat evaporates water from the muscles. If this occurred in a cremation, it would be short-lived since the extreme heat used during cremation rapidly destroys the body

How Is Body Weight Determined in a Quad Amputee?

Q: I write a fantasy series and have a recurring character who was born with no arms or legs, the result of a botched abortion that only succeeded in sucking his arms and legs off. From time to time he must be moved from his motorized chair to a car and back again by a female character. My question is, what would an adult male, without arms or legs, weigh?

A: Wild question.

Basically, the torso is about 50 percent of the body's weight, give or take a little. His weight would depend on his overall size and weight if he was "whole." If his normal weight would be 150 pounds, then 75 to 80 is good. If he were a big man—say 200 pounds—then 100, and so on.

If he has a portion of his shoulders and upper arms, add another 10 percent and if he has a portion of his thighs, add another 15 percent. If his amputations are at the joints, which I suspect is the case from your description, use the 50 percent number, and you'll be in the ballpark.

What Drug Is Used for Animal Euthanasia?

Q: I am working on a story in which a child's pet dog is critically injured and must be put down. What drug is used? Is it injected? How long does the dog take to die? Would the dog feel anything? Would the veterinarian do this procedure alone, or would he have an assistant with him?

A: There are several manufacturers of veterinary euthanasia products. One of the commonly used ones is Eutha-6, or Euthanol. Its active components are pentobarbital (a barbiturate sedative) and alcohol. A large dose is given so that the animal basically dies from a barbiturate and alcohol overdose.

An IV is started in the animal's forepaw. The leg is shaved and the IV is placed in a vein and taped down. This would be the only discomfort involved. The dose is then given, and the dog goes to sleep in a matter of seconds, perhaps five to ten. Breathing ceases almost as quickly. The heart might take three to four minutes to stop, but all in all it is a quick and painless procedure.

The vet typically has an assistant with him to help hold and comfort the dog, start the IV, give the injection, and/or comfort the owners if they chose to be present. He could do it by himself, but most often there are two people involved.

Will Oleander Poison a Cat?

Q: I need to have a cat poisoned (fictionally, of course) with something that makes him quite ill until he upchucks, after which he recovers. Any suggestions as

to what to use? My poisoner has used oleander to kill one human. Could he use oleander on a cat, with the cat surviving?

A: Oleander
(Nerium oleander)
would work well here since its toxicity is dose dependent. That means a small amount will make you sick and a larger amount will kill you, unlike cyanide, where almost any amount will kill you.

Many dogs and cats and children have died or become ill from eating oleander leaves, flowers, and so forth (all parts of the plant are poisonous). Have the poisoner give the cat a very small amount, and he will get sick but survive. The actual amount? I have no idea. Just have him crush up a single leaf or flower and feed it to the cat in some food or meat. That should do it.

What "Hot" Substance Can Be Used to Sabotage Someone's Diaphragm?

Q: I have an unusual question. A teenage girl catches her dad having an affair with a young mother whose child the teenager baby-sits. She wants to punish the young mom and her dad. Could something be put on the woman's diaphragm that would cause them some discomfort? I thought of Vicks VapoRub or Ben-Gay, but these would be detectable before she inserted it. Any other ideas?

A: Tabasco. No contest. It could be applied and allowed to dry, after which it would have little if any odor and wouldn't be visible or change the feel of the diaphragm. But add a little moisture, and she'll get the message immediately. If she also uses a spermicidal jelly, that might delay the onset of symptoms by diluting the Tabasco slightly and by coating the vaginal lining. Once intercourse begins, however, the Tabasco would begin to irritate these

tender tissues and perhaps the man's also. First a little tingle and a little heat, then more tingle and burn, and finally severe burning and panic. What a totally diabolical question.

Do Blind People Have "Visual" Dreams?

Q: In my story a seven-year-old boy who has been blind since birth begins experiencing vivid and frightening dreams. Do the blind "see" people and objects in their dreams?

A: Blind individuals can be considered in two broad categories. Congenitally blind persons are sightless from birth, while adventitiously blind persons lose their sight at some later time. Children who are blind before age five or so tend to have much in common with those who are congenitally blind. Since their blindness began at such an early age, they possess little memory of images and colors and thus are less able to "see" things compared with those who became blind after age seven. This lack of imagery spills over into their dreams.

Many researchers in this area consider dreaming a constructive cognitive process; that is, we construct our dream worlds based on our sensory experiences. What we see, hear, feel, smell, and taste contributes to the building of our dreams.

Most congenitally blind people are able to "see" spatial relationships in their dream constructs, and some can even create visual forms, but they do not see the actual objects. What they see in their dreams tends to parallel what they see in their waking lives. Some are able to construct at least amorphous images better than others. Those who become blind later in life tend to have dream visualizations that parallel the waking visual experiences they had before they became blind.

The congenitally blind and those who become adventitiously

blind before age five may have vivid and detailed dreams, but they do not see images of people or structures or objects. They tend to feel the same emotions and have similar reactions to nightmares, but their dreams are more amorphous.

Those who become blind between ages five and seven may or may not see images. It depends on the individual.

Interestingly, many people who become blind after age seven have visually detailed dreams forever, while others do so for only twenty to thirty years. It is as if their memories of images fade and thus the images also fade from their dreams.

Your character would not see images but could still have very emotional dreams and frightening nightmares. He would describe his dream experiences in terms of feelings and sounds and smells, which can be even more frightening than visions, but the images would be vague and poorly defined. As with all of us, what he experiences will reflect the things that occur in his waking life. His problems, fears, wants, interests, conflicts, preoccupations, attitudes, and fantasies will play out in his dream world.

A FEW FINAL WORDS

Now that you have completed your journey through this book, I hope that you writers and readers have learned something from each and every question and answer. Some were simple and straightforward; others were complex and sophisticated; and still others were downright bizarre.

Yet each question reveals the incredible imagination, curiosity, and dedication to getting it right that is essential for credible storytelling and fiction writing. I believe these questions provide insight into the creative process and demonstrate the depth of commitment to craft that is found in successful writers of fiction.