Handwriting Compilation M, N, and O

WEBVTT

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This program is designed to provide general
information with regards to the subject matters covered.

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This information is given with the understanding
that neither the hosts, guests,

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sponsors, or station are engaged in
rendering any specific and personal medical, financial,

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legal, counseling, professional service,
or any advice. You should seek

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the services of competent professionals before applying
or trying any suggested ideas. Good Morning,

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True Crime Junkies and truth Seekers.
Ninette Bartow back with another episode of

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Hit the Road, Jack Finding the
Zodiac. We are back to finish off

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the letter M today in the alphabet
the lowercase M. That is, I'm

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going to go ahead and start just
with the numbers. For last month on

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the podcast, we had sixty seven
listenable episodes and seven thousand, nine hundred

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and eleven downloads. Looks like we're
kind of roughly adding or having an additional

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six to eight hundred downloads a month, which is great for the show.

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That means that the information is getting
out there and people are listening. I

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know that sometimes this handwriting examination can
be a little bit boring to some people,

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and I would like to say that
as soon as we get out of

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that, we'll get back into the
more interesting stuff that people like to follow,

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like the communications and the letters themselves. But for now, we're going

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to go ahead and go back into
the full presentation, and we're going to

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start back where we left off in
the middle of the lowercase MS. Here

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we go and we can can yeah, we get all right, So basically

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we stopped off. I want to
say about midway through, we were talking

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about the Zodiac Killer's lowercase MS and
the fact that we had these two hump

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ends that were being used, which
basically look like almost a cursive version with

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no connectivity. And when we look
back up at Jack's just to kind of

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remind everybody, this letter M up
here is a capital letter M that is

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actually written in a small case size
in the middle of lowercase printing, So

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it is a capital letter form but
posed as a lowercase letter. This would

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be the type of letter that Jack
would want to actually conceal and hide from

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the communications, because he obviously is
attempting to disguise his handwriting. But as

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we go down the line, we
do see that he does have the capability

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of making a regular style lowercase M. It does tend to have that shallow

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top part where the midsection does not
come back down to the baseline. You

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can see it just barely two little
tiny humps there at the top, and

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then we see some with a little
bit more of a midsection, but it

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kind of gives you an idea that
he does have the capacity to do that

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lowercase M. He also does the
three hump M curse of M, which

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again is done in the middle of
printing, and it is not connected.

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We can see there that there's no
connections on either ends of that M.

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And then he also does the two
hump M, which again is a cursive

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construction, but it only has two
instead of three humps. So that does

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kind of set the precedence for the
fact that he looks at that two hump

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M as a letter M, and
we are going to find that in these

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communications as as a disguise. And
if you also notice, it is one

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of the least ways that the least
amount of times he uses I mean,

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I only found these very rarely throughout
his handwriting, so he predominantly uses this

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capital M construction as a lowercase M. And so back down into the zodiac,

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we do see these ms with these
very shallow midsections. Once again very

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consistent with what we see Jack doing
up here, and as we go across

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the way we talked about the two
hump M, we're going to see some

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more of those. The DC Freeway
phantom did actually bring that midsection all the

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way down. We see that lean
to the right with the slightly taller right

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hump again that we talked about that
existed in Jack's handwriting up here. The

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sla very very hard to tell.
Obviously, it was a very bad copy,

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so we do just have that one
M that is visible. And when

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we get into the Citizen letter,
we kind of see this construction of a

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very angular, almost wave like W
that's occurring that we talked about in the

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capital letter MS. Back in the
slide before from last week Channel nine News,

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again we see that the lowercase M
done with the very shallow top portion,

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again very consistent with what we see
happen in Jack's handwriting, and that

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just tells us again that everything with
a Star has actually already been confirmed as

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the Zodiac Killer's handwriting. So these
are all within the range in the realm

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or the arsenal of the writing power
of this author. And what I'm looking

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to do is determine whether or not
that stuff exists obviously in Jack's and in

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other crime sprees. So we also
saw in the Channel nine news letter that

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that double hump M M is done
again without any connective portions to it.

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Red Phantom literally has just a typical
style M like we see happening up here

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in Jack's. The occ K case
had another unusual set of letter ms.

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You can actually see they're waving back
and forth because he's constantly trying to change

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his slant, and that's just not
typically normal. If somebody has a slant,

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it usually runs kind of conformed with
each letter and runs in a fashion.

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And I have seen some variable slants
where people tend to or not tend

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to they have the capability of slanting
one letter backwards and the next letter forward.

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But typically speaking, that particular letter
that slants in one direction is usually

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slanting the same within all those letters. And at the end of occ K

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I actually found that double hump M
once again very interesting to note that that

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keeps popping itself up. We see
it over here an Herb Cane again,

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and then of course in the second
Herb Kane letter we see the regular style

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lowercase M. In Latta Georgia we
actually had the triple hump ms, and

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that's because it was primarily cursive in
this particular communication. But I just wanted

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to show that consistency between those triple
hump ms and Jack's. And of course

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we see this angular part we talked
about that that comes up into that entrance

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stroke, and we also see these
more flattened, rounded humps. But the

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first hump in the third hump ten
to be higher than the other, and

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that's what we see happening down here. I mean, if you look at

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this one, the first hump and
the second hump both are taller than that

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middle hump right there. And then
the final one we saw that entrance stroke

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that was lifted up off the baseline
starts up in the middle of the air.

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It is an angular hump that is
very similar to what we see happening

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up here in Jack's Atlanta, Georgia. Killer chose the two hump m as

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well. Again very not coincidence,
I don't think. So. We do

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see that very shallow midsection and at
least one of them that is definitely consistent

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with what we talked about in Jack's
handwriting. And when we got down into

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the scorpion letter to John Walsh.
Again, these two hump ms show up,

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so we do have some that have
beginning strokes or a stem on the

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left hand side, but he clearly
placed two in there without that beginning stroke.

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The John Benet Ramsey is the more
interesting one to me because not only

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do we have these shallow mid sections
of the ms that we see up in

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Jack's, but we found literally what
I call that smoking gun in the end

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of the letter. I found two
words I believe it was the word common

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and the word immediate. Where the
construction of the capital M with the four

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strokes. So it's a little tough
to see here, but I can make

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a part these different strokes that occur
in the M, and you can see

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how it is constructed with four separate
strokes to make that capital case M in

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the middle of lowercase printing. So
it's not just the fact that it's a

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capital structure, but it meets all
the criterias. It is four separate strokes,

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it is squatty and fat, just
like the ones in Jack's writing.

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It is contain or it is capital
printing in the middle of lowercase writing.

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So it really hit on every level. When I got into Tom voice writing.

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I found that the actual construction of
those letter ms are extremely consistent with

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the citizen letters, so this may
be another construction at a later date that

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Jack was using. And of course
it also depends on the register and what

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he's writing I find, because obviously
these ms here I would not have found

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in Jack's reports, but these ms
here I did, So it really does

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depend sometimes on what somebody's writing as
to what type of writing they're going to

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use. The finale letter to Tim
Miller, nothing big to quote there.

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It looks like he really attempted to
kind of stay very strictly to the form

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of the lowercase M. In general. We do see where he is really

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breaking them apart and making them different
strokes, so you know that that's a

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disguise because this would be the more
quicker way to actually write the letter M.

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But we see several of these ms
where the entrance stroke or the stem

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stroke of the M is done separately
from the first homp and that's just kind

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of an unusual method to do something. In the Bruce Ivans letter, we

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do find a lowercase M, just
one of them kind of carries that construction

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that we're seeing up here in the
citizen letter. But it does have that

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more shallow midsection and smaller humps,
just like we saw up here in Jack's

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writing, leaning obviously to the right, like we see occurring in Jack's writing

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as well. Capital letter ends.
Now, this one was also an interesting

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letter for me. Jack has uh
these different variations of the capital letter N,

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And of course we see some that
are look almost perfect, where each

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of these strokes of the letter N
is done evenly so it makes it look

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nice and square. We have somewhere
it's actually leaning forward. But one of

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the bigger, one of the bigger
signs in Jack's handwriting is this free flowing

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exit stroke of the ending of the
end where it rises up into the air,

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taller than the rest of the end. And as you go through here

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you can start to see this.
I have arrows pointing to those exit strokes

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where it just rises up into the
air. Now, he also has this

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curvature that occurs in the middle section
coming off of the first initial stem stroke

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of the N. As he breaks
down or goes down into the middle of

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this letter, we can see that
curvature there. And I placed these slant

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bars. You guys are going to
start seeing these slant bars. Now I

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hesitated doing it at first because I
thought it might cover up too many of

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the letters, but I tried to
do them thin enough that they didn't actually

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take away from the letter form that
we're looking at. So as you go

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through here, I took and I
laid this crossbar down, and then I

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laid it down on additional ends as
I went through the presentation. So basically,

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what I'm trying to show is that
slant that Jack carries and whether or

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not that slant actually exists in the
communications of other writings. So just to

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start with Well and Lynn, let's
go over here. This is what I

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call the W form of the letter
N, and we can see that it's

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got this entrance stroke that starts here
on the left hand side, and then

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it works up to what would be
this should have been the first stroke of

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the letter N, and then coming
down into the midsection and then rising once

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again up off into the air with
that extended stroke or exit stroke. So

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when he does this in haste,
this first initial stroke actually is quite open,

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making this letter look like a W. So we're going to be looking

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for the signs of that in the
zodiacs andwriting now on the Lipstick Killers writing,

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I was able to find several several
things that occur. The way that

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this curvature happens in this mid section
and connects to the exit stroke or the

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final stem of the end actually creates
this very pointed, very thin mid section

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where it looks like the two are
merging together instead of being open like we

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see over here in this very first
end, where this space is nice and

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open, because these particular strokes are
written independent of each other and do not

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clash and run into one another.
So I did start to see that in

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many of these communications, so I
began putting those arrows down so you will

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see that when it occurs as well, we do have the similar slant as

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we see in Jack's handwriting, so
we do know that that is within the

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realm of this particular author. Again, I think we still got three times

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here where that actually ran four times
here were these two strokes collided with each

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other and made that section that should
have been open and clear, it actually

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collides and runs the two together.
So it appears as though the cross stroke

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or the mid stroke of the N
actually runs directly into the midway of the

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final stroke of the N. Now
the current letter is not only has that

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first initial stroke that we talked about
up here in Jack's handwriting, so the

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moves down and then it comes out. We see that curvature. That's a

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that is happening inside of the midstroke
which we talked about up here. It's

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fairly heavy at Jack's writing. As
you go down, you can just look

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and find many of these that have
that curvature in that middle section. Now,

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of course we see a lot of
three stroke ends where he is attempting

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to piece them together like a puzzle. And again that is not natural.

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It is quite easier and faster and
more efficient to do that in a single

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stroke. But we do see that
Jack does that in his letter MS by

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nature, even in his own natural
handwriting, So maybe he just likes to

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take the time to do that.
Elizabeth Short had some definite consistency with the

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current letter. We see again that
curvature, that hump that happens in the

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first portion of the letter N.
That is definitely consistent with what we see

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happening up here, you guys,
in Jack's writing, we see that hump

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in that capital and construction. When
this really should be more pointed, that

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is very consistent. We do see
that the slant again is very similar,

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and we are definitely fighting not only
the letter ND that is consistent with Jack's

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letter ends, but we are also
finding other letter ends that are consistent.

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So here is the one in Elizabeth
Short, very consistent with the one in

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Dear Dash in the Dear Draftboard letter. I believe I saw at one other

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place, and here this mucked up
version of the letter N, and I'm

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sure as we come across it we
can talk about that then and the sorry

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Mary. When we look at this
more streamline version of the letter N,

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nice and wide and open, the
three separate strokes you can see right down

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into that midsection is quite open,
is very consistent with the disguise capital letter

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N, in which case he's trying
to make it look very copybook, very

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perfect, almost, if you will. But we do start to see that

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they are starting to slant to the
right. They're not near as upright as

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we would expect in copybook and the
Dear Draftboard. Again, we just had

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a home run hit with the way
this particular portion of the letter N at

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that first section of the stem and
the mid section actually creates almost this There

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is a slight curvature to it as
it moves up to the top, and

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we can see that that is definitely
occurring in Jack's handwriting as well. I

206
00:16:12.000 --> 00:16:18.879
believe I notated that one. Let's
see with the high rising sorry right exit

207
00:16:18.960 --> 00:16:22.960
stroke and the very thin pointed bottom
portion of the mid section, which is

208
00:16:23.120 --> 00:16:27.360
very consistent with Jack's handwriting. As
we see up here, I want to

209
00:16:27.399 --> 00:16:30.960
say that here we go, here's
that one that is slightly curved on both

210
00:16:32.000 --> 00:16:37.080
sides of the mid section and the
entrance stroke that creates kind of more of

211
00:16:37.240 --> 00:16:41.600
a mountain shape rather than that strict
V shape that we're seeing. And as

212
00:16:41.600 --> 00:16:45.480
we go down the line and the
zodiac stuff, we start to see more

213
00:16:45.519 --> 00:16:49.639
of that perfect construction of the letter
N that is consistent with the sorry merry

214
00:16:49.759 --> 00:16:55.360
letter. And on down the line
we start to see once again this more

215
00:16:55.480 --> 00:17:02.320
haphazardly letter N which has the entrance
stroke, and that entrance stroke is identified

216
00:17:02.360 --> 00:17:06.200
by the fact that this stroke rate
here is twice the thickness of the rest

217
00:17:06.240 --> 00:17:10.279
of the strokes, so that indicates
that that pen passed twice there, started

218
00:17:10.359 --> 00:17:12.759
up here above the baseline, worked
its way down and then back up before

219
00:17:12.799 --> 00:17:17.319
it started into the midsection of the
letter N. But when you take a

220
00:17:17.319 --> 00:17:21.079
look at this particular letter, and
you're going to find this style throughout the

221
00:17:21.119 --> 00:17:25.599
rest of the communications, and it
is very consistent with what we see happening

222
00:17:25.680 --> 00:17:30.559
in Jack's handwriting, such as these
ends up here, very consistent. The

223
00:17:30.599 --> 00:17:33.480
Fairfield letter is where I started to
see again, this is very similar.

224
00:17:33.599 --> 00:17:38.599
This kind of it gives me that
thought if I turned it on its side,

225
00:17:38.599 --> 00:17:45.119
it was a number two or that
squiggly midsection where it's rounded as it

226
00:17:45.279 --> 00:17:48.960
leaves out of the first stem stroke
and works its way down through the center

227
00:17:48.000 --> 00:17:52.000
and into the next exit stroke.
That is consistent with what we were seeing

228
00:17:52.039 --> 00:17:56.960
back here in the Zodiac Killer.
I'm sorry, Dear draft Board and the

229
00:17:56.000 --> 00:18:00.480
Elizabeth Short. So again, not
so rise to see that work itself out

230
00:18:00.480 --> 00:18:03.839
in the Fairfield letter, because as
I'd said, there are other letters from

231
00:18:03.839 --> 00:18:08.799
the Dear draft Board and from Elizabeth
Short that are consistent with other letter ends

232
00:18:08.799 --> 00:18:17.799
within the Zodiac's realm, and Fairfield
again is Zodiac writing the DC Freeway Phantom.

233
00:18:18.000 --> 00:18:21.880
That letter N is very consistent with
what we saw in dB Cooper,

234
00:18:21.920 --> 00:18:25.519
and those were extremely close in timeframe, I mean so close. We're talking

235
00:18:25.519 --> 00:18:29.680
November fifteenth in November twenty fourth,
So I don't find that so much as

236
00:18:29.680 --> 00:18:33.039
a coincidence, especially when the communications
are so close in a timeframe, and

237
00:18:33.079 --> 00:18:40.400
the disguise seems to be nearly identicalist
what is being done going on through We

238
00:18:40.480 --> 00:18:44.440
do see the copybook ends once again. We also see these ones that we

239
00:18:44.519 --> 00:18:48.960
talked about up here in Lipstick Killer, which is where that center stroke actually

240
00:18:49.680 --> 00:18:55.839
protrudes right into the midway point of
the exit stem of the end, again

241
00:18:55.960 --> 00:19:00.039
creating that very thin, retraced or
redrawn section down there in the middle of

242
00:19:00.039 --> 00:19:04.640
the letter end, making it extremely
pointy. Again, we see that right

243
00:19:04.720 --> 00:19:08.359
up there in Lipstick so and we
also see it in Jack's. It's not

244
00:19:08.440 --> 00:19:11.799
as if this is not something we
see we don't see in Jack's. In

245
00:19:11.839 --> 00:19:15.759
this particular letter N. Right here, once again we see how that midsection

246
00:19:17.000 --> 00:19:22.799
of that first homp actually moves down
and it connects right at about halfway a

247
00:19:22.799 --> 00:19:26.640
little less than halfway of the exit
stem of the N. And again it's

248
00:19:26.680 --> 00:19:32.240
retraced and redrawn within that section.
So it is something that is occurring in

249
00:19:32.359 --> 00:19:36.559
Jack's handwriting, so not necessarily so
much of a disguise as he just doesn't

250
00:19:36.559 --> 00:19:41.519
realize that that's a characteristic he has. We do see that in dB Cooper,

251
00:19:41.599 --> 00:19:45.200
this long drawn out first stem of
the letter N. This is very

252
00:19:45.240 --> 00:19:49.960
consistent with the riverside phantom or I'm
sorry, with the red phantom, which

253
00:19:49.960 --> 00:19:53.799
is the Dear Marco letter. And
then we get back into some of these

254
00:19:53.839 --> 00:19:57.559
other ends again, here's that same
shape of the letter N that we saw

255
00:19:57.640 --> 00:20:00.400
back here in the beginning of D. B. Cooper, also in the

256
00:20:00.519 --> 00:20:07.599
DC Freeway phantom. Let's see here, continuing on with dB Cooper again,

257
00:20:07.640 --> 00:20:12.640
we have additional letter ends that are
consistent with rest of the ends surrounding these

258
00:20:12.680 --> 00:20:18.839
cases. The Albany news letter ends, if they weren't perfect copybook or an

259
00:20:18.880 --> 00:20:22.359
attempt at perfect copybook, we actually
see they are quite consistent with the Channel

260
00:20:22.440 --> 00:20:26.480
nine news letter ends. So that
tells me that again a very close in

261
00:20:26.559 --> 00:20:30.880
timeframe as far as when these communications
were written. It's almost as if as

262
00:20:30.920 --> 00:20:37.799
he moves from one disguise in a
communication that he continues to use that in

263
00:20:37.920 --> 00:20:42.759
surrounding communications at the same time and
moving on down the line into occ K.

264
00:20:44.759 --> 00:20:48.759
We do see that those letter ends
again are extremely consistent with backup in

265
00:20:48.839 --> 00:20:52.240
dB Cooper. I mean, I've
got this one marked down here because it

266
00:20:52.279 --> 00:20:56.440
is nearly identical to what we see
is happening in the Scorpion letters, and

267
00:20:56.559 --> 00:21:02.279
of course as well in the As
we continue through the occk and we come

268
00:21:02.319 --> 00:21:04.359
down to some of these, we
start to see that they're also very consistent

269
00:21:04.720 --> 00:21:11.640
with Scorpion and the Atlanta Georgia Killer. No surprise here. We are back

270
00:21:11.680 --> 00:21:15.960
to the Ohio letter or the Vewinovich
letter in two thousand and one, and

271
00:21:15.079 --> 00:21:18.759
we saw a couple of things happening
here. Number one, we saw that

272
00:21:18.799 --> 00:21:22.799
curve midsection that came down into the
exit stroke, which causes a retrace or

273
00:21:22.799 --> 00:21:26.920
a redraw. In one of the
ends. We have the the what I

274
00:21:26.960 --> 00:21:32.000
referred to as that squiggly N,
which is where it's curved both at the

275
00:21:32.039 --> 00:21:36.279
top of the first hump and at
the bottom as it exits into the second

276
00:21:36.359 --> 00:21:41.519
hump, which was consistent with Fairfield, Elizabeth Short and who else do we

277
00:21:41.599 --> 00:21:48.160
have that with, dear draft board. And as we moved down we see

278
00:21:48.240 --> 00:21:52.119
the letter end that I think he
probably would have wanted to keep in disguise,

279
00:21:52.200 --> 00:21:56.799
but we see that it is accidentally
dropped here, and that is that

280
00:21:56.880 --> 00:22:00.319
first stroke that starts up above the
baseline, it works its way down,

281
00:22:00.400 --> 00:22:03.880
comes up into the first hump of
the end, down through the mid section,

282
00:22:04.240 --> 00:22:08.440
and then of course that right word
exit that seems to reach out into

283
00:22:08.440 --> 00:22:12.839
the sky taller than the rest of
the letter. Now, that movement that

284
00:22:12.960 --> 00:22:17.559
keeps occurring is very consistent with this
letter, and up here, of course

285
00:22:17.599 --> 00:22:21.319
it has some of the other variables, like the rounded top section. Here,

286
00:22:21.759 --> 00:22:26.200
it does have the exit stroke that
actually waves off into the right looked

287
00:22:26.240 --> 00:22:30.359
like it's trying to separate itself from
the rest of the letter, but still

288
00:22:30.400 --> 00:22:36.160
consistent. We also had the letter
end style here that we found in the

289
00:22:37.720 --> 00:22:40.880
Let's see here. We found it
in the DV. Cooper writing. We

290
00:22:41.000 --> 00:22:45.000
found it in the DC Freeway Phantom
writing. We found it in several of

291
00:22:45.000 --> 00:22:49.759
them. Actually, it's it's probably
a more common structure, but the fact

292
00:22:49.759 --> 00:22:53.799
that we can find all these different
style ends in one communication is likely that

293
00:22:53.880 --> 00:22:57.480
it is the same author. When
I got into Anthrax, I found the

294
00:22:57.519 --> 00:23:03.000
same consistency with the The N actually
ran right into the midsection of the right

295
00:23:03.039 --> 00:23:07.359
hand stem or exit stroke of the
end, creating that very thin and retraced

296
00:23:07.400 --> 00:23:11.119
area at the bottom of the end. We can see that it's actually being

297
00:23:11.160 --> 00:23:15.839
made in separate strokes, as we
talked about up here in Jack's handwriting.

298
00:23:15.079 --> 00:23:21.039
In this particular end right here,
we've got three separate strokes that actually you

299
00:23:21.079 --> 00:23:23.039
can visibly see the break at the
top here. You can see that this

300
00:23:23.160 --> 00:23:27.599
extracurricular portion is the fact that he
did not use one single strokes, and

301
00:23:27.680 --> 00:23:32.519
this is three separate strokes. And
that's what we saw happening down here in

302
00:23:32.559 --> 00:23:37.200
the anthrax, along with some of
your more perfect copybook. But again,

303
00:23:37.359 --> 00:23:40.880
look at this letter end. Here
we have that midsection that comes and hits

304
00:23:41.039 --> 00:23:44.920
right at the halfway points of the
exit stem. And when that occurs,

305
00:23:44.960 --> 00:23:48.279
it causes a retrace right here in
this section, making that nice thin area

306
00:23:48.359 --> 00:23:52.240
we talked about in many of the
other communications up here. We see him

307
00:23:52.279 --> 00:23:55.799
here, and we see it here, and then we see it throughout other

308
00:23:55.799 --> 00:24:00.880
communications. When I got into Tom
Void's handwriting, of course, we can

309
00:24:00.920 --> 00:24:06.160
see that several of these have now
been annotated to be consistent with other letter

310
00:24:06.359 --> 00:24:11.400
ends in these communications, which I
do believe is not a coincidence, since

311
00:24:11.519 --> 00:24:15.559
in the letter to Tom Void,
this individual is attempting to take credit for

312
00:24:15.680 --> 00:24:22.799
the Zodiac killings the letters in in
Tim Miller the ends again we see that

313
00:24:22.960 --> 00:24:26.799
redraw retrace with the curvature of the
center portion, and we see where that

314
00:24:27.000 --> 00:24:32.359
comes out and makes that very tiny
thin point on the bottom end of the

315
00:24:32.480 --> 00:24:36.119
end. And then we start to
see the other ends that had that wave

316
00:24:36.160 --> 00:24:42.039
off that we talked about over here
in the Ohio letter where it kind of

317
00:24:42.119 --> 00:24:47.599
separates itself, and it's much wider
from the first homp to the exit stroke

318
00:24:47.640 --> 00:24:51.079
than it is from the first stem
to the midsection of the letter N.

319
00:24:51.519 --> 00:24:56.720
And of course we also see these
more attempt at more copied book more uniform,

320
00:24:56.799 --> 00:25:02.240
but we can we still keep seeing
that point at which the center section

321
00:25:02.319 --> 00:25:08.880
is connecting to the stem and being
retraced at that bottom portion the lowercase ends.

322
00:25:08.880 --> 00:25:12.880
This is another end that I think
Jack would have wanted to conceal or

323
00:25:12.920 --> 00:25:18.559
to hide, though I was able
to find several instances of that particular letter

324
00:25:18.759 --> 00:25:22.400
N, and that's the lowercase.
It's a capital construction end found in the

325
00:25:22.400 --> 00:25:27.400
middle of lowercase printing, which when
the first initial stroke or the entrance stroke

326
00:25:27.480 --> 00:25:33.599
of that letter is separated far enough
from the initial stroke or the stem first

327
00:25:33.599 --> 00:25:37.240
stem of what a capital N would
have it makes it look like a W,

328
00:25:37.839 --> 00:25:41.799
so I like to kind of identify
with some type of former fashion in

329
00:25:41.920 --> 00:25:45.559
people's writing that would allow me to
make a reference to what that appearance is.

330
00:25:45.920 --> 00:25:48.799
And as we go down the line, we can see that this one

331
00:25:48.839 --> 00:25:52.079
that does not have all of the
curvatures, and it actually looks exactly like

332
00:25:52.119 --> 00:25:56.200
a W. If I sat that
aside aside by itself, you would think

333
00:25:56.240 --> 00:25:59.720
it was a W, not a
letter N. But it is in fact

334
00:25:59.799 --> 00:26:03.880
a capital letter and constructed as the
size of a lowercase letter in the middle

335
00:26:03.920 --> 00:26:07.599
of lowercase printing. So we do
see that he also has the capability of

336
00:26:07.640 --> 00:26:12.279
making normal ends. So I've notated
those, and I've talked about those throughout,

337
00:26:12.359 --> 00:26:18.079
and I've also shown his version of
the double hump N, which is

338
00:26:18.119 --> 00:26:22.400
interesting because not only does he use
the double hump for the letter M,

339
00:26:22.559 --> 00:26:25.359
but he also uses it for the
letter N, and we're going to see

340
00:26:25.359 --> 00:26:29.440
that throughout the communications, So let's
get started here. We can see in

341
00:26:29.519 --> 00:26:33.279
the Lipstick Killers case that that double
hump M is one N. I'm sorry.

342
00:26:34.079 --> 00:26:37.279
Is one of the very first times
that we see that writing in the

343
00:26:37.279 --> 00:26:41.440
middle, So it's a cursive form
in the middle of printed writing. We

344
00:26:41.519 --> 00:26:48.200
see as we go through the different
strokes. What I was talking about before

345
00:26:48.240 --> 00:26:53.079
about this attempt, I want to
say that it was in the lowercase MS.

346
00:26:53.119 --> 00:26:57.160
I also talked about it in the
ages, which was this stem stroke

347
00:26:57.319 --> 00:27:02.480
that is separated and higher than the
rest of letter. We're going to see

348
00:27:02.480 --> 00:27:06.000
that completely throughout in all of these. So it's almost as if this was

349
00:27:06.559 --> 00:27:10.240
either a telltale sign or a reminder
of something, or this is the way

350
00:27:10.279 --> 00:27:14.319
he perceived that the sky should go. But as you go through you can

351
00:27:14.319 --> 00:27:18.240
see all of these ends here with
this very high entrance stroke, and you

352
00:27:18.279 --> 00:27:22.200
can see it continue on in the
current Werewolf so starts on Elizabeth short ends

353
00:27:22.319 --> 00:27:26.039
up in the current letters. We
can start to see also that many of

354
00:27:26.079 --> 00:27:32.440
these letters actually coincide or cross reference
to other letters. So something like the

355
00:27:32.480 --> 00:27:36.400
dear Draftboard letter, this one here
is very consistent with what we're seeing in

356
00:27:36.440 --> 00:27:41.200
the Werewolf letters. We also see
that entrance stroke that is taller than the

357
00:27:41.200 --> 00:27:45.640
rest of the letter. And then
I did notate this in the letter H

358
00:27:45.839 --> 00:27:49.720
is the lowercase h's where the actual
hump of the H and the hump of

359
00:27:49.759 --> 00:27:56.559
this m N. Sorry is not
only flattened in the appearance, but has

360
00:27:56.599 --> 00:28:03.000
a very wide base between the two
the entrance stroke and the exit stroke of

361
00:28:03.000 --> 00:28:07.240
the N, which we did see
in the letter H. So we'll talk

362
00:28:07.279 --> 00:28:11.039
about those as we go through too. Now in Oswald, when I got

363
00:28:11.079 --> 00:28:15.599
there, I saw that W effect, which is very consistent with what we

364
00:28:15.599 --> 00:28:19.440
were seeing happen in the Zodiac Killer
case. So here are some of these

365
00:28:21.480 --> 00:28:26.279
lowercase ends where I talk about that
entrance stroke that is separate from the rest

366
00:28:26.319 --> 00:28:30.640
of the end, making it almost
look like it's a W rather than an

367
00:28:30.799 --> 00:28:33.720
N. But this is in fact
a letter N. And there were several

368
00:28:33.799 --> 00:28:37.839
of them that I found, so
it was very consistent with what we were

369
00:28:37.880 --> 00:28:41.079
seeing. And when I got over
here, I found not only did we

370
00:28:41.200 --> 00:28:47.000
have that W appearance, but we
had one of the ends actually had the

371
00:28:47.039 --> 00:28:52.240
curvature on it. And that particular
letter N right there is extremely consistent with

372
00:28:52.319 --> 00:28:56.599
these letter ends that we're finding in
Jack's handwriting. I mean, that's just

373
00:28:56.759 --> 00:28:59.799
knocks me off my feet and blows
me away. We have the entrance stroke

374
00:28:59.839 --> 00:29:03.880
that separate from the initial stroke or
the first stem stroke of the letter N,

375
00:29:03.240 --> 00:29:07.440
and we have the curvature of the
exit stroke, which then again makes

376
00:29:07.440 --> 00:29:11.240
it look quite like a W as
we're seeing up here in Jack's writing.

377
00:29:14.119 --> 00:29:18.359
Again we see the wide base of
the separation of the two feet of the

378
00:29:18.599 --> 00:29:23.720
N, and of course we do
see that high stroke over the entrance stroke,

379
00:29:23.799 --> 00:29:26.599
the stem stroke of the letter N
that is sticking up above the rest

380
00:29:26.640 --> 00:29:30.680
of the letter. Very consistent with
these other ones that we've seen. Now.

381
00:29:30.799 --> 00:29:34.359
The DC Freeway phantom is one that
is quite different from the rest of

382
00:29:34.400 --> 00:29:38.000
the letter ends that we've seen in
here, which is a taller, thinner

383
00:29:38.119 --> 00:29:42.119
version, still leaning to the right
as we would expect as far as slant

384
00:29:42.279 --> 00:29:47.039
is concerned, but does have it
is one of them that has a visible

385
00:29:47.119 --> 00:29:51.640
difference between the disguise of the rest
of the writings that we're looking at,

386
00:29:52.359 --> 00:29:56.519
and going on through, we can
see that the Deer the dB Cooper letter

387
00:29:56.720 --> 00:30:02.359
ends are very consistent with the Alba
New York letter ends as far as shape,

388
00:30:02.400 --> 00:30:06.440
and we do see kind of that
squareness of the top and the wider

389
00:30:06.480 --> 00:30:10.079
portion at the bottom which we were
seeing up here in the Deer draft board

390
00:30:10.079 --> 00:30:15.359
as well. I've kind of mixed
it up. So basically, if you

391
00:30:15.480 --> 00:30:18.160
just sit here and go through some
of these, you'll find that many of

392
00:30:18.200 --> 00:30:22.680
these ones that are listed in red
can be found in direct relation to other

393
00:30:22.440 --> 00:30:26.640
communications as we go through, such
as Atlanta, Georgia with that very flattened

394
00:30:26.720 --> 00:30:32.960
out hump with the very wide base. We see that happening over here in

395
00:30:33.000 --> 00:30:37.000
the Herb Kane letter. We see
it happening again in the the Red Phantom

396
00:30:37.079 --> 00:30:40.680
letter. I need to change that. It's not Riverside. I don't know

397
00:30:40.720 --> 00:30:45.079
why I've associated it to that,
but again that is a disguise that is

398
00:30:45.119 --> 00:30:52.319
actually running intandem with many of these
letters. When I got into again Tom

399
00:30:52.400 --> 00:30:56.400
Voight's letter, we see that the
construction of that letter end is extremely consistent

400
00:30:56.480 --> 00:31:00.440
with the Citizen letter from the Zodiac
Killer. So again no coincidence that this

401
00:31:00.480 --> 00:31:06.319
person is attempting to take a credit
for the Zodiac case when there is actually

402
00:31:06.759 --> 00:31:11.000
letters that are formed exactly like what
we're seeing over here in Tom Boyd's letter,

403
00:31:11.279 --> 00:31:15.440
including the little extrait stroke, this
little foot that comes off the bottom

404
00:31:15.440 --> 00:31:18.720
of the end. We can see
that happening over here in the Citizen letter

405
00:31:18.759 --> 00:31:23.839
as well. See Bruce Ivans.
We had similar consistency with the shapes,

406
00:31:23.960 --> 00:31:30.880
the shape of the hump, the
flow or the slant of the actual letter

407
00:31:30.039 --> 00:31:33.880
N, and then not a lot
really to say in the Tim Miller letter.

408
00:31:33.920 --> 00:31:37.119
We can see that these look like
they are pretty much an attempt at

409
00:31:37.200 --> 00:31:41.400
making some type of a perfect form, though I could say that some of

410
00:31:41.440 --> 00:31:45.440
these letter ends are absolutely the same
shape in the top of the hump.

411
00:31:45.680 --> 00:31:51.200
They do not lean right. They
are very perfectly straight up and down.

412
00:31:51.920 --> 00:31:55.039
Had they had a little slant to
them, they would have been very similar

413
00:31:55.039 --> 00:32:01.480
to some of Jack's letter ends.
The letter O. Not usually a lot

414
00:32:01.559 --> 00:32:06.599
to say here other than where does
that O stop and start? Is there

415
00:32:06.640 --> 00:32:10.240
any type of flattening on one side
versus the other? Are they left open?

416
00:32:10.319 --> 00:32:15.920
Are they completely closed? What shape
are they? So this is basically

417
00:32:15.960 --> 00:32:19.200
some of the things that I came
up with in Jack's stuff, is that

418
00:32:19.480 --> 00:32:23.240
Jack not only sometimes writes a cursive
version letter Oh. We can see that

419
00:32:23.960 --> 00:32:28.920
loop on the inside of it that
actually makes it looks makes it look like

420
00:32:29.000 --> 00:32:31.960
it's cursive. And this happened in
a lot of Jack's writing. So I'm

421
00:32:32.000 --> 00:32:36.160
sure that this is one of those
things that he would have tried to have

422
00:32:36.279 --> 00:32:38.839
concealed and kept out of the writing. But we're going to actually see in

423
00:32:38.880 --> 00:32:43.759
the lowercase O where he was not
capable of doing that, especially in the

424
00:32:43.839 --> 00:32:49.119
Zodiac's writing. He has this flattened
portion on the bottom of the O,

425
00:32:49.359 --> 00:32:52.920
which I have marked by this particular
slant bar and copy and pasted that slant

426
00:32:53.000 --> 00:32:58.640
bar in several other locations to show
you that that flat side was consistent with

427
00:32:58.799 --> 00:33:04.440
Jack's writing and how that actually pertains
to these other communications. Now, in

428
00:33:04.480 --> 00:33:10.880
many cases we can see easily the
marked area where Jack started and stopped his

429
00:33:12.039 --> 00:33:16.119
letter O, and it is approximately
the eleven to midnight hour on the letter

430
00:33:16.160 --> 00:33:21.440
O. I'm pointing to it here
with these red arrows, And as we

431
00:33:21.480 --> 00:33:28.319
go through we can start to see
that there are consistencies. So the Lipstick

432
00:33:28.839 --> 00:33:31.200
Killers is a little muddied up,
so we can't really tell where it stops

433
00:33:31.200 --> 00:33:35.039
and starts, but we can see
the general shapes, and one of the

434
00:33:35.079 --> 00:33:37.440
shapes that I notate for Jack is
kind of this egg shape. I also

435
00:33:37.559 --> 00:33:43.079
found these ones that look like tear
drops, So we see this tear drop

436
00:33:43.160 --> 00:33:45.559
thing here that's going on in the
Lipstick Killer, and I found that in

437
00:33:45.720 --> 00:33:52.319
several locations of other communications. In
fact, it even happened in short here

438
00:33:52.400 --> 00:33:55.319
with the tear drop. We had
what I call this two stroke letter O.

439
00:33:57.400 --> 00:34:00.279
And we also had the starting and
stopping point the letter O and Elizabeth

440
00:34:00.279 --> 00:34:07.039
Short that was consistent with Jack.
So going on through, let's see here

441
00:34:07.200 --> 00:34:10.320
this is more of the odd shaped
letter O, which is kind of this

442
00:34:10.440 --> 00:34:15.039
chunky or fat wider O that we
see that is an attempt to be used

443
00:34:15.079 --> 00:34:20.400
throughout some of the communications. But
then we also see where the openings again

444
00:34:20.519 --> 00:34:25.159
are at the very top and it's
not closed up, so we're seeing these

445
00:34:25.239 --> 00:34:30.039
letters that are not completely closed,
but then when they are closed, we

446
00:34:30.119 --> 00:34:34.079
see that it completely overlaps in Jack's. So we're looking for those items.

447
00:34:34.840 --> 00:34:37.920
Oh I did actually I think I
put all of the os together capital and

448
00:34:38.039 --> 00:34:43.039
lowercase, so we're looking at some
capital letters. That's probably why we have

449
00:34:43.119 --> 00:34:45.360
these bigger, chunkier, fatter ones. But as we go through, like

450
00:34:45.599 --> 00:34:50.239
just as you enter into Sherry Joe
Bates, you start to see this fat

451
00:34:50.280 --> 00:34:54.800
tear drop effect again in the Dear
draft Board letter fat tear drop. We

452
00:34:54.840 --> 00:35:01.000
can see that in the Zodiac Killer. Here is that two stroke very thin

453
00:35:01.280 --> 00:35:06.119
and angular points at the top and
bottom of the O that is consistent with

454
00:35:06.159 --> 00:35:09.880
Elizabeth Short. And then we also
see that cursive letter O that I was

455
00:35:09.920 --> 00:35:14.960
talking about in the Zodiax handwriting.
Now these ones were again, these were

456
00:35:15.039 --> 00:35:17.960
home run hits for me because they
are absolutely identical. They are the same

457
00:35:19.000 --> 00:35:22.079
shape, they are laying on their
sides to the right. They have that

458
00:35:22.199 --> 00:35:25.360
hook or that extra loop coming through
the center of it as if it's a

459
00:35:25.400 --> 00:35:30.559
cursive letter O in the middle of
printed writing. This is one of the

460
00:35:30.719 --> 00:35:36.159
very first characteristics of the twenty that
I found in the Zodiax handwriting as compared

461
00:35:36.199 --> 00:35:38.760
to Jack. That got me interested
in this case because this is a very

462
00:35:38.840 --> 00:35:44.079
unusual construction to use a cursive type
O in the middle of printed writing.

463
00:35:44.320 --> 00:35:47.519
And when I found that in the
Zodiax handwriting and realized that Jack also did

464
00:35:47.559 --> 00:35:51.920
that in his own writing, I
was absolutely blown away. And it gave

465
00:35:52.000 --> 00:35:54.000
me that or it piqued my interest
should I say to the point that I

466
00:35:54.079 --> 00:36:00.639
needed to look at this handwriting there
might be something to Jack Terrence. Going

467
00:36:00.679 --> 00:36:05.440
through into the Fairfield letters again we're
finding these more fat, chunky os,

468
00:36:05.440 --> 00:36:09.440
something quite different from what we know
that Jack normally does. But as we

469
00:36:09.480 --> 00:36:13.599
move through some of these Zodiac stuff, we start to see once again this

470
00:36:13.719 --> 00:36:19.159
tear drop shape that occurred in the
red Phantom letter, which consistent with the

471
00:36:19.199 --> 00:36:22.119
deer draft board, consistent with the
Elizabeth short, consistent with Sherry Joe Bates.

472
00:36:22.960 --> 00:36:27.400
Let's see it's kind of here,
although this one is kind of sideways,

473
00:36:27.440 --> 00:36:30.039
we do see that that is more
of a tear drop shape that has

474
00:36:30.079 --> 00:36:36.800
a very angular pointed triangular top on
that particular oh. Going down into DC

475
00:36:36.960 --> 00:36:42.199
Freeway Phantom, we started to see
again these two stroke os that made it

476
00:36:42.320 --> 00:36:45.599
very thin, angular on the top, angular on the bottom, and that

477
00:36:45.760 --> 00:36:50.039
is consistent with the Zodiac Killer,
that is consistent with Elizabeth's short. Let

478
00:36:50.039 --> 00:36:52.559
me see where else I found that. I started marking these two stroke os,

479
00:36:52.679 --> 00:36:57.159
and we see it in the Oakland
County child murders where it's actually used

480
00:36:57.199 --> 00:37:00.599
two separate strokes to make it,
which we also see the teardrop formation in

481
00:37:00.599 --> 00:37:05.119
the Oakland County child learners. You
guys, this isn't hot a coincidence to

482
00:37:05.199 --> 00:37:07.639
see these two stroke ohs, because
most people do not make an O with

483
00:37:07.719 --> 00:37:13.000
two separate strokes. Is really kind
of again, another one of those home

484
00:37:13.079 --> 00:37:16.920
run hits. I did mark also
in purple, so if you look for

485
00:37:16.960 --> 00:37:22.039
the purple shapes, you're going to
find their similar and consistent shapes in those

486
00:37:22.079 --> 00:37:27.559
disguised os. In the Albany we
not only found these funky odd shape os

487
00:37:27.639 --> 00:37:30.039
that were found in Atlanta, Georgia, but we also once again found not

488
00:37:30.159 --> 00:37:34.840
only the two stroke O is seen
here, but we also found the teardrop

489
00:37:35.000 --> 00:37:39.320
O SLA had at least one tear
drop O. Citizen Letter actually had something

490
00:37:39.400 --> 00:37:44.599
extremely consistent to what we were looking
at in previous ones, like up here

491
00:37:44.599 --> 00:37:49.559
in Elizabeth Short, which is really
this very odd shaped letter O that is

492
00:37:49.599 --> 00:37:53.360
not closed at the top, with
the opening and the way that opening occurs

493
00:37:53.480 --> 00:37:59.360
is fairly similar, with the exit
stroke being slightly higher and not coming back

494
00:37:59.400 --> 00:38:04.519
down and reach the entrance strokes,
so similarities there, similarities with the opening

495
00:38:04.599 --> 00:38:08.480
being at the same position as Jack's, and of course that slant with that

496
00:38:08.519 --> 00:38:15.039
flattened side is consistent in the Citizen
Letter as well as the rest of the

497
00:38:15.119 --> 00:38:19.840
Zodiac's writing. I did start to
notice too that up here in the Sherry

498
00:38:19.880 --> 00:38:23.639
Joe Bates one we see this O
with a dot in the center. This

499
00:38:23.719 --> 00:38:28.360
was a symbol that was used in
the ciphers of the zodiac Killers writing.

500
00:38:28.480 --> 00:38:30.840
And then of course I started to
find it in the actual writing of other

501
00:38:30.880 --> 00:38:36.159
communications. So was it not only
found in the ciphers of the Zodiac.

502
00:38:36.199 --> 00:38:42.159
It's found in the written communications of
Sherry Joe Bates of the Fairfield Letters by

503
00:38:42.159 --> 00:38:45.320
the Zodiac Killer. We can see
right here again, circle with the dot

504
00:38:45.360 --> 00:38:47.320
in the center. Let's see where
else we found it. We found it

505
00:38:47.360 --> 00:38:52.480
in the Scorpion. This was actually
in one of the ciphers. We found

506
00:38:52.480 --> 00:38:54.679
it in occk. We had the
two stroke O, but we still had

507
00:38:54.679 --> 00:38:59.440
it with a dot in the center. Evidently I must have failed to mark

508
00:38:59.519 --> 00:39:01.480
that because that was a very important
one. We found it in the Channel

509
00:39:01.559 --> 00:39:06.239
nine news letter twice, circle with
the dot in the center. So this

510
00:39:06.320 --> 00:39:09.840
must be some type of identifying characteristic
for him. Maybe this is how they

511
00:39:09.960 --> 00:39:15.519
identified that it was him. However, we all know that an O doesn't

512
00:39:15.559 --> 00:39:20.599
have a dot in the center,
so that makes it extremely non coincidental that

513
00:39:20.679 --> 00:39:24.079
we're finding it in so many communications
that are purportedly not related to the same

514
00:39:24.119 --> 00:39:29.360
person. So we counted it off
right there. I think in at least

515
00:39:29.360 --> 00:39:31.480
four different Oh, we have it
in the Deer draft board too. Here's

516
00:39:31.480 --> 00:39:35.559
the circle with the dot in the
center. It just keeps going on.

517
00:39:35.760 --> 00:39:39.800
Channel nine news scorpion. See if
we found any down here, not necessarily,

518
00:39:39.840 --> 00:39:46.119
but we did find consistency with this
oval upright shape in Tom Voight,

519
00:39:46.280 --> 00:39:52.840
which was consistent with this oval upright
shape of Albany, New York in Atlanta,

520
00:39:52.920 --> 00:39:58.119
Georgia. Just a very similar form. And as we continue through with

521
00:39:58.159 --> 00:40:00.239
the tear drops, we see it
in the sacrament Meno letter, we see

522
00:40:00.239 --> 00:40:05.239
it in the Tom Voight letter once
again there's that tear drop. There's that

523
00:40:06.000 --> 00:40:10.599
sideways O that has the flattened bottom
side, so we see it in the

524
00:40:10.599 --> 00:40:15.719
Bruce Ivans again, that egg shape
that's laid over onto its side. We

525
00:40:15.840 --> 00:40:20.519
see more of those in the Tim
Miller letter. Not only the tear drop

526
00:40:20.599 --> 00:40:23.440
effect. The starting and stopping points
are consistent, the two strokes of the

527
00:40:23.480 --> 00:40:28.639
o's that occurs, and of course
that's more egg shape and upright version.

528
00:40:29.000 --> 00:40:31.480
It's just it's all sharing, it's
all really showing us. The John Benny

529
00:40:31.639 --> 00:40:36.960
Ramsey also had the tear drop shapes
that we've been looking at that we just

530
00:40:37.000 --> 00:40:38.880
talked about in all these other ones. So the tear drops seem to be

531
00:40:38.920 --> 00:40:45.599
a disguise being used by most of
these being used in most of these communications.

532
00:40:46.519 --> 00:40:51.559
The letter P happens to be one
of Terry's favorite. To Terry B.

533
00:40:51.719 --> 00:40:55.840
Who has been on the show,
he has talked heavily in regards to

534
00:40:57.440 --> 00:41:02.559
how these letters appear they represent what
he thinks the author is attempting to portray

535
00:41:02.599 --> 00:41:06.800
with them. I'm just going to
break down the basics of it, which

536
00:41:07.039 --> 00:41:13.960
sorry we see that the overhang of
the top of the pea actually comes considerably

537
00:41:14.039 --> 00:41:16.880
back towards the left with a slight
curvature on it. We see that the

538
00:41:16.920 --> 00:41:22.599
stem mark is actually not touching the
top of the bowl of the PA.

539
00:41:22.840 --> 00:41:28.519
We see that the bottom portion of
the bowl of the PA is actually surpassing

540
00:41:28.559 --> 00:41:30.719
the stem to the left. Right
here, we see that little criss cross

541
00:41:30.800 --> 00:41:36.360
that happens, and we see that
nice big gap where the P does not

542
00:41:36.480 --> 00:41:43.719
close in many of Jack's peas.
We also see the slant of the bowl

543
00:41:43.800 --> 00:41:47.320
by this marked slant right here,
and we're going to go through and find

544
00:41:47.400 --> 00:41:52.199
those as they occur. I've also
marked the backside of the PA to show

545
00:41:52.239 --> 00:41:57.960
the slant in the actual stem.
And you can see how many letter ps

546
00:41:58.000 --> 00:42:01.000
that I have up here that are
actually consistent with the letter ps that are

547
00:42:01.039 --> 00:42:07.079
found without throughout the communications. So
as we go through we talk about again

548
00:42:07.159 --> 00:42:12.000
I just discussed in the lipstick killing
case, we can see where the exit

549
00:42:12.079 --> 00:42:15.000
stroke of the P actually makes that
slight small crisscross. Of course, the

550
00:42:15.039 --> 00:42:19.119
stem is a little bit higher,
but we can also see how the entrance

551
00:42:19.159 --> 00:42:23.320
stroke actually protrudes to the left,
is not connected to the actual stem and

552
00:42:23.519 --> 00:42:29.079
actually moves back down from the letter
P. One of the things that you

553
00:42:29.159 --> 00:42:32.000
note here is the actual shape or
slant of that bowl. It is not

554
00:42:32.159 --> 00:42:37.719
perfectly round and as expected where we
would expect a straight slant to come across

555
00:42:37.800 --> 00:42:42.599
the bottom of the bowl. It
actually has a nice incline in that P,

556
00:42:42.920 --> 00:42:47.920
which is definitely consistent with what we
were seeing in Jack's writing and Elizabeth

557
00:42:47.960 --> 00:42:53.360
short. We also saw that particular
formation where the entrance and exit stroke of

558
00:42:53.400 --> 00:42:58.039
the bowl of the piece or passes
the stem of the P to the left

559
00:42:58.400 --> 00:43:02.559
pretty generally, and we see that
that slant again in that PE is working

560
00:43:02.599 --> 00:43:07.000
its weight upward, so again very
consistent with what we were looking at.

561
00:43:07.360 --> 00:43:13.280
We do have these more perfect style
pas, which we do see is definitely

562
00:43:13.360 --> 00:43:17.199
in Jack's arsenal. So aside from
doing these ones that have these extra curricular

563
00:43:17.679 --> 00:43:22.239
strokes or extra elongated strokes or even
flattened out. We see that he actually

564
00:43:22.280 --> 00:43:28.559
does make a more perfect P,
and that one was actually comparable to many

565
00:43:28.679 --> 00:43:31.559
of those pas and has a very
short stem, which is what we see

566
00:43:31.599 --> 00:43:37.719
in the Sorry Mary and the Elizabeth
Short. So I think to some degree

567
00:43:37.800 --> 00:43:40.880
he either attempted to make it look
very very long or very very short,

568
00:43:42.280 --> 00:43:45.519
but either way, that's actually what
he has in his arsenal. And we

569
00:43:45.519 --> 00:43:47.599
can see right here next to one
another in Jack's pas, one has a

570
00:43:47.679 --> 00:43:52.159
very short stem in comparison to the
bowl, and one has a very long

571
00:43:52.199 --> 00:43:57.599
stem like we saw on the Red
Phantom. So another one of the peas

572
00:43:57.639 --> 00:44:00.719
that I picked up on was this
double strokes stem that comes down into a

573
00:44:00.840 --> 00:44:05.440
point down here. This is something
that I found in Jack's writing as well.

574
00:44:05.480 --> 00:44:08.320
We see it happening in a couple
different places where that stem is wide

575
00:44:08.400 --> 00:44:13.079
open, but the bottom portion of
it as it comes together is in a

576
00:44:13.199 --> 00:44:16.920
point. Looking at the letter ps
and Sorry Mary, not only were they

577
00:44:16.920 --> 00:44:22.719
consistent with Jack's, but they are
consistent with other letter ps within other communications.

578
00:44:24.480 --> 00:44:27.880
Oh my goodness, we got five
minutes, folks, all right,

579
00:44:27.960 --> 00:44:30.760
So our slants are consistent because I
only copied and pasted these. I did

580
00:44:30.800 --> 00:44:36.599
not apply these separate. I just
copy and pasted from Jack's slant down onto

581
00:44:36.719 --> 00:44:40.360
other slants throughout the communication, and
we can see that those slants are consistent.

582
00:44:42.199 --> 00:44:45.440
It looks like here, where did
I find this big, bubbly letter

583
00:44:45.519 --> 00:44:50.440
that was consistent with another P.
We'll come across it as we go,

584
00:44:51.000 --> 00:44:53.400
and Sherry Jobates, we do find
a consistency in the shape of the bulls

585
00:44:53.559 --> 00:44:58.159
that are consistent with other communications.
Oh, I'm sorry. Here a dear

586
00:44:58.280 --> 00:45:01.679
draft board. We have these blown
up balloon type characters, which was consistent

587
00:45:01.760 --> 00:45:06.639
with what we've seen in the attempt
of the Sherry Joe Bates writing. We

588
00:45:06.679 --> 00:45:10.400
also saw again that double stroke stem
with the pointed bottom, which was consistent

589
00:45:10.440 --> 00:45:15.679
with what we were seeing back here
in Jack's writing and in Elizabeth Short.

590
00:45:15.320 --> 00:45:21.719
We find that in the dear draftboard
letters, so that actually connects those moving

591
00:45:21.719 --> 00:45:23.880
through the zodiac Killer. We see
different variations, but one of them I

592
00:45:23.960 --> 00:45:30.199
pointed out was this very angular bowl
of the P that we see definitely occurring

593
00:45:30.320 --> 00:45:34.840
in Jack's writing, where it looks
almost like a sideways triangle off the stem.

594
00:45:35.960 --> 00:45:38.960
Let's see, there's one that's angular. I thought I had one.

595
00:45:39.360 --> 00:45:45.280
There's one that's very angular right there. So again consistencies. We see the

596
00:45:45.400 --> 00:45:49.920
lean, we see all this.
We also see this curvature that happens in

597
00:45:49.960 --> 00:45:52.960
the stem right here in this letter
P, where it matches up to the

598
00:45:52.000 --> 00:45:55.639
top portion of the bowl of the
P, which I thought was interesting because

599
00:45:55.679 --> 00:45:59.679
when I went back to look through
Jack's we can see it happening right here

600
00:45:59.679 --> 00:46:02.159
in this one. There's that curvature. Of course that one did not touch

601
00:46:02.199 --> 00:46:07.599
back, but it happened right here
in this one. There's a curvature as

602
00:46:07.599 --> 00:46:10.159
that stem comes up, it curves
back to the left as it touches to

603
00:46:10.400 --> 00:46:15.920
that entrance stroke of the bowl of
the PA. That continued to happen.

604
00:46:15.039 --> 00:46:21.800
So also as I'm going through additional
letter ps in the zodiac's handwriting, we

605
00:46:21.840 --> 00:46:27.039
started to find more of these angular
pas with the exit stroke that I'm sorry,

606
00:46:27.159 --> 00:46:30.760
entrance stroke that is actually starting before
the actual stem. And again we

607
00:46:30.880 --> 00:46:37.480
had that slant that was consistent.
Let's see, I started to final there,

608
00:46:37.519 --> 00:46:40.119
here's some more of those pas that
are consistent with Jacks, with that

609
00:46:40.199 --> 00:46:45.039
curvature that occurs right there in the
stem. Again, more of the angular

610
00:46:45.079 --> 00:46:50.199
ones that are consistent within other communications. So here we go Channel nine News

611
00:46:50.400 --> 00:46:52.920
and throughout the zodiac stuff, I
kept finding these angular ones, but I

612
00:46:52.960 --> 00:47:06.800
believe they're also found. Let's see
here. Maybe that was back and forth

613
00:47:06.840 --> 00:47:09.119
in one of the confirmations with oh, here we go Channel nine newsletter.

614
00:47:09.239 --> 00:47:16.800
There's more of them. The slant
again is consistent within the communications within the

615
00:47:16.840 --> 00:47:23.119
disguise. The citizen letter again has
the two stroke constructed letter P, which

616
00:47:23.119 --> 00:47:27.320
we do see, like I said, does occur once in a while in

617
00:47:27.400 --> 00:47:30.480
these other communications, so it is
definitely within that arsenal. But we do

618
00:47:30.599 --> 00:47:35.559
see, like I said, more
of these angular ps that are consistent with

619
00:47:35.679 --> 00:47:42.039
Jack's and the Oakland County child murder
case. Obviously, we have the slants

620
00:47:42.039 --> 00:47:45.679
that are random back and forth because
he's attempting to disguise his handwriting. But

621
00:47:45.760 --> 00:47:52.760
I found one letter P that actually
had the entrance stroke that starts all the

622
00:47:52.800 --> 00:47:55.760
way back to the left. It
is not connected to the stem stroke itself,

623
00:47:55.800 --> 00:48:00.440
and we see the the criss cross
effect that occurs right here as the

624
00:48:00.559 --> 00:48:06.360
exit stroke of that bowl passes through
to the left on the stem. Again,

625
00:48:06.440 --> 00:48:12.239
that is extremely consistent with what we
see in Jack's handwriting HERB. Kane.

626
00:48:12.440 --> 00:48:15.440
Not a whole lot to notate here, other than the fact that the

627
00:48:15.480 --> 00:48:20.920
form in this shape is consistent with
many of the other ps in these communications.

628
00:48:22.840 --> 00:48:24.400
Oh, we are down to one
minute. Let's see if I can

629
00:48:24.400 --> 00:48:28.199
finish this off real quick. I
wanted to talk. Well, we see

630
00:48:28.199 --> 00:48:30.400
it happening. Here we go again. We have that same construction in the

631
00:48:30.480 --> 00:48:36.639
letter P in Tom Void's writing.
Not only do we have the similar construction

632
00:48:36.719 --> 00:48:39.400
of the overhang in the stem that
doesn't touch on the slight crisscross at the

633
00:48:40.000 --> 00:48:44.880
end of the bowl, we also
have the double stem stroke with the pointed

634
00:48:44.920 --> 00:48:49.280
bottom portion, as we notated from
jacket. A couple of the other cases

635
00:48:49.480 --> 00:48:53.079
slants again are consistent. And I
think there was basically one other style of

636
00:48:53.119 --> 00:48:59.360
a P, which this one happened
in the dB Cooper case, where it

637
00:48:59.400 --> 00:49:04.639
looks like a single stroke where it
begins and comes down and there's a quite

638
00:49:04.639 --> 00:49:07.920
a curvature to that. But I
started to see those happening as well throughout

639
00:49:07.960 --> 00:49:14.039
the communication, and let's see if
I can find some of those. Oh,

640
00:49:14.119 --> 00:49:15.760
right here, So in Atlanta,
Georgia, we see it where it's

641
00:49:15.800 --> 00:49:21.400
actually starts right right at the very
bottom of the bull and in a single

642
00:49:21.480 --> 00:49:25.360
stroke works its way up and down
and around. And that consistency was another

643
00:49:25.440 --> 00:49:29.400
disguise that was used throughout. So
I did mark those. You can go

644
00:49:29.440 --> 00:49:35.320
through and find those as well.
Let's see here we do have the slants

645
00:49:35.320 --> 00:49:38.360
that are consistent in the bruce irons. We also have that very thin angular

646
00:49:38.599 --> 00:49:42.559
bowl that we are seeing, and
that is occurring up here in the Citizen

647
00:49:42.639 --> 00:49:46.920
letters. So again just another cross
reference to something that's in the arsenal that

648
00:49:47.039 --> 00:49:54.039
was Atlanta, Georgia. Where else
did I see that one? More slants

649
00:49:54.079 --> 00:49:59.719
that are consistent, more shapes that
are consistent. I mean, as you

650
00:49:59.760 --> 00:50:02.079
go back and forth, you can
see that the shapes and the scorpion pias

651
00:50:02.320 --> 00:50:06.960
is very similar to the shape of
the bowl and the citizen peas. So

652
00:50:07.000 --> 00:50:09.800
they just really all kind of just
crisscross back and forth, and those shapes

653
00:50:09.840 --> 00:50:14.079
are there. Oh, here's another
one of those peas where it is just

654
00:50:14.119 --> 00:50:16.960
a single stroke and wraps itself around. This is in John benet Ramsey.

655
00:50:17.559 --> 00:50:22.199
This is exactly what we're looking even
in the shape and the form of that

656
00:50:22.280 --> 00:50:25.519
letter P and how that occurs.
So we also see the angular one where

657
00:50:25.519 --> 00:50:30.920
the bull of the pa is actually
pointing up into the air, and jam

658
00:50:30.239 --> 00:50:32.840
On John Bene Ramsey, and then
a lot of them we see that are

659
00:50:32.840 --> 00:50:38.039
just kind of squigglies, just attempting
to manipulate that form, to disguise it.

660
00:50:38.960 --> 00:50:43.360
Nothing big to talk about in Anthrax. Again, it's very hard to

661
00:50:43.360 --> 00:50:46.159
see because of the pixelation the stopping
and starting points, but we do see

662
00:50:46.199 --> 00:50:51.280
that's the shorter stem that we talked
about in the Grimes. We saw the

663
00:50:51.320 --> 00:50:54.559
shorter stem as well. It looks
like we are done. Sorry you guys

664
00:50:55.079 --> 00:51:00.639
have a great weekend and I will
be back with the letter Oh I'm sorry,

665
00:51:00.440 --> 00:51:09.480
um qugh next week. Wh