Killing Hour - Lisa Gardner [83]
“Okay,” Rainie said. She looked at Kaplan helplessly.
“So you didn’t actually see Special Agent McCormack on Tuesday?” Kaplan asked.
“No.”
“But you had spoken to him before?”
“When Special Agent McCormack arrived at the National Academy, he stopped by my office asking if I would have time to consult on an old homicide case. He had copies of some letters that had been sent to the editor, and he wanted any information on them I could provide.”
“Did he give you copies of the letters?” Quincy spoke up.
“He gave me what he had. Unfortunately the GBI was only able to recover the original document for the last letter, and frankly, there’s not much I can do with published versions. The newspapers sanitize too much.”
“You wanted to see if the guy also mixed small and large caps?” Rainie asked.
“Something like that. Look, I’ll tell you the same thing I told Special Agent McCormack. Forensic linguistics is a broad field. As an expert, I’m trained to study language, syntax, spelling, grammar. I don’t analyze penmanship per se—you need a handwriting expert for that—but how a document is prepared and presented provides context for my own analysis, so it is relevant. Now, within the field, we all have our own domains. Some linguists pride themselves on a sort of forensic profiling—you give them a document, and they can tell you the probable race, gender, age, education, and street address of who wrote it. I can do that to a certain degree, but my own subspecialty is authorship. You give me two samples of text and I can tell you if the person who wrote the threatening letter is the same person who wrote that second note to his mom.”
“How do you do that?” Rainie quizzed him.
“In part, I look at format. Mostly, however, I’m looking at word choice, sentence structure, and repeated errors or phrases. Everyone has certain expressions they favor, and these phrases have a tendency to appear over and over again in their writings. Are you familiar with the cartoon sitcom The Simpsons?”
Rainie nodded.
“All right, if you were the chief of police in Springfield and you received a ransom note including repeated uses of the expression ‘D’oh!,’ you’d probably want to start your investigation with Homer Simpson. If, on the other hand, the letter contained the phrase ‘Eat my shorts,’ you’d be better off looking at the younger Simpson, Bart. All people have phrases they like to use. When writing text, they are even more likely to repeat these catchphrases. The same goes for grammatical mistakes and spelling errors.”
“And in the case of the Eco-Killer?” Quincy spoke up again.
“Not enough data points. Special Agent McCormack presented me with three copies and one original. With only one original, I can’t compare penmanship, ink, or paper choice. In terms of content, all four letters contain the exact same message: ‘Clock ticking . . . planet dying . . . animals weeping . . . rivers screaming. Can’t you hear it? Heat kills . . .’ Frankly, to compare authorship, I need additional material, say another letter you believe may have been written by the suspect, or a longer document. Are you familiar with Ted Kaczynski?”
“The Unabomber? Of course.”
“That case was largely