Mr. Jenner.

I think not. It will be quoted in the report. This occurred a long time ago, and I have forgotten just what it was.

Mr. Oliver.

Yes, this is in the National Enquirer for March 3, 1964.

Mr. Jenner.

Could I identify that and then return it to you when we have made a copy?

That is either a photostat or a Xerox reprint that is marked Oliver Exhibit No. 7. It is entitled--The particular article by John Henshaw, "Washington Pipeline by John Henshaw," and then the heading is "Moscow plotted JFK assassination--U.S. Government financed Oswald," place-lined Washington, D.C. Does that summarily describe the exhibit?

Mr. Oliver.

Right.

Mr. Jenner.

And that is your source?

Mr. Oliver.

That is my primary source, and I believe the first source; the statement picked up elsewhere in the press. Of course this is supported.

Mr. Jenner.

Is what, sir?

Mr. Oliver.

This is supported by the longer article by Mr. Henshaw that has already been placed in the record as Exhibit No. 5.

Mr. Jenner.

Oliver Exhibit No. 5?

Mr. Oliver.

Wherein it is stated that the reason given either as an explicit statement or by implication for intervening to prevent the Dallas police from arresting Rubenstein and Oswald for the attempted murder of-General Walker was that they were agents of the Central Intelligence Agency--which you see confirms the statement in the earlier report

Mr. Jenner.

Now, the news item to which I referred, that is the Washington Post of August 30, 1964, page 19, also states that "Oliver also said that under orders from Secretary of Defense Robert S. McNamara the Army 'began to rehearse for the funeral more than a week before the funeral.'" 'Would you find that, please, in your speech in which you made reference to that subject?

Mr. Oliver.

I may say that is typical of the kind of so-called journalism practiced by the Washington Post and similar publications. In the course of my speech-

Mr. Jenner.

Would you identify the pages if they are numbered?

Mr. Oliver.

On typewritten page, beginning on typewritten page 12, going through to approximately the middle of page 16 and including a little insert 13-A, I discussed the effect of theatrical performances on the human mind, and the way in which illusions may be carried over from the performance to reality. I begin by using a performance of Hamlet as an illustration, analyzing what happens there. In the following paragraph I elaborate on the point that "A great many naive and unreflective people do confuse actors with the roles they play in the performances."
And I illustrate that with a story which I hope was amusing about an acquaintance of mine who witnessed a brawl in a tavern between two men, one of whom was convinced that an actress who played effectively the role of the pure and virginal heroine must be pure and virginal herself.
I then went on and using a slightly different illustration but developing the same point, I mentioned a television show about a character called Superman, and what was told to me by a vice president of the corporation that wrote and produced the show, to wit, that although this being was represented as a person who could leap a hundred feet in the air, and could bend a railroad rail with his hands, nevertheless many of the viewers thought that he was real and wrote letters to him asking for his help. And I then went on.

Mr. Jenner.

Shades of Orson Welles.

Mr. Oliver.

Except that I believe these letterwriters were not financed so far as I know.

Mr. Jenner.

I did not mean to imply that.

Mr. Oliver.

I then went on "As another example of-the case with which illusions are induced, let us take one detail in the really spectacular show that was put on at the funeral of President Kennedy. That was a mass performance which for sheer technical virtuousity certainly deserves to rank with such spectacles in the cinema as Cleopatra and Ben Hur. Now, I made it a point to talk to many people who had seen that spectacle on television, and I