Tag Archives: Mystery

THE MISSING BULLET IN THE JFK ASSASSINATION

JFKThere are only three significant questions left unanswered in the assassination of United States President John F. Kennedy which occurred in Dallas, Texas, on November 22nd, 1963.

First is Lee Harvey Oswald’s motive.

Why’d he do it? We’ll never know for sure because Oswald never confessed and he died two days later, taking that secret to his grave.

Second – where was Oswald going after the assassination?

LHO photoHe left the scene, went home, grabbed his revolver, and was walking south on a Dallas street when intercepted by Officer JD Tippit. Oswald shot Tippit and continued fleeing before getting cornered in a theatre where he attempted to shoot the arresting officers. Clearly he was planning to live another day.

The third question – what happened to the missing bullet?

This can now be reasonably explained, although it’s taken a half century to figure it out.

LHO Rifle -Lt DayEvidence clearly shows that Lee Harvey Oswald fired three shots from his 6.5 mm Mannlicher-Carcano rifle which was recovered from the sixth floor of the Texas School Book Depository. Conspiracy theorists – give it a rest. Oswald was the trigger man and he acted alone. Not one single piece of evidence exists to refute this because non-events leave no evidence. It never happened any other way than Oswald acting alone.

The problem with the three shot evidence is that only two bullets were recovered. One has never been accounted for.

So what happened to it?

Let’s look at the firearms evidence in the JFK homicide case.

First of all, you have to weigh the ear-witness reports. The vast majority of witnesses stated that three gunshots were heard. Some claimed that one, two, and as many as nine shots were heard, but you’re going to get that variation with the hundreds of people that were present in Dealey Plaza when Kennedy was shot.

JFK Snipers nest 6You’ve got to give credibility to the witnesses who were closest to the muzzle. There were three Texas School Book Depository workers directly below the sixth floor, southeast window (sniper’s nest) where Oswald fired from. They were unshakable and unanimous that three shots rang out.

Their testimony is corroborated (backed-up) by the fact that three expended shell casings were found in the snipers nest. These three casings were forensically matched as being fired from Oswald’s Carcano ‘to the exclusion of all other firearms’ as the categorical term goes.

JFK Cartridges 510What’s clearly telling is the location in which these casings were found and photographed. In all my reading and research, I can’t find any official comment on the meaning of the casing pattern, although it’s obvious when you simply think about it. Two casings are grouped together, and the third is by itself about five feet from where Oswald pulled his trigger.

JFK 3 Cartridges Clear photoTo further understand the significance, you have to know that Oswald piled a small fortress of book boxes around the sniper’s nest to conceal himself, creating a cardboard wall. When he ejected the casings from his bolt action rifle, they flew through the air at a 90 degree angle from the barrel and struck the wall of boxes to Oswald’s right, then ricocheted to rest on the floor.

Hmmm… two were together and one was off by itself. It’s obvious that Oswald’s barrel position changed between the lone cartridge and the group of two.

So how does this explain the missing bullet?

Let’s look at the two shots that were accounted for.

CE399The first bullet that hit Kennedy, known in assassination terminology as The Single Bullet Theory, got him through the back of the shoulder/ base of the neck, exited his throat, then entered Texas Governor John Connally’s back. In a rapidly diminishing velocity, it traversed Connally’s chest, blew out below his right nipple, continued on to smash his wrist, and lodge in Connally’s thigh. It remained intact, as full metal jacket bullets are designed to do when they penetrate soft mediums like cloth and flesh, and was recovered on Connally’s stretcher at Parkland Hospital. This bullet is also known as The Magic Bullet.

JFK CE567The second bullet that hit Kennedy blasted his head apart. It fragmented into multiple pieces, as full metal jackets are designed to do when they hit a hard medium like bone at a high velocity. Less than fifty percent of this round was recovered. By the way, both of these bullets were ballistically linked to being fired from Oswald’s Carcano ‘to the exclusion of all other firearms’.

These two shots were recorded on the famous Zapruder film which shows them occurring 4.88 seconds apart with both trajectories in the same line to the sniper’s nest window.

Ergo. The two tightly grouped casings came from these two shots because the angle of ejection, ricochet, and rest pattern are similar.

So why was the third casing so far apart?

Simple. It was fired from a different angle.

Let’s think this thing out, then look at some more physical and witness evidence.

JFK Houston StIf you were Oswald, intent on shooting the President, would you expose yourself to the eyes-front approach of the motorcade as it approached you from the south on Houston St.?  (Remember, Oswald was unstable, but he was calculating.)  An approaching target, when you’re in a vertical vantage point, is a tough target to hit (Remember, I was a sniper so I know what I’m talking about). It’s common sense that he’d wait until JFK’s limo rounded the corner onto Elm St. and was nearly stopped right in front of him. That’s the most logical time to squeeze-off a shot.

But the two shots that killed JFK happened when the limo was far west of the sniper’s nest and vanishing from Oswald’s sight picture.

So why didn’t he fire when he had the closest opportunity?

Well, he probably did.

The angle of ejection for the lone casing is entirely consistent with Oswald firing it at the first logical opportunity which was when the limo was closest to him and the security eyes were facing away.

So how did he miss?

JFK Traffic LightSimple again. As Oswald was following Kennedy in his cross-hairs, a traffic light came into play. Oswald squeezed off the first round, but it hit the metal housing on the light and fragmented.

jfk traffic light5This accounts for other evidence like where James Tague, a bystander five hundred and twenty feet to the west, was hit in the cheek by a piece of concrete curb that was sent flying by a lead fragment and where Virgie Rachley stated to have seen sparks fly from the pavement behind the limo when the first of three shots were fired. The simplest explanation is that these fragments were from the first, and missing, bullet.

JFK Signal lightEvidence of the strike exists in blowup photos from a Secret Service re-enactment in 1964 where you can see a defect in the traffic light housing. Unfortunately the light was replaced years ago and was never examined.

So, like Occam’s Razor states, the simplest explanation is usually the correct explanation.

To me, it’s obvious that the missing JFK bullet has a simple explanation.

THE MYSTERY NOVEL AND THE HUMAN FASCINATION WITH DEATH

Many thanks to my internet friend, fellow crime-writer, and accomplished stage actor Adam Croft for this insightful look at why murder mysteries will always be popular.

Croft2Human beings are fascinated by death. As morbid and unsavoury as that sounds, it’s a good job they are as otherwise I wouldn’t be here writing this article and you wouldn’t be reading it. 

If we did not have a fascination with death, one of the world’s most popular and enduring fiction genres would not exist and I’d be out of a job. So I’m pretty pleased that we do. But what has caused us to be hardwired to think in this way? What makes death and murder in particular so fascinating to us? 

Fascination goes hand in hand with intrigue, and it is to intrigue that we must turn first. Naturally, human beings are intrigued by why someone would want to kill a human being. To most of us, committing a murder is unthinkable. 

Croft6Of course, we’ve all known people that we’d love to kill, but actually contemplating doing it is something entirely different. This intrigue surrounding those who do, then, is entirely natural. It’s one of society’s final taboos and we are naturally intrigued by the ways in which people murder each other. 

There’s also a sense of needing to understand, which is what compels our sense of intrigue. Naturally and evolutionarily, we feel the need to understand the situation of murder in order to protect our species and prevent or predict future occurrences. It would be fair to say that this is an in-built, animalistic sense, which puts our fascination at a level much deeper than sheer intrigue. 

Croft9However, this would be a little too simplistic. Why, then, do real-life murders not fascinate us as much as they did in Victorian times, when newspaper circulation figures would regularly treble off the back of a good murder? 

Nowadays we’re far more satisfied to get our dose of death through fiction. We know fiction isn’t real, so the purely evolutionary theories go out of the window at this point. In my opinion, it’s the complexity and make-up of the murder mystery or crime novel which provides the fascination here. 

Croft4The truth is that most real-life murder is actually incredibly pedestrian. There’s a fight and someone dies. A jealous husband murders his ex-wife. There’s a gangland killing. No particular element of mystery comes into play with any of these situations, which leads me to posit that our fascination with murder is no longer rooted in our desire to protect our species but instead with the logic of the puzzle and the mystery surrounding a well-constructed mystery novel. 

The longevity of the mystery novel is rooted in its complexity and infinitely changing forms. The number of ways in which a crime is committed and the reasons for someone wanting to commit it is what keeps mystery novelists like me in a job. 

Croft10A clever and sophisticated plot is what readers crave and it’s the reason why Agatha Christie is the best-selling author of all time. Her proficiency for developing the twists and turns and ingenious plots for which she was most famed is the reason why people keep going back to her time after time. 

The most us modern-day mystery writers can hope for, following far behind in her wake, is that we might be able to side-step the reader somewhere along the way and leave you guessing to the last. 

Croft8It would be far too simplistic, though, to say that we’re now purely interested in the type of brain-teasing mystery akin to a crossword puzzle. There’s certainly still a psychological element involved, which is why psychological thrillers are huge business. As a species, we pay attention to these sorts of plots because we have an animalistic need to know we are safe. We need to understand the mind of the killer. 

This understanding is the reason why psychology courses and degrees are so popular in the western world, and particularly in Britain, where the murder mystery is particularly venerated. 

Human beings have an innate desire to understand ourselves and other human beings.

If you’ll forgive me adopting a purely political point of view for a moment, this is a very heart-warming realization from a progressive perspective, as our need to understand each other as human beings is something which we’ve been sadly lacking for most of our existence as a species. 

Croft5We can be sure that crime fiction will last, and there are a number of reasons for this. Crime’s bedfellow in terms of sheer popularity is undoubtedly the romance genre; a type of book which offers resolution and has well-rooted and respected forms and conventions. 

Naturally, it has had to adapt and recent years have seen the rise of rom-coms and even the sub-genre of erotica (although many, including myself, would either put erotica into a sub-genre of thrillers or a genre all of its own). 

Croft11Mystery, too, has had to adapt. Writers such as P.D. James have prided themselves in breaching the (admittedly small) gap between crime and literary fiction, combining a well-written book with a tight and intricate plot. 

It would be worth me noting here that the concept of ‘literary fiction’ does not exist to me. The only great literature is a book that you enjoy. Crime novels, generally speaking, have the added benefit of being stripped of pretension and putting the reader first, not setting the writer on an undeserved pedestal. The enduring popularity of the genre is testament to its superiority. 

It would be fair to say, then, that the crime and mystery genre can be expected to live on.

Croft7As our fascination with death and our need for logical complexity continue to be fused together beautifully by fiction, we can be assured of even more great books to come.

 *   *   *

Croft12Adam Croft is a highly successful British author, playwright, and accomplished stage actor.

Adam tells me that by day, he’s a writer and actor. By night, he’s asleep. He enjoys sunshine, Hobnobs, and talking about himself in the third person.

Croft14In terms of his books, Adam principally writes crime fiction and is best known for the Kempston Hardwick mysteries and Knight & Culverhouse thrillers.

His plays are somewhat (read: very) different, focusing on the subtext behind personal relationships as well as exploring themes of world politics and human ethics.

As an actor, he takes whatever he can get.

Croft13Adam’s work has won him critical acclaim as well as three Amazon bestsellers, with his Kempston Hardwick mystery books being adapted as audio plays starring some of the biggest names in British TV.

His books have been bought and enjoyed all over the world, and have topped a number of booksellers’ sales charts.

I’m thrilled to death to have met Adam and look forward to a lengthy friendship and working relationship.

Check out his website   http://adamcroft.net/ 

Friend him on Facebook  https://www.facebook.com/adamcroftbooks

Follow Adam on Twitter  https://twitter.com/adamcroft

ELMORE LEONARD – MASTER CRIME WRITER

Story-telling lost a great when Elmore Leonard died.

Elmore Loenard 4Crime, thriller, mystery, and western fans will miss him.

But the literature world won’t.

Or litter-a-ture’ and ‘the members-only club’ as Elmore Leonard called the word-snooterati.

Elmore Leonard didn’t care about awards and hob-nobbery. He wrote about realistic worlds where his fast pace, sharp dialogue, prose-poor, and wrong grammar captivated readers who loved being entertained, escaping, learning, and transporting through his stories – real people who weren’t seeking literary merit.

Elmore Leonard“Most writers don’t write for a living,” he said. “They write for tenure. Or for the New York Times. Or to get invited to conferences. When you write to make the rent or send your kids to school, you learn how to write without a lot of nonsense.”

Elmore Leonard found a no nonsense audience.

His career spanned 60 years and 40 novels – 19 becoming motion pictures and 7 made into TV series. 3:10 To Yuma was his baby. So was Big Bounce and 52-Pickup. Major stars and major producers recognized Elmore Leonard’s simplistic genius.

Part of his genius is that he told both sides of the story. Protagonist and Antagonist.

Elmore LeonardElmore Leonard’s discipline was patience, perseverance, and praising others – he read more than he wrote. He also had 10 rules of writing.

  1.   Never open a book with weather.

  2.   Avoid prologues.

  3.  Never use a verb other than “said” to carry dialogue.

  4.  Never use an adverb to modify the verb “said”…he admonished gravely.

  5.  Keep your exclamation points under control. You are allowed no more than two or three per 100,000 words of prose.

  6.  Never use the words “suddenly” or “all hell broke loose.”

  7.  Use regional dialect, patois, sparingly.

  8.  Avoid detailed descriptions of characters.

  9.  Don’t go into great detail describing places and things.

  10.  Try to leave out boring parts, the parts that readers tend to skip. 

Then there’s his 11th.

Elmore Leonard 2“Write the book the way it should be written, then give it to somebody to put in the commas and shit.”

RIP Elmore Leonard

Master crime writer and story-telling genius.