If
you're interested in this very small field of art, and
what it might be like to be a police artist, you'll
surely get an eyeful on this webpage. To the left is
the 1987 composite of the Unabomber that was painted
with watercolors for the Salt Lake City witness by yours
truly. Unfortunately it was not effective enough to
bring Ted Kaczynski in before he killed two more people.
The Unabomber was the FBI's most wanted terrorist of the
1970's, 80's, and 90's. I suppose it was a chance to
prove myself, but it turned out to be a course in
advanced identification artwork strategy; “how to do it
right the next time”.
The
sunglass reflection is something that I copied from a
Polaroid snapshot taken through the same blinds that the
witness caught Kaczynski's attention through. I wanted
to create what the witness actually viewed, so I
requested that a detective pose in the same exact spot,
time of day, wearing jeans, a hooded sweatshirt, and
aviator sunglasses. In the later 1994 remake, I saw the
same effect drawn into the glasses, but with not the
same reflection. The bright reflections seen here in the
1987 composite are the most accurate of the two
composites. You might say that it doesn't matter, but
you should always try to be as accurate as possible. The
job description of a Police Artist is to recreate what
the witness describes as best you possibly can.
Even
though I worked with the witness for several days, one
thing that I learned in this case is that I should have
put more time into the interview and maybe the
visualization of Kaczynski's 'Popeye chin' would have
come to the witness's memory. I have done much better on
prior cases that I was able to complete in a few hours,
but in the Unabom case, it took me days to work out the
likeness. Identity traits that I was not able to extract
from the witness's memory were the bushy auburn hair,
showing too much forehead (meaning a lower hair line),
and of course Kaczynski’s Popeye chin.
This is
one of the most difficult composites that I ever faced
in my experience as a police artist, and to set the
record straight, I'm not writing this story about it's
success, which is quite undetermined because I have
never asked Ted Kaczynski, the convicted Unabomber, if
he ever was influenced by the 1987 composite release.
The only possible part it could have played is that,
after being spotted placing a pipe bomb under a parked
car, Kaczynski disappeared for a six year period; which
must mean that being spotted made him decide to take a
break and re-think his strategy. It is a fact that when
he reappeared, his bombs were more effective and he sent
them only by mail, never to plant one personally again.
I
had been selected for this job not only because my
composite drawings had been extremely accurate, or that
the witness requested an artist who could put color to
the Unabomber's hair, but mainly because Unabomber's
first victim was killed in Sacramento; Hugh Scrutton, a
computer store owner in the Sacramento's North Area off of
Arden Fair Blvd. Being a portrait artist by trade,
painting a composite in color wasn't a
difficult request. I drew and painted family portraits in pastel,
watercolor, and sometimes in oil paints. In this work
you sometimes have a more difficult task of working from
old faded photographs, some with torn or lost areas, and
at times I have to request the help from a family member
with a memory to confirm my concepts. This is much like
the field of composite artist.
I
can understand how some investigators might think that
police composite art isn't effective, but I must
say to them that they are just a victim of not having
someone at hand capable enough to prove them wrong. So maybe
before we get into the Unabom mix-up, I should prove to
you that composites can be useful; very useful. I think
that if the artist is good, and the witness is good,
when time is a factor you can claim that an effective
composite will save a life. One such case
occurred in Sacramento in 1978, with the Dracula Killer.
The
Dracula Killer was a man named Richard Chase, who had been in
mental hospitals prior to his rampage. The investigation
started with a stabbing of a pregnant woman at her front door.
This happened on a Monday. The Sacramento Sheriff deputies
immediately sprang into action searching the general area
around where the homicide occurred. Ray Biondi, Sacramento's
top homicide investigator believed in using the public as much
as possible. A couple months earlier I had introduced myself
to Biondi, and had only done a couple of jobs, but in this I
had proven myself useful by providing a very accurate
composite solving some forty-five counts of armed robbery.
However it was an easy job, being that the robber looked too
much like a celebrity that everyone knew. The composite had
been put on the news, and there were only 28 calls responding
to the composite appearing in the newspapers and television
news casts, three being from the robber's own family. It
took one day from the composite release to make the arrest.
And so, I was already famous to the Sacramento Sheriffs
Department when the Chase
murders started.
Getting
back to Richard Chase, the Dracula Killer; Biondi had asked
the public to report anything strange. On Thursday, three days
after the first reported murder, a woman witness came forth
saying that she had answered the door to a man with a gunny
sack. Luckily her husband was near and ended up chasing the
man away from the house, probably saving his wife's life.
That night she gave me a description seen through a screen door.
Time is very important in cases such as with
Chase because on the next weekend Chase entered a house and
killed four more people, and also abducted a baby. The
composite played an important part when someone who lived near
Chase saw the composite laying face up in a Sheriffs vehicle,
and shortly there after notified the authorities. Even so, in
a short period of time, six people were murdered. If you want to be critical of the
Chase drawing, the mug shots were prior to the sighting.
Chase
did not have a goatee when seen through the screen. With
composites you are dealing with many factors like lighting,
obstacles, distance, and the witness's eyesight and memory. When
Chase
was arrested, he had shortened his hair to disguise his looks.
However the composite worked as he was identified through
prior mug shots. It took 11 days to bring him in.
There is a book on the Dracula Killer by Ray Biondi.
Back
in 1978, I had long hair myself. I was, and I still am, a free
agent. This means that I am contracted just as I would be
doing someone's private portrait. And really, I wasn't that
popular with the Sheriffs looking like a hippy. But I loved
art and had done my stretch in the USAF as a technician, a
sergeant who worked on test equipment. After I was honorably discharged
from the service and living in Sacramento, I also did a bit of
work for the newspapers, anything to pay my bills. It was fun
when I was young. So what I'm getting at is to tell you
another story that I'm still a bit mad about, and I think it's
important, and its how politics seems to play a part in our
system; a part that it shouldn't play.
When
I came to offer my services to authorities as a police artist,
it was not because I needed the money; it was because I knew I
could do better than what I had seen the department artist do.
The drawings coming out of the Sheriffs department were so
basic, and you could almost imagine anyone into the likeness.
All it would take is a dislike for someone and he or she
became the composite. This leads to many false leads (bogus
leads) and a lot of investigative time wasted. I can agree
with investigators discontented with lousy composites. When I
introduced myself to Ray Biondi, he looked at my technical
drawing skills and decided to use me around the department
artist. It really was a good call because if you take note of my case solve rate, you'd
know that with my artwork skills, it would only take a good
witness to acquire a likeness good enough to reduce investigative time.
Sure, even bad drawings can show a good detective physical
differences needed to solve a case,
but the
better
the artist, the better the job, which should mean a shorter
time in solving the case; and that might be in time to keep a
murderer from taking another
life.
What
happened to me is that the newspaper got wind that the
composites coming out of the sheriff's department were solving cases.
Unfortunately, the elected sheriff had the newspaper reporter interview the department artist
instead of me. He didn't claim to have done my drawings, but
left the public assuming he did. I still haven't calmed
down over this shot in the back. This changed my good nature
towards the department and I decided to move to Vancouver
Island, Canada where my brother lived. It was beautiful there
and I wanted to paint the ocean. So in July of 1979 I
emigrated to Vancouver Island, BC. I carried with me a
letter of accommodation written by Biondi, giving me
credit for my police artwork. This is quite an unusual thing to have,
an official letter saying your composites almost single handedly solving
crimes. But do you think the RCMP would be interested? I guess
I looked like a hippy to them too. But really, if I have to
sell artwork, don't I have to look like an
artist? Well life is life. I even had the top RCMP
artist in Ottawa, a Sgt. Dunleavy, (See
his letter)
inventor of Canada's Identikit urging BC Identification
headquarters to use
me. They (the RCMP) never did, except once the local
detachment tried, but the case I worked on wasn't important enough and was
dropped. Finally though, I got a chance to work over the RCMP,
redoing a composite in a major nation wide murder case in Abbotsford,
BC. The case was called "the
Abbotsford Murder Case" and was a top story in the US as well
as Canada.
The
case happened in 1995 and involved two young girls on their
way home from a party late at night. While one girl was
abducted, the other ran to safety at a hospital that just
happened to be 100 yards away. The murder
case had been going on for a few weeks, and studying the
RCMP composite in the Vancouver newspaper I thought it was too basic, and was anatomically
incorrect. This time it was an
investigation by the local Abbotsford police, not the RCMP, and I
thought I'd call the investigation and see if they would use
me. So I phoned the Abbotsford Police
and spoke with Inspector Rod Gehl who led the task force. He
was interested enough to call Sacramento to verify my credentials.
He called me back and asked me to help. So I
was on board again, however, this case was to be one of the
strangest outcomes. The case was solved, but not
by the composite's accuracy. However, in another way I proved
myself to be more professional than the RCMP artist. It turned out that the little girl was making
up the slayers description. She was young and probably
believed what she was describing, but the composites were both so
far off that the killer decided to taunt the police with phone
calls; and in doing so the police obtained a recording of his voice
that identified him to the public, and of course the murderer was
apprehended. His picture was released to the press and it looked
nothing like either composite. Not even close.
I had
been interviewed by the press several times during the
investigation and of course they were very interested in why
the composites were so far off track. The Vancouver Sun called me to ask
for an interview but I declined. I did not want to harm the
little girl, (my witness), so I immediately phoned Rod Gehl to
ask for help. He said that he would make me a material witness
and that would keep the press off me. Why in the world would I go
and be interviewed, possibly damaging the witness even more.
After all, witnesses can be used for more than their eye
witness accounts, and she was damaged enough already. However,
the RCMP police artist went ahead and took an interview
with the newspaper claiming the little girl was delirious.
To me it's only common sense to keep your mouth shut. I was never trained at the
FBI academy; although I am mentioned in the text books
at the academy. As an artist, you do not have the right to influence
the witness. That's called tampering. What the RCMP artist did was
damage his witness. He was not only a bad artist, but he also
was willing to harm his witness's credibility to bolster his ego.
My beef is only with the BC RCMP ID department.
In
Nanaimo a small city 70 miles above Victoria, I did do a good
business in portraits, just not with the
police. The fact is that when ever the local constables
wanted to use me, I was
never granted approval from the
ID branch of RCMP headquarters. I often wonder how many
people died because of (apparently)
this job protection attitude. I introduced myself when a
serial killer
Clifford Olson was killing children. This was happening
when I first introduced myself to the BC RCMP ID Department
in Victoria, and the commanding inspector had promised me that I would be used when their artist
was out of town. Shortly after this a constable wanted to use
me to take an ID on the Olsen murder case. The ID department
made the witness wait nine days till their artist was back
from mid province to draw a composite. I'll leave it up to you
as to why they made the witness wait. This was in 1980.
You
might wonder how I left Sacramento in 1979 and ended up
doing work on the I-5 Murders, Green River Task Force,
and the Unabom Task Force. Simply, Sacramento after
I left in 1979, wanted to find someone as good. I had moved to
Salem, Oregon in 1982 thinking that maybe Canada wasn't my
place. In the early 1980's there was ever rising interest on loans and I
thought the local Canadian economy would have trouble feeding me.
Before I moved to Salem, in May of 1980 to February of 1982,
I worked at U-Frame-It, a franchise picture framing
business in a mall, and the owners had me work in the front of
the store as a draw
to bring customers in.
I'm good at letting people watch me
from over my shoulder,
drawing portraits, and the people in the Vancouver Island
city of Nanaimo had accepted my presence. After
moving to Salem in 1982, I was having trouble building up a business.
I was working in an old theater that had been converted to a
walk through mall and there just wasn't enough business. Then
after three months I started getting phone calls from the
Nanaimo U-Frame-It manager telling me that there was business waiting
for me if I'd move back. Realizing that it probably would
take a great deal more time to establish myself in Salem, I
decided I'd move back to Vancouver Island. So I loaded up the car and a U-haul
truck and moved back to a small community near Nanaimo named
Gabriola Island, a very beautiful place. The economy was on
the mend and
things got better.
It
was in November of 1982 when finally I got a call from
Sacramento. There was a high profile case waiting for me
if I was able to fly down. It had been three years since
I left Sacramento, and I guess I won the battle of my
importance with the detectives. Sacramento had not
been able to find any artist to fill my shoes. When
I arrived in Sacramento one of the investigators showed
me a long list of names, and I had prevailed as the best
artist, and on top of that the detectives were willing
to fly me in from Canada for the job. But in accepting
the job, I had to be
interviewed by all the local news anchors, 20 minutes
each, where I was given credit for my past police
artwork. What a trip!
It
was the first time I had been flown from Canada to work
on a case, and it wasn't just the Sheriff's department
that was paying for my appearance. Biondi was quite good
at arranging support and had a travel agency donate my
airline ticket and a hotel donate my room. I was the
talk of the town that week, but I was now propped up on
a pedestal and was under pressure to solve the case. It
was a case that had been in the news for several weeks.
I was to interview a 10 year old girl that had been left
close to death by a rapist. The girl had
been in a coma for 2˝ weeks. She recovered and had a
definite impression of her assailant. It would take me two
interviews to do the composite.
Newspaper
article
It
was in the paper the next day, but it took 6 weeks to get
results. Here we get political again, and this is really what
it's like for people in my shoes. Finally after six weeks, a
man comes forward and tells investigators that he reluctantly
thinks it's his son. Yes the investigators had looked high and
low for someone who looked like the composite; but no one in
Sacramento looked close to the composite, and after six weeks a man comes
in and says it's his son. He told them that his son lived
with his mom in San Diego and was up visiting the week of the
incident. The father was apparently able to make a plea bargain with the
district attorney, and Walla! the knowledge of the plea
bargain is to be hidden from the press, and the man's son was
to be put under observation. Today with FOX News, this would
never happen. This decision was made to keep the little girl
from going through a difficult trial. So in other words, I
don't get public credit for my part in solving the case; and
this was really a big solve for me. Of course I am
famous with the little circle of investigators, but the people
of Sacramento have no idea that I succeeded. Through the
1980's I was used on a handful of cases as well as Green River
and Unabom, so I stay self employed mainly as a portrait
artist working in a mall to feed my family. It was not an easy
life.
In
1987 I had to visit Norco prison to take s description on the
I-5 murder case, another interesting story, the only time I
ever had to appear in a trial. The reason I was hired was to
affirm the investigation that Sacramento's witness, who was
incarcerated at Norco Prison for drug related charges, could
identify the suspect who was due to be released. Sacramento
Sheriffs Dept. Homicide had given two photo lineups to the
witness prior to my use and investigators weren't positive
enough of their witness to charge Roger Kibbe unless they
could be certain the witness could
perform successfully with a physical lineup. The investigation
was having me extract a likeness so they could see what the witness
had experienced when he and his girlfriend had been picked up
by the killer. If the portrait was a close resemblance, they
would arrest Kibbe. I made sure that I didn't know what
Roger Kibbe looked like, nor did I have any mug shots or
photographs of him with me. The composite was so close to
Roger's Kibbe's physical identity that three years later I was
put on the stand to clarify that I had not seen Kibbe or his
photo before the composite was created. I had put the
composite together from various feature album images and I had
only used color mug shots of men in his age group, none being
of him.
What really is interesting is
that in a Forensic Files episode about this crime, it is claimed
that forensic evidence was presented and then Kibbe was
arrested. The Forensic Files episode was claiming that
forensic evidence did my job, but to my knowledge the evidence
had not come back from the lab in time, and that is why I was
used in the first place. What Hollywood will do to struggling
artists like me to serve their needs. Believe me; I never
would have been used if forensic evidence was at hand. This is
just another effort by the media to steal my part in the
investigation. Don't believe everything you read, or see on
Forensic Files. But please do of course, believe me, and
artist with very little political power.
Also
in 1987, I helped solve a case where a mechanic was murdered
for his stash of money at home. The Mechanic didn't believe in
banks and had something like forty thousand dollars stashed at
his residence. I painted this composite right before I was
sent to Salt Lake City to work with the UNABOM Task Force,
which in looking at it can give you an idea of how close you
can get in this line of work. The Unabom composite is not my
best, but like stories for other investigations, the Unabom
investigation is interesting. I really blame myself for not
doing better, as I know for sure that I showed similar chins
like Ted Kaczynski's to the witness. I was also asked to take
the sunglasses off of the composite (if I could). At the time
I regarded such a request a fantasy and not a right move. So I
left the sunglasses on. Interesting is the fact that you can
trace the perimeters of Ted's nose, mouth, and symmetry of the
expression with the composite's. I should have insisted on
more time with the witness. You don't want to push the witness too hard, and
the objective is to recreate what the witness saw, lighting
and view, without influencing or psychologically harming their
memory. Now I know that sounds all right, but really, if you
have a witness that is so fragile that you can influence and
damage them, then think what the defense attorney will do to
them. If you can harm a witness in that manner, then you do
not have a witness. The same goes for witnesses picking out
features to assemble a composite. If they can get mixed up,
then you do not have a witness. Frankly, if a witness is sure
that they can recognize the subject, then you have a witness,
and you should be able to have them pick out features and
assemble a good likeness.
I have done a number of composites over the years, but not
anything like 75 or 100. You would think that I did them right
and left. But I am a free agent and I only work when hired on
a job basis. Yes, I have a great success rate, and it is due
to the fact that I listen to my witness, and I know how to
make them direct me in my drawings. I know how to make a nose
long without drawing a freak. Everything changes when there
are differences. You have to know your human dimensions
so as you can understand a description. You have to use logic.
For example, if you ask a person's age, you ask the witness to
point out someone that looks the same age. If the witness
looks at a facial feature shape and says no, then you have
learned what it isn't. Sooner or later you know what it is.
That is how it works. Oh, and you have to be very good and
fast at drawing. I learned to draw like this by always having
a sketchbook with
me. I have done thousands of portraits (not police composites), and it makes me wonder
when I hear that the chief or boss sent the best doodler in
the department to be trained in a field such as this. If the
boss was smart, they would go out and look for a willing
artist that is already good in drawing. I'm Sorry if I offend
people that have been
selected as best in the department. But we are talking about a
position where your skill level might mean saving a life. So
go out and find a real artist. I think I have a right to be
critical here, and damn the person that will argue because of
a job protection attitude.
The
UNABOM composite was first done in February of 1987 by
an FBI department artist.
SEE THE FBI Bulletin This was not a national release; in
fact the witness requested the task force to find
someone who could work in color. The reason that I was
given the job was that Ray Biondi had a big part in the
Unabom Task force. The first victim, Hugh Scrutton, had been murdered,
blown apart in Sacramento in Ray's jurisdiction. Ray at
that time was having me flown down from Canada on major
cases. So thanks to Ray, I got to work over the FBI
artist; and that is a real honor. Unfortunately, the composite
would not bring the Unabomber in, nor did the forensic
work by the ATF. The only thing that paid off was the
decision to print the Unabomber's Manifesto, which in
turn identified him to his brother. But it took 8 more
years and two more deaths after his sighting in Salt
Lake City.
There was a 6 year period of silence after the sighting,
and then two bombs were delivered to targets on opposite
shores delivered by the United States Postal Service. It was
after these bombings in 1993 that the FBI took over
the investigation from the ATF and US Postal
Investigators.
The
earlier Unabom Task Force had been comprised primarily of postal agents,
ATF, and a couple FBI agents, but since the Unabomber had
reappeared, the national pressure was on again. My
major complaint was that no one in the new FBI Unabom Task
Force
knew I did the first release. For some reason, I wasn't important enough to
locate and ask questions to. But I did know important
details about the Salt Lake City sighting. For instance, one
of the two female witnesses spied Ted walking across the
parking lot described the Unabomber as having a nice bum and
walked with a hop. He walked as if he used his toes to spring
is motion forward. If a verbal description of this way of
walking accompanied a good composite, it would narrow down the
search somewhat. And another good reason for my discontent was a major mix-up
between mine and the bomber's facial features. The new composite looked like me wearing a
hooded sweat shirt more than the original description. My mother actually called me from
California to tell me that she had seen my face on the cover
of Newsweek.
Above: American Journal segment about the
composite mix-up 1995
Look at
the newspaper photograph of me holding the Newsweek magazine;
The composite has a longer
narrow nose, like mine. My nose was even thinner when I was 6
years younger and in this photo, the camera that took this
picture from across a restaurant table causing a slightly
distorted fish eye effect, meaning that I was even closer to
the magazine image than this photo shows. The composite shows a
taller upper clef above a wider mouth with fatter lips, all like
on me, not like in the original 1987 composite. It was almost funny, and saddest of all was that the
FBI had made no effort to be careful. All the movies you see
emphasize that the FBI is so careful with evidence. If they had
been careful, they would
have called me, and I could have collaborated with their new
artist and told her what not to do. I
didn't care so much that they were using someone else as an
artist. It was
the sloppiness of not asking before changing things; the
reckless decision of changing the composite without careful
attention and analysis. This is
really another example of investigators thinking that
composites don't work. But there were some deadly accurate
features in the first composite that could have been
determined. In my professional opinion, I actually think we
could have come up to a very close resemblance, I even was
able to get the eyes right 1˝ years before Ted Kaczynski was
arrested. Truing up the composite with the
witness should have been easy, and unfortunately I didn't have
access to her. I can prove how some features were close and I
knew the hair and chin was off a bit because the witness gave me that
feeling, even when she said that she couldn't remember any
more. I was even flown back from Canada to change the hair
before the composite's release. Simply the witness was re used 6 years after the sighting, and
instead of asking me what happened during my interviews, or
what I knew, they just acted as if by magic they could hire a
new artist and work with practically nothing. I will say this,
the new composite had a squarer chin and I thought that to be
the only change that was necessary. Every other facial
feature took a blow. Please use your mouse by gliding it
over the image below, and you will see how close the composite
could have been by just placing the eyes, nose, and mouth in a
composite I did in 1994 without the aid of the witness.
My 1994 version is identical to the 1987 version with
sunglasses except his eyes are exposed. The way I see it, if
we had arrived at the Popeye chin and the lower hairline, and
described his hop in his walk, I can see people in Montana
calling the FBI.
I have been
criticized for taking the sunglasses off, but let me explain
to you why I thought it was important for the Unabom
investigation to do; and to be fair to other critics, I told
the investigators in 1987 that it wasn't ethical to remove
them. If you are creating a composite, you are
there to take a visual testimony from a witness. You do not
want to draw anything but what they tell you to draw. And that
is usually what should be done so that it is solely the
witnesses visual statement. But with the situation of the
witness seeing a man wearing a hooded sweatshirt with
sunglasses you have to realize that a sighting like this would
almost always be scrutinized by any defendant. So tactically,
the investigation should try to expose the eyes, because a
composite with dark sunglasses could look like too many
people. And of course, you do not show this composite to the
witness, you actually instruct the witness never to look at
it. I do that in every interview. I always tell the witness
not to look at the composite because the witness will start
believing any mistakes I might have made. It is very important
that the witness's memory is not compromised.
You might
ask how I decided on the eyes? Simply,
I compared the 1987 composite to thousands of mug shots I had
on hand, analyzing the bone structure around the eye sockets.
I came up with 127 mug shots and the eyes in all of them were
basically the same shape. And you can see in the comparison
below that I was right on.
Exter appears on Worst
Case Scenario
What if we all
would have worked together?
Just
glide your mouse over Newsweek Magazine.
After
seeing the new FBI composite in 1994, and seeing the obvious
change in the face, let alone my own mother calling to tell me
I looked like the new composite, I called investigators
involved to warn them of what I thought was a wrong move. The
next thing was that the press was notified of my observations
and I was being called for interviews. This
developed into a shooting match between the new artist and me.
It was never my intention to attack her credibility. She
insinuated that I was trying to get national attention; but I
was only trying to warn the investigation of a wrong move. Simply
the resemblance was too obvious to ignore. It was not a good
year for my relationship with the FBI.
This
is certainly a noteworthy study. To think that the witness
could actually morph my face into her memory of the sighting.
This situation developed into something that would make an
interesting psychological study. If you were to
ask someone you met on the street what time of day it was,
most people would not be stimulated enough to remember a
usable description. But if you are being robbed, you could
easily
remember the robbers face for a long time to come. That is the
way our minds sort things out. The more stimulated a witness's
memory is, the better the result will be.
The small credit I can
claim is that I was the artist that created the 1987
composite. On April 26 1997, while watching Larry King Live,
Tony Muljat, the lead U.S. Postal Inspector on the Task Force
gave me a nice compliment. Below is from the show transcript,
Arthur Kent was subbing for Larry King:
ARTHUR KENT: But the- the
complexity - for instance, only one eyewitness in the entire
17 year train of events, and 16 bombings, only one eyewitness
way back in 1987 in Salt Lake City.
TONY MULJAT: Mm-hm.
ARTHUR KENT: And then a six year- six year pause.
TONY MULJAT: Mm-hm.
ARTHUR KENT: Did it frighten you? The complexity and success
with which this Unabomber was acting?
TONY MULJAT: Well, when we were fortunate to have a witness in
Salt Lake in 1987, at that time, again, we didn't know if we
were dealing with a male, female, a white male, black male -
or whatever it was and- and that was a significant break for
us at that time and then the composite that was provided by
the eyewitness, in my opinion, was a strong likeness to the
suspect and I think that drove him down under, I really do.
You know, it-
TRANSCRIPT FROM LEXIS-NEXIS -
LARRY KING LIVE - DECEMBER 9, 1997
In 2017 Discovery
Channel used my material for the production of "Manhunt
Unabomber". I noticed in the credits that Agent
Fitzgerald was listed as a director which means this
scene could very well have happened (or something
close,, maybe actually showing the composite I did with
eyes exposed)
It was said in the clip
that it was a local artist. Not so, it was me. I was
flown in from Vancouver Island BC, Canada. I'm a US vet
but was living there as a landed immigrant. Sacramento
investigators had missed me and when a high profile
cases that would meet the expense for my travel, I would
be flown in and used to do the work. The Unabomber's
first victim was Hugh Scrutton, a computer store owner
in Sacramento and homicide investigation was assigned to
Ray Biondi's team. From that time on Ray was part of the
Unabom task force and had a say in who might be used for
a composite. This is not the total reason why I was
used, the Salt Lake City witness requested an artist
that could work in color and I had that qualification.
Videos of interest:
If you would like to see
police composite art in action, here is an eight
minute clip from a 2003 episode of Worst Case Scenario
where I and another police artist are set up with four
witnesses unaware that they will be used to describe
a suspect running by. Please read the opening page
before you view the video.
video of Police Art in Action
Investigators, please
read: Ray
Biondi retired with an excellent solve rate, meaning
that he had an excellent team of investigators. I was
his police artist but I lived in Canada, and this meant
that a key element was gone that gave me the opportunity
to use my talents in the United States. But since Ray’s
retirement I have moved back to California and have been
developing a way to interview witnesses over an internet
connection. How it works is simple: All I needed to
interview a witness is a feature sample book, a sketch
pad, a pencil, and myself. Today, using an internet
connection, interviewing a witness is not only possible,
but more practical. I have created an on line a kit, and
using internet
search engines,
there is access to images of anything imaginable. The
witness only needs an internet connection and a phone
line. Also, with broadband and an up to date computer
capable of audio and video conferencing, you don’t even
need a phone. It actually is much better than flying me
to an interview because everything can be recorded and
documented, revealing what happened during the interview
to investigators, and simplifying the adjudication
process. If you are an investigator and would like to
use my services, please contact me and I will give you
the address to my witness interview website.
Robert Exter
Portrait and Police
Artist
Phone:
(530) 221-4462
If you are not an
investigator and would like to help me in my efforts,
below are some ways to do this: