The testimony of Andrew Armstrong, Jr., was taken at 9:12 a.m., on
April 16, 1964, in the office of the U.S. attorney, 301 Post Office
Building, Bryan and Ervay Streets, Dallas, Tex., by Mr. Leon D. Hubert,
Jr., assistant counsel of the President’s Commission.
Mr. HUBERT. Mr. Armstrong, you recall that day before yesterday we
recessed the taking of your deposition because it was getting late in
the day?
Mr. ARMSTRONG. Yes.
Mr. HUBERT. And we made an appointment to continue it today at 1:30,
but that was changed again to 9 o’clock?
Mr. ARMSTRONG. That’s right.
Mr. HUBERT. That’s satisfactory with you?
Mr. ARMSTRONG. Yes.
Mr. HUBERT. Now, you understand that what we are going to do today is
simply a continuation of the deposition that was begun the other day;
you understand that?
Mr. ARMSTRONG. Yes.
Mr. HUBERT. That I am acting under the same authority, that you are
here in the same way that you were here before, and that you are under
the same oath that you were under when you testified before?
Mr. ARMSTRONG. Yes.
Mr. HUBERT. Except there has been a recess just like there was on
Tuesday when we recessed for lunch?
Mr. ARMSTRONG. Yes.
Mr. HUBERT. Only this recess has been a little longer?
Mr. ARMSTRONG. Right.
Mr. HUBERT. Mr. Armstrong, when we left off the other day, you
had been examining a number of pictures which had been marked for
identification as Exhibit 5303, and I believe that you had examined all
of the pictures in that series except those marked for identification
as Exhibits 5303-J, K, L, and M. Now, I show you, first of all, the
picture identified as Exhibit 5303-J, and ask you if you recognize what
place is pictured there?
Mr. ARMSTRONG. That’s the Carousel Club.
Mr. HUBERT. Do you recognize anybody in that picture?
Mr. ARMSTRONG. I recognize the girl standing on the stage.
Mr. HUBERT. You mean the girl with the dark skirt, light sweater, and
with long tresses?
Mr. ARMSTRONG. Yes.
Mr. HUBERT. The picture shows only the back of her?
Mr. ARMSTRONG. Right.
Mr. HUBERT. In other words, she is right back of the microphone?
Mr. ARMSTRONG. Yes.
Mr. HUBERT. Who is that girl?
Mr. ARMSTRONG. Tammi True.
Mr. HUBERT. Who is the man just in front of her, right in the center of
the picture, leaning over?
Mr. ARMSTRONG. That’s a customer; I don’t know who he is.
Mr. HUBERT. You don’t know who he was?
Mr. ARMSTRONG. No.
Mr. HUBERT. Had you ever seen him before?
Mr. ARMSTRONG. No.
Mr. HUBERT. Do you recognize anybody else in that picture?
Mr. ARMSTRONG. Just the M.C. standing back by the girl, but I can’t
recall his name.
Mr. HUBERT. When you say “the M.C.,” you are, referring to the person
in that picture whose head stands between Tammi True and the customer
you have identified and actually right above the top of the microphone?
Mr. ARMSTRONG. Yes.
Mr. HUBERT. He was an M.C.?
Mr. ARMSTRONG. Yes.
Mr. HUBERT. You don’t know his name?
Mr. ARMSTRONG. I can’t recall.
Mr. HUBERT. Was that Wally Weston?
Mr. ARMSTRONG. No.
Mr. HUBERT. Who followed Wally Weston; do you know?
Mr. ARMSTRONG. Sal Vincent; he followed Wally Weston, and this guy
followed Sal Vincent.
Mr. HUBERT. It that Bill DeMar?
Mr. ARMSTRONG. No; I don’t think so.
Mr. HUBERT. Do you remember when Sal Vincent left?
Mr. ARMSTRONG. Sal was only there 2 or 3 weeks. In other words, you
could say the last part of--during the last part of September, I would
say.
Mr. HUBERT. That was Vincent, you say?
Mr. ARMSTRONG. Yes; Sal Vincent.
Mr. HUBERT. Then he left, you mean, in the last part of September?
Mr. ARMSTRONG. Yes.
Mr. HUBERT. He was there about 3 weeks?
Mr. ARMSTRONG. About 3 weeks.
Mr. HUBERT. And Wally Weston had been there before him?
Mr. ARMSTRONG. Right.
Mr. HUBERT. How long had Weston been there?
Mr. ARMSTRONG. Wally had been there since about June 1062.
Mr. HUBERT. In other words, he had been there about 15 months when he
left?
Mr. ARMSTRONG. Yes.
Mr. HUBERT. And he was following Sal Vincent?
Mr. ARMSTRONG. Yes.
Mr. HUBERT. And Sal Vincent stayed 3 weeks, until about the end of
September?
Mr. ARMSTRONG. Yes.
Mr. HUBERT. And this man you have identified as the M.C. in Exhibit
5303-J took his place?
Mr. ARMSTRONG. Yes.
Mr. HUBERT. And he stayed how long?
Mr. ARMSTRONG. He stayed about a month, I would say; he stayed about a
month.
Mr. HUBERT. Would you say that he stayed until about November 1 or
later?
Mr. ARMSTRONG. Yes; I would say he stayed about that.
Mr. HUBERT. And who followed him?
Mr. ARMSTRONG. Bill DeMar.
Mr. HUBERT. And how long did Bill stay--Bill DeMar stay?
Mr. ARMSTRONG. Bill DeMar stayed up until after the assassination.
Mr. HUBERT. And how long had Bill DeMar been there when the
assassination took place?
Mr. ARMSTRONG. 3 weeks--3 or 4 weeks, I guess.
Mr. HUBERT. You think that Bill DeMar came in there about the 1st of
November?
Mr. ARMSTRONG. Yes.
Mr. HUBERT. And that he took the place of Sal Vincent?
Mr. ARMSTRONG. Yes--no--no, he took the place of this man right here
[indicating picture].
Mr. HUBERT. That man?
Mr. ARMSTRONG. The man I can’t identify.
Mr. HUBERT. He took the place of the man whose name you can’t remember,
in Exhibit 5303-J, but whose name you don’t remember?
Mr. ARMSTRONG. Yes.
Mr. HUBERT. If you do happen to remember his name a little later on,
will you interrupt me and tell us about it?
Mr. ARMSTRONG. All right.
Mr. HUBERT. Do you recognize anybody else in that picture, identified
as Exhibit 5303-J?
Mr. ARMSTRONG. No.
Mr. HUBERT. All right, then I show you a picture which has been marked
for identification as Exhibit 5303-K, and I ask you to look at it.
Mr. ARMSTRONG. All right [examining instrument referred to].
Mr. HUBERT. Do you know what the place is?
Mr. ARMSTRONG. Well, that’s the club--I’m sure of that--I’m sure that
that is the Carousel Club.
Mr. HUBERT. Do you recognize anybody in it at all?
Mr. ARMSTRONG. Yes; the waitress in the upper right-hand corner.
Mr. HUBERT. The waitress in the far background in the upper right-hand
corner, whose profile can be seen, and also her left arm--she seems to
have a white blouse on, right?
Mr. ARMSTRONG. Yes.
Mr. HUBERT. She is standing by a picture frame or a window or
something, correct?
Mr. ARMSTRONG. Yes.
Mr. HUBERT. Who is that?
Mr. ARMSTRONG. That’s our little Margie--her name is Margie.
Mr. HUBERT. Margie what?
Mr. ARMSTRONG. Margie Norman.
Mr. HUBERT. Do you recognize anybody else?
Mr. ARMSTRONG. No.
Mr. HUBERT. I’m marking with an arrow, which I am placing my initials
on, and I ask you to place your initials on next to that arrow too, and
the arrow points to a man about in the center of the picture at the
bottom, and he has on what appears to be a grayish checked shirt--you
can see him by profile--he parts his hair on his left side. Do you know
who that man is?
Mr. ARMSTRONG. No.
Mr. HUBERT. Have you ever seen him before?
Mr. ARMSTRONG. No.
Mr. HUBERT. And you recognize nobody else in the picture?
Mr. ARMSTRONG. No.
Mr. HUBERT. Now, I show you pictures marked for identification as
Exhibits 5303-L, and ask you if you recognize the place, first?
Mr. ARMSTRONG. It’s the Carousel Club.
Mr. HUBERT. Who is on the stage holding the mike?
Mr. ARMSTRONG. Jack Ruby.
Mr. HUBERT. Who else is in the picture that you recognize?
Mr. ARMSTRONG. No one else.
Mr. HUBERT. I show you another picture which has been identified as
Exhibit 5303-M, and ask you first if you can identify the place?
Mr. ARMSTRONG. Yes.
Mr. HUBERT. Who is the man on the stage holding the mike?
Mr. ARMSTRONG. Jack Ruby.
Mr. HUBERT. Do you recognize anybody else in the picture?
Mr. ARMSTRONG. No.
Mr. HUBERT. Now, I show you a picture which has been marked for
identification as Exhibit 5304-A and ask you to look at that picture
and tell us, first of all, if you recognize the place?
Mr. ARMSTRONG. No, I don’t.
Mr. HUBERT. Is it the Carousel Club?
Mr. ARMSTRONG. No.
Mr. HUBERT. How do you know it is not the Carousel; how do you
distinguish it from the Carousel?
Mr. ARMSTRONG. Well, the whole picture--it’s definitely not the
Carousel.
Mr. HUBERT. Did the Carousel have that kind of furniture?
Mr. ARMSTRONG. No.
Mr. HUBERT. Did it have a bar?
Mr. ARMSTRONG. Yes.
Mr. HUBERT. Did it have a bar with liquor bottles on it like that one
does?
Mr. ARMSTRONG. No.
Mr. HUBERT. Did it have chandeliers like that?
Mr. ARMSTRONG. No.
Mr. HUBERT. Do you recognize any person in that picture?
Mr. ARMSTRONG. No, I sure don’t.
Mr. HUBERT. Do you know the man sitting at the table in the foreground
of the picture who is being served a drink by a girl in costume?
Mr. ARMSTRONG. No.
Mr. HUBERT. Have you ever seen him at the Carousel?
Mr. ARMSTRONG. I don’t remember him.
Mr. HUBERT. Have you ever seen him anywhere?
Mr. ARMSTRONG. No.
Mr. HUBERT. What about the girl who is serving him the drink, do you
recognize her?
Mr. ARMSTRONG. No.
Mr. HUBERT. You have never seen her any place?
Mr. ARMSTRONG. No.
Mr. HUBERT. Now, do you see a man in the picture near the bar who
appears to be the bartender?
Mr. ARMSTRONG. No.
Mr. HUBERT. You mean you don’t see him?
Mr. ARMSTRONG. I see him, but I can’t see him too clear--I don’t
recognize him.
Mr. HUBERT. Did you know a man by the name of Mike Ryan?
Mr. ARMSTRONG. Yes.
Mr. HUBERT. Is that Mike Ryan?
Mr. ARMSTRONG. No.
Mr. HUBERT. You are certain that it is not Mike Ryan?
Mr. ARMSTRONG. Positive.
Mr. HUBERT. Who was Mike Ryan?
Mr. ARMSTRONG. He was just a--he came in--the first time I ever met him
he was with Jack, and he was sort of a lone wolf sort of on the go all
the time.
Mr. HUBERT. Did he come around the Carousel very much?
Mr. ARMSTRONG. At one time--I would say it was within a period of a
couple of weeks he was around there quite often.
Mr. HUBERT. When was that period of a couple of weeks that he came
around there very often?
Mr. ARMSTRONG. I don’t recall--it was during last summer.
Mr. HUBERT. You mean the summer of 1963?
Mr. ARMSTRONG. Yes.
Mr. HUBERT. Would it have been when Wally Weston was there?
Mr. ARMSTRONG. It was when Wally Weston was there.
Mr. HUBERT. Did he come after that?
Mr. ARMSTRONG. Yes.
Mr. HUBERT. But not as often?
Mr. ARMSTRONG. No.
Mr. HUBERT. Did you ever hear of Ruby and him discussing anything?
Mr. ARMSTRONG. Yes, I guess, business.
Mr. HUBERT. What was that?
Mr. ARMSTRONG. They were discussing business.
Mr. HUBERT. They were discussing business?
Mr. ARMSTRONG. Jack was always discussing some kind of business with
somebody--he always had some kind of idea about another club or another
kind of business.
Mr. HUBERT. Do you know what kind of business he was discussing with
the man you have named as Mike Ryan?
Mr. ARMSTRONG. A private club.
Mr. HUBERT. You heard such a conversation?
Mr. ARMSTRONG. Yes.
Mr. HUBERT. You mean another private club in addition to the Carousel?
Mr. ARMSTRONG. Well, the Carousel wasn’t a private club.
Mr. HUBERT. Oh, I see; so in other words, the thought was to open a
private club?
Mr. ARMSTRONG. Just talk though.
Mr. HUBERT. And talk is all you would know about?
Mr. ARMSTRONG. Yes. I mean--it was just one of Jack’s wild ideas,
that’s all.
Mr. HUBERT. Why do you characterize it as a wild idea?
Mr. ARMSTRONG. Well, he always had these ideas--it was something this
day and something the next day.
Mr. HUBERT. But the only reason you are saying this was a wild idea is
because you are thinking it was like some of his other wild ideas?
Mr. ARMSTRONG. Yes.
Mr. HUBERT. But other than that you don’t know whether it was a wild
idea or not?
Mr. ARMSTRONG. No.
Mr. HUBERT. Do you know of any other business between Ryan and Ruby?
Mr. ARMSTRONG. No; no more.
Mr. HUBERT. Did they go out socially?
Mr. ARMSTRONG. Not that I know of.
Mr. HUBERT. Have you seen Ryan since the assassination?
Mr. ARMSTRONG. Yes.
Mr. HUBERT. Where?
Mr. ARMSTRONG. Well, he came up to the club a couple of times and I saw
him the day he left for California, at least that’s where he told me he
was going.
Mr. HUBERT. When was that?
Mr. ARMSTRONG. It must have been around the first of December.
Mr. HUBERT. You mean it was right after Oswald was shot?
Mr. ARMSTRONG. Yes.
Mr. HUBERT. You haven’t seen him since?
Mr. ARMSTRONG. No.
Mr. HUBERT. Did he tell you what business he had in California?
Mr. ARMSTRONG. No, he didn’t.
Mr. HUBERT. How many times after Oswald was shot do you suppose you saw
Ryan in the Carousel?
Mr. ARMSTRONG. A couple of times, oh, two or three times.
Mr. HUBERT. Did he talk to you about Ruby and what had happened?
Mr. ARMSTRONG. Yes; no more than anybody else did. He said, everybody
would always ask me, “What’s wrong with your boss?” And he said the
same thing.
Mr. HUBERT. Did you know a man by the name of Tommy, who used to go out
with Joy Dale, kind of a boy friend of hers?
Mr. ARMSTRONG. A baseball player?
Mr. HUBERT. I don’t know.
Mr. ARMSTRONG. Well, there was a guy that used to bring her to work
sometime, so she said, but I never saw him, and he came up and
worked--handled the door sometimes for Jack, he did, and they would
always sit down and talk together--he and Joy Dale.
Mr. HUBERT. Now, after Oswald was shot and you remained on, and Mr.
Paul began to operate the club, did Mr. Paul get anybody to handle the
front door?
Mr. ARMSTRONG. Leo Torti handled the front door most of the time.
Mr. HUBERT. How old a man was he?
Mr. ARMSTRONG. I take he was in his late forties.
Mr. HUBERT. Did he have a little gray in his hair?
Mr. ARMSTRONG. A little gray.
Mr. HUBERT. He handled the door?
Mr. ARMSTRONG. He handled the door.
Mr. HUBERT. Did you ever see him and this man Torti we are talking
about sitting together?
Mr. ARMSTRONG. Yes; Tommy always sat close to the door.
Mr. HUBERT. He handled the door sometimes himself?
Mr. ARMSTRONG. Sometimes; himself.
Mr. HUBERT. All right. I show you a picture that has been identified
as Exhibit 5304-B and ask you if you can recognize the place that is
pictured in there?
Mr. ARMSTRONG. No.
Mr. HUBERT. Is it the Carousel?
Mr. ARMSTRONG. No; it is not.
Mr. HUBERT. Do you know any of the people who are pictured in that
picture?
Mr. ARMSTRONG. No; I sure don’t.
Mr. HUBERT. Now, I will show you a group of photographs which have been
identified as follows: “Dallas, Texas, April 14, 1964, Deposition of
Andrew Armstrong, Exhibit 5305-A through 5305-S.”
All of these also bear an Exhibit No. 5225, April 10, 1964, deposition
of C. L. Crafard, and I will ask you to look at them, starting with
Exhibit A and see if you recognize what those pictures show?
Mr. ARMSTRONG [examining pictures referred to]. This picture here
shows----
Mr. HUBERT. That’s the first one, and that is Exhibit 5305-A, is it not?
Mr. ARMSTRONG. It shows the back of a 10-cent notebook.
Mr. HUBERT. The back of whose notebook?
Mr. ARMSTRONG. Well, I can’t identify that because I don’t know--it
could be anybody’s notebook.
Mr. HUBERT. It appears to you to be a 10-cent notebook, because it says
“10 cents” on the front of it?
Mr. ARMSTRONG. Right.
Mr. HUBERT. Did you ever see a book which had a back and front like
that which appears in the picture, Exhibit 5305-A?
Mr. ARMSTRONG. Yes.
Mr. HUBERT. Where?
Mr. ARMSTRONG. Lots of places.
Mr. HUBERT. Did you ever see any at the Carousel?
Mr. ARMSTRONG. Yes.
Mr. HUBERT. Did you ever see any in Jack Ruby’s possession?
Mr. ARMSTRONG. Yes.
Mr. HUBERT. Did Jack Ruby have one that had a back and front like the
one in the picture, Exhibit 5305-A?
Mr. ARMSTRONG. No.
Mr. HUBERT. He did not?
Mr. ARMSTRONG. No.
Mr. HUBERT. You mean he did not, or you don’t know?
Mr. ARMSTRONG. Well, he could have--I never saw it.
Mr. HUBERT. You never saw it?
Mr. ARMSTRONG. No, sir.
Mr. HUBERT. Now, would you look at the rest of those pictures, just
taking them as they are and putting them face down, and see if you
recognize any of the writings or names or anything else in those
pictures?
Mr. ARMSTRONG. This is Jack’s handwriting.
Mr. HUBERT. You recognize Jack’s handwriting--in which ones?
Mr. ARMSTRONG. In all of them that I have seen.
Mr. HUBERT. That’s in all of them that you have seen so far?
Mr. ARMSTRONG. Yes.
Mr. HUBERT. Now, at the time you made the remark that you recognized
Jack’s handwriting, I think you were on the picture that is identified
as Exhibit 5305-B. You had also looked at Exhibit 5305-C?
Mr. ARMSTRONG. Yes.
Mr. HUBERT. Now I ask you to look at the whole bunch and tell us if
they are in Jack’s handwriting or not?
(Mr. Armstrong examines instruments referred to.)
Mr. HUBERT. Now, you’ve gone through the whole series of photographs
and, which are photographs of pages of books that have been identified
as Exhibit 5305-A through Exhibit 5305-S, and I ask you if you can tell
us whose handwriting is in those books?
Mr. ARMSTRONG. It appears to me that it is Jack’s handwriting.
Mr. HUBERT. There’s a lot of it that is in print, isn’t there?
Mr. ARMSTRONG. Yes.
Mr. HUBERT. Do you recognize that?
Mr. ARMSTRONG. Especially the print.
Mr. HUBERT. His print--you recognize his prints?
Mr. ARMSTRONG. We both printed more than we wrote.
Mr. HUBERT. You have seen his print before?
Mr. ARMSTRONG. Yes.
Mr. HUBERT. It’s your opinion that that is his print?
Mr. ARMSTRONG. Yes.
Mr. HUBERT. Did you ever see the book before--the original of which
these exhibits are pictures?
Mr. ARMSTRONG. No; he always had a little notebook, but it was one that
opened--not to pull the page up, but opened just like a regular book,
you know, a little small book about 2 inches by 1½ inches--just a very
little small book.
Mr. HUBERT. Now, as you went through these pictures, Exhibits 5305-A
through 5305-S, did you recognize any names or numbers or addresses?
Mr. ARMSTRONG. Well, I saw Little Lynn’s name there and I saw Tom
Palmer’s name.
Mr. HUBERT. Tom who?
Mr. ARMSTRONG. Tom Palmer.
Mr. HUBERT. Who is Tom Palmer?
Mr. ARMSTRONG. He’s one of the union agents--he was the Dallas union
agent for the AGVA.
Mr. HUBERT. Do you recognize any other names?
Mr. ARMSTRONG. I wasn’t looking at the names--just mostly handwriting.
Mr. HUBERT. Perhaps you had better go through and look at them with the
names in mind and take them one by one and tell us any names you can
recognize in anyway.
The first one is Exhibit 5305-A, and that’s the cover. No. 5305-B is
the one--now, if you recognize anything, stop so that we can identify
the exhibit number of the picture that you recognize.
Mr. ARMSTRONG. I recognize the name “Vegas Club” on the top of that.
Mr. HUBERT. You are talking about Exhibit 5305-D. Is there any
significance to you other than that you recognize the name “Vegas Club”
on that exhibit?
Mr. ARMSTRONG. Just that they have some figures there for tax, which is
the usual procedure of putting them down--the usual way.
Mr. HUBERT. Just go on and if you have no recognition of any picture,
just pass it without comment.
Mr. ARMSTRONG. I recognize the print on this as excise tax for the
Carousel Club.
Mr. HUBERT. What exhibit are you talking about--is that Exhibit 5305-H?
Mr. ARMSTRONG. Yes, sir.
Mr. HUBERT. Any significance to that recognition other than you
recognize this, sir?
Mr. ARMSTRONG. I recognize what it means--I recognize the name Tom
Palmer and his home phone number.
Mr. HUBERT. Your comment is directed to Exhibit 5305-H, is that correct?
Mr. ARMSTRONG. Yes; I recognize the name Bro. Bear.
Mr. HUBERT. You are referring to Exhibit 5305-M, and you recognize a
name on it?
Mr. ARMSTRONG. Bro. Bear.
Mr. HUBERT. [Spelling.] “B-r-o. B-e-a-r” and underneath that is
“Service” and then there is a telephone number--LA 8-1767.”
What do you recognize about that?
Mr. ARMSTRONG. Just the name Bro. Bear.
Mr. HUBERT. Who was he?
Mr. ARMSTRONG. He was an entertainer at the Vegas Club.
Mr. HUBERT. What kind of entertainment did he do?
Mr. ARMSTRONG. I think he sings and he played some instrument--I don’t
know which.
Mr. HUBERT. Was he ever at the Carousel?
Mr. ARMSTRONG. No.
Mr. HUBERT. I see a name on that same Exhibit 5305-M, “Bertha Cheek,”
do you recognize that name?
Mr. ARMSTRONG. No.
Mr. HUBERT. You don’t know of any person by that name?
Mr. ARMSTRONG. No.
Mr. HUBERT. I also see on this same Exhibit No. 5305-M at the bottom of
the page, Bob Litchfield [spelling] L-i-t-c-h-f-i-e-l-d.
Mr. ARMSTRONG. I have heard the name but I don’t know who it is.
Mr. HUBERT. Whose handwriting is that entry in?
Mr. ARMSTRONG. Whose handwriting is that in--I’m not going to say that
that’s Jack’s, because his handwriting--I can’t tell too much about
that.
Mr. HUBERT. You can’t be sure that that’s Jack’s handwriting?
Mr. ARMSTRONG. No; not the writing, but the printing I could--if it was
printing I could--the numbers look like it.
Mr. HUBERT. Do you know who Bob Litchfield was?
Mr. ARMSTRONG. Bob Litchfield; Bob Littlefield.
Mr. HUBERT. Littlefield; it is?
Mr. ARMSTRONG. Yes.
Mr. HUBERT. Oh, I’m sorry--I was reading it wrong--perhaps that is
right, this says [spelling] L-i-c-h-f-i-e-l-d.
Mr. ARMSTRONG. That’s a magazine--let’s see--I don’t know. It was the
“Around Town” magazine, I think it was the Littlefield “Around Town”
magazine.
Mr. HUBERT. That was a man called Bob Littlefield?
Mr. ARMSTRONG. Yes.
Mr. HUBERT. And you read the name here at the bottom of the page as
“Littlefield”. Let’s put it this way--you have already told us about
a man named Bob Littlefield--what do you know about a man named Bob
Lichfield here?
Mr. ARMSTRONG. Nothing.
Mr. HUBERT. Nothing at all; you never heard of him?
Mr. ARMSTRONG. No.
Mr. HUBERT. Would it make any difference to you that he might have been
known as Bill Lichfield?
Mr. ARMSTRONG. No.
Mr. HUBERT. You didn’t know a Bill Lichfield?
Mr. ARMSTRONG. No.
Mr. HUBERT. All right; go on.
Mr. ARMSTRONG. No; I recognize the man--I recognize the name “Little
Lynn.”
Mr. HUBERT. You are talking about Exhibit 5305-S?
Mr. ARMSTRONG. And it has her phone number.
Mr. HUBERT. You say you recognize “Little Lynn,” you have already
testified about her, I believe?
Mr. ARMSTRONG. Yes.
Mr. HUBERT. Now, I show you two pictures that have been marked for
identification as Exhibits 5306-A and 5306-B, each of which purports to
be pictures of three memo slips, and ask you if you recognize them?
Mr. ARMSTRONG. No; I can’t.
Mr. HUBERT. Do you know whose handwriting they are in?
Mr. ARMSTRONG. It doesn’t look like Jack’s handwriting.
Mr. HUBERT. Do you recognize any names or telephone numbers on those
memo slips?
Mr. ARMSTRONG. No.
Mr. HUBERT. You have looked at all six of them?
Mr. ARMSTRONG. Yes.
Mr. HUBERT. Have you read the messages that each contained?