Building The Face Of A Killer | The New Detectives | Real Responders

a mother's search for her daughter lasts two decades she no longer knows what her daughter looks like will digital technology help locate her a man kills his family and disappears without a trace for 18 years can the work of a sculptor bring him out of hiding two Hunters stumble across human remains. Can an artist put meat on bones and give the victim a name? Forensic artists combine science, intuition and skill to create images of the murdered and missing. Your work can reunite families or help solve a murder by creating

face

s and

face

s of hope. tragedy under a gray Texas sky in the winter of 1994, two hunters trespassed on private land outside Lubbock, but their offense would pale in comparison to what they discovered that day in remote Yellow House Canyon, stumbling across the partial remains of a human skeleton and a white high-heeled shoe lying nearby, although alarmed by their discovery, they knew that if they called the police they would be fined for poaching, the hunters decided to leave the bones for someone else to find, but when they told to a friend what they had seen.

Calling the sheriff, the hunter agreed to take Deputy Tom Watson of the Lubbock County Sheriff's Department to the scene of his discovery. Watson immediately suspected that the remains belonged to a murder victim thrown into the canyon to conceal the crime, just the skull and some bones. remained over time the animals must have dragged body parts Watson ordered his deputies to tape off a wide area to search for more evidence Once the crime scene had been documented on film, he called the county pathologist to examine the bones that the pathologist collected. He took the bones and took them back to his laboratory where they could be examined for signs of trauma.

He confirmed Watson's suspicions. The victim was murdered. The top of the skeleton had multiple stab marks, enough to kill a person multiple times. The case was now officially a Homicide. Watson returned to the canyon the next day to search for more evidence to capture the

killer

. He first had to name the victim, but searching for him did not uncover any form of identification. The only clothing was the only shoe to identify the victim from him. He desperately needed more to go. The first thing we need to do is determine if he is male, female, an approximate age, compare those statistics to any possible missing persons we may have locally.

If we don't find anything there, we will expand the search to the entire state, to New Mexico and Oklahoma. and then we may not have identified her yet, so we go national, the search team recovered more bones and, fortunately, almost all of the victim's teeth, but nothing else, nor personal effects that could give them a clue about who the victim was or when. When the murder occurred, Watson turned the bones over to a forensic pathologist who was able to narrow down the possibilities and concluded that the victim was a white woman between 18 and 24 years old. The wear on the bones suggested she had been dead for at least two years.

The fillings on the lower jaw and a crown on the upper jaw offered more identifying features. The teeth were x-rayed so they could be compared to the dental charts of missing white women of the same age using X-rays. Watson began a search to make a match by chasing down dozens of sheets, some from as far away as New Jersey, but none matched Dental records of woman found in Yellow Canyon house His investigation led nowhere while a

killer

remained free Watson needed more than the victim's bones and teeth to identify her. He needed to give the woman a face, so he turned to one of the leading facial reconstruction experts in the United States.

Karen Taylor has worked for the Texas Department of Public Safety in Austin for 16 years as a forensic artist, helping identify skeletons by recreating what the person looked like. Like when she is alive, police and media distribute images of her in the hope that the remains will be identified using techniques she has developed over the years. Taylor has had remarkable success. She serves in law enforcement jurisdictions throughout Texas and works on cases across the country. Her work supports her. Extremely busy, the unidentified woman from Casa Amarilla Canyon was one of many nameless people waiting for a face.

Deputy Tom Watson of the Lubbock County Sheriff's Office brought me the skull of an unidentified white woman found in that area and asked me to try to construct a face. on that skull to help him identify her and I was given the information that it had been developed by an anthropologist to examine the skeleton and I then learned from Tom's reports that the person I was going to draw was a young white woman. unfortunately I didn't have much other information, there was no clothing, for example, clothing is a very good clue as to body weight for me, from the skeleton, from the skeletal remains, there was also no hair, which provides an additional complication, especially in the case of a woman.

So, because there was so little to work with, the case was a little more difficult than some of them are without the victims' clothing to use as a guide. Taylor had to take cues from her skull alone when she put a face on a human skull. One of the most critical parts is determining how thick the meat will be. Taylor relies on standard tables of measurements developed by forensic anthropologists and classified by sex and race based on these measurements. She cuts out rubber markers that match the average depth of the skin. She hits them. on the skull at 21 anthropological landmarks such as the cheeks and chin, when the markers are in place, photographs of the skull are taken for Taylor to accurately draw the face.

Photos should be exactly life size and not distorted at all after placing transparent paper on top. Photography uses rubber markers as guides to draw facial contours. It is the first step in recreating the image that can lead to the identity of the victim. Taylor also relies on scientific formulas to draw the eyes, nose and other features of the eyeball. average human It is between 24 and 25 millimeters in diameter, as it is also the size of an American watch. quarter Taylor has a convenient tracking tool on each eye. I also know from reading some ophthalmology texts that the average person has an iris diameter and iris width that is actually between 11 and 13 millimeters and I have little red lines on this scale that show the average. range, I've tested it on several people and it seems to be true for most people, most people's iris will fall right in that range.

Taylor relies on her knowledge of anatomy to draw many people's eyelids, orbit or eye. the socket has a raised piece of bone on its outer edge the inner edge of the socket has another bony reference point these are the attachment points of the ligament that extends the length of the eyeball and controls eyelid movement our upper eyelids They are curved a little more than the lower eyelids tend to fall slightly over the top of the iris when looking at a person in life. Taylor then draws the victim's nose based on some general rules and hints provided by the skull.

Surprisingly, we have pretty good information about noses. would help predict what a nose would look like in life based on bone clues because the victim was a white woman. Taylor knows to add 5 millimeters to each side of the nasal opening, which represents the width of the nose if the victim were African-American. Taylor would add 8 millimeters to each side a bony spine at the base suggests so far the nose projects because that little bit of bone tells me whether to tilt the nose down or up or if it's rather level and then I'm looking at the profile to determine the angulation of the nasal spine and that gives me a clue in this case it is a very upward nasal spine so I want a tip of the nose that is upwards she is a young girl she has a youthful little nose and the nasal spine says Stop me is up at the tip when the mouth is relaxed, the lips tend to cover the six front teeth when we smile, we show up to 10 teeth.

Taylor draws the unidentified woman's mouth in a relaxed expression to give her a neutral appearance, so if I make a mark on the outside of those canines that should give me an approximation of the width of the mouth. If you can see the gum line staining at the edge of the tooth enamel, it gives us a rough idea of ​​the vertical dimension. lips and again I'm thinking I know she's young I know she's white so I'm thinking of a young white woman while I draw this little mouth of a faceless skull Taylor will soon create the image of a woman waiting for me to give her a name for the victim and eventually naming the killer as Karen Taylor added the finishing touches to her portrait of the unidentified woman, the victim's face reborn, the image now ready for prime time.

Taylor's drawing was shown on television and in local newspapers, giving anyone who recognized the woman the opportunity to provide information about her to Deputy Sheriff Tom Watson. The broadcast was a turning point in the case. This particular case was very frustrating for the first six months because we couldn't identify ourselves we were about to reach the end of all our options in terms of identifying her until we did the forensic drawing once we broadcast it in the media, within a week, two people who called gave us the name of the dead girl, the caller identified the drawing of Taylor as Belinda Kay Tillery, who had been missing for two years.

One of the people she called was Tillery's mother, who had lost contact with her daughter. Her face on her screen caused a strange surprise as she recognized him. She now with a name that matched her face. Taylor obtained a copy of Belynda Tiller's driver's license photo. She compared it to the drawing of her to study the similarities that led to Tilly's identification. The resemblance was undeniable. She is narrow or rather close to the eyes and yet she has a very wide face, wide cheeks and this small nose and the width of the nose proportionally are very similar here.

The size of her mouth is almost exactly correct and the fact that there is a very wide chin compares favorably for closer identification as well. Taylor superimposed the photograph of Belynda Tillery on the victim's skull, since I was able to get the facial image on top of the skull and begin to compare it, I had a couple of difficulties with this method, one of them being that her face is slightly rotated and the photo of his driver's license, therefore, I cannot get the correct position of the nose; However, when I place her eyes pretty much centered on the sockets, I see that she has the facial width that my drawing shows and that I could see on this skull, so I could see that it's a pretty favorable comparison and we should probably move forward with the search. of this person's dental records, if possible, to make a more positive comparison.

A positive identification could not be made until x-rays of the victim's teeth were compared to dental records from Belynda Tillery dr. David Duke, a forensic dentist with the Texas Department of Public Safety, made the comparison and found the bone structure to be the same teeth with matching fillings. Both x-rays showed root canal treatment on the same tooth and a temporary crown was identical on each film. . Dual declared it a coincidence, the tailor's work had identified the victim, now it was up to Agent Watson to locate the killer. He began by interviewing Belynda Tillery's friends and neighbors.

Watson learned that Tillery had had an abusive boyfriend named Troy Armstrong. It was rumored that he. He became angry when she told him that she was pregnant with someone else's child. Watson obtained a photograph of Armstrong and went looking for him. He tracked him to Roswell, New Mexico, where he searched the town and questioned the locals who were looking for any clues he could find, except Armstrong. was gone, he discovered that he was a suspect in Belinda's murder in Lubbock when Watson gathered more information, a picture of Belinda's final days became clearer, it had been 2 years since anyone had seen her, that was when some people became aware.

They found out he was gone. camping with Armstrong he liked camping in Yellow House Canyon it was a remote place he knew well people mentioned he carried a large hunting knife almost everywhere he went the pieces fell into place it seemed that a bitter Armstrong had planned to take Belinda to this remote Canyon and get rid of her forever he thought no one would find her remains after Belinda died he told a girlfriend that he had nightmares about stabbing someone in the back based onIn evidence Watson obtained an arrest warrant for Troy Armstrong but still had no information on his whereabouts.

More than a year later, in January 1996, Watson received a tip and discovered that Armstrong was on the road with a truck driver friend. truck he was hauling for a company in California. Watson quickly contacted the trucking company and discovered that its trucks were equipped with a global positioning system called GPS; a transponder on each truck bounced a signal off a satellite that told the company where it was at all times. He was informed that the truck he was looking for was traveling through Nebraska within minutes of Watson arriving. The Nebraska State Police on the other line and asked them to set up a roadblock sent several cars to intercept the truck while the police waited they maintained contact with Watson and the trucking company keeping a record of the truck's whereabouts at all times the Lacanian Just when it was expected when the truck sped down the road the driver saw the roadblock ahead he tried to escape but the police went into action once the truck stopped the police hid inside Troy Armstrong was arrested for Belynda Tillery's murder by Karen Taylor that Tillery was the key to solving a difficult case without him, the victim would never have been identified and the killer would never have been brought to justice as the artist Taylor was trained to be relies on pencil and paper to capture similarities in others places scientists are beginning to apply digital technology to achieve a similar goal at Colorado State University in Fort Collins are developing equipment to match faces to skulls with laser-beam precision Mechanical engineering professor Patrick Fitz ORN and a graduate student combined computer-aided design with laser technology, they created a system that scans three-dimensional objects and reconstructs them on a computer, so what this machine can do is build a three-dimensional surface mesh of a human skull that we can then play with in Computer.

Scaling it up and down we can move it through space while the skull slowly rotates on the plate a laser beam hits it between 10,000 and 50,000 points a sensor measures the distance the beam travels as it is reflected from each point the results are They enter into a computer that creates a digital version of the skull, the image is virtual but its application is

real

and obviously what we want to do with it at that moment is fix it in space to take a scanned facial photograph and map the photograph on the skull . To see if it matches or not, a photograph of the possible owner of the skull is also scanned.

Digital photography can be cleaned and sharpened here. Fitz Horn made the photograph semi-transparent so you could overlay it over the skull now. You can compare their features but here you can see the teeth here is the bridge of the nose here the eyes there is the eyeball and its orb there is the other eyeball and its orb there is the end of the cheekbone here the jaw line towards down here currently a forensic artist relies on his best guess to determine if a photograph matches a skull, takes measurements and overlays a Skol photograph, but if the image was taken from an odd angle it could distort the results and now what we are seeing what the skull is like. oriented, you can see how it rotates here with respect to the photograph, so here this is the plane that the photograph is on and you can see the tilt of the skull with respect to it again, try to align the skull in orientation with respect to the shape How the face was oriented when the camera photograph was taken Fitz Horn can rotate the skull and reorient the scanned facial photograph to minimize distortion.

Some photos are not clear enough or are too distorted to improve challenging efforts to make a match that is 100%. True, but Fitz Horn is convinced that his method is much more precise and less subjective than previous methods. One of the things that he

real

ly excites me about is the possibility of taking four or five points on the skull to take four or five matching points on the face and trying to calculate whether or not there is a match. What we would like to be able to do is numerically calculate this match on the computer and then say something.

Being able to say something like, "This has a 95% chance of matching." or that's a 35% chance of a match as Patrick Fitz Warren and his colleagues refine their computer face matching system. Louisiana forensic artists are on a different mission instead of applying digital technology to identify the dead, they hope to use it to find the living in this case a girl who has been missing for more than years in 1976 in a small Louisiana town a Family argument turns bitter It wasn't the first time Geneva Martin and her teenage daughter argued, but what started as a typical conflict between mother and daughter soon became a 21-year ordeal for Geneva Martin.

She was 16, you know, She made her opinion known and I made my opinion known, she was no more wrong than our laws, the argument ended before the two left. They went back to their chores without saying a word to each other and then Donna decided to leave, she said she was going to her grandmother's house, it was 2:30 p.m. At five o'clock she had not returned, so her mother, worried about her, went to look for her at her grandmother's house, but Donna was not there. Her grandmother said that Donna had gone to play cards with her aunt Peggy, well, I didn't think anything of her at home when she didn't, we went to pay and there was no dog.

Donna Martin had run away from home before, but this time it looked like she wouldn't return despite many attempts to find her. It was almost a year before Geneva Martin heard any news about her daughter after one of Donna's friends told Geneva that she had picked up Donna on the road and taken her to an apartment she shared. in Baton Rouge. Geneva, desperately wanting to fix things with her daughter, went to look for her, but when she got there. The apartment was empty. All that was left was Donna's name on the mailbox. The manager confirmed that Donna had been living there.

I took a photo of Donna's tour and she told me that yes, this was the young woman who had lived in the apartment with another married couple. From there we found nothing despite everything she did to find her daughter, the trail remained cold for more than twenty years today. Geneva Martin hopes researchers at Louisiana State University will help warm it up again. Forensic anthropologist Mary Manheim and forensic artist Eileen Barrow used computers to simulate. the aging process if they can produce an accurate image of Donna Martin today at age 37 her mother may have a chance to find her LSU forensic anthropology and computer enhancement services or faces is an ambitious program that is collecting data on the subtleties of the human face among its objectives are to develop precise standards for measuring the thickness of tissue in the human skull the information is used by forensic artists who attempt to construct faces from bare bones until now they relied on measurements based on cadavers Manheim believes that the use of Live subjects will produce much more accurate measurements.

By using live models, Manheim can select from a much broader and more complete statistical range, although the subjects remain anonymous. Your age, sex, race, height, weight and other personal information becomes part of the computer database to measure tissue thickness. She uses an ultrasound scanner like those used to show a fetus in the womb. The scanner bounces sound waves off the skull, measuring the time it takes for the waves to return. A computer calculates the exact depth of tissue from the skin to the bone. the process is repeated at 19 points along the skull that we have scanned over 400, almost 500 people now and they range in age from 2 years to about 74 years.

There are many different sizes, many different racial groups, so we will separate them, height, weight, age, etc. and we will produce standards that the Hine man has. Scanned the faces of generations of the same family, the data will show how family resemblances change over time. Hine and his colleagues are also using computers to show what a missing child's face would look like as it grows. With young children, the first step is to stretch the child's features to reflect the growth of the skull. In this case, a five-year-old boy went missing. and has been missing for five years Baro represents the child at age 10 the computer stretch tool divides the face into a grid and you pull each intersection of that grid down just a few steps, so that's the stretch when we get older to a child, of course, the first thing we need is a photo of the child and a photo of his father and his mother or his brother or whoever the father or brother is.

She looks more like the face that can now be merged with the faces of her immediate family to create a composite image with the click of a mouse. Barrow brings the missing girl's features to the forefront to preserve the particular look of her, eyes and eyebrows that we would bring back. a little bit of the shape of her nose and a little bit of the shape of her mouth and then we would bring back or bring to the foreground her father's teeth, since she is in this particular picture, the girl has been missing for five years, so we were the pain progressed from the age of five to the age of ten, so by then his teeth would have, of course, the baby teeth would no longer exist and he would have permanent teeth, so we used the father's teeth to put in the picture.

The computer makes the manipulations easily, but Barrow must rely on his own judgment to decide which characteristics to alter: will the child look like a father or more like his brother? It's a question he'll have to answer as Donna Martin ages, creating an image of what she might look like today will pose an extraordinary situation. challenge will have to be 21 years old Donna's face will not stretch because at 16 her face was fully developed Barrow will concentrate on other techniques the first photographs of family members close to the age Donna would be today are scanned into the computer Because family members tend to age equally, this will help guide Barrow as he makes decisions about aging.

By studying the photographs, Donna can begin to see at what stage family members begin to show crow's feet or lines around the mouth and how severe they might be. I can also see when the chin starts to drop or when the necks start to drop, she didn't really look much like her sisters which I expected she would and she didn't really look much like a mother so we didn't have any pictures of her father at that age so I decided that the best thing would be to try to merge her with her mother to merge the image of Donna Martin at 16 years old with her mother at 40 years old.

Barrow must first align and resize the photos. Donna's photograph is a 3/4 view to align it with her mother's cannon you have to adjust it so that it shows a frontal view now what happens here is that the mother's photo is much larger than hers so What I have to do is size the photo of the mother and that means reducing its size to try to fit the other one. Baro patiently and meticulously merges the photographs, making sure Donna's features remain dominant while taking some physical cues from her mother's image, then erases Donna's hairstyle at age 16 so a more mature look can be added.

Finally the transformation is complete. Donna Martin, 16, has grown into a 37-year-old woman. Well, she looks a lot like our family. As strange as it may seem, she looks like my husband's family. Her husband and I. Geneva Martin will distribute Donna's image. across the country she hopes will finally reunite her with her daughter and put an end to that fateful argument that has gone unresolved for 21 years. A forensic artist's work can bring a daughter back to her mother in one of the most acclaimed cases in forensic arts. Another artist used his skills to lead the police to a murderer in 1971 the quiet surface of a prosperous community was shattered by a brutal crime a successful accountant John Emil List lived with his family in a mansion in Westfield, New Jersey, then his fortune declined, so in November 1971 the list began. a new life but first he had to end his current one he killed his entire family his wife three children and his elderly mother then he dragged the bodies to the ballroom and arranged them carefully in a row he tried to clean as much blood as possible from the floor As best he could, he also sat down to write a long letter of confession.

When he finished, he left his house forLast time it was a month before Westfield police received a call from a woman concerned about her neighbors, she hadn't seen them. The house and its lights had been on day and night until one by one they burned down, while when we returned, you don't think we're going to have to go in, when the police arrived they found an unattended mansion in need of repair and they looked around the outside . of the house until they found an open window when they entered they had no idea what awaited them the air was cold and filled with the smell of decomposition they continued searching in the darkness until they finally found the family ready in the ballroom still neatly displayed dead for a month, it was one of the most grotesque murders Westfield police had ever seen when

detectives

were called and found that the weapons listed were used and his list of confession letters was an active member of the church and led the letter to his In it, the pastor explained that he could no longer support his family and pay for the mansion his wife had insisted they buy.

He worried that his family would face a life of humiliation because of welfare. He was also upset because his wife and his children had stopped attending church. he felt that her daughter had taken a misguided interest in acting that threatened to deny her status as a child of God; He at least he concluded that I'm sure everyone has gone to heaven now after killing his family. He left his car at Kennedy in New York. Airport and took a bus to leave the city, he hid the crime from him carefully. It was a month before anyone noticed he was missing.

The police and FBI conducted a worldwide search, but nothing turned up. 18 years later, New Jersey Detective Bernard Tracy was still on the case he would bring. a last-ditch effort to find John Emil List by turning to the experts who combined art and science to age the human face. An accurate portrait of John List as a middle-aged man might alert someone somewhere to turn him in on one thing I can tell you about. John List's research in 1971 was cutting-edge research. Tracy was assigned to the case in 1974, replacing

detectives

who had been on the case for three years.

The investigation was one of the most exhaustive ever conducted. For New Jersey police in their search for clues, detectives conducted psychological profiles of the victims and their family will be profiled: John List, his eldest son, Frederick was 13 years old at the time and his daughter Patricia was 16, although the case had gone cold. In 1974, Tracy was convinced that John List was still alive. The common case is that when a person kills people close to him, he commits suicide shortly after, if he is not found dead soon after as a suicide victim, then I believed that he would still be alive.

It was just a matter of where, in an effort to find out, Tracy convinced a television producer to include the case in a series about fugitives from justice. The producer, in turn, enlisted the expertise of Philadelphia forensic artist Frank Bender to sculpt the face of the charts however he could. If he appeared at age 63, the sculpture would appear on television for millions of people to see if Bender could produce a good image of John List. 18 years after the crime, they might finally find him to help guide his imagination as he adds years to a face. Bender carefully reviews the subject's background and habits, knowing that they are unlikely to change behavior, can influence how a person ages before starting the list.

The project provider thoroughly investigated the issue. He discussed the lists of psychological aspects with forensic psychologists and police experts. you're not relaxed, it's about staying in control, he'll probably still wear the same clothes, the same kind of bow tie, you know, I've been going to church on Sundays and as often as I can to try to get the feeling of I like which one. It's really your environment. Any clues the police have given you about the lists. Life helped Bender form a picture of how he may have aged. Lifestyle. Lifestyle. Hobbies. In this case, I bring in a forensic psychologist and we go back and forth with this person.

We walked around the city for maybe two or three days. I really know this person. I put my feet in his shoes and, in a sense, I become the person I can. Stay one step ahead of them visually to gain a scientific perspective on the aging process. Bender visited the medical school of the University of Pennsylvania, here he consulted with Dr. Scott Bartlett expert in cranial and facial surgery and repair of congenital facial deformities dr. Bartlett's knowledge of the aging process reflected in the human face made him a valuable ally. Bender was curious about the appearance of a scar behind Liszt's ear due to an operation, the punctuation going from his ear to at least his necklace mm-hmm, I guess. that you know air dry on something like this more to the side of the head and I guess it's likely that if he had an open mastoid operation he could have a pretty significant scar back here, dr.

Bartlett noted that his list of aging wrinkles and folds on his neck could make the scar less noticeable. The two men also discussed how aging affects the eyelids and eyebrows, which can change significantly over 18 years, the junction of the canthus here, which are the outer and inner corners. I don't think it changes much about the eye. I think what we're seeing here is this soft tissue laxity that now droops and gives a downward and outward tilt to the eye that opens here instead of this new upward and outward tendency that you see in youth, Ultimately, Frank Bender would apply his own intuition to what he learned about the case.

Bender has been a sculptor for more than 30 years and has shown his work in galleries and museums throughout the United States. of my studies are human behavior I am a sociable person when I go to the beach I don't look at the ocean as much as I like to study people on the beach how they interact what the differences look like what makes each person an individual who started his sculpture of John List seller had a problem, he had to build a three dimensional model, but the only photograph available from the listing was a front view, there were no pictures showing a side or 3/4 view, I would trust his experience. as a commercial photographer study photography and analyze its three dimensions based on highlights and shadows now with fugitives you have old photographs the most important thing with the fugitive that I found is to stay within the perimeters of the skull just like the facial reconstruction this is where they reside the similarities if you walk with your head for a long time, in theory you are changing the shape of the skull, the base underneath While working on his sculpture he revised his work with acetate overlays made from the 20 year old photograph.

I take an old photograph. Expand to what I feel with me in life size until it is overlaid with acetate and then place it over the sculpture as I work on it to make sure I am leaning within the perimeters of the skull as a face begins to emerge from the clay bender. I delved deeper and deeper into the mind of John List. I felt that John List wanted to be in a generic individual sense, now he wanted to blend in and create waves. She wanted some peace in his life that he never got from his wife and this. he began to increase his anxiety.

I really think he tried to get this through the church and was succeeding, but when he returned home he completely overlapped once the preliminary sculpture was complete. Dubber and his assistant made a cast that is fine little by little. Bender. The sculpture has already taken shape. Bender was more familiar with List's face than his own when the fugitive's bust emerged from the cast of him. Frank Bender was ready to add the final details to the face of a murderer, John Emil List, after murdering his family. He evaded capture for 18 years. Whether police could find him would depend on Frank Bender's intuitive ability to imagine John List when he was in his early 60s.

Bender assumed that List's hairline continued to recede as he had begun to do in the previous photograph of him. He added double chin based on his lifestyle list evaluation he wasn't an exercise type person he was a potato meat type person as far as the eyes know, you can see where he's starting to give some lines with a little bit of tiredness, You see, I sculpted the tie on the shirt and coat, you know the suit code one because he will always use that salesman, since the years of hiding what he had done would take their toll on the list, this influenced his decision to lower the corners of the mouth, you can see the corners of the mouth go down here instead of going up like in the photograph that I will show you and you can see how they appeared after 20 years.

I make them lower, not his entire mouth lowering just the corners again, not just getting older, but the fear of being caught as a finishing touch salesman selected glasses for the age list, searched for a style that would define a man who killed family but called himself a Christian, he decided on thick black frames, thinking the list might go for an austere, authoritative look that would discourage others from snooping into his past now that his sculpture was ready for the nation to see. On May 21, 1989, millions of people across the United States saw John Emil List's sculpture of Frank Bender was good enough to catch the killer. yes my mr.

Clark, one of the spectators, was a woman from Denver, Colorado, when she saw the bus she called and said it looked like her former neighbor, Robert P Clark, who moved to Virginia. Yes, can you run Robert Clark's office on the FBI's trail? Agents found a man calling himself Robert Clark in an office in Richmond, Virginia, after years of getting away with a gruesome list of murders. He was about to see his last days as a free man when officers approached him and insisted that he was not John List but rather his neck was the telltale scar and his fingerprints matched those of the killer, so the officers had more evidence. beyond a reasonable doubt that Robert P.

Clark and John Emil List were in fact the same man since the murders. John List had remarried and recreated his life as an accountant, confident that the crimes he committed in 1971 would never come back to haunt him. For Detective Bernard Tracy, it was the end of an incredible odyssey, a cold-blooded killer finally captured after 18 years. From all indications the resemblance between the bust created by Frank Bender and John's real list was striking. I think the bust was something that if a person looked at that and had any doubt that that would be the straw that broke the camel's back, that would be what they would have doubts about.

Colin and they said they saw the bus that would be the one that would take him over the edge and they said: I got a call, this is John Emil List was convicted of murdering his family and sentenced to five consecutive life sentences, he and his new unsuspecting wife were attending a church function the night the Frank Benders sculpture was broadcast nationwide and as a result missed the program that gave John Lists another new start in life at the New Jersey State Penitentiary armed with Photographs Scientific data Psychological profiles and artistic talent Forensic artists breathe new life into unsolved cases Using their unique knowledge of human physiology and human nature, they can help locate murderers missing through time and bring the killers to justice .