Mr. HUBERT. Sunday.
Mr. RIGGS. Sunday, no, sir.
Mr. HUBERT. Had you worked on Saturday?
Mr. RIGGS. No, sir; I don’t believe I worked that Saturday.
Mr. HUBERT. Had you worked on Friday night until Saturday morning?
Mr. RIGGS. Yes, sir; I was absent, actually, I worked, you know--it is
my regular work through--weekly day from 6 until 2:45, and like I say,
if you work weekends, usually work from 7 until 3. Actually, from 6
and--until 3. Usually come in a little earlier at various times, but
this day I believe I came in at 7.
Mr. HUBERT. What I mean is that on Saturday, the day before this day,
did you work your regular hours or----
Mr. RIGGS. I’m trying to think, because we had quite a bit of work that
weekend, because actually, we had quite a few people over in the other
building. They sent different ones. Only time I remember is--that day
I don’t know whether I worked that night before then, because I had
worked quite a bit on that weekend, too.
Mr. HUBERT. Now, for the purposes of identification, I’m going to mark
a document which purports to be a photostatic copy of a sign-in sheet.
Mr. RIGGS. Yes, sir.
Mr. HUBERT. Of porters and maids at the city hall on November 24, 1963,
as follows: “Dallas, Texas, April 1, 1964. Exhibit No. 5128, deposition
of Alfreadia Riggs.” I am signing my name, and then another document
also purporting to be sign-in sheet for the city hall porters and
maids, dated November 23, 1963, and I am marking that at the bottom,
“Dallas, Texas, April 1, 1964. Exhibit 5128-A, Deposition of Alfreadia
Riggs.” I am signing my name on it. Now, I will ask you to look at this
document that has been marked Exhibit 5128, and see if your name is on
it in print, and if your handwriting is on that document?
Mr. RIGGS. Yes, sir.
Mr. HUBERT. Is that your--next to your printed name is that your
signature?
Mr. RIGGS. Yes, sir.
Mr. HUBERT. And the two columns that appear, “Sign in 7 a.m.,” “Sign
out 5:30 p.m.”--no, 3 p.m., is that your handwriting, too?
Mr. RIGGS. Yes, sir.
Mr. HUBERT. Both of those?
Mr. RIGGS. Yes.
Mr. HUBERT. Now, look at the document marked 5128-A. Next to your
printed name I see A.R., those are your initials?
Mr. RIGGS. That’s right.
Mr. HUBERT. Now, there is a sign-in 11 p.m., and a sign-out at 7 a.m.,
does that mean you went on duty at 11 o’clock on that Saturday night,
and got off at 7 o’clock in the morning, Sunday, or does it mean you
signed in at 11 o’clock on Friday night and got off at 7 o’clock on
Saturday morning?
Mr. RIGGS. This, I believe I worked that night.
Mr. HUBERT. Which night?
Mr. RIGGS. When it says--Saturday, 23.
Mr. HUBERT. Until Sunday morning?
Mr. RIGGS. Until Sunday morning. That is when I was signing out, and I
worked right on through that Sunday.
Mr. HUBERT. In other words, you didn’t go home at all?
Mr. RIGGS. No, sir; not until 3 p.m.
Mr. HUBERT. So, what it amounts to is that you started at 11 o’clock
Saturday night and carried clean on through until that Sunday, but you
signed in and signed out twice?
Mr. RIGGS. We usually have to do that on two different sheets.
Mr. HUBERT. Now, you were assigned particularly to what location?
Mr. RIGGS. Well, just 11--from 11 to 7, it was on the elevators.
Mr. HUBERT. Yes.
Mr. RIGGS. From 11 o’clock that night until 7 o’clock the next morning
I was on the elevators, and then on this other deal, from 7 until 3 was
cleaning up the Police and Courts Building.
Mr. HUBERT. Now, when you got off the elevator at 7 o’clock, who
relieved you?
Mr. RIGGS. McKinzie, I believe.
Mr. HUBERT. Louis McKinzie?
Mr. RIGGS. Yes, sir.
Mr. HUBERT. When did you finish cleaning up the police building?
Mr. RIGGS. Well, we never did finish cleaning it up, because after the
incident came about----
Mr. HUBERT. After Oswald was shot, you mean?
Mr. RIGGS. There was so much disturbance in the halls, actually, I was
never able to get back over there in the building to clean it up.
Mr. HUBERT. Were you in the municipal building at any time during the
24th?
Mr. RIGGS. Yes, sir.
Mr. HUBERT. I am not talking about the police building, I am talking
about the municipal building?
Mr. RIGGS. Yes, sir.
Mr. HUBERT. Did you do any work in the municipal building?
Mr. RIGGS. No, sir.
Mr. HUBERT. How did you get from the municipal building to--no, from
the police building where you were working to the municipal building?
Mr. RIGGS. Well, I came down through the basement. It wasn’t--trying to
think all who were down in the basement. We was all standing around.
It was Harold, Gill, Kelly, and if I’m not mistaken, I think Pierce
all standing around in the basement, and the police was searching the
rafters and checking the cars for guns and things, and finally whenever
sergeant--actually I don’t know exactly his name--gave orders for them
to clear out everybody in the basement down there, so, we got on the
elevator and went to the first floor in order to look out the door.
We--to see when they got him out to the ramp.
Mr. HUBERT. Yes.
Mr. RIGGS. I think Servance had opened up the front door in the
municipal building, and we was standing between--which it has two
doors, one stays locked all the time, and one stays open because they
have a meter where people put their water deposits in a little box. He
had opened the doors on the inside, and we was standing between the two
doors.
Mr. HUBERT. Which doors are you talking about?
Mr. RIGGS. On Commerce Street side.
Mr. HUBERT. Who opened that door?
Mr. RIGGS. Servance.
Mr. HUBERT. Servance. Now, what other entrances are there to the first
floor of the municipal building?
Mr. RIGGS. How many entrances?
Mr. HUBERT. Yes; how can you get into it?
Mr. RIGGS. Well, we have one that leaves from the first floor to the
Police and Courts Building, which it stays shut over the weekend, or on
the weekend.
Mr. HUBERT. Sort of a metal gate?
Mr. RIGGS. Yes, sir.
Mr. HUBERT. Swinging gate like an accordion. It swings out and blocks
the corridor that runs between the two buildings?
Mr. RIGGS. Yes, sir.
Mr. HUBERT. Was that open or closed?
Mr. RIGGS. Closed.