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I left it there for the fools but they will never find it. I was too clever. Left it in front for all eyes to see.’
It is not difficult to decipher these lines; you simply have to read them properly.
To begin with, if something is there for ‘all eyes to see,’ and yet, according to the diarist, you will not be able to see it, it must mean that the murderer has disguised it in some way.
Secondly, the diarist quite clearly states that he has left it in ‘the front.’ However, it is important to notice that the diarist underlines this word ‘front’ not once, but twice. Therefore, what he is saying to you is that what he has left is not only in a general forward direction (i.e., wherever you happen to look – foreground or background), but he is stating that it is in the ‘the front’ – the foreground! This is why the ‘FM’ that is often help up as the answer to this riddle cannot possibly be what the diarist was referring to: it is on the back partition wall and, therefore, it is in the background, not the foreground!
The next thing to work out is where the front is. Some would say that the front could refer to the first thing that someone would see when they entered Kelly’s room – which, in this case, would have consisted of several items, including the floor, a man’s navy blue overcoat and an oak table.
However, what we have to realise is that, to the murderer, the focus of the room is the body on the bed; that is what he wants to draw your attention to; it is what he wants you to see. Anyone wishing to view this body would’ve have had to have passed through the doorway and, once clear of the door, either turned their head to the right, or turned to the right. Having done this, they would’ve been confronted with virtually the same scene that we see in the photo. Therefore, any ‘FM’ left by the murderer is likely to be in this photo.
At this point, I could elaborate on the various candidates for ‘the front,’ but I will forego such measures as I wish to keep this as short as possible. I shall simply reveal to you that ‘the front’ referred to in the diary is the top of the bed nearest to us and the body on top of it.
If we look closely at, roughly, the middle section of the top of the bed, we should notice four things. Firstly, there is the ‘F’ shaped incision on the back of Kelly’s forearm that I know has been discussed before (and then, for some reason, completely ignored). Then there is the position of the left forearm. Next we have the curiously placed piece of chemise/bed sheet/whatever you want to call it (from now on I shall call it a chemise), that has been deliberately pulled back across the body. And, finally, we have the inner left thigh of Kelly. All these items are of importance because – unbelievably - they actually make up our hidden ‘FM.’
First, the ‘F’...
Why no one has investigated this further I have no idea. When you have a document (that no one has proved to be anything other than genuine, despite popular opinion) that specifically tells you that the murderer has left an initial with the letters ’F’ and ‘M’ in it, the first thing you should do, after actually finding a clear ‘F’ on her arm, is to look for the ‘M’.
To be fair, I suspect that most of the people that dismissed the ‘F’ - and who labelled it as ‘standing for anybody’ - were from the anti-diarist brigade and, therefore, it was not in their interest to find the ‘M’. It is also the case that, until you understand the three lines fully, you will not understand what the word ‘hidden’ actually means. But that will be made clear soon.
The most important thing to notice about the ‘F,’ however, (and this is the give-away to the whole thing) is that it is upside down. Now, if the ‘F’ is upside down then surely it should begin to stir in the thoughts of anyone looking at it that maybe, just maybe, the ‘M’ is upside down too (This, as you may have guessed, is one-half of the meaning of the word ‘hidden.’ The other being the fact that Jack has created the ‘FM’ out of a variety of different elements instead of simply writing it).
So, the ‘FM’ is upside down and now we wish to see it. We could, at this point, invent many ingenious ways of doing this (standing on our heads, using mirrors etc.), or we could just turn the whole photo upside down. And, when we do so, we get this.
Above is a cropped and upturned version of the Mary Kelly photo. Underneath it is a cropped and enlarged version of this photo. As you can see the ‘F’ is clearly visible on the left forearm. Next to this is the ‘M,’ which has been created using the outside edge of Kelly’s left forearm, the piece of chemise, and the inner contour of Kelly’s left thigh.
In order to understand the ‘M’ we must first ask ourselves two question, namely:
1) Why is Kelly’s left forearm in that position? And,
2) Why is that piece of her chemise where it is?
The obvious answer to these two questions is that the killer has placed them there. However, if we dig a little deeper, we should begin to realise that - with regards the forearm - it s the only place he could have placed it in order to make the ‘M’ look half way decent. If he had placed it too far to the right, he would have had no room to bring the chemise across; if he had placed it too far to the left, the ‘F’ would not have aligned with the ‘M.’ Simple! Now for the Chemise...
It is my opinion that the killer has deliberately pulled the chemise back across her body in order to form the middle ‘V’ part of a letter ‘M’. There is no reason for this item to be where it is; Kelly’s body has, quite clearly, been mutilated either side of the material. Unless we believe that it was there all the time and the murderer simply cut round the chemise, we have to come to the conclusion that it was placed there on purpose. But there are a few more clues as to the deliberate positioning of this item.
Below are several enlarged versions of the Chemise (sorry about the quality - it’s infrared film). If we look at the left side of the material we will notice that there is an odd semi-circular depression pushed in to it (circled). This was made when the fingers of the killer’s right hand scrunched up the material as he was moulding it into the shape he required. We can tell it was the right hand because, on the right side, we have a smaller indentation that corresponds with the thumb of the right hand (circled). Another thing to notice about this large semi-circle is that we have several smaller depressions within it (arrowed). The middle finger of the right hand made the larger of these depressions. I know this because I’ve tried it, and it works.
Added to this is the fact that there are also faint traces of blood leading away from these smaller depressions - giving away the position of the fingers - (marked) and also what seems to be the bloody imprint of a palm (circled). There is no doubt in my mind that the killer has handled this piece of material and used it to create the middle section of the ‘M’.
So there we have it: a very brief explanation of the ‘FM.’ This ‘FM’ fits in perfectly with what is stated in the diary: It is there for all eyes to see, as the diarist says it is; it is in the ‘front,’ as the diary said it would be; and it is also cleverly hidden. Not only because the killer has turned the whole thing upside down, but because he has created it in an unusual fashion, instead of simply writing it on a wall.
If we do not believe that the diary is real, or that James Maybrick was jack the Ripper, then what we are saying is that some person or persons unknown killed Mary Kelly and then (for some unknown reason) carved a shape that looks like an ‘F’ on her forearm. They then flopped her arm back across her chest (again, for some unknown reason); after which, they pulled the piece of her chemise back across her body (yet again, for no adequately explained reason) so that the whole thing ended up looking like an ‘FM’. Incidentally the exact same initials we are looking for - except, of course, we are not looking for them, because the diary is a fake and James’ Maybrick was not Jack the Ripper. The chances of this are astronomical!
Kind regards,
Tempus
It is not difficult to decipher these lines; you simply have to read them properly.
To begin with, if something is there for ‘all eyes to see,’ and yet, according to the diarist, you will not be able to see it, it must mean that the murderer has disguised it in some way.
Secondly, the diarist quite clearly states that he has left it in ‘the front.’ However, it is important to notice that the diarist underlines this word ‘front’ not once, but twice. Therefore, what he is saying to you is that what he has left is not only in a general forward direction (i.e., wherever you happen to look – foreground or background), but he is stating that it is in the ‘the front’ – the foreground! This is why the ‘FM’ that is often help up as the answer to this riddle cannot possibly be what the diarist was referring to: it is on the back partition wall and, therefore, it is in the background, not the foreground!
The next thing to work out is where the front is. Some would say that the front could refer to the first thing that someone would see when they entered Kelly’s room – which, in this case, would have consisted of several items, including the floor, a man’s navy blue overcoat and an oak table.
However, what we have to realise is that, to the murderer, the focus of the room is the body on the bed; that is what he wants to draw your attention to; it is what he wants you to see. Anyone wishing to view this body would’ve have had to have passed through the doorway and, once clear of the door, either turned their head to the right, or turned to the right. Having done this, they would’ve been confronted with virtually the same scene that we see in the photo. Therefore, any ‘FM’ left by the murderer is likely to be in this photo.
At this point, I could elaborate on the various candidates for ‘the front,’ but I will forego such measures as I wish to keep this as short as possible. I shall simply reveal to you that ‘the front’ referred to in the diary is the top of the bed nearest to us and the body on top of it.
If we look closely at, roughly, the middle section of the top of the bed, we should notice four things. Firstly, there is the ‘F’ shaped incision on the back of Kelly’s forearm that I know has been discussed before (and then, for some reason, completely ignored). Then there is the position of the left forearm. Next we have the curiously placed piece of chemise/bed sheet/whatever you want to call it (from now on I shall call it a chemise), that has been deliberately pulled back across the body. And, finally, we have the inner left thigh of Kelly. All these items are of importance because – unbelievably - they actually make up our hidden ‘FM.’
First, the ‘F’...
Why no one has investigated this further I have no idea. When you have a document (that no one has proved to be anything other than genuine, despite popular opinion) that specifically tells you that the murderer has left an initial with the letters ’F’ and ‘M’ in it, the first thing you should do, after actually finding a clear ‘F’ on her arm, is to look for the ‘M’.
To be fair, I suspect that most of the people that dismissed the ‘F’ - and who labelled it as ‘standing for anybody’ - were from the anti-diarist brigade and, therefore, it was not in their interest to find the ‘M’. It is also the case that, until you understand the three lines fully, you will not understand what the word ‘hidden’ actually means. But that will be made clear soon.
The most important thing to notice about the ‘F,’ however, (and this is the give-away to the whole thing) is that it is upside down. Now, if the ‘F’ is upside down then surely it should begin to stir in the thoughts of anyone looking at it that maybe, just maybe, the ‘M’ is upside down too (This, as you may have guessed, is one-half of the meaning of the word ‘hidden.’ The other being the fact that Jack has created the ‘FM’ out of a variety of different elements instead of simply writing it).
So, the ‘FM’ is upside down and now we wish to see it. We could, at this point, invent many ingenious ways of doing this (standing on our heads, using mirrors etc.), or we could just turn the whole photo upside down. And, when we do so, we get this.
Above is a cropped and upturned version of the Mary Kelly photo. Underneath it is a cropped and enlarged version of this photo. As you can see the ‘F’ is clearly visible on the left forearm. Next to this is the ‘M,’ which has been created using the outside edge of Kelly’s left forearm, the piece of chemise, and the inner contour of Kelly’s left thigh.
In order to understand the ‘M’ we must first ask ourselves two question, namely:
1) Why is Kelly’s left forearm in that position? And,
2) Why is that piece of her chemise where it is?
The obvious answer to these two questions is that the killer has placed them there. However, if we dig a little deeper, we should begin to realise that - with regards the forearm - it s the only place he could have placed it in order to make the ‘M’ look half way decent. If he had placed it too far to the right, he would have had no room to bring the chemise across; if he had placed it too far to the left, the ‘F’ would not have aligned with the ‘M.’ Simple! Now for the Chemise...
It is my opinion that the killer has deliberately pulled the chemise back across her body in order to form the middle ‘V’ part of a letter ‘M’. There is no reason for this item to be where it is; Kelly’s body has, quite clearly, been mutilated either side of the material. Unless we believe that it was there all the time and the murderer simply cut round the chemise, we have to come to the conclusion that it was placed there on purpose. But there are a few more clues as to the deliberate positioning of this item.
Below are several enlarged versions of the Chemise (sorry about the quality - it’s infrared film). If we look at the left side of the material we will notice that there is an odd semi-circular depression pushed in to it (circled). This was made when the fingers of the killer’s right hand scrunched up the material as he was moulding it into the shape he required. We can tell it was the right hand because, on the right side, we have a smaller indentation that corresponds with the thumb of the right hand (circled). Another thing to notice about this large semi-circle is that we have several smaller depressions within it (arrowed). The middle finger of the right hand made the larger of these depressions. I know this because I’ve tried it, and it works.
Added to this is the fact that there are also faint traces of blood leading away from these smaller depressions - giving away the position of the fingers - (marked) and also what seems to be the bloody imprint of a palm (circled). There is no doubt in my mind that the killer has handled this piece of material and used it to create the middle section of the ‘M’.
So there we have it: a very brief explanation of the ‘FM.’ This ‘FM’ fits in perfectly with what is stated in the diary: It is there for all eyes to see, as the diarist says it is; it is in the ‘front,’ as the diary said it would be; and it is also cleverly hidden. Not only because the killer has turned the whole thing upside down, but because he has created it in an unusual fashion, instead of simply writing it on a wall.
If we do not believe that the diary is real, or that James Maybrick was jack the Ripper, then what we are saying is that some person or persons unknown killed Mary Kelly and then (for some unknown reason) carved a shape that looks like an ‘F’ on her forearm. They then flopped her arm back across her chest (again, for some unknown reason); after which, they pulled the piece of her chemise back across her body (yet again, for no adequately explained reason) so that the whole thing ended up looking like an ‘FM’. Incidentally the exact same initials we are looking for - except, of course, we are not looking for them, because the diary is a fake and James’ Maybrick was not Jack the Ripper. The chances of this are astronomical!
Kind regards,
Tempus
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