Scripting out an assassinations is much like scripting out a play. You should always have a plan. And the plan should make sense.
There should be no logical flaws in the plan. People shouldn’t be able to look at it and say: Aha.
It’s much like a magic trick. What you want is for people to say: How did they pull that off?
Good plays, like good magic tricks, don’t just occur out of the blue.
They have to be developed. It takes hard work to do that; and it takes time.
I’m going to re-create for you how I think the Kennedy assassination play evolved.
It started out very simply.
A team of experienced assassins kills the President of the United States. An individual who is working with the team is singled out as the patsy. The patsy is then caught and killed. The experienced team of assassins gets away, and no one suspects them. That’s not too much different than a magic trick.
What transpired is that a team of experienced assassins sitting in the Dal-Tex building, and the grassy knoll, kill the President of United States. Lee Oswald, who is working with the team sets up a decoy nest on the 6th floor of the TSBD. Oswald is then driven directly to a soundproof room in the Texas Theater where he cannot hear anything that is going on in the outside world – no radio, no television, no passersby talking. He is then identified to the world as the killer of the President. The police are tipped off that Oswald is in the theater. The police go to the theater where Oswald resists arrest; in the process Oswald is killed. The experienced team of assassins gets away, and no one suspects them.
The plan is a good one. But upon ruminating upon the plan, the playwright (architect) desires more. He reasons that many people might be glad that Oswald killed Kennedy. They might even think that Oswald did the nation a favor. Happy that JFK was dead they might be inclined to exonerate Oswald.
The architect reasons that if people are predisposed to Oswald, that might cause politicians to oppose the official narrative or to look at the official narrative more closely.
To forestall that the architect decides to demonize Oswald. Of course, he has already thought about demonizing Oswald by making him into a loutish, commie, wife beater. But he wants the icing on top. He wants the nation thoroughly opposed to Oswald. He wants the nation to hate Oswald.
One way to do that, he reasons is to make Oswald a cop killer. If Oswald can be shown to be a cop killer, people would be less predisposed to helping him. Nobody likes a cop killer.
And so the original plot of the story grew longer. Instead of Oswald, going directly to the Texas Theater, a confused and erratic Oswald meanders aimlessly around Oak Cliff where a police officer confronts him after hearing an APB describing the man who killed the President. Oswald kills the police officer then run down to the Texas Theater.
Now, of course, the architect reasons, we can’t have Oswald himself meandering around Oak Cliff. It won’t make sense to him. He won’t go along with such a plan, and there will be no guarantee that he will kill a police officer.
So we will have a fake Oswald do all this for him, so that we can drive the real Oswald down to the Texas Theater and sequester him in a soundproof room.
In fact, we might need two fake Oswalds. One to travel from the TSBD to the boarding house in Oak Cliff; the other to murder Tippit.
Why, two? Well, it could’ve been done with one. There is no reason why not. But it may be that the man who resembles Oswald the most is not the better killer. And we need a fairly close match for the Oswald who returns to the boarding house.
Let’s assume that is the case, and that we need two fake Oswalds.
What we need to do is synchronize the movements of where these fake Oswalds should be, and where Tippit is.
Synchronization points are necessary in order to account for traffic and human error.
If a fake Oswald is to kill Tippit, we need to make sure that these people (Tippit and the fake Oswalds) get to where they need to be at the same time, and this all has to be synchronized with where the real Oswald is.
Since all three men are beginning in different locations, since it must be shown that Oswald went to his boarding house, and since the synchronization can not arouse suspicion, two synchronized points are necessary.
Synchronization points exist to zero out any difficulties that might arise in transit: traffic, getting stopped by a cop, construction, delays, and so forth.
As such synchronization points are buffers.
The first synchronization point exists to zero out any difficulties getting out of Dealey Plaza? So in our scenario, Fake Oswald #1 and JD Tippit will arrive at the corner of Beckley and Neely. They will not necessarily know each other, nor do they need to arrive at the same time. They will arrive at different corners of the intersection; on another corner of the intersection will be the architect. The architect will know both men, and both men will know him. It’s not even necessary that Fake Oswald #1 and Tippit know each other. When both men have arrived, and when the architect knows that Oswald is in the theater, the architect will light up a cigarette or throw a newspaper in a nearby trashcan. This will be a signal to both Fake Oswald #1 and JD Tippit. It is not even necessary that they meet there at 12:55 PM. It just so happens that in our scenario they did. If they meet at 1:10, well, then the play resumes at that point, and Tippit gets shot at 1:30 PM instead of 1:15 PM.
After they receive the signal, JD Tippit will go to Top Ten Records, and Fake Oswald #1 will go back to the boarding house.
The architect will follow Fake Oswald #1 back to the boarding house.
When JD Tippit arrives at Top Ten Records, he will make a call to the playwright who will receive a call via a patch to a mobile device that was supplied by Collins Electric.
When the architect receives the call he will tell Tippit to proceed to 10th and Patton provided Fake Oswald #1 has entered the boarding house, then drive his car in front of 1026 Beckley and honk the horn twice (or he might send a prearranged police car to do it). Who knows what may delay either man; maybe Tippit will have to call twice from Top Ten. It just so happens that on that day he only called once.
Fake Oswald #1 will then exit the boarding house and disappear into oblivion. He may even be picked up and secured at the El Chico restaurant to await further orders. Maybe this is why a man resembling Oswald was spotted there by WT White, a mechanic working in the garage adjacent to the El Chico.
Meanwhile Tippit will proceed to 10th and Patton. The architect will then likewise proceed to 10th and Marcellus at which point he will give a signal to Fake Oswald #2 to start walking west.
Tippit will proceed from the east and Fake Oswald #2 will proceed from the west, and the rest is destiny.
Why is it necessary to have the second synchronization point? Because you want to make the encounter between Tippit and Fake Oswald #2 look natural. You don’t want Tippit’s killer to be walking back-and-forth along 10th Street too many times.
So to review, the first synchronization point at Beckley and Neely exists to buffer out traffic and delays getting out of Dealey Plaza. You don’t want to send Fake Oswald #1 straight to the boarding house. Why? Because he is a fake; the longer he is there, the greater chance he will be recognized as a fake.
The second synchronization point at the “Boarding House-Top Ten” venues exists to zero out any traffic problems and delays Tippit might encounter getting to Top Ten. Plus who knows what problems Fake Oswald #1 might encounter at the boarding house.
As far as any difficulties that “Oswald” might encounter getting from the boarding house to 10th and Patton, that problem can be solved by having fake Oswald #2 walk out of the safe house near 10th in Marsalis. In other words, there would be no Oswald meandering through Oak Cliff on his way to 10th and Patton.
The only variable would be Tippit traveling to 10th and Patton. But whenever he gets there, he gets there. Some risk can not be avoided. Once Tippit is shot though, the clock begins. If Tippit happens to get there at 1:30, that’s when the play resumes. If Tippit should get spooked and bug out, then it’s off to Plan B.
It’s not essential for Tippit to die, the playwright reasons. Tippit’s death is gravy. If Tippit should not die, the real Oswald can always get shot in the theater as he resists arrest.
That shouldn’t be a problem, the playwright reasons. Oswald was a dead man when he was secured in that theater by 1:07 PM at the latest. At that point the magic trick was over; the rest was flourish.
To be continued …
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