Faked Death – thisisalsoit.com

Ok Mr/Mrs Thisisalsoit.com…. I’ll play along.

Don’t know who you are but you want us to follow your clues.  Ok.

Today’s clue (don’t ask me about the previous ones… haven’t paid attention really… or I should say I haven’t followed along or did any investigation)  – Wikipedia – Faked Death – http://en.wikipedia.org/wiki/Faked_death

Blah Blah Blah and apparently it says There are several how-to books on the subject of faking one’s death, including Get Lost!, How to Disappear Completely and Never Be Found, How to Create a New Identity, and The Heavy Duty New Identity.

Ok so I’m lazy… the ONLY book here with a link.  Let’s follow along the path….

How to Disappear Completely and Never Be Found is a book by Doug Richmond, originally released in 1985, which is a how-to guide on starting a new identity, and has been described as “one of the odder self-help titles on the market”. It has the subtitle Planning a disappearance, arranging for new identification, finding work, establishing credit, pseudocide (creating the impression you’re dead), and more.. The book recommends a method of disappearing by assuming the identity of a dead person with similar vital statistics and age, and also includes a section on avoiding paper trails which, due to the age of the book, may no longer be relevant or useful.

Ok it says it recommends a method of assuming the identity of a dead person with similar vital stats and age…. look into this… esp with the two passports??

In an article with Fin on his website, he says:

Within minutes of meeting Fin Kennedy for the first time, he has set to work telling me how I could go away and become a completely different person. It’s not that he’s violently taken against me; something of a self-taught expert in the art of identity theft, he’s eager to share the fruits of his learning.

“You go to a graveyard near where you grew up and look for the gravestone of a child,” he explains calmly, as if we were talking about the whereabouts of the nearest cash-point. ”

Dying in infancy means there won’t be many records attached to that name – so you’ll be able to pass yourself off as them quite easily. You pay for a copy of the birth certificate – that’s perfectly legal, it’s publicly available – and then you’ve got a crucial foundation document. That enables you to apply for other things.”

He then rattles off how straightforward it is to become part and parcel of the credit system: “You go into some cheap jewellery shop and buy something on an instalment plan, paying in cash and using the birth certificate as ID. Soon you’ll have built up a decent credit rating. Before long, you’ll be offered a credit card. The system is so computerised, it’s easy to manipulate.”

This is, admittedly, an abbreviated version of a protracted – and, of course, illicit – procedure that exploits the shocking loopholes in the state’s workings for fraudulent gain.

Those seeking more than just an outline should hurry to the Southwark Playhouse, a plucky fringe theatre housed in some dankly atmospheric railway arches beneath London Bridge station. This week, Kennedy’s award-winning play How to Disappear Completely and Never Be Found finally transfers to London after captivating critics and audiences in Sheffield last year.

It explores a netherworld that most of us only glimpse when a major attempt at self-reinvention backfires, as when the fugitive Serbian leader Radovan Karadzic was pounced on long after transforming himself into a bearded Belgrade quack, or the insurance-scamming “canoe-man” John Darwin got snared in his own web of lies on returning to England from Panama, feigning amnesia.

“About a quarter of a million people are reported missing to the police every year,” Kennedy says. “Of that number, about 30,000 will involve rational decisions to walk out of one life and into another.”

In thousands of cases, people manage to cover their tracks. An instructive example, he suggests, is the case of a man who, after the Paddington rail crash, attempted to report himself as having died in the disaster.

“He got found out, but he had been living quite successfully under an adopted name for 10 years.”

Kennedy, an agreeably, studious-minded 31-year-old, first got hooked on the subject when he came across the website for what used to be the National Missing Persons Helpline, now called missingpeople.org.uk.

“I looked at the pictures of all those currently missing and although I was interested in why they’d disappeared, I was more fascinated by how they did it.”

As he conducted research, talking to police and experts in the field, he “quickly got into the philosophical questions – what makes you a person? There are a lots of American guides that tell you how to do it and what’s interesting is that they link into the American dream, telling you that everything you want is just out of your reach but you can get it if you shed all that baggage. It’s the dream of rebirth.”

In terms of the play’s dramatic ambition, think Camus rather than Crimewatch. Kennedy’s 2003 debut, Protection, was a slice of contemporary naturalism, about a group of inner-city social workers – a milieu he was steeped in since both his parents worked in the field. In the more recent play, the central character, Charlie, is far removed from the usual at-risk scenarios: he’s a young executive in a trendy advertising firm who suddenly experiences a crisis.

“I asked the experts: is there a type that comes up again and again? And they said, ‘Yes, white male, late twenties, early thirties, good job, maybe works too hard, parties too hard. Overnight, they snap and disappear.'” The play’s most daring stylistic feature is that all the action could be taking place both in the hellish here and now, and in some ghastly after-life.

For Kennedy, this blackly comic conceit – the hero being dead and alive at the same time – isn’t a gimmick but a means of looking at the way the dream of escape can swiftly turn into a nightmare of entrapment.

“In the end, society won’t let you change your identity, because people won’t trust you. In one way or another, the past comes back to haunt you.”

There’s a final twist in the tale of the show’s genesis: if it hadn’t been for the passionate enthusiasm of Ellie Jones, new artistic director of the Southwark Playhouse, it might have disappeared completely and never been produced.

First written in 2004, the play sat in the in-trays of literary managers for so long that Kennedy was forced by straitened circumstances to retrain as a teacher. Just as he had given up hope, his chosen career enjoyed a last-minute reprieve, heartening proof, perhaps, that however lost amid the competition it seems, individual talent will out – eventually.

  • How to Disappear Completely and Never Be Found previews from Wednesday at Southwark Playhouse. Tickets: 020 7407 0234, www.southwarkplayhouse.co.uk

Do you think the stuff Mo and Souza were finding could be related to this?  Find a baby that died at birth or very young… didn’t they find something like this… someone close to MJs age… same name…etc.?

I will have to look into this further but right now it’s past 3am and I’m not thinking straight….

Any comments/contributions greatly appreciated!!



~ by lilwendy on November 11, 2009.

One Response to “Faked Death – thisisalsoit.com”

  1. What am I reading here? it is just SO interesting!!!

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