Pete Hamill's Eyewitness Account of Robert Kennedy's Assassination
Two Minutes to Midnight: The Very Last Hurrah
by Pete Hamill
LOS ANGELES -- It was, of course, two minutes to midnight an the Embassy Room of the Ambassador Hotel was rowdy with triumph. Red and blue balloons drifted up through three golden chandeliers to bump against a gilded ceiling. Young girls with plastic Kennedy boaters chanted like some lost reedy chorus from an old Ray Charles record. The crowd was squashed against the bandstand, a smear of black faces and Mexican-American faces and bearded faces and Beverly Hills faces crowned with purple hair. Eleven tv cameras were turning, their bright blue arclights changing the crowd into a sweaty stew. Up on the bandstand, with his wife standing just behind him, was Robert Kennedy.
"I'd like to express my high regard for Don Drysdale," Kennedy said.
Drysdale had just won his sixth straight shutout. "I hope we have his support in this campaign." There was a loud cheer. He thanks Rafer Johnson and Rosey Grier (cheers) and Jesse Unruh (timid cheer) and Cesar Chavez (very loud cheer), and he thanked the staff and the volunteers and the voters, and the crowd hollared after every sentence. It was the sort of scene that Kennedys have gone through a hundred times and more: on this night, at least, it did not appear that there would be a last hurrah. Kennedy had not scored a knockout over Eugene McCarthy; but a points decision at least would keep his campaign going.
"I thank all of you," Kennedy was saying. "Mayor Yorty has just sent a message that we have been here too long already" (laughter). "So my thanks to all of you, and now it's on to Chicago..."
I was at the rear of the stand, next to George Plimpton. Kennedy put his thumb up to the audience, brushed his hair, made a small V with his right hand, and turned to leave. The crowd started shouting: "We want Bobby! We want Bobby!" Plimpton and I went down three steps, and turned left through a gauntlet of Kennedy volunteers and private cops in brown uniforms.
We found ourselves in a long grubby area called the pantry. It was the sort of place where Puerto Ricans, blacks and Mexican-Americans usually work to fill white stomachs. There were high bluish fluorescent lights strung across the ceiling, a floor of raw sandy-colored concrete, pale dirty walls. On the right were a rusty ice machine and shelves filled with dirty glasses. On the left, an archway led into the main kitchen and under the arch a crowd of Mexican American cooks and busboys waited to see Kennedy. Against the left wall, three table-sized serving carts stood end to end, and at the far end were two doors leading to the press room where Kennedy was going to talk to reporters.
Kennedy moved slowly into the area, shaking hands, smiling, heading a platoon of reporters, photographers, staffers, the curious, tv men. I was in front of him, walking backward. I saw him turn to his left and shake the hand of a small Mexican cook. We could still hear the chants of "We want Bobby!" from the Embassy Room. The cook was smiling and pleased.
Then a pimply messenger arrived from the secret filthy heart of America. He was curly haired, wearing a pale blue sweatshirt and bluejeans, and he was planted with his right foot forward and his right arm straight out and he was firing a gun.
The scene assumed a kind of insane fury, all jump cuts, screams, noise, hurtling bodies, blood. The shots went pap-pap-pap-pap-pap, small sharp noises like a distant firefight or the sound of firecrackers in a backyard. Rosey Grier of the Los Angeles Rams came from nowhere and slammed his great bulk into the gunman, crunching him against a serving table. George Plimpton grabbed the guy's arm, and Rafer Johnson moved to him, right behind Bill Barry, Kennedy's friend and security chief, and they were all making deep animal sounds and still the bullets came.
"Get the gun, get the gun."
"Rafer, get the gun!"
"Get the fucking gun!"
"No," someone said. And you could hear the stunned horror in the voice, the replay of odd scenes, the muffle of drums. "No. No. Nooooooooooo!"
We knew then that America had struck again. In this slimy little indoor alley in the back of a gaudy ballroom, in this shabby reality behind the glittering facade, Americans were doing what they do best: killing and dying, and cursing because hope doesn't last very long among us.
I saw Kennedy lurch against the ice machine, and then sag, and then fall forward slowly, to be grabbed by someone, and I knew then that he was dead. He might linger a few hours, or a few days; but his face reminded me somehow of Benny Paret the night Emile Griffith hammered him into unconsciousness. Kennedy's face had a kind of sweet acceptance to it, the eyes understanding that it had come to him, the way it had come to so many others before him. the price of the attempt at excellence was death. You saw a flicker of that understanding on his face, as his life seeped out of a hole in the back of his skull, to spread like spilled wine across the scummy concrete floor.
It was as if all of us there went simultaneously insane: a cook was screaming, "Kill him, kill him now, kill him, kill him!" I tried to get past Grier, Johnson, Plimpton and Barry to get at the gunman. The Jack Ruby in me was rising up, white, bright, with a high-singing sound in the ears, and I wanted to damage that insane little bastard they were holding. I wanted to break his face, to rip away flesh, to hear bone break as I pumped punches into that pimpled skin. Budd Schulberg was next to me; I suppose he was trying to do the same. Just one punch. Just one for Dallas. Just one for Medgar Evers, just one for Martin Luther King. Just one punch. Just one. One.
Kennedy was lying on the floor, with black rosary beads in his hand, and blood on his fingers. His eyes were still open, and as his wife Ethel reached him, to kneel in an orange-and-white dress, his lips were moving. We heard nothing. Ethel smoothed his face, running ice cubes along his cheeks. There was a lot of shouting, and a strange chorus of high screaming. My notes showed that Kennedy was shot at 12.10 and was taken out of that grubby hole at 12.32. It seemed terribly longer.
I don't remember how it fits into the sequence, but I do have one picture of Rosey Grier holding the gunman by his neck, choking life out of him.
"Rosey, Rosey, don't kill him. We want him alive. Don't kill him, Rosey, don't kill him."
"Kill the bastard, kill that sum of a bitch bastard," a Mexican busboy yelled.
"Don't kill him, Rosey."
"Where's the doctor? Where in Christ's name is the doctor?"
Grier decided not to kill the gunman. They had him up on a serving table at the far end of the pantry, as far as they could get him from Kennedy. Jimmy Breslin and I were standing up on the table, peering into the gunman's face. His eyes were rolling around, and then stopping, and then rolling around again. The eyes contained pain, flight, entrapment, and a strange kind of bitter endurance. I didn't want to hit him anymore.
"Where the fuck is the doctor? Can't they get a fucking doctor?"
"Here comes a doctor, here's a doctor."
Kennedy was very still now. There was a thin film of blood on his brow. They had his shoes off and his shirt open. The stretcher finally arrived, and he trembled as they lifted him, his lips moved, and the flashbulbs blinked off one final salvo and he was gone.
The rest was rote: I ran out out into the lobby and picked up my brother Brian and we rushed to the front entrance. A huge black man, sick with grief and anger and bitterness, was throwing chairs around. Most landed in the pool. The young Kennedy girls were crying and wailing, knowing, I suppose, what the guys my age discovered in Dallas: youth was over. "Sick," one girl kept saying. "Sick. Sick. What kind of country is this? Sick. Sick." Outside, there were cops everywhere, and sirens. The cops were trying to get one of the wounded into a taxi. The cabbie didn't want to take him, afraid, I suppose, that blood would sully his nice plastic upholstery.
When we got through the police barricades, we drove without talk to the Hospital of the Good Samaritan, listening to the news on the radio. The unspoken thought was loudest: the country's gone. Medgar Evers was dead, Malcolm x was dead, Martin Luther King was dead, Jack Kennedy was dead, and now Robert Kennedy was dying. The hell with it. The hatred was now general. I hated that pimpled kid in that squalid cellar enough to want to kill him. He hated Kennedy the same way. That kid and the bitter Kennedy haters were the same. All those people in New York who hated Kennedy's guts, who said "eccch" when his name was mentioned, the ones who creamed over Murray Kempton's vicious diatribes these past few months: they were the same. When Evers died, when King died, when Jack Kennedy died, all the bland pundits said that some good would come of it in some way, that the nation would go through a catharsis, that somehow the bitterness, the hatred, the bigotry, the evil of racism, the glib violence would be erased. That was bullshit. We will have our four-day televised orgy of remorse about Robert Kennedy and then it will be business as usual.
You could feel that as we drove through the empty L.A. streets, listening to the sirens screaming in the night. Nothing would change. Kennedy's death would mean nothing. It was just another digit in the great historical pageant that includes the slaughter of Indians, the plundering of Mexico, the enslavement of black people, the humiliation of Puerto Ricans. Just another digit. Nothing would come of it. While Kennedy's life was ebbing out of him, Americans were dropping bombs and flaming jelly on Orientals. While the cops fingerprinted the gunmen, Senator Eastland's Negro subjects were starving. While the cops made chalk marks on the floor of the pantry, the brave members of the National Rifle Association were already explaining that people commit crimes, guns don't (as if Willie Mays could hit a homerun without a bat). These cowardly bums claim Constitutional rights to kill fierce deer in the forests, and besides, suppose the niggers come to the house and we don't have anything to shoot them with? Suppose we have to fight a nigger man-to-man?
America the Beautiful: with crumby little mini-John Waynes carrying guns to the woods like surrogate penises. Yes: the kid I saw shoot Kennedy was from Jordan, was diseased with some fierce hatred for Jews. Sam Yorty, who hated Kennedy, now calls Kennedy a great American and blames the Communists. Hey Sam: you killed him too. The gun that kid carried was American. The city where he shot down a good man was run by Sam Yorty. How about keeping your fat pigstink mouth shut.
At the approach to the Good Samaritan Hospital the cops had strung red flares across the gutter, and were stopping everyone. A crowd of about 75 people were on the corner when we arrived, about a third of them black. I went in, past those black people who must have felt that there was no white man at all with whom they could talk. A mob of reporters was assembling at the hospital entrance. The cops were polite, almost gentle, as if they sensed that something really had had happened, and that many of these reporters were friends of the dying man.
Most of the hospital windows were dark, and somewhere up there Robert Kennedy was lying on a table while strangers stuck things into his brain looking for a killer's bullet. We were friends, and I didn't want him to die but if he were to be a vegetable, I didn't want him to live either.
We drove home, through the wastelands around L.A. and the canyons through the mountains to the south. When I got home, my wife was asleep, the tv still playing out its record of the death watch. Frank Reynolds of ABC, a fine reporter and a compassionate man, was so upset he could barely control his anger. I called some friends and poured a drink. Later I talked to my old man, who came to this country from Ireland in flight from the Protestant bigots of Belfast 40 years ago. I suppose he loved John Kennedy even more than I did and he has never really been the same since Dallas. Now it had happened again.
"If you see Teddy," he said, "tell him to get out of politics. The Kennedys are too good for this country."
I remembered the night in 1964, in that bitter winter after John Kennedy's murder, when Robert Kennedy appeared at a St. Patrick's Day dinner in Scranton, Pennsylvania. He talked about the Irish, and the long journey that started on the quays of Wexford and ended in Parkland Hospital. He reminded them of the days when there were signs that said "No Irish Need Apply" (and it was always to his greatest dismay that so many sons of Irishmen he came across in New York were bigots and haters). Bob told them about Owen O'Neill, an Irish patriot whose ideals had survived his martyrdom. Men were crying as he read the old Irish ballad:
Oh, why did you leave us, Owen?
Why did you die?...
We're sheep without a shepherd,
When the snow shuts out the sky.
Oh, why did you leave us, Owen?
Why did you lie?
I didn't know. There was some sort of answer for John Kennedy, and another for Robert Kennedy. But I had learned that I knew nothing finally, that when my two young daughters present the bill to me in another 10 years, I won't have much to say. I sat there drinking rum until I was drunk enough to forget that pimpled face cracking off the rounds into the body of a man who was a friend of mine. Finally, easily, with the sun up, I fell asleep on the couch. I didn't have any tears left for America, but I suppose not many other Americans did either.
Andy Warhol Is Recovering
Andy Warhol is alive and feeling better. Since the artist and underground film-maker, who was shot and severely wounded a week ago Monday at his "Factory" on Union Square, is still in an intensive care unit at Columbus Hospital, doctors continue to list his condition as critical. Yet they report that he is "much better and on his way to complete recovery" and predict that he will be moved to a private room in a few days.
Warhol, who has been conscious and able to talk since he underwent six and a half hours of surgery, has not been allowed visitors except for his mother and two brothers. After his operation, he was given a 50-50 chance to live.
Meanwhile, Valerie Solanis, the 28-year-old writer, Warhol actress, and super-woman-power advocate, who was charged with the shooting, is being held without bail while she undergoes psychiatric observation at Elmhurst General Hospital.
Scum Goddess: A Winter Memory Of Valerie Solanis
by Robert Marmorstein
Valerie Solanis is 27 years old. She looks younger. Twenty-two. Maybe 23 tops. She was born in Atlantic City, New Jersey, where she grew up doing the things most young girls do; surfing in the summer, going to dances, getting a crush on a high school boy. she grew into a not unusual looking woman with clear brown eyes and a restless mind, who has given a great deal of thought to the world and its problems. Unlike most single girls of her generation she has decided exactly what her usefulness in life should be. She has dedicated the remainder of her life to the avowed purpose of eliminating every single male from the face of the earth.
We stood on the corner of 23rd Street and Eighth Avenue. She was dressed in slacks, a sailor's pea jacket, and an army fatigue cap pushed back on her head. It was the cap which had enabled me to identify her. "I always wear it," she had said to me on the phone.
"Why" I had asked.
"I like to. That's all."
...Valerie Solanis had published a 13,000-word doctrine entitled "SCUM Manifesto." SCUM is the abbreviation for "Society for Cutting Up Men." The central theme of SCUM is that men have fouled up the world, are no longer necessary (even biologically), and should be completely destroyed, preferably by criminal means such as sabotage and murder. The quicker, the better...
"Are you serious about this SCUM thing? Or is this a put on?"
"Christ! Of course I'm serious. I'm dead serious."
"Why pick on men? Are men so much different from women? If women had the responsibility they'd probably mess up the world the same way."
She shook her head. "Women are real. They're human beings. Men aren't even complete human beings. The male gene is an incomplete female gene. That's why he's got this built-in inferiority complex and is always pulling all his lousy stunts. To make up for it; to prove he's something. It's all in the manifesto...
...I'm not going to be around 100 years from now. I want a piece of a groovy world myself. That peaceful shit is for the birds. Marching, demonstrating. That's for little old ladies who aren't serious. SCUM is a criminal organization, not a civil disobedience luncheon club. We'll operate under dark and as effectively as possible and get what we want as fast as possible...
She told me how she had made a living in Texas by panhandling on the streets. She had written an article about it and had managed to sell it to a magazine. She had also written a play. "Up Your Ass" was the title. Andy Warhol was going to produce it for her in an off-off-Broadway theatre. But he was a "hard son of a bitch, that Warhol." She had acted for him in one of his off-beat movies. "A snake couldn't buy a meal on what he pays out."
...My meeting with Valerie Solanis has a postscript. One evening about a month later I was driving along Park Avenue when I spotted her. Same cap, same jacket. She was carrying a bundle of papers. I pulled up alongside the curb and she got into the car.
"Christ it's cold out," she said. The papers she was carrying were copies of her SCUM manifesto.
"What are you doing with those?"
"Selling them. This street's no good though. They look at you like you were going to bite them. Can you drive me over to Eighth Avenue?"
"Sure. You making any money?"
"A little. I can always dig up a few bucks this way, but it's a real drag. I try to sell to women, but they can't afford it unless they're with men, so I only approach couples. If they're amused, okay, I've made a sale. But I don't care, as long as they take it home and read it, and I get a buck out of it."
"Did you find a place yet?"
"I'm staying in a furnished room. I'm getting by."
I parked the car at Eighth Avenue. She sat for a few minutes to warm herself from the cold. Then she got out and I watched her for a moment before driving away.
She approached a young, well dressed couple. She held up a copy of the Manifesto and said something to them. They walked right past her. She gave no reaction, not even a shrug. She immediately turned and approached another couple, and the last I saw of her, they were standing there listening to her, both smiling and holding each other's arm, while she spoke to them seriously, earnestly, pointing to her manifesto.
[Each weekday morning, we post an excerpt from another issue of the Voice, going in order from our oldest archives. Visit our Clip Job archive page to see excerpts back to 1956.]