56 pages 1-hour read

Chasing Evil: Shocking Crimes, Supernatural Forces, and an FBI Agent's Search for Hope and Justice

Nonfiction | Autobiography / Memoir | Adult | Published in 2025

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Symbols & Motifs

Content Warning: This section of the guide includes discussion of death, graphic violence, child death, and cursing.

Boxes, Pipes, and Hidden Cavities

The cases the memoir chooses to focus on frequently involve enclosed spaces: boxes, cylinders, recesses, etc. This motif of containers obscuring horrific truths becomes a way of suggesting the process of Coaxing Truth from Deception Through Psychological Insight, evoking the secrecy and repression that characterizes the psyche of figures like John Smith: Each sealed space represents a lie that requires breaching, whether through crowbar, jackhammer, or interrogation.


Indeed, Smith consistently chooses such receptacles to dispose of his victims and alleged victims: One of the sex workers he is hypothesized to have killed was found in a dumpster, and John Edward has a psychic vision of Fran “encapsulated” in “cylinders” near industrial pipes—possibly Carborundum, where massive kilns and storm drains offered similar possibilities. Most notably, Smith places Janice’s body in a plywood box initially stored in his parents’ garage: When Michael Smith describes opening the plywood box in 1979 and discovering Janice’s preserved remains, the container transforms from storage to coffin, from mundane object to crime scene in a way that mirrors the exposure of Smith’s compartmentalized life.


This pattern of hiding crimes in plain sight repeats across jurisdictions and decades, evoking the way those who commit crimes themselves escape scrutiny. At Yale, Annie Le’s body is “wedged” into a pipe chase within bathroom walls, while the Noah Thomas investigation culminates when Hilland, guided by Edward’s remote viewing, discovers the child in a septic tank—like the dumpster, a cavity designed for waste disposal repurposed for concealing a body in a way that suggests the alleged killer’s disdain for human life.

The Green-Faced Watch

The silver herringbone watch with its distinctive green face and gemstone bezel operates as material and symbolic evidence of Smith’s guilt, its circulation among women in Smith’s orbit mapping his predatory patterns. Janice Hartman’s sister, Dee, helped select this timepiece as a birthday gift—“I knew she would love it” (101)—establishing its intimate connection to the first victim. When Smith later presents the same watch to teenage Kathleen McDonald, an ominous declaration accompanies the transfer: “Don’t worry about it...she’s dead” (99). Smith’s words further link Janice and Kathleen, figuratively corroborating his sinister intentions toward the latter.


The watch’s reappearance, decades later in Kathleen’s possession followed by its dramatic production during the 1999 hotel interrogation, demonstrates how objects retain their evidentiary power even as their owners vanish. When Hilland confronts Smith with it during their standoff—“You see a ghost?” (133)—the timepiece becomes a symbol of the woman he killed. Its green face, unusual and memorable, makes it instantly identifiable, functioning like a fingerprint linking crime scenes across state lines and decades. Its eventual return to Janice’s sister completes a circle: Her tears acknowledge both the closure that securing justice has provided and the fundamental loss that no material links to Janice can remedy.

Technology

A motif of technology reveals how the physical and spiritual realms must collaborate rather than compete in the pursuit of justice. Throughout Chasing Evil, Hilland deploys standard FBI apparatus—polygraph machines, ground-penetrating radar, surveillance cameras, and digital forensics—yet these tools repeatedly fail to yield breakthrough insights on their own. By highlighting these failures, the book suggests that modern investigative technology is sophisticated but insufficient—an idea central to the theme of The Power of Intuition and Evidence Working in Tandem.


When Hilland searches for Noah Thomas, he embodies this synthesis: “I had the phone in one hand, the flashlight in the other” (1), with John's psychic guidance streaming through the phone while the flashlight illuminates physical terrain. This image encapsulates the book's central argument: Neither spiritual intuition nor conventional investigation supersedes the other, instead they function symbiotically. The polygraph emerges as a particularly symbolic technology in this respect: Hilland understands that while “the body never lie[s]” (224), interpretation requires intuitive reading of subjects’ demeanor and behavioral cues beyond mere physiological data.


The photo Hilland describes as capturing Fran’s image presents a variation on the pattern. The image serves Hilland’s investigation indirectly, motivating him to continue the search for Fran’s remains. However, its primary evidentiary function has nothing to do with the Smith case: Rather, it serves to corroborate the memoir’s claims about psychic phenomena and their utility in police investigations. This inverts the pattern that the book has previously established, with technology building a case for a spiritual reality rather than spiritual intuition providing leads in the material world. It thus reiterates the book’s basic attempt to integrate empirical rigor with metaphysical perception.

Hilland's Rubik’s Cube

Hilland's Rubik’s Cube symbolizes his obsessive, methodical approach to complex cases and the precarious nature of investigative persistence. He explicitly establishes the symbolic association when describing himself: “At home, I had a dozen Rubik's Cubes I twisted and turned until I solved their three-dimensional puzzles. I liked mysteries” (10). The cube’s three-dimensional architecture mirrors the layered complexity of cold cases, where evidence, witness testimony, forensics, and timeline must align perfectly to reveal truth. Meanwhile, the number of cubes Hilland possesses suggests a compulsive need rather than a casual hobby, foreshadowing the all-consuming nature of his investigative work.


The symbol gains darker resonance when Hilland confronts frustration: “As anyone who's tried it knows, the infuriating thing about a Rubik’s Cube is, you make one wrong turn and the whole thing goes to shit” (188). This admission connects to The Cost of Chasing Justice, acknowledging how obsessive puzzle-solving exacts personal tolls—the “one wrong turn” destroys marriages and threatens careers. That success remains elusive despite skillful effort parallels Hilland's inability to locate Fran despite exhaustive searching. The symbol thus embodies both his greatest strength—systematic persistence—and his tragic flaw: the inability to let go of unsolved puzzles.

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