This analysis searches into the mindset of the Zodiac Killer, taking his influences as the driving force behind the numerous letters he formulated over a period of nearly five years, exploring the wording and subject material he painstakingly orchestrated, to narrow down a profession that, above all, takes center stage.
It has been noted on countless occasions that the Zodiac Killer had leanings toward the dramatic, His early correspondence included part inference to The Most Dangerous Game, a short story by Richard Connell, published on January 19th 1924, as well as several references to the Gilbert and Sullivan comic opera, The Mikado, first viewed by the paying public on March 14th 1885. The Mikado featured heavily in his 'Little List' letter, mailed to the San Francisco Chronicle on July 26th 1970 and was resurrected in the 'Exorcist' letter, his last confirmed correspondence mailed on January 29th 1974.
In the counterculture revolution of the 1960's, a new breed of expressionism emerged, allied to the already existing forces of cinema and theater that permeated the San Francisco culture, provided the backdrop for a diverse cocktail of literary and visual freedom.
Is it possible from an early age the Zodiac Killer yearned to take the leading role, but rejected from his desire, took solace in the wings biding his time, knowing that one day his time would come.
The final act though was never far away, as tragedy would have it, when Paul Stine picked up his final passenger from the theater district, near the intersection of Mason and Geary Streets on October 11th 1969.
Many researchers have suggested a reasonable link to the theater, due to traits in the Zodiac Killer's correspondence. It has been observed that at key times, letters from the killer, as well as certain actions could be paralleled to notable events that occurred along the same timeline.
He claimed in his Bus Bomb Letter of November 9th 1969 ' The police shall never catch me, because I have been too clever for them. I look like the description passed out only when I do my thing, the rest of the time I look entirle different. I shall not tell you what my descise consists of when I kill '.
He also made a grand appearance at Lake Berryessa on September 27th 1969, having either purchased, borrowed or crafted
a black executioner's hood and a waistline bib, emblazoned with the Zodiac crosshairs, but either way his entrance was of theatrical proportions.
One thing evident throughout his correspondence, was his use of the word 'shall', leading to speculation that he may have been of British origin, as the word 'shall', is infrequently used in American English. However, another option exists. As a member of theater production, his exposure to the word 'shall' would have been far more common in the performance of stage plays, particularly in traditional works of English origin, which he would seek maximum impact, when he took it to the next level and started crafting his own scripts.
Embittered by rejection, he mailed his work to the heart of the American people, seeking literary recognition, albeit only succeeded in creating a tragedy of epic proportions, while hiding behind a pseudonym that belies his cowardice.
In his fourth and final act, the Zodiac Killer departed the theater district of Mason and Geary Streets on October 11th 1969, on the short journey to the corner of Washington and Cherry, with the unsuspecting taxi driver Paul Stine. Thirteen minutes later the brutal slayer had claimed his fifth murder victim.
The killer was observed from a house across the street as he wiped down the vehicle to remove any incriminating evidence. He then calmly walked away into the night.
His 'exit stage left' was complete, but the memories he left behind, still haunt us today.