Texas Husband’s Filipina Mail-Order Bride Vanished — He’d Already CREMATED Two Wives Before Her
He was kneeling inside the garage doing something.
We will come back to what a kneeling man in a garage might be doing when he thinks no one can see him.
For now, >> [music] >> just hold the image.
The wife is gone.
The friends are frightened.
The police are at the door.
And the husband is on his knees in the garage.
When they spoke to him, Jack Reeves was calm, calm in a way that did not fit.
His young wife had not come home, and he was not pacing, not frantic, not making calls.
He gave them his story without much emotion.
“She left,” he said.
“She was unhappy.
She had a lover.
” He even named the lover.
He said Emelita had run off with another woman.
That detail mattered to him.
He leaned on [music] it.
The wife was not missing, he wanted them to understand.
The wife was unfaithful.
The wife had chosen to go.
He was the wronged party here, the abandoned husband, not a man with anything to hide.
The detective listened, and the detective did not believe [music] him.
Let us talk about that detective, because this whole case turns on one man’s refusal to be satisfied with an easy answer.
His name was Tommy LeNoir, >> [music] >> Arlington Police Department, the kind of investigator who does not so much chase the truth as wait for it patiently, the way a fisherman waits.
Lenoir had Reeves’ story, and on paper, the story held together.
A young foreign bride, an older controlling husband, a marriage everyone agreed was unhappy.
Of course, she might leave.
Of course, she might find comfort somewhere else.
The unhappy marriage explanation is not absurd.
It is the most natural explanation in the world.
That >> [music] >> was exactly the problem.
It was too natural.
It explained everything a little too well.
Because the affair story did something interesting when you turned it over.
Reeves wanted the police to believe his wife had abandoned him for a lover.
Fine.
But the very people who would know whether Emelita was the type to do that, her friends, >> [music] >> the ones who actually spent time with her, said the opposite.
They said she would never leave her son.
The boy was everything.
A woman might walk out on a bad husband.
She does not walk out on her child and never look back.
Never call.
Never send [music] for him.
So, the affair story did not soothe the friends.
It alarmed them.
It backfired.
The harder Reeves pushed the idea that Emelita had chosen to vanish, the more wrong it sounded to the people who knew her best.
And it alarmed Tommy Lenoir, too, because an affair is a strange thing for a husband to volunteer so quickly, so smoothly.
Most men, >> [music] >> faced with a missing wife, do not lead with infidelity.
They lead with fear.
Where is she? Is she hurt? Has there been an accident? >> [music] >> Reeves did not lead with fear.
He led with a tidy narrative that conveniently removed any need for a search.
If she left of her own free will, then there is nothing to investigate.
The story was not just an explanation, it was a wall.
It was built to stop people from looking.
Lenoir kept looking.
He looked at the man himself.
Jack Reeves was not a stranger to the system, and he was not a stranger to loss.
As Lenoir began to learn more about him, the picture got stranger, not clearer.
This was a man whose life had a pattern of dead and departed women in it.
Wives who came and went.
Wives who came and died.
The detective’s gut, that much maligned instrument, started [music] talking.
The gut is not magic.
It is the sum of a thousand cases, a thousand interviews, a thousand small lies caught and remembered.
And Lenoir’s gut said the same thing over and over.
Something is off here.
The temperature in this house is wrong.
A man should be falling apart.
This man is composed.
A man should be desperate to find his wife.
This man is already explaining why she is gone.
There was the small matter of the kneeling in the garage, too.
A man on his knees in his garage when the police arrive, cleaning something, hiding something.
It could be innocent.
Lots of things could be innocent, but you stack the innocent-looking details one on top of the other, and at some point, the stack starts to lean.
Calm husband.
Quick affair story.
A bride who told her friends to call the police if she disappeared.
A bride who would never abandon her son.
A man kneeling in his garage.
Each one, on its own, you could wave away.
Together, [music] they formed a shape, and the shape was not the shape of an unhappy woman who simply left.
Lenoir did the unglamorous work.
He talked to people.
He pulled what records he could.
He kept a missing person case open that a lazier department might have closed with a shrug and a note that read, “Domestic dispute.
Wife left voluntarily.
” And somewhere in that early digging, [music] he learned something that changed the whole texture of the case.
He learned that Emelita was [music] not the first wife of Jack Reeves to leave the world abruptly.
There had been another.
Years before, long before Emelita ever mailed her photograph to a catalog, there had been a wife named Sharon.
And Sharon had not run off with a lover.
Sharon had died.
The official story of Sharon’s death was suicide.
[music] Self-inflicted, a private tragedy, sealed and stamped and shelved back in the 1970s.
But the moment Lenoir heard the word suicide attached to a previous wife [music] of Jack Reeves, the gut spoke again.
And this time it did not whisper.
>> [music] >> That is the first body underground.
Let us go back.
All the way back and dig her up.
Her name was Sharon Vaughn.
She married Jack Reeves in 1961.
They were together 18 years.
By the standards of the rest of his life, that was practically forever.
They had two sons.
They lived the life of a military family, which meant they moved.
They uprooted.
They followed his postings.
For a time, they were stationed overseas, in Italy.
And later he was sent to South Korea.
Sharon kept the home together through all of it, the way military spouses do.
Raising the boys, making each new house a home before it was time to leave it again.
It was not, [music] in the end, a happy marriage.
By the late 1970s, the cracks were not cracks anymore.
They were canyons.
[music] Sharon had begun a relationship with another man, a man named John Benman.
And in early 1978, with her husband stationed far away in South Korea, Sharon did something that took real courage for a woman in her position in that era.
She filed for divorce.
She wanted out.
She had found someone else, yes.
But more than that, she had decided to end a marriage of nearly two decades and start again.
That is not the act of a woman planning to take her own life.
That is the act of a woman planning to live a different one.
The divorce went through.
Sharon was at last a free woman.
And then, about a week later, on the 20th of July, 1978, she was dead.
She died of a single shotgun blast to the chest.
She was 34 years old.
The scene, as it was first read by investigators in 1978, told a story of despair.
A woman, recently divorced, alone with her pain, who had reached for a shotgun and ended it.
The conclusion they reached [music] was suicide.
And here is the detail that decades later would make a new generation of investigators wince.
The original theory was that Sharon had pulled the trigger of a long shotgun by using her toe.
That she had positioned the weapon, removed her shoe, and worked the trigger with her foot.
In 1978, that explanation was accepted.
The case was closed.
Sharon was buried.
The paperwork said suicide, and the paperwork went into a drawer, and the drawer was shut for 16 years.
Now, jump forward again.
It is the mid-1990s.
Emmalita has vanished.
Detective Tommy LeNoir is building his quiet case, and he hears about Sharon.
He hears the word suicide.
So, he does what good investigators do with old cases.
He does not just read the conclusion.
He goes and finds the photographs.
He digs out the crime scene images from 1978, >> [music] >> the ones taken on the day Sharon died, and he looks at them with modern eyes, and what he sees does not look like suicide.
It looks staged.
Staged is a strong word.
Let us be careful with it.
What LeNoir saw, and what experts would later confirm, was a collection of details that did not fit the story they had been assigned.
The placement of the gun looked wrong.
The blood evidence looked wrong.
The whole arrangement had the quality of a scene that had been composed rather than discovered.
Someone, [music] Lenoir began to suspect, had arranged that room to be read a certain way.
Someone had built a story out of furniture and a body and a shotgun, the way a set designer builds a stage.
And there was one detail, when the experts later got into it, that is almost impossible to explain away.
When her body was found, Sharon was naked.
But the evidence indicated that at the moment she was shot, she had been wearing a bra and underwear.
>> [music] >> Read that plainly.
The clothing on her body at the time of death did not match the state of her body when she was discovered.
Someone had been with her after the shot was fired.
Someone had changed the scene.
A woman who shoots herself >> [music] >> does not then undress herself.
The dead do not rearrange their own clothing.
Lenoir now had two cases sitting on his desk, separated by 16 years.
A wife in 1994 who had vanished and whose husband was strangely calm, >> [music] >> and a wife in 1978 who had died of a shotgun blast, called suicide, in a room that no longer looked like suicide at all.
The same husband stood at the center of both.
Jack Reeves.
But suspicion is not proof.
A detective’s instinct that a scene looks staged >> [music] >> is not the same thing as evidence a court can use.
The photographs were suggestive.
They raised the hair on the back of your neck.
They did not by themselves >> [music] >> prove murder.
There was only one way to know for certain what had happened to Sharon Reeves on that July day in 1978, and it was a hard thing to ask for, a heavy thing, a thing that does not sit easily with the living.
They were going to have to dig her up.
Let us pause and be plain about what that means, because it is the hinge of this entire story.
To exhume a body >> [music] >> is to dig up a person who has already been buried.
you go to the cemetery.
You go to the marked grave.
You bring in heavy equipment and careful hands, >> [music] >> and you remove the earth that has lain undisturbed for years.
And you lift the casket back into the daylight it was never meant to see again.
Then you open it, and you let a medical examiner look with the science of today at what the science of an earlier time may have gotten wrong.
It is not done lightly.
It requires court orders.
It requires cause.
It disturbs the dead, and it grieves the living, >> [music] >> and no investigator asks for it on a hunch alone.
But when there is reason to believe that a verdict was a lie, exhumation is the only way to reach back through time and ask the body itself what really happened.
The bones remember.
The wounds remember.
The dead, in their own way, >> [music] >> can still testify.
So, they exhumed Sharon Reeves.
Her body was taken to the medical examiner’s office in Dallas County.
The chief medical examiner, >> [music] >> Dr.
Jeffrey Barnard, performed the new autopsy, and he came to a conclusion that demolished the verdict of 1978.
He found that the facts of Sharon’s death were, in his words, suggestive of a homicide.
He found it would have been extremely difficult for Sharon to have fired the fatal shot herself.
Now, >> [music] >> the doctor was honest about the limits of what he could determine.
Sharon’s body had been prepared for burial all those years ago, embalmed and [music] dressed for her funeral.
And that preparation had erased some of the evidence he might otherwise have read.
He could not, for example, say for certain whether the wound was a contact wound, a shot fired with the muzzle pressed against the skin.
That information had been lost to time and to the undertaker’s work.
But he could read other things.
He could read the spread of the shotgun pellets, the pattern they made as they tore into her chest.
He could note the absence of stippling, the speckled burn pattern that close-range gunfire leaves on skin.
And from those two things, the spread of the shot and the lack of stippling, he reached a devastating conclusion.
The weapon, he believed, could not have been more than about 3 ft from Sharon’s body when it was fired.
3 ft.
Hold a shotgun and measure 3 ft.
It is the length of an arm and then [music] some.
It is a distance that puts the trigger of a long gun out beyond the reach of a person trying to shoot their own chest.
[music] The original theory had her contorting herself, reaching down with her foot to work the trigger of a weapon pressed [music] close.
The forensic reality said the muzzle was held back at a distance, the way a shooter holds a gun when they are aiming at someone else.
The shot came from too far away to be self-inflicted.
That single fact >> [music] >> turned the key in a lock that had been rusted shut for 16 years.
It took the verdict of suicide, the verdict that had let Sharon’s death lie quietly in a drawer, and it ground that verdict to powder.
Sharon had not killed herself.
Sharon had been killed.
The despairing divorced woman with a shotgun was a fiction.
The truth was a woman shot from arm’s length and then arranged, undressed, posed so that the world would look away, and the world had looked away for 16 years.
Now picture Lenoir and the prosecutors and the investigators standing in that medical examiner’s office hearing the doctor lay it out.
They had walked in with a suspicion.
They walked out with a murder.
An old murder.
A cold murder.
A murder that the system itself had certified as something else.
The state of Texas had, in effect, signed off on Jack Reeves’s first known killing and filed it under tragedy.
In March of 1995, a grand jury in Coryell County indicted Jack Reeves for the murder of Sharon.
The death they had called suicide for 16 years now had a defendant.
Think for a moment about what the exhumation accomplished.
Beyond the legal mechanics, a woman died in 1978 believing, in her final moments, only she knows what.
She was buried under a lie.
For 16 years that lie was the official record.
Her sons grew up with it.
The neighbors believed it.
The county believed it.
And then, [music] decades later, the earth was opened and the lie was lifted out along with the casket and the bones told the truth that the paperwork had buried with her.
That is the power of the dig.
That is why we keep coming back to it.
Every layer of this story is a body and every body, given the chance, speaks.
But the doctor’s findings [music] did more than solve Sharon’s death because once you know that Jack Reeves shot a wife in 1978 and [music] dressed it up as suicide, you start looking at every other death around him in a new light.
A man who can stage a suicide [music] is a man who can stage anything.
A man who can shoot a wife and rearrange her clothing and walk away clean for 16 years is not a man who is merely unlucky in love.
He is a man who knows how to make a murder disappear.
And that thought sent the investigators back into the past one more time because between Sharon in 1978 and Emelita in 1994, there had been someone else.
There was a third wife and she had drowned.
After Sharon was gone, Jack Reeves did not stay alone for long.
While stationed in South Korea, he met and married a Korean woman named Myong.
Some records render her name as Myong Hi Chong.
They married at the very end of 1980 on the last day of the year and in time she came back with him to Texas.
Another woman uprooted from everything familiar and planted in his world.
She did not last long, either.
>> [music] >> In 1986, Myong drowned at Lake Whitney, the same lake that will matter so much by the end of this story.
Her death, like Sharon’s, was written off an accident in the water, a drowning.
>> [music] >> No charges were ever filed.
The case was never tried.
On paper, it was simple misfortune.
But the people who knew Myong did not find it simple at all.
They found it almost impossible to believe because Myong could not swim.
That was the thing her family kept saying.
She could not swim, and more than [music] that, she had a deep aversion to water.
She was afraid of it.
She did not go in.
A woman who fears the water and cannot swim does not casually drown in a lake she chose to wade into.
>> [music] >> The story of an accidental drowning requires, first, that the victim was in the water, and those who knew Myong could not picture her there of her own accord.
There was more.
After her death, her sister noticed bruising on Myong’s face.
Bruises on the face of a woman who had supposedly slipped beneath the surface by accident.
The sister’s suspicion was strong enough that she requested an autopsy.
She wanted someone to look closely, to ask the questions that the easy verdict skipped.
And here we arrive at the cruelest twist in Myong’s part of the story, the detail that makes her the wife the law could never quite reach.
Jack Reeves had her cremated.
Sit [snorts] with that.
With Sharon, the verdict was a lie, but the body remained.
Sharon was buried, and a buried body can be exhumed, and an exhumed body can be made to testify.
[music] The earth keeps what is given to it.
16 years later, investigators could still go to Sharon’s grave and dig and lift and learn the truth from her bones.
Myong had no such grave to dig.
Myong had been burned to ash.
There was no body to exhume, no wounds left to read, >> [music] >> no skeleton to lay on a table and question.
Whatever the fire took, it took forever.
If the bruises on her face told a story, that story went up in smoke.
If the water in her lungs could have proven she was forced under, it was gone.
A cremation in the hands of a man with something to hide is the perfect erasure.
It is the [music] thing that digging can never reach.
The investigators of the 1990s could reopen Sharon’s case because Sharon was still there to be found.
Myong was not there.
Myong could not be brought back to the table, no matter how badly they wished it.
Her [music] sister’s suspicions, the bruises, the impossible drowning of a woman who feared the water, all of it remained suspicion.
Officially, it remained an accident.
To this day, Myong’s death was never tried in any court.
But while the law could not act on Myong, the investigators could not unsee her.
Because now they were not looking at one strange death, or even two.
They were looking at three.
Sharon, 1978, shot, called suicide, now proven murder.
Myong, 1986, drowned, a woman who feared the water with bruises on her face, cremated before the questions could be answered.
Emelita, 1994, vanished, a bride who told her friends to call the police if she ever disappeared.
Three wives, three deaths or disappearances, one husband at the center of all three, and not three deaths spread across a long ordinary life of bad luck.
Three deaths >> [music] >> that when you lined them up, formed a shape.
Each woman had reached a point of leaving.
Sharon had divorced him.
Myong, by some accounts, was unhappy and isolated.
Emelita had announced to a restaurant table full of friends that she was going to divorce him and take her son.
Each woman had a foot out the door and each [music] woman with her foot out the door had stopped existing.
That [music] is the pattern.
Let us name it out loud the way the investigators eventually had to name it for a jury because seeing it stated plainly [music] is the only way to feel its full weight.
A young or vulnerable woman enters Jack Reeves’s life.
Often she comes from somewhere far away, >> [music] >> somewhere she has no power, no network, no easy way home.
Korea, the Philippines, or in Sharon’s case >> [music] >> simply a woman bound to a military husband and the life he chose.
The woman is in some sense dependent on him for money, for her immigration status, for her family’s survival back home, for the roof over her head.
He is the older [music] man, the American, the soldier with the pension.
She is the one with everything to lose.
For a while [music] it functions.
The money flows.
The household runs.
And then the woman begins to want her freedom.
She begins to plan her exit.
Maybe she files for divorce like Sharon.
Maybe she announces her intentions like Emelita.
>> [music] >> The exact form changes.
The essence does not.
At the precise moment a wife decides to leave [music] Jack Reeves, her life ends.
Not after she leaves.
Not once she is safely gone and out of his reach.
Before, in the planning [music] stage.
In the window when she is still inside the marriage but no longer committed to it.
When she has become in his eyes >> [music] >> a problem with a deadline.
And then comes the cover.
This is the part that kept the pattern hidden for so long.
Reeves did not just [music] kill.
He explained.
Sharon’s death came pre-packaged as suicide complete with a staged [music] scene.
Myong’s death came pre-packaged as an accidental drowning with the inconvenient body conveniently cremated.
[music] Emelita’s disappearance came pre-packaged as a runaway wife with a secret lover.
Every single time there was a ready-made story that pointed away from him, a narrative designed to make the authorities nod and close the file.
That is [music] what makes this so chilling, and it is the thing the exhumation finally exposed.
Jack Reeves was not a man overwhelmed by passion who killed in a sudden rage and then panicked.
The staging, the cremation, the prepared explanations, all of it points to something colder.
Forethought.
Method.
A man who understood how death investigations work and who arranged each killing so that the investigation would arrive at the wrong answer.
He did not flee from suspicion, he shaped it.
>> [music] >> He fed the system the story it wanted and the system swallowed it.
Once, then again, then almost a third [music] time.
The reason no one had ever seen the pattern was that no one had ever been allowed to see all three deaths at once.
They happened years apart.
They happened in different jurisdictions.
They were filed under different verdicts, >> [music] >> suicide and accident and missing person.
Three categories that have nothing to do with one another.
Each case, examined in isolation, looked like a sad but ordinary event.
It was only when one stubborn detective refused to close Emelita’s case and that refusal led him to Sharon and Sharon’s exhumation proved murder and the murder sent everyone looking back at Mignon that the three points finally appeared on the same page.
And once they were on the same page, you could not unsee the line that connected them.
There is a question people ask about cases like this.
How could a man do it three times and never get caught? The answer is uncomfortable because the answer is partly us.
The systems that are supposed to catch killers are built to examine one death at a time.
A drowning is investigated as a drowning.
A gunshot is investigated as a gunshot.
Nobody, [music] in the ordinary course of things pulls the file on a man’s previous wives and asks how the last one died and the one before that.
Reeves understood this.
He spaced his crimes across years.
He let memories fade and officials retire and files gather dust.
He counted on the fact that no one would ever lay Sharon Myoung and Emelita side by side.
He was almost right.
He was right for 16 years, but the pattern was real.
And once it was named, it demanded a final answer to the question that had started everything.
Where was Emelita? Sharon’s truth had been pulled from the ground.
Myoung’s truth had been burned beyond reach, but Emelita was still missing.
The pattern said she was dead.
The pattern did not say where her body was.
For that, >> [music] >> they would have to dig one more time.
Almost a year had passed since Emelita went out shopping and never came home.
A year of her son living without his mother.
A year of her family in the Philippines waiting for word, for the money that no longer came, for an explanation that made sense.
A year of Jack Reeves living his life calm as ever, the wronged husband whose unfaithful wife had run off.
But the investigation had not gone quiet.
The exhumation of Sharon had given [music] it teeth.
Reeves was now an indicted murderer charged with the killing of his second wife and the search for Emelita had narrowed the way searches do when the focus settles on one man and the places that man knows.
It settled on the lake, Lake Whitney, the same body of water where Myoung [music] had drowned in 1986.
The lake Jack Reeves knew well.
Where he had been before.
Where the land was familiar to him and the visitors were few.
A man burying a body does not choose a random place.
He chooses a place he knows.
A place he trusts.
A place that has perhaps swallowed a secret for him once before.
And near [music] that lake, in the earth, they found her.
Emelita’s remains were discovered in a shallow grave near Lake Whitney, almost a year after her disappearance.
By then, what was left was skeletal.
Time and the Texas ground had reduced the young woman who sent money home to her family, the mother who would never abandon her son, to bones.
But bones are not nothing.
Bones speak.
We have already seen how loudly the dead can testify when someone finally listens.
The discovery ended the question that her friends had been asking since the 12th of October, 1994.
The question they had called the police about.
The question Reeves had tried to answer with the story about a lover and a runaway wife.
Where is Emelita? Now they knew.
She had not run off.
She had not chosen a new life with someone else.
She had been in the ground near a Texas lake the entire time while her husband told everyone she had abandoned them.
The affair story, the wall he had built to stop people from looking, came down completely.
You cannot run off with a lover and lie in a shallow grave at the same time.
The narrative that had been designed to close the case had instead, [music] in the end, only deepened his guilt.
He had told a lie that the earth itself would expose.
It is worth pausing on the cruelty of that lie now that we know what was underneath it.
While Emelita lay in the ground, Reeves let her son grow up believing or being told that his mother had walked away.
He let her family overseas wait and wonder.
[music] He let her friends carry the fear and the grief and the helpless not knowing for the better part of a year.
He had an answer the whole time.
He simply chose to bury it with her.
And there is the small terrible detail from the very first day, the kneeling man in the garage.
When the police came for the welfare check and walked the perimeter and saw Jack Reeves on his knees in the garage, we can only guess at what he was doing in that moment.
But knowing now how the story ends, the image takes on a darker color.
A man on his knees, occupied with something in the hours after his wife disappeared [music] and before her body was found, the investigators would carry that image with them through the entire case.
With Emelita’s body recovered, the cause of her death could be examined.
And here the evidence pointed toward yet another method of killing, consistent with the violence this man was capable of.
Emelita had been strangled.
After all the years and all the wives, after the staged gunshot and the convenient drowning, the fourth wife had been throttled and buried in a hole by a lake.
There was no elaborate suicide scene this time, no cremation to erase the evidence.
This time he simply hid her and lied.
And this time, the lie did not hold.
The recovery of Emelita’s remains did something important for the prosecution and for the truth.
It transformed her from a missing person, a category that always leaves a sliver of doubt, into a homicide victim with a body, a grave, and a clear story of disappearance that no longer had any innocent explanation.
A vanished wife can be argued about.
A wife found strangled in a shallow grave near a lake her husband knew, after that same husband had already been charged with murdering an earlier wife, cannot be argued into innocence.
Now the investigators had what they needed for both cases.
Sharon, [music] exhumed and proven murdered.
Emelita, found and proven murdered.
Two bodies, two truths pulled from the ground, two killings that the system had once failed to recognize.
Myong remained beyond reach, ash and suspicion, but the other two were enough.
Jack Reeves would face trial, not once, but twice.
Once for the wife he killed in 1978 and dressed as a suicide, once for the wife he killed in 1994 and buried by the lake.
He first went to trial for Sharon’s murder in January of 1996.
The case that had been a closed suicide file for 16 years was now laid out before a jury.
The staged scene, the impossible toe on the trigger theory, the forensic finding that the shot came from too far away to be self-inflicted, the clothing that did not match, the medical examiner’s verdict that the death was suggestive of homicide, and that it would have been [music] extremely difficult for Sharon to have killed herself.
The jury convicted him.
For the murder of Sharon Reeves, Jack Reeves was sentenced to 35 years in prison.
Then in August of 1996, he went to trial again.
This time for Emelita.
By now, the pattern was no longer a theory whispered between detectives.
>> [music] >> It was a story that could be told to 12 citizens in a courtroom.
A young Filipina bride, bought through a catalog, controlled and mistreated, who told her friends to call the police if she ever disappeared, who announced she was leaving, who then vanished, whose body was found strangled in a shallow grave near a lake, whose husband had already been convicted of murdering a previous wife.
The jury did not need long.
By some accounts, they deliberated only a little over 80 minutes before returning their verdict.
82 minutes to look at the whole shape of it and decide, guilty.
For the murder of Emelita Reeves, Jack Reeves was sentenced to 99 years in prison.
35 years for Sharon, 99 years for Emelita.
The unlucky husband, >> [music] >> the wronged man whose wives kept dying and leaving, was finally named for what he was, a killer, not once, at least twice, and very likely three times.
The dig was over.
[music] The slow, patient unearthing that had started with one detective’s refusal to accept a tidy story had reached the bottom.
Sharon had been lifted from her grave to tell her truth.
Emelita had been lifted from hers.
Myong, beyond reach, remained a shadow over it all.
A wife the law could name as a suspected victim but never prove.
Three women, the pattern complete.
You would think >> [music] >> that is the end.
The bodies found, the verdict’s in.
The man sent away for longer than he could possibly live.
The story finished.
The file finally and forever closed.
But there is one more layer, >> [music] >> one more thing to dig up, and it is the worst of all because it does not come from the distant past.
It comes from the gap between Emelita’s murder and Jack Reeves’ arrest.
From the short window when his fourth wife was [music] already dead in the ground and he was still a free man telling everyone she had run off.
>> [music] >> In that window, Jack Reeves did something.
Not in 1978.
Not in 1986.
[music] In the present tense of this case, after he had strangled Emelita and buried her by the lake, while the search for her was still underway, while her son still cried for her and her friends still hoped, he [music] sat down and he wrote a letter.
The letter went to the Philippines, the same country Emelita had come from, the same catalog world, the same pipeline of poor, hopeful, young women looking for an American husband to lift their families out of poverty.
The same machinery that had delivered Emelita to his door.
He was ordering another bride.
Let that arrive slowly because it deserves to.
His fourth wife was lying strangled in a shallow grave that he had dug.
The police were circling.
He had not yet been arrested and rather than feel the walls closing in, rather than grieve or fear or even simply stop, Jack Reeves reached for a pen and began the process of acquiring her replacement.
He wrote to the Philippines soliciting a fifth wife.
He was shopping for the next one before he had been caught for the last one.
There is a coldness in that act that goes beyond the killings themselves.
The killings, >> [music] >> monstrous as they are, can at least be wedged into the familiar shapes we use to understand violence, control, rage, the refusal to let a woman leave.
But the letter is something else.
The letter is a man treating a human being he has just murdered as a product that has worn out and reaching for a fresh one off the shelf.
Emilita was not to him a person whose death meant anything.
She was a position to be filled and the position had just come open.
It tells you that the women were interchangeable to him.
That is the horror underneath the horror.
Sharon, Myong, Emilita, and now a fourth name he was already trying to summon from across the ocean.
To Jack Reeves, [music] they were not individual lives, they were a series.
One wife, then another, then another, and the moment one was gone by his hand, he simply ordered the next.
The letter was found.
It became part of the record, part of the case, part of the proof of who this man truly was.
It did not need a forensic examiner to interpret it.
It did not need a doctor to read the spread of the pellets or the diatoms in the lungs.
It said everything plainly [music] in a man’s own hand.
He had buried his wife and gone straight to the catalog.
That is where the digging finally stops, not at a grave, at a letter.
So, let us lay it all on the desk one last time in order, the way Tommy LeNoir must have in the quiet after the verdicts came in.
A man marries a woman in 1961.
After 18 years, she divorces him, and a week [music] later, she is shot through the chest.
They call it suicide.
They are wrong.
Her name is Sharon, and she lies under a lie for 16 years until [music] they dig her up, and the bones say murder.
The same man marries again, a woman from Korea who cannot swim and fears the water.
In 1986, she drowns in a Texas lake >> [music] >> with bruises on her face that trouble her own sister.
He has her cremated before the questions can be answered.
Her name is Meong, and her truth burns away beyond the reach of any future dig.
The same man orders a bride from a catalog in the Philippines.
She comes, she suffers, she sends money home.
She loves her son, and when at last she decides to leave him, she vanishes on an October afternoon.
Her name is Emelita, and her friends keep the promise she asked of them and call the police.
A year later, they find her strangled in a shallow grave near the same lake that took Meong.
One wife, then two, then three.
And before the cuffs were on him, before a single jury ever heard a word, with his fourth wife already cold in the ground he had dug for her, Jack Reeves was sitting at a table writing to the Philippines asking them to send him a fifth.
The detectives question, the one from the very beginning, finds its answer here.
When does a man stop being unlucky and start being a suspect? The answer is that he was never unlucky.
He was never the wronged husband whose wives kept dying and leaving.
He was the reason they died.
Every grave, every drowning, every disappearance traced back to the same hand.
The luck was the disguise.
The luck was the story he sold three times to a world that wanted to believe death is sometimes just death.
It took one man at a desk refusing to close a file to start the dig that [music] pulled the disguise away.
They convicted him twice, 35 years and 99 years stacked on a man who would die in prison long before either sentence ran out.
>> [music] >> Myong they could never charge.
The fire saw to that.
But the world knows, Sharon knows wherever the dead go.
>> [music] >> Emelita knows and the fifth woman, the one whose photograph might have crossed the ocean, the one who almost became the next name in the series, will never know how close she came or whose hand was reaching for her across the water.
He buried two wives that we can prove and he burned a third.
And the last thing he did as a free man, the very last thing, was reach for another.
That letter never got its answer.
The arrest came first.
But the letter is the truth of him.
Not the verdicts, not the sentences, not even the graves, the letter.
A man who could bury a woman in the morning and order her replacement in the afternoon and feel nothing in between but the mild inconvenience of a vacancy.
One wife, then two, then three and a pen already moving toward a fourth.
