Introduction
"The Grégory case is an assassination of a child. Assassination means premeditated murder. So a willful, thought out, programmed death. Many children pay with their lives for the perversions, madness, greed or selfishness of adults. We see them victims of sexual abuse, blind dementia, mistreatment and family violence, or kidnapping for ransom. Nothing like this in Grégory's death.
No sex story, money question, psychopathic prowler, or serial killer, no family drama or abuse. Gregory was murdered for another reason, hatred. A hatred fueled by two other unhealthy and often associated feelings, jealousy and the desire for revenge. But it took that the murderer is in the grip of an immense madness to manage to kill a child of 4 years! This kind of madness can be hidden behind a normal behavior and a most innocuous life, lurking in the bottom of a sick conscience, it can grow at over time to suddenly explode.
Jealousy, the desire for revenge and hatred, even grafted on apparently futile causes, are very strong levers of violence. This case involves all of these elements, which is why it is out of the ordinary. Grégory is murdered not for what he is but for what he represents: the love and the pride of a man, his father, to whom we dare not attack him directly. Another singularity: the assassin is a "raven", that is to say an individual who attacks anonymously other individuals by means of telephone calls or letters, and for very varied reasons.
Verbal or written threats which are often accompanied by threats, blackmail or ultimatums. Such acts, relatively frequent, are encountered in all circles and affect the family, social and professional environment. On the other hand, it is exceptional for a crow to concretize his malicious intentions, because anonymity precisely expresses his powerlessness to openly express his feelings and to take action. However, here we have the example of a crow who carried out his threats, up to the murder of a child announced almost two years ago."
- Étienne Sesmat, "The two Grégory cases".RECALL OF FACTS
The Grégory Villemin case - or the little Grégory case - is a French criminal case which begins on October 16, 1984 at the end of the afternoon, when Christine Villemin reports the disappearance of Grégory, her four-year-old son, from the family home, located in Lépanges-sur-Vologne. On the same day, the child's lifeless body was found around 9:15 p.m. nearly seven kilometers away, in 'La Vologne', a river in the Vosges.
The photograph of the recovery of Grégory's body, feet, hands and head linked by cords and a woolen beanie folded over his face appeared in the press and immediately marked public opinion. The case quickly attracted many journalists, French and foreign, and, two days later, made the headlines of the national press. This case is considered exceptional in French judicial history because of its longevity, its context, the profile of the victim and finally the enigmatic nature of the motive and the circumstances of the crime. In more than thirty-five years, the case has experienced various twists and turns and has given rise to numerous procedural errors, mainly on the part of the first investigating judge, to the point that it is generally set as an example among the worst failures of the judicial institution, whose shortcomings at the start of the investigation seem to have prevented any identification of the culprit (s).
The searches in the Vologne were consecutive to the phone call of a mysterious character, "the crow", who would have informed of the crime around 5.30 p.m. (at 5.27 p.m. or 5.32 p.m. depending on the reconstructions) Michel Villemin, fault, he would have said, of having been able to reach Albert or Monique Villemin:
"I'm phoning you because that doesn't answer next door. I took revenge on the chief and kidnapped his son. I strangled him and threw him at Vologne. His mother is looking for him, but she will not find him. My revenge is done"
The next day, Wednesday, October 17, 1984, an anonymous letter addressed to Jean-Marie Villemin claimed responsibility for the crime:
"I hope you will die of sorrow, the chief. It is not your money that can give you back your son. This is my revenge. Poor asshole."
The letter was mailed to Lépanges, the day of the murder, before the break of 5:15 p.m. (postmarked). A hoarse-voiced "crow", or perhaps a woman disguising her voice, as some experts will suggest at the 1993 trial, has been harassing the entire Villemin family for more than three years, and Grégory's death is considered to be the execution of threats made during these years. To this date, the crow (s) has not been clearly identified, beyond strong suspicions that have successively weighed on different members of the family of Grégory Villemin; Nor did the survey clearly reveal the exact number or sex of the crows.
PERSONAL AND DETAILED ANALYSIS
TYPOGRAPHIC WRITING
The writing "stick" is more difficult to analyze since we necessarily have less "convincing clues" on the personal style of the writer: the controlled graphism and the "square" shape of the words precisely allows an individual to conceal his real writing. However we can note some similarities between the two letters.
Letter of March 4, 1983. "I will kill you the Villemain family"
The letters are in rectangular and split block capitals. The layout is very controlled, with many pen lifts. The use of the untrained hand (left hand for a right-handed person) is unlikely, the pen trace which thus reveal a slow, non-spontaneous graphics, characteristic of a disguised writing being little altered.
Slipped under the shutters of Jean-Marie's home in Lépanges. Jean-Marie, Christine and Grégory are specifically targeted by this crow.
Here, the graphics seem clumsy, on purpose. In the same way, the "A" is added - "VILLEMAIN" - to blur the tracks and "make believe" that he is not a close relative. In his first missive, the crow therefore remains cautious.
Letter of April 27, 1983. "If you want me to stop I offer you a solution. You must no longer see the chief, you too must consider him as a bastard, put him entirely aside by you and his brothers and sister. If you do not do it, I will carry out my threats which I made to the chief for him and his small family. Jacky and his small family were enough set aside. In turn of the chief to be regarded as a bastard. He will console himself with his money. You choose. LIFE OR DEATH."
As with the previous letter, the writing is in block letters, often rectangular and split. It also presents a non-spontaneous line, characteristic of a disguised writing. The use of the untrained hand (left hand for a right-handed person) is unlikely, the line being slightly altered.
This time, the letter is addressed and sent to Albert and Monique. The crow can thus directly benefit from the consequences of his actions - the investigation has proved by multiple elements that the crow(s) undoubtedly lived in the locality of Aumontzey, with a view on the home of the Villemin parents. After his oral threats, he reiterates them on paper. As long as Jean-Marie is not considered as a "pariah", the family will continue to suffer his determination.
He offers an « agreement » and focuses once again on Jean-Marie, "the chief" who must be "FULLY" excluded and rejected by his family.
"He will console himself with his money". Money seems to be a "problem" for him, necessarily associated with Jean-Marie's supervisor status. He seems to blame him personally: his success and his professional, social and marital/family status are the main known and assumed reasons for the “hatred” and “frustration” of this crow towards Jean-Marie.
Let us remember that Jean-Marie and "his small family" are very happy: He and his wife Christine are, according to everyone's comments, still very in love with each other after almost 10 years of relationship, at only 24 and 26 years old ; they have a child whom they cherish above all, considered as "a King child", vivacious and already very smart and alert, to the point of already worrying his parents about "the family jealousies" which could result therefrom; they are owners of a beautiful house which they enlarge from August 84 in order, in particular, to welcome a new child; thanks to Jean-Marie’s work, they succeed in obtaining advantageous financial loans to carry out their projects and improve their way of life; Christine has a modest job and salary but this is a significant inflow of money; the relationship they have with their son Grégory is almost "fusional". Both are very loving parents.
The dark clouds in this peaceful and radiant future are the varied feelings of jealousy, envy, pride, anger and hatred of the many people in the family, friendly and professional circle. All this obsessive animosity hovers above their head like a threatening sword of Damocles.
We can note that this promotion was ultimately, a real curse, a constant and oppressive burden which, in [large] part, caused Grégory’s tragic fate.
About two months later, the crow becomes more "talkative", his threats are more precise.
He focuses on specific words such as "Chief", "Bastard", "Family" "Money" and "Death".
Here, the writer remains cautious. However, he seems to gain confidence, and despite the spelling or conjugation errors scattered voluntarily, the writer easily handles the typographic style. The writing is fluid and without corrections or deletions; the text is clear, direct and has not been "prepared". Indeed, his "frustration" and "impatience" seems to appear through his "spontaneous thoughts" - in the sense of : "expressing feelings that come from the heart"; we sometimes find rounded letters that "escape" the writing "stick" such as "R", "E", "O", "Q", "D" "B" and "C". The crow is a bit negligent and gains self-confidence.
The message is written with care and in a clean way. The capital letters are roughly the same size - height and width. The spacing between the words is correct, the text is readable and airy, the author seems to "write well".
There is no "burr" or "tremor", the lines are straight. This indicates, a certain skill.
NOTABLE COMPARISONS BETWEEN THESE TWO LETTERS
The first "VOUS" at the beginning of each of the letters and the word "FAMILLE" are
similar.
The "N's" are characteristic, the last vertical bar is often drawn "outward", curved or straight and seems to form a "V". Note: See cursive letter just below - May 17, the words written in capital letters "CONS", “CINEMA” and “NONOCHE” contain equivalent "N".
Two small lines systematically exceed the horizontal bar of "D's". Same comparison with the letter "B". Note: In the last sentence of the cursive letter - May 17, "ADIEU MES CHERS CONS", the "D" seems identical.
The "E's" are also similar. The first horizontal bar is longer than the last [horizontal bar], sometimes curved or straight, and often stretched upward.
The "R" in "MORT" is similar to the word "FEREZ" and the "T's" are also similar.
We can also notice that "MORT" is written with a neat and precise gesture - no "burr" or "tremor". This indicates, once again, a certain skill.
These two letters seem to be from the same hand.
CURSIVE WRITING
Letter of May 17, 1983. "I see that nothing has changed at your house, there is always only for the same and the chef always comes1. You can show the other letter and this one to Jacky (Villemin) because I'm stopping. He is always put aside, it is useless for me to defend him ... There is always only your daughter slut (Jacqueline Villemin) and her old man (Bernard Noël) who have the right to dirty your plates on Sunday2. There is only for the son-in-law (Bernard N.), he counts more than your sons, especially for you the old one (Monique Villemin), he is your "NONOCHE" and he allows himself everything in Aumontzey. And the little stupid of Granges (Gilbert Villemin), there is not a day without going down to your place and he always has to put his grain of salt3 everywhere when he should close his big mouth but no effect ... and his "connasse de gonzesse"4 (Marie-Christine Jacques), she always makes the great sick with her dirty pigface ((the CINEMA)) around the chief, mom's "balaise"5 (Jean-Marie Villemin) he can stop shitting in his pants, *I don't want to hurt him neither to his "pimbêche"6 (Christine Villemin) nor to his "mioche"7 (Grégory). Jacky will not be esteemed for that and he will always be considered a bastard, the poor guy. Hey you old man! (Albert Villemin), you got a bit old, you look very sick. And yes, old man, you will never know who made you shit for two years. I got my revenge because I see you ruminate it8, and you may not hang yourself but I don't care because my revenge is done. I hate you to the point of spitting on your grave the day you die9. Jacky may not be more highly regarded, but I don't care because I took revenge. This is my last letter and you will not hear from me again. You will wonder who I was but you will never find.* Let the crazy (Michel Villemin) next door stop showing off because he takes a punch in the mouth and runs away10. FAREWELL MY DEAR ASSHOLES ... "
1. "[...] there is always for the same and the chief always comes" means - the same people are always privileged.
2. "[...] who have the right to dirty your plates on Sunday." Expression used in the region and by Michel Villemin.
3. "Give a grain of salt" / "Mettre son grain de sel". Interfering in a conversation or an affair. This expression dates from the 20th century. The grain of salt is a metaphor for expressing a contribution. Very often, it is used in a derogatory way when someone expresses or adds something without being asked.
4. « Connasse de gonzesse » : Foolish, silly woman who does not shine with her intelligence. Example: A filthy being will not say of a woman that she is not very spiritual, he will be satisfied quite simply to call her « une connasse ».
5. « Balaise » : Refers to a person who has significant physical strength; with an imposing stature.
6. « Pimbêche » : Pretentious and haughty woman.
7. Child, kid. The term « mioche » implies an unpleasant notion.
8. « Ruminate it » Turn and return in his mind. Dwell on his past and his grief.
9. "I hate you to the point of spitting on your grave the day you die". "I will spit on your graves" is a crime novel by Boris Vian. The story, like the other Vian stories written under the pseudonym Sullivan, takes place in the southern United States. It depicts the revenge of a half-breed following the lynching of his brother, to denounce the racism of which black Americans are victims in their daily life in front of the Whites.
10. Reference to an event that occurred in 1981, a conflict between Michel and Jacky on a futile bet and which led to a fight between the two men, at the end of their work at the factory.
In this "farewell letter", the crow changes his writing style, the text is quite long. From the first sentence, he evokes "the chief", his main target, after Albert and Monique. He then pours his gall on the siblings and their parents Albert and Monique; Indeed, this hateful rant expresses "his truths" about everyone: according to him he says things that are true or justified about them, mainly negative, derogatory or hurtful, bluntly and without hypocrisy, whether or not they want to hear them. Only Ginette and Liliane are not mentioned. Michel, on the other hand, is quoted at the end, "the all crazy / le tout fou"; the raven evokes a physical conflict between Michel and his brother Jacky which occurred a few years earlier (in 1981 - just before the appearance of the crow(s) and of which Marcel Jacob was witness). This passage seems to have been added following an omission - after re-reading. His conclusion seems rather located here in the text: " * [...] I don't want to hurt him [...] You will wonder who I was but you will never find. * "
The raven manifests, according to him, one last time his hatred and his resentment "strangely reducing" the scope of his actions by declaring "this is why I pissed you off for two years" and explains the "reason": to defend Jacky, "The bastard". However, the unknown reason is precisely deeper. This individual is frustrated and does not feel “welcomed into the family”:
“[...] only your slut daughter and her old man have the right to soil your plates on Sunday" - family meal day.
He uses coarse insults or vulgar and disdainful nicknames to designate women.
On this side, men are not "spared" and are also quoted with offensive nicknames, but the language is less rude / vulgar. If we analyze more carefully : indeed, the "weak points" of some are mocked; such as the jealous Michel and his impulsive and eccentric personality, similar to "a crazy guy" or "a wimp" who for example, dares not strike back, his half-brother Jacky; or Albert and his fragile health which cannot bear the mention of his father's suicide.
Paradoxically, the others are criticized for their “too demonstrative” personality: Bernard Noël “allows himself everything in Aumontzey” - Def: Believing that he has the right to do everything; behave cavalierly, in a rude, indiscreet or discourteous manner, lack respect or restraint. Gilbert and "his big mouth" - Def: (popular) person who speaks loudly but whose actions rarely follow. Jean-Marie is "the balaise, the chief" in reference to his work and his physical build - Jean-Marie practiced bodybuilding and karate. These nicknames were first used by his family and initially, these words were a simple "joke", a tease.
He says he hates Albert "to the point of spitting on his grave" and is satisfied with his unstable and weakened state of health. The crow regrets that he has not taken the plunge (end his life, hang himself) but repeats three times that his "revenge is done". Is he trying to convince himself?
Keep in mind that this letter was sent three days after the last family reunion at the home of Jacky and Liliane Villemin - on May 14, 1983. Everyone had been invited to dinner to appease the tensions. However, Michel and Ginette had not come.
Albert made comments and implicitly accused Liliane of playing the crow (alongside her father) despite the unwavering denials of Jacky and his wife. The disagreement persists and settles, the family separates. To finally implode at the end of May 1983.
The author of these letters - who is probably a close relative - was informed of family events. Everyone persisted in their suspicions about Liliane and the family broke up. What better time than this, to say “goodbye”? At this point, his "withdrawal" definitively reinforces the supposed guilt of Jacky and Liliane - the crow keeps on to defend him insistently : "Jacky will not be esteemed for that and he will always be considered a bastard, the poor guy" ; "Jacky may not be more highly regarded but I don’t care I took revenge."
Besides, his plans worked, he sowed discord within the family whos ties are now ransacked and broken.
We can see that the explicit death threats from the previous letters fly away in this one:
"[...] he can stop shitting in his pants I don't want to hurt him, neither to his "pimbeche", nor to his "mioche"
We can also note that the crow himself confirms a link with the letter sent about 3 weeks before - April 27; Typographic style.
"You can show the other letter and this one to Jacky [...]".
In this letter the writer does not forget any circumflex accent. Even on the "e" of the word "pimbêche" the accent is present, which is absolutely not obvious to know ... "Même", "arrête", "peut-être", "pimbêche", "côté", "bâtard". He is never wrong with the preposition "à" and the auxiliary Avoir. While we find grotesque mistakes like the word "slipp" with two "p" or "mieu" without "x" and again the word "vengeance" that he wrote "vangence". The writer is undoubtedly an educated person and takes us on false tracks. Like for example the verb "pouvoir" which he writes perfectly on the letter of 16/10 and with a fault on this one.
On this letter there is no "dumpling" ... or capital letters at the beginning of the sentence and on proper names. "I'll go and spit on your grave the day you die" is perfectly spelled and the conjugated time is respected. This novel by Boris Vian has been read in all good schools and has been around the world many times ... This letter was written either by a right-hander in the right hand, or by a left-handed person with the left hand. Or an ambidextrous. The handwriting is not clumsy and the letters are relatively round and smooth, neat.
Some words are also underlined in the same way as in the previous letter, with two lines.
Letter of October 16, 1984. "I hope you die of grief the chief. It’s not your money that can bring your son back. This is my revenge. Poor asshole."
Important "dumplings" - a blunder, an error - (underlined) appear on this letter which are not found in the other missives.
Even if the assassin or the kidnapper wrote this letter hastily, this kind of "dumpling" suggests another hypothesis: We can clearly see that the writer was bothered by jolts. This letter seems to have been written in a car ... Besides, it contains no spelling mistakes. What is not the case on the others. When a crow writes a letter he makes mistakes on purpose to confuse the tracks necessarily. For example, there is an accent on the "à" of the word "voilà". Or that there is an "e" before the "a" of the word "vengeance". No grammatical mistakes, like the "s" in "mourras" and "pourras" in the simple future. The verb infinitive "redonner" was respected ... This person has a good knowledge of the French language. Now forget about "dumplings" and other forms of concordance. Look only at the shape of the letters: they are all rounded, with small loops. Capitals in calligraphic style appear.
In this final letter, the crow therefore carries out his threats, the message is clear: "Your son is DEAD and it is not your MONEY that can bring him back to you, my REVENGE is DONE". Gregory’s death meant for him, Jean-Marie’s death : "I hope you will die of grief the chief".
Keep in mind that this raven is a close relative unable to confront Jean-Marie and that his imperceptible hatred under deceptive "friendly" appearances, focuses on his success "his little family", his professional status and his MONEY.
He says it himself several times "You will NEVER know who I am", why is he so convinced?
Two explanations: He knows that he is "seen well" by his neutral behavior and his ability to "se fondre dans le décor" - Make sure to match the environment in which we find ourselves - and to conceal his real feelings / motivations. Furthermore, his insistence on defending Jacky led the Villemin to suspect his wife Liliane and her father Roger Jacquel, this crow is necessarily aware of this situation since he is informed by someone (or several people) - voluntarily or not - within the Villemin family.
This final letter was posted at the Lépanges-sur-Vologne post office on the day of the crime. However, the schedule for the posted letter is questionable. Indeed, the stamping point of 5:15 p.m. is affixed, which, according to the receiver, implies that it was deposited before 5 p.m., because in principle, mail sent after 5 p.m. bears a different stamp, namely the stamp of the next day - (October 17). But after the hearing of the postal employees, the investigation established that the change of composting did not take place at a strictly fixed hour and that in fact the fold intended for Jean-Marie Villemin could have been deposited in the box between 1:55 p.m. and 5:20 p.m., and that it was most likely posted between 4:40 p.m. and 5:20 p.m.
COMPARISON OF CURSIVE WRITING. Letters of May 17, 1983 and October 16, 1984.
Respective envelopes
For the comparative study, note that I only used the first page of the missive of 05/17 in order to better observe the two models of cursive letters side by side, and thus analyze the similarities or the differences.
The raven's mails are obviously taken from articles found on the web. The few comparative elements extracted from the texts have been enlarged and some are therefore of "poor" visual quality. Despite “the lack of clarity”, the shape of the cursive letters remains visible. However, if you have any doubt, you can verify the conclusions of the comparative study for yourself, by simply clicking on the photos added - (missives).
1) The "tail" of the e [at the end of the word] always ends stretched. The loop is small.
2) The f's are typical, they are “curved” and end up with the same shapes. Always leaning to the left, written all at once.
3) The g's are also curved and are extremely significant. On the two letters, they are absolutely identical.
4) The arches or "bridges" of the m are wide. Note that a small separation between the second and third "bridges" - more rarely between the first and second - seems to form a "v". This significant letter is also present in the two missives and on the two envelopes.
5) The p's have strange resemblances. The line to the left of the horizontal bar goes up in open loop. The top of the "P" sometimes have a small loop, sometimes not. This letter is written all at once.
6) The r's too. When the loop is present, it is always on the left.
7) The s is curved and we find exactly "the same hand" in the two letters.
8) Ditto for the T, in the shape of a "cross". Traced from the top and curved with a rounded angle to the right. They are absolutely identical.
9) The lower case "v" is characteristic and looks like a capital "N".
Another example: Here are 5 absolutely identical words.
BERNARD LAROCHE'S WRITING
You will find below: on the left, the two envelopes - letters sent by the crow; and on the right, two writings by Bernard Laroche, "right hand" at the top and "left hand" at the bottom.
Please note that these letters were not written under the same conditions: Bernard Laroche’s writings are dictations required by the Gendarmes in order to confuse the culprit, the address on the envelope of October 16 was written in the emergency - maybe in a car. Finally, the mail addressed to Albert and Monique Villemin was written in "more serene" conditions, ( the crow) sitting in a room probably at his home.
First of all, I highlighted the capital "V" in letters "stick" present in "Villemin" and "Vologne" because it corresponds to the "V" scattered in the mail - in typographic style - of April 27, 1983. The first bar of the "V" is, almost always, slightly shorter than the second. I invite you to check for yourself. Second, in the letter of October 16, the horizontal bar of the calligraphic "J" of "Jean-Marie" is a little curved, in the same way as the "J" written by Bernard Laroche - indicated by a yellow line. Please also note that the "s" of the words "champs", and "/sur/" is different from the "s" of the words "Lépanges", "des" and also of the same word, "champs", contained in the written mail of his left hand (Bernard Laroche) - indicated by a cross. Was Bernard Laroche trying to "muddy the waters?"
In any case, we can see that he knows how to slightly modify his letters and that he writes very well with his left hand; he is ambidextrous.
This also applies to his two capital "R" in "Rue". Finally, I highlighted "olo" in "Vologne" in light blue to demonstrate that letters were generally formed and constructed in the same way.
In addition, the spacing between all the words is similar too.
First look carefully at the surname "Villemin". Indeed, it presents a disturbing similarity in the 4 models. The letter "i" is attached to the "l" by a small rounded, also present between the double "l". The "e" is drawn in the same way and the "m" also carries a significant "small break" between the second and the last bridge - or between the first and the second - that I previously compared to a "v". In Bernard Laroche's writing - top right - the "n" is the only one to display a loop at the end, however it does not appear in his dictation with the left hand: thus, the other three "n" are the same.
“Jean-Marie” is also very similar on the two bottom envelopes.
The loop of "j", "g", "y" and "z" is drawn with a kind of "right angle" more or less marked. The "g" is absolutely identical.
Furthermore, the "d" is drawn in one go, from the top of the horizontal bar and returns rounding, to form the loop; a kind of "vertical snail".
The "s" are small, "rounded or pointed".
The "r" is found in the 4 copies. Note: October 16 - bottom left - the letter "r" from "Lépanges-sur-Vologne" seems to be a "dumpling" similar to those present in the missive.
The end of the "e" is always stretched. We can observe two models of "u", linked or not to the previous letter, similar in the 4 letters.
Finally, let's look at the postal code. The number "8" and the number "6". In particular in the letter written by the left hand by Bernard Laroche: the tail of "6" ends in "small curvature" in the same way as in the letters of October 16 and May 17 attributed to the crow. The “8” is also equivalent. Note that Bernard Laroche does not put parentheses while it was very common in the region to write the postal code in this way. On the other hand, he draws two dividing lines: "Lépanges / sur / Vologne".
In the two writings of the crow, the capital M have two small loops on each side. The first "M" written by Bernard Laroche is not entirely identical. However the first bar of (V) to form the "M" is drawn in the same way, glued to the first large horizontal bar (I). Besides, why draw capital letters in typographic style when you are subjected to a cursive script dictation?
Bernard Laroche's capital letters are "too straight", to be written "naturally" unlike his fully rounded cursive script.
Here is a convincing example. On this document, the capital "J" presents a significant loop. Proof that Bernard Laroche also writes in calligraphic style. In addition, please note that the capital "M", the cursive letters "s", "r", and "v" are, once again, consistent with the writing of the epistolary crow.
Latest expertise:
Christine Navarro is an expert accredited by the Court of Cassation, former head of the unit "handwriting comparison of the Criminal Research Institute of the National Gendarmerie", and president of the Company of justice experts in forensic science. This time, Christine Navarro focused on four raven‘s mails.
The first (Q1 in the file), from March 1983, is written in capital letters. It's the shortest: "I WILL KILL YOU THE VILLEMAIN FAMILY."
The second (Q2), also in large capitals and including spelling mistakes, was addressed to Albert and Monique Villemin, Grégory's grandparents, on April 27, 1983. "IF YOU WANT ME TO STOP, I OFFER YOU A SOLUTION", begins the crow, who demands that they no longer "ATTEND THE CHEF […] IF YOU DON'T I WILL EXECUTE MY THREATS THAT I MADE TO THE CHEF FOR HIM AND HIS LITTLE FAMILY […] THE CHIEF'S TURN TO BE CONSIDERED AS A BASTARD. The letter Q2 ends with these two sentences: "YOU CHOOSE. LIFE OR DEATH." After careful examination of these first two letters, the expert concludes that they "seem to emanate from the same writer" and designates Jacqueline Jacob as "likely" editor of these two texts.
Another conclusion of her report, the expert underlines "similarities concerning the supports and the semantics used between the anonymous mails Q2 & Q3". In other words, the author of the letter Q3 used "envelopes of the same size, of the same brand, with the same batch number" as the author of Q2. The paper also comes from the same type of support, a notebook with large squares, underlines Christine Navarro.
The conclusions to be drawn are clear: Jacqueline Jacob would have written the letters Q1 and Q2; the murderer (or a direct accomplice) the letters Q3 and Q4; the author of Q3 would have had access to the same supplies as the letter Q2 written by Jacqueline Jacob; Q3 and Q4 being the same person, a link is established between the assassin and Jacqueline Jacob.
So ... who wrote the next two letters ? According to the expert, Marcel Jacob's handwriting does not match. Is it Bernard Laroche ? And which of them killed this child ?
Denis Klein, attributes the cursive letters to Bernard Laroche but not the typographical ones. In his 1991 report, he considers that these first two letters have "disturbing similarities" with the writing of ... Jacqueline Jacob and Christine Villemin. "But there were also discrepancies which did not allow them to be blamed for their writing." In other words, the result announced by the prosecutor Jean-Jacques Bosc (expert Christine Navarro) can be read as the exact opposite of those of the time.
CONCLUSION
I will not analyze Christine Villemin's writing unless someone asks me to. The careful investigation of President Simon led to the cancellation of the 25 charges brought against her - (Dijon trial 1993) "Total absence of charges". Christine Villemin did not kill her child or even plan harassment of which she was herself, with her husband, the victim.
Christine Villemin is innocent.
In conclusion, my personal opinion is that these letters come from a single author. With more certainty concerning the two cursive letters ("Farewell" and claim of the crime); however, I remain cautious about the typographical letters of the crow written in block letters, therefore impersonal and easy to imitate. In addition, Bernard Laroche's writing is very similar, we cannot deny it. The detailed report - 60 pages - of the first writing experts requisitioned, Anne-Marie Jacquin-Keller and Marie-Jeanne Berrichon-Sedeyn designated Bernard Laroche as the writer. Even if this point of the inquiry was canceled for formal defect - Failure of Judge Lambert - their quality work was decisive and their conclusions greatly advanced the investigation. Indeed, we know today that the Gendarmes were still on the right track and that, on October 16, 1984, Bernard Laroche effectively kidnapped Grégory.
They even paint a portrait of the author who could correspond to Bernard Laroche,
"an intelligent individual without being intellectual such as a supervisor".
The other experts will constantly oscillate between two writers. Bernard Laroche and Christine Villemin. His handwriting is already striking with the naked eye, but if we dig deeper and more carefully, we observe many characteristic similarities which, if they belonged to another individual, would be incredibly coincidental.
Why could Bernard Laroche have hated Jean-Marie or even Albert so much? What is the role of Marcel Jacob who hates Albert Villemin and "everything related to him" ? We saw it, the raven "with a hoarse voice" heard by the family on the phone claims to be responsible for the material degradations as well as the letters sent to Jean-Marie or to his parents.
And, still the same question, who is this woman who teams up with him / them?
In 1993, the dismissal of the indictment warned against
"the difficulties of expertise in writing which is not an exact science". It "often gives random and uncertain results, especially in a case like this". As proof, Christine Villemin, Grégory's mother, was "whitewashed" despite the overwhelming expertise.
In this sense, I’ll try to analyze the crow’s motivations in depth in the next article devoted mainly to him. To understand his thought process and his possible emotional wounds that may appear through his words. Finally, I will examine in parallel the lives and personalities of Bernard and Marcel Laroche, today both suspected of having fomented a family plot.
Comments