Mr. TURNER. Okay.
Mr. HUBERT. Where were you in relation to Tankersley and Timmons?
Mr. TURNER. You mean in pushing the camera?
Mr. HUBERT. Yes.
Mr. TURNER. I came, as you look toward the camera, I came up to the
left side of it.
Mr. HUBERT. Who was in the middle? You were on one end?
Mr. TURNER. I’m not sure. I think Mr. Tankersley was.
Mr. HUBERT. And then Timmons?
Mr. TURNER. Timmons was on the other side. Usually the cameraman who is
doing the camera work has hold of the center of the camera and whoever
helps him will help on the side of the dolly.
Mr. HUBERT. So, you are the third man then on that camera?
Mr. TURNER. That’s right.
Mr. HUBERT. All right. Now, go ahead.
Mr. TURNER. All right. We moved from position No. “6” here, which I
have labeled “6”, down to where I have now labeled “7”.
Mr. HUBERT. You are making a box there?
Mr. TURNER. Box. Right. Box for “7”.
Mr. HUBERT. Did that camera ever get into operation?
Mr. TURNER. No, it never did, sir; because by the time we got it to
“7”, they had completely blocked the doors. I think someone said that
it was--they were bringing him down and that we couldn’t leave it out
there at that point or something. This is very vague.
Mr. HUBERT. But, in any case, the thing never got in operation?
Mr. TURNER. Never.
Mr. HUBERT. The second camera never got in operation?
Mr. TURNER. That’s right. The second camera hadn’t gotten into
operation. I then--when I found out they couldn’t go back I returned
to my position, which is on box “4”, and Mr. Tom Pettit of NBC was at
circle number “7”, which was our newsman from NBC. He was hollering to
me, “Tell them in New York to give it to me.”
Mr. HUBERT. That is to say that you would go live on the national?
Mr. TURNER. That’s right. We’d go live on the national network. So, I
was talking on the direct line to him. The police car left out sometime
in that excitement, going up the exit the wrong way. I mean the
entrance the wrong way.
Mr. HUBERT. Going up towards Main Street?
Mr. TURNER. That’s right, which was different from the one, because
we had always seen them come down it, and that was the first time we
noticed them going out of it.
Mr. HUBERT. Did that car have any difficulty going up?
Mr. TURNER. Come to think of it, I think he did. I remember a lot of
wheels spinning or something.
Mr. HUBERT. Were there many people there?
Mr. TURNER. There was quite a few. The reporters had come in at that
point, somewhere along in that point, and there was getting to be a
group of people.
Mr. HUBERT. Anyway, what you are saying is, that the movement of that
car attracted your attention, is that correct?
Mr. TURNER. There was some brakes squealing or tires spinning at that
time.
Mr. HUBERT. Did you follow with your eyes?
Mr. TURNER. I followed him as far as I could, now, there was some
more commotion started a little before that of them bringing a truck
in, backing an armored truck in from the exit side of it, which they
were having a difficult job of getting this truck in. Now, this all
happened--I can’t tell you the exact time, because it is all vague in
my mind.
Mr. HUBERT. Let’s go back to the police car going up the Main Street
ramp towards Main Street, did you follow it with your eyes?
Mr. TURNER. I followed it not only to about a point to where the drive
had started up, because it was impossible----
Mr. HUBERT. To the point where the ramp starts to go up?
Mr. TURNER. Uphill, the slope up, which was this column here had sort
of blocked our view from----
Mr. HUBERT. Mark the column with a number.
Mr. TURNER. That is number “9”.
Mr. HUBERT. With a circle.
Mr. TURNER. And, I was standing up at the front of point “4”, on the
left side of the camera, which was right next to the column. Jack
Beers from the Dallas Morning News, who took the picture before he
was shot--not the picture after he shot him, was immediately--I was
touching him with my left arm, and I had mentioned to Jack, I said,
“Jack, when I swing around for them to load him into the truck up
there, well, I’ll hit you on the knee, if--and would you get out of the
way?”
And Jack said, “Yes.” So--this all took place so quick from now on. And
then after I got through talking with Jack, I was--Tom was trying to
attract my attention. I happened to glance up and this was at the same
time the car drove out of the--I’m not sure. I couldn’t--that right
down where the ramp it hit--the----
Mr. HUBERT. Level part?
Mr. TURNER. Level part. I saw Mr. Ruby coming in.
Mr. HUBERT. Now, had you ever seen him before?
Mr. TURNER. No, sir; I certainly hadn’t. Let me mark “10” as the point
where I actually saw Mr. Ruby.
Mr. HUBERT. Now, in order to get it right, would you look at the mockup
first, and then place it.
Mr. TURNER. I was right here [indicating], and he was somewhere in this
locality when--it is beyond the second column.
Mr. HUBERT. Will you mark a line, and mark it “A” and “B” straight
across at the beginning on the right?
Mr. TURNER. All right.
Mr. HUBERT. Now, you have marked a line, having compared it with the
mockup, and you have marked it “A-B”.