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Let the evidence speak. Gil Grissom, CSI--LVPD

This is a synthesis of the analytical solution to the events of nov. 22, 1963 in Dallas, as further developed in the novel--essay Shadow Of Lee of this author. A simple, coherent, all encompassing, solution to the LHO riddle; the true where abouts of the man in those crucial hours. What Tippit was doing in Oak Cliff, wh o killed him, why; why Ruby went to talk with Seth Kantor; why only backyard pho to A is a fake.

A) THE BACKYARD PHOTOS. Of the three backyard photos, B and C are authentic; A is the fake. The really a mazing thing is that there would be still such a debate about them when all it's needed to prove that is to have good quality copies of them, at the same scale , and scissors. And also to know that light moves in a straight line. Now take a look at the central post and the edge of the shed. They are both vertical, so t hey appear practically parallel. Proceed to cut a rectangle in the center of pho to B (or C) which which will include both post & shed edge and which upper edge will pass through an identifiable spotfor ex. the upper light spot left to the ce ntral postand do the same for the bottom side, to facilitate superpositions. Then superpose this rectangle on photo C(or B) to make it fit with the rest of the p icture. You'll notice that both post & shed edge fit almost perfectly, there is an almost flawless transition from photo to rectangle and back; the rectangle bl ends in the background of the 2nd photo as if it really belonged to it. Now try to do the same with A: superpose the rectangle on photo A and you'll see that it is impossible to obtain a good superposition. The reason is, in photo A, post a nd shed edge form a small angle, they open up at the top of the picture. This cann ot be happening if all 3 photos were shot in the same place, from the same point (give or take a couple of inches in each direction) which is precisely what the background is telling us, as it is identical in all three. So what we got there is a blatant visual contradiction: background and angle post-shed edge tell us two different, contradictory stories. Even more, the background is greatly restr ictive on the condition it imposes: you only need to displace the camera a bit i n any direction to make it change. See for ex. the knife-like shadow falling on the fence, a most precise measuring tool; it will tells us of the smallest sidew ays camera movement, because the lowest point where it touches the post will fas t go up or down with the smallest sideways displacement of it. So we have here c lear evidence that the camera stayed stationary all along. A similar analysis ca n be made vertically, using some other elements as a visual reference. On the ot her hand the angle between post and shed categorically denies this, it says that this shot got to have been made from a different point. We have so arrived to a physical, visual, impossibility: the backgrounds indicates that all 3 pictures were shot from inside a 2-inch air cube, if in the same place, yet the angle pos t/shed in A is telling us that this one was shot from a very different point, if in the same place, the Neely house. That just can't happen in the real world. T

he only possibility for it to have occurred is that, during the instant photo A was taken, light didn't move in a straight line in that courtyard. If we build a scale model of the backyard we can use it to experimentally verify it, that to be able to produce the same central post--shed edge angle that we s ee in photo A, this photo has to have been taken from a higher spot, as if the p hotographer had stood on a chair when taking it, if in the same backyard. But th en the whole background completely changes. Again he conclusion is: it's impossi ble that all 3 photos were taken in the same place, the Neely backyard. Where ph oto A was shot then, if not in that backyard? Now, before going into that, why photos B and C are authentic? Simply because of the discrepancy. There is no reason for this discrepancy if all 3 photos are authentic or if all three are fakes. In both cases all them are shot in the same context, place, etc, so there should be no difference amongst them. That's logi cs. To make it obvious, let's imagine the plotters didn't have any photos of Osw ald packing that hardware, so they just made the shots in some place, with someo ne else taking his place and then superposing his head on this man's body; in th is case no discrepancy will appear, because all shots will use the same elements , background, etc. But we can draw also another conclusion from this, considerin g that this was, most likely, the most serious important job the fakers had to d o in their lives. They couldn't possibly leave blatant errors in A, and the fact that they left them after all implies that they simply couldn't help it: those were mistakes that they couldn't avoid, not even disguise. So the angle between the post and the shed edge is not a mistake or oversight but an inescapable resu lt of the process of making this fake, it was, so to speak, an structural mistak e. If we accept this, then we may already draw some conclusions not the least th at LHO had indeed a revolver and a rifle at some point during the last year, or that at least he had access to them, so De Mohrenschildt, Marina and his mother were right when declaring that such photos really existed. Anyway, there are oth er many elements that indicate that A is the fake, not least the ring Oswald is we aring in it and which appears nowhere in B or C. The second weird thing about A is the hilt in Oswald's body position. To make hi m look vertical we have to rotate it about 8 . If we look now at him we'll see tha t he looks very comfortable, as if he was really standing on such a pose; as if that was his real one when the shot was taken. If we synthesize all these distor tions, searching for one single common cause to them we get to think angles, inc linations--which brings us to the idea of a stage. Photo A may have been shot on a stage built of vertical panels covered with amplifications of the background seen in photos B, C, and a man standing straight on a platform on which transpar encies of the ground in the backyard will be later added. All that is not imposs ible to do; already in the 30s, 40s Hollywood technicians were able to make this kind of things. Even in some Three Stooges shorts you can see, for ex., the guy s coming from behind a 6-inch tree trunk, where they were hiding, invisible to o ur eyes. That could have been made with panels reproducing the back of the scene , the part they are hiding from our eyes. Now, we don't need to go further in the analysis to prove is that Photo A is a f ake; that is already done, the discrepancy with photos B and C did it. What we w ill try to do now is to elaborate some working hypothesis from this starting poi nt. They may be open to discussion but in any way that will come to put into que stion the said conclusion. The stage reproducing the scene in photos B and C, for the making of photo A, no t only answers all questions about their obvious discrepancies but also allow so me hypothesis that may take us far in the analysis. We recall that the first dis crepancy concerned the opening up of the top part of the scene and that Oswald was tilting to the left. A good, answer to both riddles is that the stage itself wa s tilted to the right, in the direction of the camera. More exactly in the direc

tion of the sun, behind itso when you straight it up in the image, Oswald appears l eft inclined to the left. I built an approximate scale model of the backyard and by experimentation I determined that, to cause the same opening of the top part i n the image of this model, the same angle, the platform, or floor of the stage, had to be tilted about 11 in the direction of the sun. (This doesn't contradict t he measurement of 8 on Oswald, as in his case it's only the orthogonal projection o n the plane of the picture which was measured). Now, that the people who fabricated photo A--using images of photos B and C stuc k to vertical panels--saw the need to tilt the whole stage towards the camera (r ather towards the sun) begs for and explanation. And that explanation may bring also a lot of answers. If we observe that the tilt was, amongst many possibiliti es, precisely to the sun, we may milk this fact for all it's worth; we may concl ude they did such a thing only because they were having problems with the sun, o r more exactly with the sun-caused shadows. And if this was a stage in which mos t shadows were already printed, then the only thing that could have caused such problem was the new visual element, the man standing in front of the camera. His shadow was the problem: it may have been too long for the time of the year when that shot was supposed to have been takenI repeat: the date when it was supposed to have been taken (March 1963) not the real time when staged photo A was taken . That's obvious: either the shadow is too short or too long. If it's too short you tilt the stage away from the sun, to stretch it, and do the opposite if too long. This tilting of the stage, evident in A, allows us to conclude that the ma king of the fake was a local endeavorwhy not go South to shot it?--but also to ma ke some approximations. If we assume these were smart individuals, they surely m ust have tried to take this shot when the sun was at its highest in the sky, at noon, expecting not to be forced to tilt the stage. But that was clearly impossi ble, the sun was by that time way too low in the sky, even at his highest positi on. The tilting of the stage was inevitable at that time of the year and that al lows us to approximate a date. This tilted stage is probably the most telling evidence in the case, ironically one that the plotters themselves manufactured, that they knowingly left behind and which stands for the ages as an unequivocal proof of Oswald's framing. Yet, one that nobody seems to want to acknowledge, even if this fake not only tells u s that he was framed but also that his damnation had been prepared beforehand; i t also gives us an approximate idea of when he could have been chosen as the pat sy: early nov. 1963; at the latest mid-nov.. We only need to assume that the plo tters decided to manufacture the fake as soon as they had determined that LHO wo uld be the fall guy and that by that time the sun was already too low in the sky , even at noon, so they had to get a little help reproducing its elevation at th e time when photos B, C were taken. This, say the authorized people, it's 45 to 5 0 . Now, Oswald's framers could have been able to conceal many things but the ones they could have never hid is this astronomic data: the Earth's tilt23 and Dallas la titude33 N. All what I needed was this data and with some calculation I determined that by the end of October the sun doesn't go any higher than 45 above that city. The conclusion is inescapable: this fake could have only been manufactured late r, by early nov. Trying to pin down an even more exact date I finally approximat ed that this should have happened the second week, around the 8th. As a spooky c oincidence, many things were happening by that time, according to researchers, s ome of which seem to have been done purposely to incriminate him. Also the time when he could have sent a note to a Mr. Hunt and when he could have gone around looking for spare pieces for his rifle. But the most telling thing is all this h appened also after he was supposedly back from is also supposed trip to Mexico, which could lead to guess that it was maybe something that happened there that m ade his handlers decide to use him as a scapegoat.


The first two things we have to accept as evidences to be able to produce any rational model for Oswald's movements and whereabouts during that day are a) tha t he was part of a covert operation, no matter what his advocates say; and b) th at he could have lied during his interrogatory. This last doesn't mean that he w as the assassin, or even part of a team of assassins, but simply that he wasn't always telling the truth. This is valid in all cases, no matter what version of events you believe. In the case of the official one that's obvious. But also in the case where his escape from the CS corresponds to what Roger Craig declared h aving seen, backed in that by at least five witnesses. When he asked Oswald abou t the Rambler, Oswald answered that it belonged to Ruth Paine; but he immediatel y tried to draw the attention away from her--as if he realized he had talked too much or as if with such a declaration he could get in big trouble the only one person he could trust to care for his family if he was a goner. So, if we believ e what Craig said, which we have all reasons to do, Oswald wasn't just sticking to denials or silence during his interrogation, but rather managing his answers, c oaching himself. And a man who escapes the way he did from the CS of probably th e most infamous assassination of the XX Centurystill sticking to Craig's wordsjust doesn't go immediately after to a movie house to see some old, generic flick. I t's obvious that he had a story to tell and that story certainly wasn't that he was a totally uninvolved, innocent, bystander who was caught by a passing by gan g of plotters to make him carry the bag. He was certainly up to his neck into so mething and the only mystery that exists is if what he thought he and his friends where doing that day in Plaza Dealey was a political prank, a drill or test of s ome kind, a covert op related to the security of the Prez or an outright assassi nation attempt. That is the only question worth answering here and all those who start their analysis, research, arguments, with a preconceived idea, a chosen p ick, cannot possibly get to the bottom of things. To arrive to the truth concern ing Oswald's role in the case we have to accept as possible every one of the afo rementioned possibilities, except the one that he was a complete stranger to wha t happened in that place, that day, at exactly 12.30 P.M. Now, most or all those who have dared to elaborate a model for Oswald's location in the minutes before and after the assassination fall into the mental trap of believing that such a thing is essential for the resolution of his case, WHICH I S NOT from a criminal point of view. If he acted alone, if he was part of a team of assassins, if he was in the 2nd floor as a lookout for the snipers, all come s to the same: he was guilty and that's all we need to know to yield a verdict. Would he be less of an assassin if he had simply lend a hand to the shooters, if he had just told them of the best spots in the 6th floor to take potshots at th e motorcade? Of course not. The real focus of attention for someone who really w ants to solve the case is not Oswald's whereabouts during those moments but what h e was thinking it was happening in Plaza Dealey during the 10 secs. the shooting lasted. Of course to determine his exact location and actions at that moment wo uld serve, but only as an illustration. The essential thing to know is What Was He Thinking, What Were His Intentions--not Where He Was. If one day in the futur e the full story is known History will not be more forgiving with him if it's re vealed at the end that instead of a sniper in the 6th floor he was a lookout in the 2nd in an assassination plot. So, a good starting point for the elaboration of a model of events could be found maybe answering the question: did he know th at shots were being fired in the Plaza at that moment? All signs point that he d id, as not only he didn't react in any visible way when Mrs. Reid told him so bu t, in all appearances he declared later he had thought it was a simple demonstra tion, which is even further corroborated by the fact that he didn't even ask Tru ly or Baker what was going on, when he was stopped in the cafeteria, when every creature with a pulse would have done it--a simple what's happening man? would hav e sufficed. Some of Oswald defenders take the trouble of compiling diverse testi monies of people close to him that could vouch he admired Kennedy yet for all th at admiration he had at least three, maybe four, people to which he could have a sked what was going on, if the president had been hurt in any way. Yet, neither

Troy, Baker, Mrs, Reid or the journalist he met when exiting the TSBD declared t hat the showed any sign of alarm, or even curiosity when informed of the incide nt. The same testimonies talk of him as a nice man, incapable of violence. One t hing that is wildly overrated in the U.S. judicial system is the of notion of cha racter witness, one that means very little at the end. Just let's say that a char acter witness in a potential trial of Himmler, head of the SS and main responsib le of the Holocaust, would have declared that he was the most delicate, consider ed person in the world; a man that when he came home every night from worklet's c all it that waytiptoed his way inside his house, didn't even use the light, not t o wake up his pet parrot or some other bird. His own daughter would have said th e same, that he was the most loving dad ever. Himmler never killed or harmed any body with his own hands and when he saw Jews being shot for the first time he fa inted. And most people related to the other Nazi criminals would have said the s ame of them. Truth is, capacity for violence in someone is a dumb and ignorant con cept as it assumes that only some people are capable of committing acts of viole nce and others not, which has been proven wrong over and over again in History ( I personally know of a few of the nicest individuals committing political murder for fear of their lives, for revenge or for the good of the cause). The only th ing that people who take the discussion to Oswald's eventual capacity for violen ce proves, is that they don't know what they are talking about. Of course he was capable of violence! Every human being, every living thing, is. That's not the point of the discussion; the only one thing we need to know here is if he used i t--or if he contributed to its us by othersto terminate the life of the president of the U.S. All other discussion in his case is pure, simple, commentary. So, having established that the shots fired at 12.30 P.M. outside the TSBD didn' t affect him in any visible way; that four witnesses could see in the following 3 min. an unfazed Lee coming down and getting off the TSBD, we may logically ass ume that he was in the loop, that he had been thoroughly informed beforehandor so he thought--of what was really happening, for the simple reason that he himself was part of it. Now, the location of the motorcade when things happened could g ive us, by itself, at least a few analytical clues. Many expertsamongst them Crai g Roberts, perhaps the most knowledgeable--have entered the discussion and contr ibuted with their useful insights, and there is no doubt, after hearing them, th at the place on Elm where the ambush took place is not the best one, if the fire must come from the TSBD; and even less for other tall buildings in the proximit y we may add. Oswald did know something on the subjecthe had to learn something w hen with the Marinesand if he did have the opportunity of examining the operative situation, i.e., that under which context, conditions, the ambush was to take p lace, he may have agreed. The best op. situation for an assured killing was cert ainly that when the limousine would be going down Houston St, when shots could h ave been fired at it also from the back, from the roof of the buildings left beh ind. That is the verdict from many experts and it is likely that Oswald would ha ve agreed. Then, he would have looked at some other appropriate nests for shoote rs, for some others possibilities for an ambush in the Plaza, for other position s of the limousine, and the segment of Elm St. past the TBD would have been the only obvious because once past the Triple Overpass the limousine is gone, out of sight, unreachable. So, that is how a scheming Lee would have examined and anal yzed the situation: shots fired on a Houston bound limousine, sure assassination attempt. Shots fired on Elm past the TBD, assassination attempt but less sure: the only possible good sniper nests in that situation lie in front--the parking lot behind the Grassy Knoll, the Triple Underpassand shooters positioned there wo uld be too exposed, the risk would be great for them to be caught, at least dete cted. That's how Oswald, and anyone else who had been shown the place of the pla nned ambush, would have reacted, how they would have seen the op--situation. The main difference between the op--situation when positioning the limousine on Hou stonsure killand putting it on Elm--doubtful outcome--could be the crucial piece i n the puzzle here. If Lee was told by his right wing and anti--Castro friends that they wanted to carry out the ambush while Kennedy was still on Houston, he must have immediately come to suspect they really wanted to kill him, no matter how

they presented things to him, as a prank, a attempt to humiliate him, etc. But i f they talked about doing it while his limousine had already made the turn on El m, that could have reassured him, or at least make him conclude that they were t aking a big risk in that case, that of hitting the wrong human target and having to face the music face to an indignant president and his implacable Secretary o f Justice. A big, big, risk to take, even not considering if they ever come to t ouch Jacqueline. Seen that way, things could have turned incredibly bad for the plotters, if they decided after all to carry out a true ambush on Elm St. And su ch analysis may have decided Lee's fate. This is a fascinating possibility, that things could have happened that way from Oswald's point of view, because it perfectly fits what some of his defenders ha ve said for decades including a woman who claimed to have known him while both i n new Orleans, who had worked together and even had a love affair with him. All these people claim that Oswald had willingly infiltrated the assassination plot with the purpose of preventing the plotters from killing the president, to save his life. But of course he couldn't. Anyway, what better way of trying to do so-if the ambush itself cannot be prevented from taking place--than demanding that it took place where it would have the smallest chances of success, on Elm St., on the length of road from the TSBD to the Triple Underpass? But starting from t his idea we can go even further and ask: what could have been his own insurance in this respect; how could have Lee Harvey Oswald become completely sure that th is ambush would only take place where--he had determined before--it would be the most difficult to make succeed an assassination attempt; where it would be the hardest for the snipers to get good shots at the motorcade, where he wanted it t o happen, if not firing himself the first shot? That way he fires a shot and the limo is gone, his occupants safe, even so more if the presidential guard, the l imousine's driver, react immediately, as they are supposed to react. And how the plotters could have denied him this wish, when he was the only man indispensabl e in the whole operation? So, this is how this analytical model works, how things may well have happened, if the past analysis and its conclusions are correct:

C) WHEREABOUTS OF LEE AT 12.30 P.M. AND AFTER. At 12.25 Oswald is already in the position to which he has been assigned, the ea st most window of the 6th floor of the TBD, the one which will go down in Histor y as The Sniper's Nest or as Oswald's window. His part in the operation is very specific: he'll fire the rifle in his hands at the path of the motorcade, exactl y when he'll be told to do it, taking care of not hitting anyone. His job is to create a distraction, to make the president's guards look behind the motorcade a nd so leave the other snipers free of any possible interference. But above all h e must be careful not to hit anyone. If he comes to wound a single soul in the P laza the operation is ruined as it's certainly bound to alert the Secret Service and every police agent present. Oswald is ready to do his job and the role chos en for him suits him well, as it will give him more time to go back down and out of the building. But there's something bothering him now and that has been nagg ing him for a good part of the morning. There is a big crowd in the streets, in front of the TSBD. When accepting this job he never thought this would be the ca se; after all the Dallas press had been very clear in that JFK wasn't welcome in the city, so he naturally concluded that the streets would be empty at the path of his motorcade, even more at the end of its downtown leg, right here. He had even asked Jr. Jarman why so many people were gathering in front of the TBD and Jarman gave him the confirmation he was fearing. So, he was supposed now to fire a rifle in front of all this people, which made him feel now like an actor in a

crowded theater about to come out to play some drama and not as the covert oper ative he was. The motorcade appears on Main, then goes down Houston and then turn into Elm, pointing towards the Triple Underpass. But meanwhile, something has happened in the 6th floor that gives a hint of things to come. Oswald has abruptly left his window and gone to that opposite in the floor, the west most, and it is from th ere that he will take his shot. He has make the move at the last moment and nobo dy can contradict him now, logically, as his shot is crucial for the whole opera tion. With his shot he'll signal to the true snipers that he's hidden, invisible for anyone who could likely provide him later with an alibi; so he is, himself, the one who will contribute the most to his own incrimination. As for him, he h as gone to the other window simply because there he will be much less visible fr om the street, he can even hide behind the wall next to the window and, even bet ter, take his shot in the direction of the TU, where there's almost nobody stand ing so the chances of hitting anyone are practically nil. He fires his rifle and the bullet hits the sidewalk on the North side of Elm St. with no ill effect (* ). He then hands his rifle to his gunsmith and he's ready to go back to the lowe r floors of the TBD and out to the street. Everything seems to be going well for him until arriving to the 2th floor, when he hears the voice of Truly, hollerin g, which makes him hurry up and take refuge in the cafeteria in that floor. He s eems to have past his trials of the day with flying colors, but he has still man aged to create some trouble in the 6th floor. The west most window had already a designated shooter, one that had probably already set shop, pointed his gun, bl ocked his sight, etc, when Oswald came to break his routine. He, the shooter, mu st set himself again; his sight, his posture, his gun, now rather precipitously, after Oswald has left, and the delay makes him not only fire out of synch, seve ral seconds after he should have, simultaneously with Kennedy's shot in the nec k, or the tie knot, but also makes him miss the target and hit Gov. Connelly. In any case, Lee has been completely fooled. (*)This bullet mark has been discarded by some researchers as an evidential elem ent of the operation because, even if it looked aligned with the mentioned windo w, it didn't look like the projectile was fired with the intention of harming an yone in the motorcade. Also, its origin has been put in doubt, even if 2 experie nced policemen recognized it as such after the shooting. Now, the plot line goes this way: Oswald must incriminate himself, first, by his use of a rifle in the shooting and then--to make his guilt even more evident--b y fleeing the scene of the crime. This will be added to the fact that no one wil l vouch for him later, as having seen him when the crime was being committed, no t counting the rest of evidence that will be gathered against him. With all that set, the plotters imagine the police will have a surefire case against him. The plan had really four stages for him to reach and already the first one has been a success. Now come the second, most difficult stage. This stage makes him leav e the crime scene and the third, to flee. The four is his capture. All that make s for a perfect operation, which not only gets the main job donethe killing of th e presidentbut also offers a fall guy who has completely incriminated himself at the time of his arrest by police. That is much better than eliminating him immed iately after the op, as some fraction inside the plotlet's call them the Dead Pat sy guys, which is made of people like Jack Ruby and their friends inside the pol ice forces--would have wanted and which have been probably conned into believing that such will be the case. That schism of course will be the cause for much tr ouble after the Plaza Dealey stage of the op, as we'll seeof course the Alive Pat sy fraction, which wanted the fall guy to flee and be arrested later, is the one really controlling things, as made of powerful people and, most of all, people within the law or law enforcers themselves. It is clear that the Dead Patsy gang cannot change the master plan, as they have no control over it. All they could do is to produce a slightly different final outcome in what the fate of the fall guy concerned, by snatching him away from his handlers and eliminating him. And

that is what they'll try to do for the next hour or so. So returning to the plo t, once Oswald comes out of the TSBD the time has come for the second stage: he has to be made flee from there, from Plaza Dealey, and the only way to achieve s uch a thing is by scaring him to death. The Oswald that came out of the TSBD was a very different from the one running f or his life 30 min. later. We may correct that: 15 min. later. If we give creden ce to what Deputy Sheriff Roger Craig declared--corroborated by 5 other witnesse s--at aprox. 12. 43 P.M Lee was making a frantic escape from Plaza Dealey. What could have happened during those 10 min. to scare him so much? The obvious answe r is that something had indeed happened during that time, or rather that he had been informed of something, that could have lethal consequences for him. And tha t could have been one of two things, or both: one, that this one had been a real assassination, that his pals got what they were after in spite of his efforts, an d that his own life was now in great danger, either because one group inside the plot had betrayed the other and gone after it--him included--to eliminate it an d use it as scapegoat; or two, the conspiracy had been infiltrated by the Dallas PD, who had let thing happento get rid of Kennedy--and who now was about to poun ce on the snipers and thus become the heroes of the day. Put it this way, it wou ld have been a very credible story to exhibit in front of his eyes, and a terrif ying one also; even more so for him, considering the encounter he had already ha d with one of those members of the DP, in the 2nd floor. It's very likely also t hat he thought at this point that Baker was one of the cops charged with his eli mination. All this explains why he was running for his life 15 min. after the Plaza Dealey events, but doesn't answer one lingering question: what made him stay in the cr ime scene until 12.43 P.M., very likely hiding inside the TSBD; was his ride tha t tardy in coming to the rescue? Before going any further, let's point out that this was a pretty complex plot line, made of at least four components--POVs and developing stories: first we have what the conspiracy really was, how things wer e planned to happen; second, what was really happening and the adjustments the p lotters had to make, at times improvising, to face a likely changing situation; third, how Oswald saw that things were planned and should be happening now; four th, how he saw they were really developing. While there still may be lingering m ysteries concerning the two first, there is no doubt that the rupture between 3 and 4 the happened about 5 min. after Oswald had left the building: he wasn't su pposed to end up running away with a death sentence over his head--it must have been the way he foresaw things--but with him going back to work. In any case, th e fact is, he couldn't leave immediately, which means something came up at the l ast moment; something his handlers hadn't foresaw and which forced them to keep him frozen there for 10 min. He must have left in a jiff anyway, whenever he did it, as he didn't come back for his jacket. One strong possibility is that what caused Oswald's handlers to take him and hid e him behind the TSDB was the arrival of Jack Ruby, at about that same time, 5 m in. after the shooting. If Ruby was the delegate of the-let's say--not quite leg al part of the conspiracy, the part of it that had been reassured that the patsy would be eliminated as soon as the Dealey Plaza op. was concluded, there is goo d reason to assume that, fearing nothing more in the world that the fury of his bosses, the Carousel owner, noticing that the patsy hadn't been killed after all , that they have been betrayed in this regard, could have set to do this job him self, right there, in the open. So, if that's what really happened, what we have there is a rupture not only between the two last of the four elements mentioned but also between the first two; i.e. things weren't happening as planned, so th e handlers of the patsy had to start improvising. The first thing was to keep Os wald away from Ruby and that is done sending him back to the TBD. But here is wh ere the worst complication emerges. Considering that after the facts, as part of the crime investigation, the exact way and route for the assassin's escape has to be determined, they are now under the obligation of providing with what we ma

y call the twin activity for his escape from Plaza Dealey--as it truly happened, taken in that station wagon, as seen by Craig and othersi.e. they needed a phony escape, for public consumption. (*)The problem now is that the planned twin act ivity to cover for it, synchronized to the sec. (it was really synchronized to a shooting at 12.25, as cabbie William Whaley's log indicates) is already under w ay: the man in charge of it, who resembles Oswald and who's wearing similar clot hing, has already jumped into a cab and going to North Beckley, where he should arrive in a few minutes, while Oswald is still in Dayley Plaza. So this twin act ivity has become useless. Meanwhile, Ruby has finally left and Oswald's handlers finally give him the green light, so he can jump into the Rambler. We know that this truly happened, at about 12.44 P.M. It is at the same time that J.D. Tippi t goes to a GLOCO service station over the Houston viaduct, on the route to Nort h Beckley, to keep an eye on the soon-to-pass-by Rambler and to look for any pos sible troublemakers who may be coming after the patsy; above all, Ruby(**). When Tippit sees that everything has gone OK with that part of the plan he goes to p osition himself in Lancaster and 8th St. , at the center of North Beckley, to be available in case of any trouble with the patsy or with those who could be comi ng to take his hide. Obviously, Tippit is part of the Alive Patsy gang and his m ain job from now on will be to keep the Dead Patsy fraction away from Oswald and give the alarm if Oswald creates trouble enough to guarantee his immediate arre sted. (The fact that Tippit was alone suggests he was there just to give the ala rm about the patsy, to call for back up, not to arrest him himself--something mo re than prudent considering that at this moment Oswald must be so unnerved at th e sight of a police officer that sending one alone his way may not be a good ide a.) (*) To be clear we are talking about two twin activities here. The first one cov ers Oswald escape after a shooting happening at 12.25 P.M., which is how things we re supposed to happen. It is obvious that Oswald did exactly as told at exactly th e planned moment. As Oswald left Plaza Dealey only at 12.45 P.M. a second twin activity had to be thought up and executed for this last, his real escapehence th e bus trip. (**) there is a discrepancy amongst researchers about the time frame Tippit spen t in the GLOCO station. Most assume it happened between 12.45 P.M. and 12.54 P.M . Some others, like Dale Myers, provide a time frame of 12.54 P.M. to 1.04 P.M.. So these last assume that from GLOCO Tippit went almost directly to the spot wh ere he would be killed in minutes. But to accept this means to ignore the rather credible testimonies of Dub Stark, Luis Cortinas and John Andrews. Also, if Tip pit's job that day was related to the patsy, what was he doing so far from him? In relation to the 12.45 dispatch call, according with some researchers, this call may have been planted months later in the police tape, as it didn't appear in it at first. In any case this analytical model is not affect by it. Knowing t hat he had to cover the back of the patsy, to protect him from the Dead Patsy ga ng, Tippit had just to know when the man had left Plaza Dealey, which could have been codified in the public broadcasting of the description of the suspect, whi ch happened, by eerie coincidence, at 12. 45 P.M. Now, the planned after-op was rather simple and consisted in Ozzie's pals--the oth er men in the op who had been betrayed with him--taking him to the T.T. and leavin g him there, frozen for a few hours, with the pretext that is the time needed to o rganize their getaway. Then they will make him come out later, to be promptly ar rested, when a more exact description of the assassin has already been made publ ic, so there will be nothing suspicious about it. But almost everything planned has gone wrong at this point. Ruby has ruined the twin activity for the patsy's escape, so another guy must go now, at about the same time Oswald leaves Plaza D ealey, to get a transfer in the North Beckley bus, so he'll appear later as comi ng back home by bus. But the man gets in the wrong bus, climbing in the one that goes to Marsalis. Now, that Mrs. Bledsoe was or not in that bus is irrelevant,

as Oswald was never in it anyway. The Rambler leaves Oswald at four, five blocks from the rooming house at about 12.54 P.M. at the same time when Tippit is tol d to stand by in case of an emergency. Later, when police investigators will try to put the puzzle together they should have an easy task simply assuming that O swald went home by bus--with which he himself seems to have corroborated, in his interrogation, to cover his steps during his getaway. But what comes to provoke the worst complication of all is the testimony of the driver of the bus, McWatt ers. He doesn't seem sure of anything, he gives testimony confusing, vague, whic h other passengers frequently contradict. But of one thing he is sure and this o ne thing is enough to bring down the whole building. The only man who jumped int o his bus in downtown and who took a transfer, he remembers ....got off only aft er two blocks! So, down goes the second twin activity for the escape of the assa ssin from the CS. It is finally the W.C. that must make sense of all that madnes s and it surely does it, but in an even crazier manner: The discarded cab trip i s taken back and that will finally work as the definitive twin activity for Oswa ld's escape from the crime scene, no matter if Whaley's book indicates as if hav ing taken place at around 12.30, at 12.35 at most, as he used to approximate tim es to the next 10 min.12.30, 12.40, etc. So that is how the version we know has b een manufactured: Ozzie walked a few blocks, climbed into a busall that while, in real life, he's still hiding inside the TSBDat 12.44 P.M. he gets off the bus an d goes to take a cab, which he does at 12.48--at which time, in real life, he's still in the Rambler, racing towards North Beckley. All this is done so the taxi takes him to a few blocks from his rooming house and leave him there at 12.54, the same time at which the Rambler had left him at a roughly equivalent distance . That's the only, twisted, way in which the real events and the twin activities can be finally matched one to another. But during all these comings and goings other problems have also arisen. Not onl y the plotters have to contend with the Dead Patsy gang going after him and tryi ng to kill him, but also with Oswald himself trying to do things his own way, as he already did in the 6th floor. He wants to go 1026 North Beckley not only to change clothes but also to get his revolver--which he sees indispensable in his predicament, and which the men traveling with him--all double crossed members of t he conspiracy--can't do anything to prevent. Maybe they don't carry guns themsel ves, they can't give him one; or maybe they won't let them go. But Oswald wants to do now something even worse, far more dangerous: he wants to go see Jack Ruby to get some money, and that is one thing they can't ever allow to happen. But w hich they'll have to prevent from happening in a very covert way, also, never de nying him ostensibly the possibility of doing it. In any case they drop him off, so he can go home, and they go themselves to a house serving as communication a nd command center in the the neighborhood--which could well have been the estate s ome policeman was protecting, a few blocks awayto think of a way to covertly abor t that trip to Ruby's apartment. They probably change vehicles also and inform i nterested parts on the state of mind of the patsy. Here is where we may insert a lso Tippit's call in the Top Ten. We already said that at 12.52 P.M. he abandone d his post in the GLOCO station and he raced towards Oak Cliff and from this poi nt on the whereabouts, actions and fates of both individuals will be fatally and inextricably intertwined. D) WHERE TIPPIT ENTERS THE FRAY At about the same time during which Oswald is walking to 1026 North Beckley, Ti ppit is involved in two events. The first is his irruption in a Top Ten Records store, at about 12.58 P.M. where he tries--unsuccessfully it seems--to make a p hone call. A few min. later he abruptly stops a motorist, John Andrews, a few bl ocks from the store, and acts towards him as if he thought the man was taking so mething or someone out of the area, hidden in his car. Notice that all this happ en during a blind time for Oswald's handlers, during which they can't control him

and, for a lapse of time, neither follow or even see him. To complicate things, a police car stops in front of his rooming house at about the same time and honk s twice. Contrary to what many believe, that the driver of this car, probably Ro scoe White, was calling Oswald to take him to a ride to the Red Bird airport and out of the U.S., this looks a lot more like an attempt to smoke him out; to mak e him panic and run away, through back alleys, courtyards, gun in hand so he rea lly fills up the description of an escaping assassin and consequently could be p ut to death, legally, by police forces arriving after being alerted by neighbors . But Ozzie doesn't fall for it, or he just didn't see the police car. He later comes out, at about 1.03 P.M. and is picked up by his handlers, those of the Ram bler, which in the meantime may have changed cars in the command post, and who n ow may be packing heat. All is ready for their escape, as Oswald sees it. They'l l go to Jack's apt., as he wants, he's told now, but we know what such thing wou ldn't happen, as measures have already been taken to prevent it. And in that Tip pit had an essential role. To understand that role of Tippit in the unfolding events we have to go back in time and see what's happening with him between 1.00 P.M and 1.06--1.07 P.M. the time at which he enters again Oswald's horizon. As we have seen, there's no comm unication between Oswald and his handlers between 12.54 P.M. and 1.04 P.M. Most of that time he spent it walking to his rooming house, or inside it, so it's log ical that they were on their toes all that time, fearing that the Dead Patsy gan g would jump him and take him away to kill him. That would explain Tippit stoppi ng Andrews, who was related in his working place with Roscoe White. Someone coul d have alerted him they had suspicions of Andrews taking Oswald away, dead or al ive. We know that that didn't happen, but it was a fear they may have had during the blind time. So, if the Record store incident is related to Tippit pursuit of John Andrews, what he really wanted to get in his phone call was the reassurance that the patsy was OK, that nothing had happened to him, that everything was un folding as planned. Maybe he didn't get the communication and that is what may h ave unnerved him even most, making him think in the possibility that the patsy c ould have been truly abducted while walking towards his rooming house, to be dis posed of. But Tippit must also be dealing at this point with the fact of a secon d police car in the neighborhood even if there's no reason to believe he knew at that moment about it. It is on record that when he stopped his murderer, on 10t h St., other police car was right there, hidden, in ambush in an alley, slowly a dvancing towards 10th St. and that when he saw this car he abruptly stopped his, as if trying to preventing it from reaching the street and the man he was himse lf trying to reach, the same who moments later would shoot him dead. The positio n of Tippit's car, as seen after his death, clearly shows a back up, which was c orroborated by the woman who was the driver of the car behind his, which was hit by it during this sudden maneuver. When Tippit falls dead and his killer escape s, this second police cruiser just goes back, slowly turns, disappears. A police car which occupants witness a murder a few feet away and do nothing to stop or shoot the killer but that instead go back to where they came from, trying to ble nd into the landscape, as if pretending it wasn't even there....They only reason why they didn't do any of this is simply because they weren't even supposed to be there in the first place. They wanted Oswald dead, sure, but the last thing t hey wanted was to have to kill him themselves, being cops who had no business be ing there, who had received no order or instruction in that regard. (as demonstr ated later, the only individual who could have killed Tippit, something that the behavior of the men in this second cruise corroborates, is the patsy himself). Then, the fight in Marsalis and 12th St which, according to the informant, was r elated with Tippit's killing, happened in all likelihood shortly after the Rambl er gang left Oswald in Marsalis and 10th St. and the vehicle keep going, along M arsalis. Less than a minute later it comes to the intersection syndicated as the place of the fight. What thing could have caused this road rage incident if not t he fact that the men in the second vehicle intersected the Rambler--or the secon d getaway carmade it stop and took it by assault in search of a man who wasn't th ere anymore? Then as Tippit was coming just behind the Rambler, he had to stop to

break up the fight. But somehow he got word there, maybe the same men in the Ram bler told him, about the second police car roaming in the proximity. That could mean only one thing, now that Oswald has been left alone and is walking down the 10th St. If he doesn't immediately stop him and arrest him, in a few minutes it could be too late, the other guys will surely get him. Oswald, on the other han d, is ready and willing to see any man in police uniform approaching him as his executioner. And that tells the rest of the story.

E) TIPPIT'S TIMELINE: ---12.45 P.M. to 12.52 P.M. : GLOCO station on Houston. He leaves after seeing t he Rambler passing by, with Oswald. He follows them, covering the rear, protecti ng. ---12. 54 P.M.: Lancaster and Eight St. He is informed, or he sees by himself, th at the patsy has been left go and that he is walking now towards his rooming hou se. One of the most critical parts of the op, because the first one, and probabl y the only one, where Oswald is supposed to be left alone, out of reach for his handlers, walking the streets, considering the existence of the Dead Patsy part of the plot, which could try to abduct him to eliminate him. As instructed, Tipp it races to the Ten Top Records store to call the command post, a few blocks fro m where Oswald was left go, to get informed of his state of mind, reactions, if he has any suspicion at all; anything that could make necessary his own interven tion and the patsy's immediate arrest. The reason why this command post, communi cations central, is located only a few blocks from Oswald's rooming house is sim ply that the men who brought him in the Rambler, and who have to inform Tippit, will report there as soon as possible after they have left Oswald go, so Tippit will have time enough to implement any measure that should be needed as a respon se. In other words this is a base of operations they will need to have very clos e to where the action is. ---12.57--12.58 P.M.: he races into the Ten Top but he can't get the communicati on with the command post. He's worry now something may have gone awry. He decide s to go personally over there, as a back up measure, to inquire about what may b e happening with the patsy. He storms out of the store, and drives his car to Su nset, most likely in the direction of the 10th, which he will take to get to tha t destination. ---1.00 P.M.: While on his way, he crosses by John Andrews, an acquittance of Ro scoe White, member of the Dead Patsy gang, driving west on the 10th. But it is a lso likely that some member of the Alive Patsy gang, which have been constantly checking on Oswaldin Shadow of Lee this is developed further and that group calle d the Patsy's Brigadetips him about Andrews. He decides then to stop him to make sure he's not carrying something hidden in his car, in his back seat--something like an unconscious, or dead, patsy--trying to smuggle him away to make him disa ppear. He stops Andrews' car and checks the vehicle. He's satisfied there's noth ing there. He drives on to the command post, where he arrives min. later. ---1.03 P.M.: In the communications center Tippit is informed that Oswald is now safely in his rooming house, that he hasn't been kidnapped, as he feared for a moment, but that hell come out packing heat so he, Tippit, will have to to be v ery careful from now on. But the most worrisome thing for all them is that the p atsy now wants to go see Jack Ruby, to get some money, and denying him such thin g may awaken his suspicions. So it's agreed that they'll do as he wants, after a ll; they will pick him up and the Rambler, or a new escape vehicle, will take Ma rsalis in that direction. Tippit will come then, suddenly appearing from a side street, will start following them, and the occupants of the vehicle will panic,

as they'll think they may be falling into a police ambush. And so they'll decide to abort the trip to Jack apt.. Oswald will be let go, at the corner of Marsali s and the 10th St., and instructed to go directly to the Texas Theater and stay there, hidden. It is during these deliberations that comes a call from his dispa tcher, which he ignores. --1.05 P.M.: Oswald is picked up by the Rambler in front of the rooming house and the vehicle races to Marsalis, taking this street, as planned with Tippit. At a given point, his cruiser suddenly appears, from a side street. The ensuing stag ed drama is a success. ---1.07--1.08 P.M.: Oswald has been left go, as described, and he starts walking along 10th St, in the direction of the Texas Theater. Five witnesses see him do ing so and have no trouble identifying him. He is less than two blocks away from Patton and the 10th St. ---1.07--1.08 P.M.: The Rambler continues along Marsalis, closely followed by Tipp it in his cruiser. Only two blocks further, in the corner of the 12th St., the f irst is ambushed by a civil vehicle carrying a gang of Dead Patsy. That's the fi ght which some source refer to and which broke up just a few minutes before Tippi t was killed. The occupants of the assaulting vehicle are convinced that the pats y is still in the Rambler and so they have decided to take matters into their own hands, finishing him at once. But Tippit is there in jiffy and he promptly stops the fight, sending them in their way. ---1.08 P.M.: At this point Tippit realizes that it will be impossible to contin ue with the charade. The Dead Patsy gang just won't give up. It's very likely al so that, profiting from the small crowd that has gathered because of the fight, some member of the Alive Patsy gang inform him of the second police car roaming in the proximity. And he may even be told that its occupants had the nerve to go harass Oswald in his own domicile, to smoke him out. That piece of information makes Tippit jump in his car and decide to go pick up Oswald immediately. Moved by the urgency of preventing the men in that second police car from ambushing hi m, maybe even running him over, he races along Crawford, to get as soon as possi ble on the 10th St. But his haste has overridden his survival instinct; so stron g is his urge to save the patsy from his potential killers that he forgets to wh at danger he is exposing himself; he forgets that the man is a walking time bomb , ready to explode at the least provocation, at the mere sight of a police unifo rm. ---1.08--1.09 P.M.: already on the 10th St, going East, Tippit can see Oswald co ming his way. So, he's still alive, still they haven't gotten him. He moves slow lyat about 10 to 12 miles/hour, as Scoggins describedchecking the side alleys, whe re the cruiser may be in ambush, ready to jump on its prey at any moment. It is only when he has almost reach Oswald's position that he sees it, slowly coming i n the space between the houses with numbers 403 and 410 10th St. He abruptly sto ps his cruiser, interposing it between the hunter and the prey, and while doing so hitting the car behind his. All what's left now is to stop Oswald, and go eas y on him until he's close enough to be able to get all over him and overpower hi m before Oswald may pull out his gun. But things go wrong... F) JACK RUBY AT THE POST--PLAZA DEALEY EVENTS. According to diverse witnesses, Jack Ruby was spotted in 2 locations directly re lated to the ongoing events during the hour following the Plaza Dealey shooting and one thing his behavior seems to have in common in both is that he kept a ver y low profile, as if he didn't want to be seen. But he broke his own rule at lea st in one particular instance, and in a very telling way. Those two occasions, s

urely, are Elm St., in front of the TBD, only minutes after the shots, and Parkl and Hospital one hour later, when he goes to pull Seth Kantor's jacket and engag es the journalist in a mindless conversation about closing his Carousel. Later h e would deny the encounter ever having happened, even if Kantora credible witness , who knew him well also--insisted in that it actually took place. Kantor even r emembered the time it happened, 1.27 P.M., because it was only minutes before th e beginning of the 1.30 P.M. press conference where they would be told that Kenn edy had died. And it wasn't a casual encounter, the one with Ruby. Kantor said t hat he was about to take the stairs to go to that floor, when Ruby came from beh ind and pulled him by the arm of his jacket, as if he had something urgent to sa y to him or wanted his help. But instead, he engaged him in a subject nobody but him cared about. Now, this is an easy one: here all credibility lies on the sid e of the media man who, apart from having no motive whatsoever to lie about this incident, did know Jack Ruby well, so he couldn't have confused him with anothe r man. And if Kantor was exact in his description, Ruby was acting as if he urge ntly wanted something from him but then he didn't, as if all what he wanted was Kantor's attention. If we look for the reason Ruby would have wanted to be seen by a credible witness in Parkland Hospital at around 1.25 P.M., we only have to ask ourselves what illegal act, crime, had being committed by then in some other place: Tippit's murder, is the only one possibility. The fact is, there were ma ny police bikers by that time in Parkland, as we can see in pictures, and they m ust have all their radios on, open, their channels bringing non stop all kind of informations, so it wouldn't have been difficult for a bystander to hear also a ll what was transpiring. That could have been also the main reason that brought Ruby there, instead of the Police Station, where everyone knew him and where he would have found many doors closed. But here, in Parkland, he could have every f resh bit of news without raising any suspicion, as he could blend in a crowd int erested only in knowing about the condition of the president. So, at some time b etween 1.15 P.M. and 1.20 P.M. he must have known that Tippit had been shot, whi ch made him, for some reason, to jump desperately in search of a credible alibi. But why an alibi, if he wasn't a suspect in that murder, if he wasn't even to b e mentioned in the police report or investigation? The clue to Jack Ruby's behavior seems to have been lie in the exact place where this murder took place: mid-way between his apartment and Oswald's rooming hous e. Ruby had gotten well the patsy: he was coming to his apt. to get his money an d run. And if he arrived there before the police could get him, there would be t wo dead men walking, and not only one, as the result of this whole mess. So, unl ess Ruby suddenly felt the urge to stop in his tracks a very busy journalist goi ng to one historic press conference, to just talk with him about nonsense nobody cared about, he did it because he was in state of panic, facing the possibility that the man syndicated as Kennedy's assassin could have been seen now, publicl y, as if in cahoots with him. All this is just hypothesis, but the real admissio n of guilt from Ruby's part comes from the fact that he stubbornly denied later that this encounter ever took place. Why? What could have been so compromising f or him in going to Parkland to get info of the condition of the president, even more in his case, when he swore later that he loved him, that he couldn't stop c rying that day and that even he killed Oswald out of sympathy for his widow? The fact is, he denied that a lame, innocuous, event ever took place only because o f his personal guilt associated with it as he feared much later, when he wouldn' t need it anymore as an alibi, that police investigators could take a more caref ul look at it, go to the root of it and unveil it for what it really was: a fran tic search for an alibi in the killing of J.D. Tippit. But Ruby may have been frantic not only in Parkland, but also in front of the TS BD, from which upper windows several secretaries saw, minutes after the ambush, a man who looked a lot like him dressed in similar clothes, stopping passerbyers and witnesses and vehemently questioning them. The same method he would use lat er with Set Kantor but now, in front of the TSBD, he wasn't yet looking for an a libi but for info about the patsy. He has obviously realized that something has

gone awrymeaning Oswald is still alive and maybe running--and that he has probabl e managed to get away. He may have even thought that the patsy escaped to the ba ck of the TSBD, to the railroad tracks. (some journalist saw him, the afternoon of the 23th, coming out from behind the TSBD, as if he had been retracing Oswald 's steps in his escape route, as he imagined it, or perhaps looking for any comp romising evidence, for him, that the patsy may have dropped doing so). G) OTHER PLOT LINES CONCERNING TIPPIT'S KILLING. These are the most common scenarios quoted by researchers as plot possibilities for the killing of the DP agent: Oswald killed Tippit, the official Version--main problem: not enough time availa ble for Oswald to reach to 10th and Patton if going by foot, so its defenders ne ed to situate the agent's death at the latest possible moment to make Oswald cap able of having arrived with time enough to commit the crime. This makes them put the shooting at 1.16 P.M. (most people having done this walk have computed a mi nimum time of 14 min. and that almost running, which would make for an event hap pening at 1.17 P.M. at the earliest, when the most commonly accepted time for th e murder is 1.10 P.M. at the latest). Now, if fits if someone had given Oswald a ride, but that will imply conspiracy. Also, this one doesn't give a good reason why Tippit stopped Oswald, a man with no unusual behavior or appearance, as wit nesses described him, who just happened to be walking there. Oswald killed Tippit. Conspiracy theoryTippit was supposed to have killed Oswald but Oswald drew first : Time OK; Oswald may have gotten a ride to be there in ti me, but it doesn't explain many things: What was he doing in Patton/10th St.; wh at was so special about this point? How Oswald was made to go there, and Tippit? Why the set up was so sloppily done? (if they knew Oswald had a gun, wasn't tha t sending Tippit to a Frontier-style shootout? And what reason Tippit had to acc ept the task? And why he stopped Oswald in front of so many witnesses when he ha d to commit premeditated murder? But the main problem with this theory is that, with events happening that way it is practically impossible to build a credible official storythe best set up is to take both men to an isolated spot, but try to build a good plot line over that, to give police investigators later. Oswald killed Tippit, but it was planned so. Conspiracy theorythis one could well fix what's wrong with the last. Tippit is sent to arrest Oswald, or to kill him , but he's not told that Oswald is carrying a gun and that he fears some cops ha ve been sent to kill him. A logical plot, because it implies both a conspiracy a nd an intent of further incrimination of the patsy. It has also the advantage th at it works both ways: if Oswald doesn't dare to shoot the policeman, the police man will shoot him anyway, which will be just as good. It also fits well with th e scene seen by the witnesses. But it doesn't explain Tippit's frantic comings a nd goings in the last half an hour before. He didn't need to go back and forth, making urgent phone calls, checking vehicles, stopping fights, if all what he ha d to do was to meet Oswald, at a predetermined point, and do the job. His action s indicate rather that he had been charged with some heavy responsibility concer ning the patsy. But the biggest problem is to give Tippit a good reason to go me et Oswald alone at a given point and send Oswald there too. If Tippit is informe d that the man is dangerous he'll most likely call for back up. If not, he could choose to answer more urgent calls. Tippit was asked by Roscoe White to take Oswald in his cruiser to the Red Bird a irport where a plane would fly him to Cuba, but Tippit refused, so White shot hi m. Conspiracy theorystrangely enough, the most popular amongst conspiracy theoris ts, despite its obvious lack of logics and realism, maybe because it fits with t heir own idea of Oswald as a covert operative doing wet jobs for some shadowy in telligence outfit. In this case, compromising Cuba in the JFK assassination and so giving the government a pretext to invade the country. The lack of logics of

this theory lies mainly in showing the plotters incapable of even providing Oswa ld with decent transportation to the airport, when they have already been able t o assure him a clandestine flight to Cuba! That's unbelievable. It supposes comp lete lack of preparedness and total improvisation. Didn't R. White even examine d, beforehand, the possibility that Tippit would refuse his demand? Also, if Osw ald was an covert op on the run, why didn't they hide him instead of betraying h im? G) THE COMMUNICATIONS CENTER IN OAK CLIFF. The existence of a communications center, command post, garage, etc, at the cent er of Oak Cliff came to this author as a foregone conclusion, even before he had news of the estate a Dallas policeman had spent that day supposedly guarding; and not as a lucky guess but as a corollary of the analysis. The property the plott ers would have to use that day in the neighborhood came as a necessity born of t he speed at which events would be presumably happening: the patsy's handlers had to be keep informed at all times of developments in the op--because of potentia l abrupt changes in the general situationmainly concerning the patsy's mood, stat e of mind; or the possible actions of the people that could appear to put his li fe in danger, specially the Dead Patsy gang. If they had to acknowledge all thes e things at all times, then they needed a base of operations right there, in O.C ., where they could have a phone and other implements at hand to use for disguis e, transportation, etc--clothing, legal documents, identity cards, etc. Consider ing how things happened, specially those having been planned and rehearsed in ad vance, is easy to guess that such an estate had to be located within the trapezoid Patton, 8th St, Lansing and 6th St. We may guess also that the distance Oswald ha d to walk to this command center had to be the shortest possible. But we may als o probably guess the spot where Oswald left the Rambler. It works this way: If b oth his escape from the crime scene and Oswalds cab trip had been previously synch ronized to the second, if they had to occur both simultaneously--and we may than k Oswald, as when doing that cab trip he had no idea the main activity had been sp oiled, so he went on with the planned twin equivalent--it's clear that Oswald had to get off the cab at a distance from 1026 N. Beckley equal to that between 1026 North Beckley and the spot where Oswald would be left by the Rambler (with both events supposedly happening at the same time) so the walking times from both sp ots to the rooming house could be the same. That is how this part of the operati on must have been planned, as there was no reason for changing anything, special ly the spot where Oswald would be left go. So all what it takes is to find a goo d spot inside the mentioned trapezoid at the same distance from 1026 N. Beckley than that one (500 N. Beckley) where Oswald left the cab--that spot is, in all lik elihood where the Rambler dumped Oswald. An even easier task when considering th at such spot had to be a street corner. From that spot the Rambler teared to the command post, a few blocks away, to report on the patsy. There is where Tippit must have arrived also, a few minutes past 1.00 P.M., asking why he couldn't get the phone communication and missing, in the ensuing war council, his dispatcher 's call.