Police Procedural in Black and White
At police headquarters, the press swarmed inside and breathlessly reported on every detail they could pry loose from the men in charge, especially Chief Curry. These encounters with the police took place within the final hours that the public at large would hold police departments in trust. The behavior and statements made by Curry illuminate just how disorganized police departments appeared to be. The gross negligence that allowed Ruby to shoot Oswald would be the final nail in the coffin. Erosion of trust in prestigious institutions started in the basement of the Dallas courthouse. By the time the demolition was completed with the resignation of Richard Nixon, the country would be left in a smoking ruin of a culture. Only the carefully orchestrated rise of the actor Ronald Reagan and the neo conservative cultural values his handlers had him promote would give the culture any reference points upon which to rebuild a coherent cultural progression, and those would be revealed in time to be overtly fascist.
Oswald was shown to the press in the crammed hallway several times. He had been cold cocked by one of the Dallas officers during his arrest in the theater and he sported a nasty shiner and slight hematoma over his left eye. In this he is portraying the stigmatic, bearer of the holy wound. He is brought before the press, an unprecedented move by any police department and probably the main foundation on which he could be granted an acquittal if he had ever gotten to court. But since the script did not involve this character’s survival, this dismissible act went unpunished. In front of the cameras and handcuffed, surrounded by belligerent officers, Oswald is Christ before the Sanhedrin. He speaks his truth, side stepping the presumptions of the press, each reporter playing his part without hesitation. He plants doubts in the public’s mind. He remains undeterred, Christ-like in his resolve
White Man’s Manufactured Burden
All during the three days of television coverage, the only people seen commenting on screen, besides a few black men and women and a few white women who shared their pre-scripted thoughts during man on the street interviews, all of the rest of the speaking roles were held by older white males. All of the anchormen, all of the onsite reporters and all of the figures of authority were white males. The slain victims were white males, the perpetrators of the three murders, Kennedy and Tippit, and finally Oswald, were white males. It is a good bet that in that era of routine military conscription, all of the men were either in the military at some point or intelligence. If they were deferred it was because they either had well placed connections or were in college during their years of eligibility. If they were prominent in their field, from media to law enforcement, they were likely also sworn to the brotherhood of Freemasonry. With that assumption in place then you must accept that they were all under orders, not just from their immediate superiors who were also certainly oath keepers, but also from their most worshipful masters in the various lodges they were bound to.
This is not to say that this was an exclusively Masonic ritual. It was much more than that. It is this fraternity that rose with the expansion of the British Empire across the globe that was the common enterprise of these men. The perpetrators of this hoax used this already intact network of poor widow’s sons to engineer the spectacle. Had it been an exclusively military operation, control of all the components, especially the media figures, may have been more difficult. But with the participation of the lodge members, the effort was seamless.
Use of Masons required then the trappings of ritual. Kennedy could have been “killed” any number of ways, including in his sleep. But the shock and the awe would have been lost and, like FDR’s death, a sad resignation would be all that the passing of this President would have yielded from the public reaction. For a real horror show that would not be too overtly militaristic, a secret society theme was chosen, complete with multiple layers of symbols and interpretive frameworks. And who would be more enthusiastic for such alchemical workings than Masons?
Recruitment was probably the easiest part of the pre-production.
Jake the Fake
The character known as Jack Ruby had many hats to wear. As an alleged low life mobster and pimp nightclub owner, Ruby would be in a great position to be a facilitator as well as a gopher; bag man for the cops/mob has been attached to his resume at times.
His job at a glance appeared to be a congenial host to the local authorities who wanted to have a bit of fun off the books. One of many confirmed bachelors involved in the charade, he could handle his strippers and prostitutes strictly as product and not as a personal addiction. Getting the dirt on movers and shakers was not on his to do list as the only people that mattered had their loyalty assured through the aforementioned fraternities. Blackmail threats get far too much credit as a motivational force. Anyone needed for a psychological warfare operation is recruited from within already established loyal communities.
Jack Ruby with some of his chattel from the spook friendly Carousel Club in Dallas, evidently a clearing house for information to and from Dallas’ Finest and the denizens of the underworld, as well as a facade of employment for assets with temporary assignments. There’s no business like it!
It is said Ruby ran guns for Castro and then, when Castro turned red, ran guns for the anti-Castro factions in the southern states attempting to mount an invasion- if so then that makes him an intelligence asset and in league with the CIA. A man in such a position is not likely to have debts hanging over his head, which would make him susceptible to manipulation by more than just his immediate superiors. The speculation that Ruby shot Oswald to have debts forgiven would reveal recklessness on the part of the CIA. Any number of things could have interfered with Ruby making good on such a deal including simply not having the guts to go through with it. That kind of speculation is manufactured for the rubes who think television scripts reflect anything remotely resembling real life or contain any plausible understanding of human psychology. Jack Ruby, the character in this film noir, is a cartoon. His name may have been Jacob Rubenstein but the persona of Jack Ruby is as fake as his nom de guerre.
Good Time Jack spinning yarns with the press hanging on his every bon mot, offering their mikes in bunches for freebies backstage at the Carousel Club.
What Ruby appeared to be doing was juggling the many actors who took on the persona of Lee Harvey Oswald. Apparently the genuine article was part of Ruby’s gun running. This Oswald was said to be seen with Ruby around Dallas and even in Ruby’s Night Club. Then there is another Oswald type played by a man named Larry Crafard, who was said to have been close to Ruby leading up to the assassination, even working as a gopher and handy man at Ruby’s club.
The Eastern European import, while being filmed in New Orleans handing out Fair Play for Cuba Committee flyers, draws an onlooker who could be Ruby. It’s said in some circles that Ruby was in the Texas Theater when the two Oswalds were arrested. If he was Oswald’s wrangler, it would make sense that all of the staged public sightings of Oswald would have Ruby somewhere in the vicinity. Selling Oswald’s guilt to the public was an extremely important element for the hoax to work and it’s doubtful the task would be left to a low life gangster with large debts to pay. Such a man would be too risky to entrust with such responsibilities. My conclusion is that Jack Ruby was a fictitious character played by an Intel asset with connections to many nodes of the police/criminal/military-intelligence nexus. A man in that position would be well taken care of while carrying out his orders, and well compensated afterwards. And like so many others, his persona was erased with his apparent death; a death occurring in a secured facility far from public view.
The “execution” of Oswald on live television is the most obvious hoax in this constellation of fake events. In extant footage from station KLRD in Dallas, one can see the actors playing members of the media in the Dallas County Courthouse garage, milling about their blocked out places, chalk marks on the floor designating who and where the principles will be when the staged act unfolds.
At a certain point these actors part and line up against opposite walls to allow the procession to advance. Oswald is being lead out with a diamond formation of four officers surrounding him. Ahead of Oswald is Captain Fritz. Oswald is handcuffed to detective Jim Leavelle. As the procession approaches the cameras, a car horn blasts and Fritz moves ahead and to the right of Oswald, leaving the prisoner vulnerable and at that instant Ruby is in place to shove his pistol into Oswald’s gut and pull the trigger.
As Fritz backs further away from the group, he spreads out his arms to keep everyone near him from advancing on the ensuing scrum. Ruby lunges down towards Oswald who has hit the floor, but Ruby does not fire a second round. Ruby is gang tackled as Oswald is dragged away behind a nearby door. One tackling officer has the wherewithal to place his cigar in his mouth while grabbing at Ruby with his other hand.
Shortly thereafter, with Ruby apparently taken away, Oswald is wheeled out on a low gurney and bundled into the back of a station wagon that is playing the part of an ambulance. As it drives off, mention is made by an eyewitness that the shooter was “a man in a black hat”. That description is repeated several times in case the autistically possessed viewers didn’t get the allusion.
Oswald has been shot! Not one person in the crowd staunches the bleeding, because there is none. Oswald’s arm is draped over the area where Ruby stuck his gun so it’s not so apparent there is no wound.
The next time we see Oswald is in newsreel footage of him being hauled out of the station wagon ambulance, his right arm dangling off the side of the gurney, his tee shirt and sweater hitched up to reveal his abdomen and where he was allegedly shot in the sternum. Though the glimpse is brief, there is no sign of a wound, no blood, no powder burns. It is, in fact, a blatant demonstration that there was no shooting. This brief reveal is part of the admittance these psychological warfare operations contain in the perpetrator’s efforts to absolve themselves through confession.
The absence of a response from the public only confirms the belief in their innocence and if the public is feeling grief, then their ignorance is their own fault, not the perpetrators because they showed their handiwork and no one called them on it.
One last glimpse of the fake Oswald and his non-existent wound. This is part of the confession process where punishment meted out by the public is due. There was none insisted upon so the public is at fault, not the perpetrators of these hoaxes. Internal logic of a false premise.
But forget the footage and consider this: Gun shots to the gut can kill quickly, I suppose, but it’s generally understood that a gut shot takes far more time to kill than a bullet to the head. Why, you might ask, didn’t Ruby stick the barrel of his pistol in Oswald’s ear or under his chin? Surely an alleged gunrunner knew something about his product and would know a head wound would almost always be fatal. But this wasn’t real life, it was a stage play, and if the script carried with it a little poetic license, no one watching was thinking critically. The ancient mind bender Aristotle justified the emotional reaction to stage-managed horror with his principle of catharsis. That form of ancient mind control, where emotions superseded critical reserve, is still in play as the public’s collective chain is pulled day after day by the spectacle of synthetic reality offered by the corporate/military media.
To finish off Ruby, a spooky character named Lawrence Schiller produced a tape recording of Ruby on his deathbed in early 1967 wherein Ruby blames himself and no one else for shooting Oswald. Schiller would later work for Norman Mailer whose own books on the assassination have largely been ignored by both sides of the debate. Schiller was also the last person, along with a fellow Hollywood hack writer named Bill Woodfield, to photograph alleged Kennedy brother’s mistress Marilyn Monroe before her exit, stage left.
With the “death” of Jack Ruby, the show was handed off to fellow initiate Jim Garrison to attract eager researchers to the honey pot and seed the underground with the irrefutable Zapruder film, the one artifact that consensus accepted as proof the President was indeed murdered in broad Dallas daylight.
Other parts of this series: