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Dec. 14, 2023 - Jim Fetzer
59:03
The New JFK Show # 292 The Zapruder Film 2024
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Time Text
All right, welcome to the New JFK Show number 292.
We've got Mike Machenza, Larry Rivera, Jim Fetzer, and myself, Gary King, and we're going to go to Larry Rivera's blog.
We've got lots of images there, and he's got some new stuff, and what he says to me is, it's game over with the Z Film.
All right, Larry.
What do you think?
Well, what do you think?
Well, let me say this.
I actually gave a speech at the moment of silence on, you know, November 22nd, and I spoke before Robert Grodin, and he says it's not game over.
After 60 years now, All he had to say was two things when he got up there with the microphone.
Number one, that there's these crazy people that think that the Z film has not been altered.
And there's this other crazy guy who thinks that Lee was in the doorway and it wasn't Billy Love Lady.
No, I mean, let me assert Jim, you know, maybe Jim has an opinion on that.
Well, Groton's been a limited hangout since he was hired by the HSCA in 1977 to explore the rumors that Lee had been in the doorway and came back to explain they were false after fabricating evidence about Billy Lovelace.
It was just disgraceful.
And he has not redeemed himself.
He's running a limited hangout, as is Josiah Thompson, who, if he had his way, would have renounced every proof we had a conspiracy in the case of JFK until we got to the 50th.
But when they did the first, about the Umbrella Man, I wrote a scathing review of it, and they abandoned the project to have him do an ongoing series, which was very fitting.
So they have discredited themselves as much as anyone could, but a lot of people in the community still haven't put two and two together.
Yeah.
Well, uh, I want to point out that this is a 60th anniversary, you know, that, uh, we are observing this year and, uh, as, uh, was predicted, you know, many years ago, uh, that the, Available evidence does not pass the scrutiny of modern-day digital technology.
And reinforcing that, we have to have the Newcombe tapes.
I mean, Jim and Gary and everybody else in this world, how can you refute what those guys were talking about?
Gary, And I did shows, what, almost 10 years ago, remember?
Yeah.
In 2014, when, you know, the first JFK Horseman came out.
You know, we did those, and so many views and hits and everything.
Gary, tell us about that.
Well, we've been having that show for a long time, and it's one of the most popular ones.
It gets the most hits, and it's the most, um, I think it's your finest work as far as the Newcombe table.
No, and it was even recommended by Douglas Horn.
Yeah.
Remember?
That's when we were excited to have Doug talk about it.
Very high praise, by the way.
That's very high praise, Ari.
Doug is very conservative about handing out accolades.
We were slashing and burning.
And I really wonder, where is the rest of the JFK community on that type of evidence that you brought almost 10 years ago?
Tell the truth!
Never gets brought up, and also your overlays with Lee in the doorway, never gets brought up.
It's just amazing to me.
But I think the most important thing here, gentlemen here, and the end of this year, the 60th anniversary, is it has to The paradigm has to be the Newcomb tapes, you know, going forward.
Jim, what do you think about that?
Yeah, no, I think that's totally reasonable.
Larry, because, remember, they're substantiated by those who have seen what they call the other film.
There are at least six, some who, like Rich De La Rosa, saw it on multiple occasions, and they confirmed the limousine stop.
They hit in the back of the head, slumping forward, Jackie easing him back up, being hit again, and then slumping to the left while she climbs out on the trunk.
I don't think that's disputable.
But there are a lot of people who are ignorant.
They're ignorant about it.
Who think that the film is authentic?
Well, among them.
Ridiculous.
It's just ridiculous.
Mike, what you got to say about all that?
Mike, what do you have to say?
Oh, I got a lot to say, but... Once Larry said... This is incredible clear footage.
Every frame I could talk about for a long, long time, and now...
It really unravels the mystery even more because now you know why they were doing all this, why there were so many alterations.
They could not show One or two Secret Service agents jumping in the car.
We'll start with the one first because that proves that it stopped.
And I've been saying this, Clint Hill jumping on the back.
I have an image that I want to present in a second.
Gary, if you can make, or Jim, make me host.
I think Gary already did, Larry.
No, no, it's not.
I'm going to screen share.
Hang on one second, participants.
No, right.
Because you got to see this, you know, and to Mike's point, and we're going to go further into this here tonight with my blog post, you know, with all the images that I posted up there.
You know, I've declared war on the z-film alterations and the egregious stuff that's going on there that Mike obviously has already And we have a lot of eyes on this, you know, including people, you know, on the other side of the Atlantic.
You're host now, Larry.
You're host.
All right.
Who agree with what I'm saying here?
Okay.
So let me look at this.
We're talking about data streams.
We're not talking about, you know, actual frames, you know, but this is from one to the other.
Look at the hump and look at the meat hooks.
It's so funny, you know.
Mike, do you have anything to say about this?
What do you mean by hands?
I can go to my laptop and... Oh, you're not... Oh, you can't see this.
Okay, okay.
It's okay.
It's just small here, but I can see it.
337?
Is that what... Yeah, 336 and... But those are our numbers, which we're going to explain in a second, you know, what those are about.
I just wanted to... But look at this hump on Clint Hill.
Jim and Gary, can you see that?
Yeah, yeah.
We're looking.
And then for the very next frame, it's not there.
And we're talking about 18.6 frames per second.
We're talking about 0.03 seconds there.
18.3, yeah.
Right, between one and the other.
You know, obviously we've done the calculations so many times, you know, and this is what we get.
Okay, so let me get out of there.
And We'll go straight to the... The blog?
Yeah.
Okay, I'm up.
I just need to do the screen share.
You guys got that right?
There it is.
Yes, sir.
There it is.
Okay, this is what we're going to call this.
Damn, we haven't done this in so long, you know, I forgot.
I know, did you want me to read?
Sure, sure, and you know, obviously, you know, after the end of the paragraph, you know, we'll talk about it.
A revolutionary way of breaking down the Zapruder film is yielding spectacular results.
By reducing the timeline to its finest speed, it's now possible to analyze a film as never before.
As is common in the photographic record of the JFK assassination and, as suspected, for years, the film has been massively edited.
Or even Dallas Police Department motor jockey Douglas Jackson was quoted in the New Come Capes of 1971, saying, Life Magazine bring that picture of that film, but it's been cut up.
It's been edited.
Part of it's been cut out.
The alterations are far too many to list here in the past.
Perhaps not enough attention was paid to what was actually going on inside the limousine.
However, with the help of the Newcombe tapes, a year before unknown event has been ignored, as crazy as it may sound, a second Secret Service agent inside JFK's Lincoln Continental.
What do you think Jack White would have said about that, Jim?
He'd be just blown away.
He would love it.
He would love it.
I chatted today with some, I mean, in November, this past November, in Dallas, with somebody who knew him well, and he said exactly the same thing.
I know, he was doing it with me.
Yeah, yeah.
About Jack White, yeah.
In the Newcombe table, Bobby Hargis and his supervisor, Stavis Ellis, talked about the second agent inside the limo beside Clint Hill.
In searching for evidence of a second agent in a digitalized version of the Z film readily found online, more was found than any JFK research could have bargained for.
Crystal clear images revealed the extent of the airbrushing in perhaps two-thirds of the film.
A new approach in analyzing the Z film involved treating it as any other data stream, which can be streamlined for the purpose at hand.
Instead of frames, we use data snapshots in our reinterpretation.
Here's the front end of a popular program with which the film can be broken down to its granular components.
So, in other words, we're not going, you know, 301 to 302, you know, We are intercepting the data, and that's what this is all about.
And we were able to establish the demarcation between when one frame turns into the next.
And that's exactly what the program does.
And in between, we can go ahead and take snapshots of that point in time of the film, which is what, uh, 40 something seconds, Jim?
Uh, 46?
Do you remember what, how long the Z film was?
Oh, 27, 27 seconds.
Oh, okay.
Sorry.
Wow.
Wow.
20.
Okay.
So, uh, but I'm thinking in terms of, you know, the, uh, amount of frames, which, you know, surpasses the 400 mark.
Um, but yeah, so, uh, this is what it looks like when you start Breaking the film down, okay, and if you look at the line there, the red line, that is the exact second of, you know, the Z film there.
So, you know, from there we can go and extract, you know, going forward exactly, you know, the frames that we want to look at.
And what we did here was we went from 3.13 on, 3.12 on.
But before we get there, we can start right here.
Here, this nice rendering.
As we can shortly see.
Yeah, this is the nice rendering now, as we'll shortly see.
Obvious alterations using hair brushing techniques available at the time have been deployed.
Yeah, and you're going to see them in a second.
Before we do that, what we want to do here is look at the color of John Kennedy's suit.
It is a gray, grayish, okay, and Connelly's suit, and this might sound dumb at the beginning here, but you're going to see instantly how important this is.
Gray and black in here.
Yeah, Connelly's looks even black, yeah.
Exactly, and guess what?
One of our friends, you know, from the UK, you know, produced this one.
Which actually shows the shirt with the bullet hole there, which we're going to show in a second here.
Oh, coming out of the chest.
Yeah.
And showing the exit, evulsive effect there, Jim and Gary and Mike.
Any comments so far there?
I love it.
Okay.
We're in awe.
I'm telling you, man.
Frame reversal.
The first anomaly appears to be a reversal of frames at the 10, 18, 10 mark.
The snapshots that shows us are 289 to 291.
Again, the reader should note that there are no sub-router frame numbers, rather a sequence of snapshots within our data stream that can be taken with a software as it establishes a number sequence of its own.
Yeah.
So in other words, you know, we're going by another, uh, frame numbering than what is established.
You know, that's basically-- Yeah, this is a new way of looking at the film.
Right.
So we get the frames here, 289, 290, and 291.
OK?
And this is how they are shown in the software.
And these are the results, OK, in the same order, 289 to 291.
And we go here, here, and then here.
And I'm going to show you with the animated GIF how it lurches, the limo actually lurches backward.
So definitely an anomaly here in the order of frames detected.
Okay, so let's just show this here.
When Jackie lifts her right arm, that's the last frame.
Of the three, we're only going three frames in this, okay?
But it's in the middle.
Here, and then as you see that last one where she lifts her arm?
Yeah.
Okay, what this is denoting here and showing here is that this is a frame reversal.
You know, the arm here should be further up in the order of frames, but it's not.
In fact, it's taken back, okay?
And it's important to see where her arm lifts.
You see this?
That's the last frame, and it should be further up ahead.
And it's not.
Okay?
So... Airbrushing alterations is a baseline for this study.
This Titus photograph shows a bouquet of yellow roses carried by Nellie Conley.
On 22 November 1963, it also shows the color of suits worn by Kennedy and John Connolly.
Exactly.
We have to go back there.
Now, notice this.
Here are, and I have the mouse going around here, the yellow roses, you know, with very scant little leaves, green leaves.
All right.
But in the Z film, guess what?
It explodes into a bizarre greenish haze, like Purple Haze, Jimi Hendrix, something like that, obliterating everything under it, and it's visible in at least 30 snapshots.
Now, even more important is the fact that the person And the Connelly position is not wearing a black suit.
Instead, for Gray, it's shown below.
Well, he must have just wanted to change his jacket and deal with it because his old one was bloody.
I'm looking at a frame here where they went over it with some kind of black marker and darkened the suit because it's obvious in the early frames.
That's right.
I'm looking at a And it goes further, uh, Mike, you know, uh, this here is the crux of the matter here with the G, with the Z film here.
You know, I don't know how anybody, you know, before, and I have to denounce, uh, people like perhaps Oliver Stone who had the very best
teams of uh who could have interpreted uh the z film and those other folks uh who supposedly got a hold of these stupor scans you know uh the z film and we're finding this now where this has been here all along Yeah, it's fascinating, Larry.
Just absolutely fascinating.
The red outline shown here presents a shocking array of amorphous, non-related figures strategically and critically placed to mask what appears to be that second agent in the limousine, side by Hargis and Ellis.
Moreover, there has definitely been retouching of JFK's back.
Perhaps in an attempt to obscure blood oozing from a bullet too low to be in accordance with a single bullet theory.
And I'm showing right here, you know, with the mouse, with the mouse pointer right here, what I'm talking about, you know, I mean, what do you think of this?
Yeah, they weren't just backing out the back of his head to see the blowout.
They were backing out the back of his jacket to conceal the blood.
You're absolutely right.
And there are other things that are happening here with the second figure here, who is obviously not John Connolly.
And we're going to go deeply, deeply into that study right now.
Okay.
So, uh, Can we establish what we were talking about so that at this point, if an agent, if Ben had jumped in the car, then they had to completely fabricate from earlier frames.
Frame by frame!
Yeah, so everything that's happening... And deleting certain frames, you know, in the process as well.
Absolutely.
Do they have the flowers?
Look at this one!
Look at this one!
Look at, we gotta keep watching Jackie's head.
And she has, she's got a black collar around.
You can go see the photos.
Yeah, yeah, yeah, yeah.
They're messing, they're recreating what happened when the limo stopped.
The flowers are hiding Nellie Connelly.
Yeah, and John.
John is already on the floorboards.
She's on top of him there.
And this guy, as you're going to see now, he's arranging bodies in the limo.
Let's not get ahead of ourselves here.
And this next image, Jackie's face has been covered up.
You go here.
I don't know if you guys can see this, but nothing's there.
Nothing.
So even the Franzen boy, you know, Jeff Franzen, was six years old, you know, and right here, his father was holding him.
But look, look at the retouching in his face, and it looks like an elephant has him by the head, Jim.
Look at this.
Yeah, yeah.
All right.
And by the way, this kid was interviewed for the 50th anniversary, and you know what he said?
He talked about Douglas Jackson, the motorcycle cop who wrecked his bike up there on the stairs right in front of him.
Yeah, yeah, yeah, yeah.
Must have made quite an impression, Larry.
Absolutely.
I mean, he's so far ahead of the students who haven't caught on.
Second agent in the limo and he's in the Newcombe tapes.
Bobby Hargis and Stavis Ellis stated the following.
Whitney, did you notice who was in the car?
Ellis.
It was the governor, Governor Conley and his wife, the driver, and a secret serviceman in a Jackie Kennedy in the back with a dead present.
One or two agents.
One or two agents and we're on there because we nearly lost one of them hanging on as fast as we were going.
We had a hard time hanging on there.
In fact, of the two agents, that's one old boy that Jackie knew had made the trip overseas with her.
He comes running and jumped on there, and another one, and by the time we pulled out of there, we had two of them agents hanging on the back.
Whitney, you had two on the back?
You don't remember?
Else I believe.
I know we had one and possibly two.
And now, this is the interview with Hodges.
Whitney.
Were they the guys who jumped out of their car and pursued it to the car in front of them?
Hargis?
Well, uh, two of them did, uh-huh.
Two?
Hargis, uh-huh.
Ran to the back of the Continental?
Whitney?
Two ran out to the back of the Continental?
Hargis, huh?
Two ran out to the back of the Continental?
There were two Secret Service men, you know.
They've got them steps up there, Whitney, right, right, that they ride on.
This one on the left-hand side stopped Jackie Kennedy from coming out, Whitney.
One of them got up on the back and stopped Jackie, that was probably Glenn Hill.
The other one, how did, did he get in the car?
Yeah, yeah, uh-huh.
What did he get in the car?
Well, I'm not exactly sure.
It was one on the left and one on the right.
One of them put his body over the president where no harm could come to him.
I don't know.
All you could see was his feet sticking out.
Stop.
And I want to cite an article that Jim did on Veterans Today, precisely.
Remember about the Clint Hale?
And what he had, when he came out with that book, and you were highly critical of what he wrote in that book, and where he had, there was a report where it said that he came completely covered, he covered both the President and the First Lady with his own body, you know, so he wasn't even on the trunk, you know, at this time.
Remember that?
Yeah, well, I think the theory was he pushed her back down in the seat, and then he lay on top of the two of them, and that's when he saw the blood.
And he could see, and from where he was, he could see the big hole in the back of JFK's head.
Yeah, yeah, yeah.
Guys, guys, real quick, let me add here.
There's frames here we can go over.
We can get to it later, but I could tell you which snapshot frames
where his foot was leaning over the edge of the limo because they blacked out something and it's it's the black is over the edge of the limo so that that's it's it's a uh impossibility do you have do you have the snapshot number um well we're gonna continue here but if you can find that because uh we have a lot of stuff here you know that uh 20 is a really good one
Where you can see where Conley would be.
They're blacking out Conley.
And there's other photos, I can't remember which one, but where you do see someone's foot hanging over and they said it was JFK's, but it's not.
Oh, that's in the Miller photograph.
Right.
Right, right, right.
Okay.
Okay.
Yeah.
We're not going to cover that here tonight because the stuff here we're going is very important.
Go ahead, over the ears.
Over the ears, JFK researchers have coined the phrase sensational claims require sensational evidence.
Searching for, finding, and proving that a second agent entered the limousine on Elm Street is a high bar to clear.
The next part of this post will attempt to clear that bar.
It must start with the analysis of John Connolly and his wife, Nellie, as we follow their movements and positions as they both tumble toward the floorboard of Limho.
Notably, Connolly falling backward to his left and face up into the arms of his wife at this point.
We got two essential markers in trying to prove our hypothesis.
Connelly's gray hair and the color of his suit jacket, a very dark and black color as seen in these images where he is identifiable.
So everybody good with that, right?
Yeah.
Yep.
Okay.
In the image above, Connolly has not been shot in the next snapshot.
He's visibly reacting to being shot, possibly from three different directions, becomes collateral damage as a prime target is JFK.
How many, how many, I don't want to go too much into this because we're going to rabbit hole, but how many different positions do you think Connolly got shot from?
Well, there, there might've been three shots to Conley.
I agree.
I mean, the back of the, the, that went through his chest, the right wrist and the thigh.
There's many as three, Larry.
Possibly.
Okay.
But I mean, that's the max.
Bear in mind, however, a 46 year old Conley sustained bullet wounds as seen here in four major areas of his body.
In meta, Collegial Medical-Legal Investigation of the President John F. Kennedy Murder, 1978, page 94.
94.
It's a paper.
We got the following.
In going through Connolly, the following sheets of skin were perforated.
Back, anterior chest, anterior arm, posterior arm, thigh.
This CD 1134 report shows the seriousness of his wounds.
See, I think each of those arrows, each of the lines, it's a straight line that suggests a different bullet, in my opinion.
And obviously, I'm being a little facetious here, you know, presenting this because at least, you know, it shows what, you know, how perforated Mr. Connolly was that day.
I think this is sure.
I think this is showing to the one to the back and then the one that went through the risk and wind up in his thigh.
I mean, just look at the angles of straight.
Yeah, right.
Yeah.
Yeah, but I know perforated lung known as Pneumothorax is an extremely painful condition where the mere effort to breathe is agonizing.
I've seen somebody with that, trust me.
Every single move and breath is excruciating, Jim, and everybody here.
That is why tubes are inserted between the ribs to reduce pressure and drain the excess edema and liquid that the body produces in response.
It produces the following symptoms and takes weeks for recovery.
Sharp, stabbing chest pain that worsens when trying to breathe, shortness of breath, bluish skin caused by lack of oxygen, fatigue, rapid breathing and heartbeat, a dry hacking cough.
Damn right.
There must have been a lot of pain to endure and bullet holes and bleeding to deal with.
Would Connelly have been able to sit up and shift around the limousine as we see our mysterious friend do in the Z film?
Here's what the shirt looked like from the bullet that went through him, showing the point of accident in his chest.
The next image is snapshot 280, which is the equivalent of Z312.
Did anyone ever notice Connelly's mouth has been painted over?
But going back to this here, you know, this is the classic exit wound, you know, of a shot that goes through you, you know, with the evolves pattern there on the shirt, you know, and this is coming from I don't know.
I think his clothing was laundered, because you should have won.
Oh, absolutely.
Oh, no, absolutely.
But at least this shows, you know, the pattern there of that shot that comes in.
And of course, it should never have been laundered, so that was all part of the cover-up.
Of course.
Oh, yeah, absolutely, absolutely.
So, going here, in a close-up of that Conley, you know, hey, man, he's got eyes, but he doesn't have a mouth.
The next image is 280, equivalent to Z312.
Did anyone notice Connelly's mouth has been painted over?
Now scroll up and we'll see.
Yeah, here, right there.
That's very damn strange, Larry.
Very strange.
It's been there, you know, all along.
Our snap 281 is the equivalent of Z313, where JFK's head explodes in the film.
Again, the point of showing this is none other than to establish a movement of the Connellys.
Which is, you know, obviously, you know, here and here.
I mean, remember Costella explained that that blood flatter and all that was painted in.
I mean, yeah, I agree.
And it was just, you know, now a badly wounded John falls into Nelly's lap, all the while showing that gray top, obviously his hair, which are the marker that we established, and the black suit jacket, which we have, you know, established It's crucial identity markers.
And now we have this black stripe here, running down the back of Anelli's neck, you know, from the nape down on, which is strange.
Mike, you got anything to say about that?
That's what I was telling you about, because it would have been too obvious that it was a completely different person, different jacket in there.
They're constantly Darkening things where they can't, where they're trying to hide stuff.
Oh, you're going to see even more spectacular ones here coming up here.
But why was this never ever detected in the Z film?
You know, I mean, 60 years later, you know, it comes, you know, and falls into our lap like this, you know, and let me tell you, you know, the stuff that you're going to see here, just amazing going forward here.
Again, I think it was.
I think it was falling.
And they're watching it on a projector, you know, which is also, you know, from the 16 millimeter film that you can't.
And all those copies were purposely of bad quality because it goes by too quick.
It's one, you know, fourth of a second.
Once you can see it frame by frame, you can't miss it.
Yeah.
You know, with the technology today, you know, you can do all this stuff.
They realized that in front of him was an Achilles heel here, that it was a weak link.
So they followed Lennon's admonition, in order to control the opposition, it's best to lead it.
And that's where Thompson, I mean, he's got a frame-by-frame book about it, right?
The guy's got to be an expert on the film.
Grodin, the great collector.
I think they used Thompson and Grodin to suppress serious research.
Because people were supposing they knew what the hell they were talking about, and they did.
They were just talking out of both sides of their mouth.
And what we're doing here is we're looking at the other components of the film.
Now, forget about JFK and Jackie.
We're looking at what's going on, you know, besides them, you know.
Yeah.
Who knew?
Who knew, Larry?
Who knew?
Yeah.
That's amazing!
Yeah, and you're gonna find some real crazy shit coming up.
It looks like JFK's face melted in that picture.
Thank you, Gary!
Thank you!
Go ahead.
Right here, right here.
Thank you.
The blob and all that nonsense.
Go ahead.
Okay.
Snap three thunder.
It becomes obvious.
Stark airbushing is concealing.
Something going on over the conloid.
Right here.
Right here.
Yeah.
Massive.
Massive.
I mean, come on.
Gee, that could be a whole person, Larry!
And it's gonna be a whole person, go ahead.
Of course it is, I know!
In Snapshot 303, we begin to see evidence of someone's right arm and shoulder emerging from under the paint job, as noted above.
The color of the suit coat is gray, not black, as worn by Conley.
Senor.
Snapshot 303. 308.
And look at this.
I mean, I could have traced everything else in here, but, you know, I just got bored and I'm tired.
You know, look at this.
Look at the green airbrushing here.
Mike, Mike, tell us about this.
Yeah, I think your numbers you're working off are different ones than I got here, but I could tell pretty much what you're talking about.
We're talking about the Kelly Green airbrushing over the flowers.
Yeah, yeah.
I mean, and it's dancing in the air, you know.
Right, and it changes, right.
It's impossible what they're trying to do.
I mean, I didn't, you didn't know what they were trying to hide before because I was never positive if that agent jumped in, you know, when Sapruta was filming or when they went through the tunnel.
But obviously now it makes sense that they're hiding a person that would be where, you know, where the JFK and Jackie were sitting and between the colonies.
So they got to, they got to cover Yeah, and also what's going to freak everybody out here is how he starts.
He's moving about and he's going to end up, you know, moving into the back seat.
So let's let's let's proceed here.
Okay, in order.
Okay.
So here we've got snapshot 309 here.
And again, I want to look at these areas of airbrushing here, which are pretty obvious.
You know, everybody.
And why would they want to airbrush a dark area there on JFK's back?
Why would they want to do that?
Because of the blood, of course, yeah.
Yeah.
I can tell you that.
It's because at this point, when that limo was there, they had to take previous frames from JFK as if he was still... Right, right, right, right.
He went down.
You create a mosaic or something like that?
Oh, they had a they had a mess with with time because everyone knows that Jackie jumped out on the trunk.
But she did it when they were stopped.
And then on top of that, a second agent jumps in the car.
So they so they had to hide the stop, but they still have to show Jackie jumping on the trunk and take out the second a service agent.
So when the limo was stopped, they got to take Jackie's actions and do it as the car was going away.
And we can go, if you- - Are you talking about like something like they did in the towner? - Yeah, yeah.
Well, the towner is much simpler where they just messed with her head.
But here, they have to cover a whole other person.
So, and they have to... Remember, just think about this.
When the Jackie jumped out when the car stopped.
They can't show the car stopping, but they have to show Jackie jumping out.
So they have to show it at some point.
So what they were doing is they were recreating what actually happened and while covering up this second Secret Service agent.
And again, every frame from Jackie when you see here is especially with their collar and everything is completely Disjointed.
I would say disjointed, yeah.
Well, remember, she actually did that.
So they have to take it and move it as the car is moving away.
But, of course, it can't be really perfect.
And also, yeah, they have to cover this agent.
And here's one other thing, too.
When that car takes off, Jackie is, what, 5'6", 100, not even 100 pounds.
Right.
She's doing what she's doing.
She would have flown right off that back there.
It had to be stationary.
Yeah.
Had it been moving.
It had to be stationary.
Yeah.
All right.
So they had it.
I mean, basically, they can't show anything stopping.
So they have to show Jackie doing something when the car was stopped as it's going away.
So, I know you don't want to go into the stuff, you know, that I want.
Yeah, we got some good stuff coming up.
Yeah, yeah, I agree.
We're up to snapshot 325.
Go ahead, Jim, there.
Shows more of the figure with a gray-colored jacket rising from the ashes like a phoenix.
And let me tell you, these images, you know, where we have Highlighted the airbrushing here is just unbelievable.
I never looked at it like this, you know, and let me tell you, you know when when by breaking and breaking the film down the way that we do and to The data in the data stream and we can extend the timeline okay, that is key and being able to isolate these images here and Snapshots, 3.36.
And 3.37, confirm this is not the seriously wounded John Connolly, where we're able to track his movements as he looks down, then back, then forward, and back again, in what appears to be an epitagoreograph of what's going on inside the limousine.
A Callie Green airbrushing appears suspended in air as it changes in shape and intensity.
And you know something?
To be able to publish something like this, And stake your reputation, Jim, and everybody here.
It's gotta be, you know... It's gotta be... Oh, it's the serious stuff, Larry, yeah.
Right.
Right.
It's gotta be, you know, like... Absolutely.
You know, if you're gonna make sensational claims, you gotta have sensational evidence.
Here it is.
Yeah, you got it.
You got it.
You got it.
Okay?
I mean, go figure.
You know, it was here staring at us, you know, for 60 years.
Come on!
Yes.
You know, and all the Life Magazine who's repressed, you know, and everything else that happened with the Z film, and your brilliant book, you know, on the Great Superior Frame, the film Hoax and everything.
You know, that's where students need to start, you know.
Yeah, yeah, yeah.
Okay, so here we go.
And this is the conundrum here.
You know, you have somebody in that backseat with the Connellys, All right.
And he, that is not John Connolly.
You can see the whole figure there, Larry.
Exactly.
You can see his shoulders, his head.
Right.
Or it's going over the limo side, too.
They're cutting it from where he would have been.
Remember, they said he covered JFK's body with his, which is what they were supposed to do.
And they're taking that and they're covering up Connolly.
That's why I didn't put any, I didn't do any outlines on this one, because I thought that this was so obvious here, and I want to show you guys how, if you focus on his head here, look how he's looking down, now he's looking left a little bit here, you got this?
And now he's looking down, so he is going back and forth.
Here he's looking again, okay?
To the back.
What do you think was his role, Larry?
What the hell was he supposed to be doing?
Well, he reacted, you know, just like, and that's what we're going to look at right now.
And I'm glad that you brought it up, because now we're going to analyze, you know, after showing this, what the new content is.
The next two snapshot sequence, 355, 356, shows the agent looking down, then immediately looking back as he appears to be making his way into the backseat.
Here's a young guy who's moving at will.
It does not look like someone who's been shot three times.
The marker mentioned earlier, the gray hair, is not seen here at all.
Everybody agrees on that.
Obviously, this guy, this is not John Connolly, people.
Okay.
Amazing.
See, people just want to pick up on these subtleties, Larry.
Watching the film, it goes by so fast.
Exactly, because you're concentrating on looking at JFK's head explode.
And I dare say that Groton and Thompson have been aware of this a whole bloody time.
And I would add to that list Oliver Stone and those other people from Hollywood who, you know, have been, you know, delaying, you know, the analysis of this, you know, to hell with them.
You know, we did the analysis and this is the truth right here.
Finally, for good measure, we find the agent now in the back seat in these two snapshots, 410 and 411, right before entering the tunnel of the triple overpass, where we lose.
It ends, of course.
Wow!
In the back seat with Jack!
Wow!
Yeah, okay.
That's his job.
Yeah.
Cover the president.
So when did all this happen in order to try to establish when and how the second agent entered the limousine?
We have to go back to the Newcombe tapes and what Hargis, Ellis, James Chaney, Douglas Jackson, and B.J.
Martin had to say about the limo stop.
That's right.
Do you remember how long the stop was on Elm Street, Hargis?
So you mean after that first shot, wouldn't he ride only about three, four seconds, maybe about five, six, that's all.
That's a lot of time, Jim.
Well, You know, I mean, I've gone through mentally all the activities that took place.
I don't see how it can be less than 20.
I know.
And I agree.
I agree.
I don't get why Harvick is saying 5 or 6.
No, and I know the discussions that you have had online and maybe not as many, maybe not as much as 20, but maybe somewhere in between there, you know, but definitely significant.
And people are in shock, so it's time.
I was about to say that.
Very good.
You said stop for about five or six seconds, Argus.
Yeah, but you won't find that in the Warren Commission report.
Don't they claim that it stopped, Argus?
Huh?
Don't they claim that it stopped?
No!
I don't think it did.
You guys see a rolling stop, Abby?
It's going less than a mile an hour.
Right, right.
Argus, well, that's what he was doing.
He wasn't completely stopped or dead still.
But that's wrong too, Larry.
Yeah, and regardless, that's not what you see in the Z-film.
You know, you see a continuous movement, you know.
Of course, true.
Cheney, slow down enough that he did get on that car.
Now, whether or not he was on there or not, you know, several different times during the procession, he'd run up and jump on this little stab and ride there for a couple of seconds and drop off.
And that all depends on how fast it was going and where we were at.
So whether I don't believe that it actually stopped, it could have, but I don't know.
I know the second car did, because I recall the officers, hmm, and Officer Hargis jumped off the motor and ran in front of me.
Whitney, right, right, that's another thing.
Chaney, I don't recall myself stopping.
I must have come almost to a stop.
Hargis did.
He got off his motorcycle over on the left-hand side and run between those two cars and run in front of me, so apparently I did, too.
I don't recall stopping, but I must have.
They did stop, and they're Okay, okay.
Now, Gary, I hope I'm able to play this because I got the sound bit here.
Did you hit optimize for sound and pictures when you shoot?
I don't think so.
Okay, okay.
Well, okay.
Hold on, hold on.
Yeah, do that real quick.
Just hit screen share.
Got it, got it, got it, got it.
Share sound, optimize.
Okay, we're back.
We're back in business.
Okay.
I don't recall myself stopping for that type of thing, but I must have come almost as far as Hargett to get off of his motorcycle over on the left hand side and run between those two cars and run in front of me.
Well apparently I didn't.
I don't recall stopping for that much.
By the way, Jim, when it said humming there, it was the humming in the tape.
You did a good sound impression there, by the way.
He wasn't humming.
Yeah, got it.
I don't recall myself stopping for that stuff I think of.
I must have accomplished almost a hardship to get off his motorcycle over on the left-hand side and run between those cars and running from the city.
Apparently I did.
I don't recall something, but I must have.
Right.
That is monumental.
Yeah.
That is freaking monumental.
I don't know how something like that...
Look, Larry, it stopped so abruptly, it jostled all the passengers forward.
We got that from multiple who'd seen the other film.
So it happened.
Regardless of what they're saying, we know it happened.
And you can't explain these other events without it.
You can't get another agent in the car unless something like that happened.
And that's the perfect segue.
Go ahead.
With me.
The President's limousine stopped for a while.
Right at that point, Alice, well, no, it didn't stop.
It almost stopped.
If you've ever ridden a motor, you know, well, you go so slow your motor wants to lean to one side.
You have to put your foot down and balance it.
But we were going so slow.
That was what was happening.
We're having to kick our foot down at very slow paces.
After the first shot was fired, we got the speed.
The Secret Service cut the speed on the convoy.
Just look how absurd it is that after a shot, they would slow down rather than speed up.
Whitney, you know for how long, Ellis?
Well, it was just momentarily.
It never did stop.
It almost stopped.
It got so slow, we were just barely moving.
And then they all are, go, go, go!
Let's go get him to the hospital as quick as you can.
And I just want to interject there very quickly there.
You have to understand that Stavis Ellis, when this happened, he was already at the entrance of the tunnel.
So he's looking back up Elm Street.
So he does not have a very good perception of the vehicles when they stopped or how fast they were going.
And you've got to understand that, all right?
So now we go to B.J. Martin and what he had to say, very brief here. - What did you remember by what shot the limousine stopped Martin No, sir, I don't.
Whitney, do you remember how long it stopped?
It was just for a moment.
And that's BJ.
And now we're going to go for the star of the show, which I believe is Douglas Jackson.
You know, I've been saying it all along, you know, and so did Beverly Brunson.
Whitney, what was the situation of the speed of the car around that time, Jackson?
Well, I never did get too far from it, so I'd just say that car just all but stopped.
Whitney, for how long a period of time would you say, Jackson, just for a moment?
Because the length of time that I was stopped between that second shot and the third shot would have been but just a little bit.
I had stopped, put both feet down, looked Toward the railroad track, back through the crowd, back to the car in time to see that third shot hit him.
Then I turned around, back to my right rear, looked again, and I never did look at that window.
Never did look up to the top of that roof.
Whitney, now you say the car came to that stop between the second and third shot by Jackson?
Yes.
And the only thing that Jackson didn't talk about obviously was his crazy ride up the I liked it.
You know, so let's hear what he let's hear what Jackson had to say.
What did you think of the film?
I liked it.
The only thing is I thought that caravan stopped and it didn't.
Right.
That's, you know, I was.
Do you guys want to hear that again?
The only thing is, I thought that caravan stopped and it didn't.
Right, that's, you know.
Alright, okay, okay.
caravan stopped and it didn't.
Right.
That's, you know, I was just...
All right.
Okay.
Okay.
Now, what happened after the limo stopped?
Well, Douglas Jackson and James Cheney spoke about agents and officer dismounting from the Queen Mary and surrounding the JFK limo after the limo stopped, actually during that.
The probability that this is when the second agent entered the limo would have been very high.
We cannot dismiss what both of them reported, and here you can listen to their own words.
That was four people that came of that follow-up car and ran out to either side of that presidential limousine with rivals of some type, said Douglas Jackson.
They came out of that follow-up car and ran out to either side of that presidential limousine with rivals of some type.
I said about two or three on each side.
And they came out from the follow-up car, kind of the same thing?
Yeah.
When did they do that?
Output between that second and third shot, I believe, when I noticed them run by the car.
Thank you.
That's right, and now we're gonna hear from Cheney.
I don't know whether the lead car ever stopped or not, but I know that the, uh, pardon, the second car, the one behind him, apparently did.
Because it was officers that run from the left-hand side in front of me, James Cheney said.
And here it is.
So what we have done before we finish to wrap it up here, Jim, and
our audience and everything is we are trying and I believe successfully have paired the Newcomb tapes with what we see in the new interpretation and our audience and everything is we are trying and I believe successfully have paired the Newcomb tapes with what we I don't think there's any way.
That you can refute this, you know, the way that it has been presented here.
So let's pick it up right here.
A good indication?
A good indication when this all happened has been shown above where obfuscationist snapshots with evidence of airbrushing begin to populate the interior of the limousine.
For those who undertook this endeavor, it had to have been quite the Sisyphean task because the number of frames that had to be painted over and altered Notwithstanding the effort, 60 years later, we're now able to detect the incredible amount of work involved.
AI will not be needed to figure this one out.
Do you think, there, that the effort to do this, Jim, now that we know the trajectory of the Z film that weekend, and how this would fit into that story?
You mean of the alteration?
Yeah, right, right.
Well, you're absolutely right.
They had to do a huge amount of work, and part of it was cutting out too many frames to leave that left and to the back, you know, that very dramatic effect that didn't occur because he simply slumped to the left, but they took out so many frames.
But you can see they were doing so damn much, you know, it must have been nearly impossible to keep track of it all.
And so, and the frames that they had to work on, you know, during, in a limited amount of time there.
Right, that was key.
In Rochester.
They had to get it down to the Photographic Interpretation Center Sunday.
Right.
They were pressed.
They were pressed.
Okay, so.
Now, of course, what could take one man a hundred hours could take ten men ten hours or a hundred men one hour.
Maybe that's the reason why we see this, you know, different disjointed effect there on the airbrushing, you know, here and there.
Yes, they had a team.
They had different people working on different frames.
That's it, Larry.
The fact that Dallas Police motor jockeys were ignored by the Warren Commission says a lot about how fearful the Commission was to get their true stories.
We come full circle here.
The most important and closest witnesses, Cheney and Jackson, had the most important testimony to tell had they been allowed to appear before the Commission.
From what we've seen in the historical record, they never had a chance.
No, no.
Thanks to Brad Newcombe and the Newcombe tapes, we're now able to set the record straight.
This is great work, Larry, great work.
Which is the only thing we're ever going to have, Jim, and everybody else.
Remember, we got all those witnesses who've seen the other film, Larry, and when you integrate it, you get a longer stop.
And, you know, the reaction, I think they just weren't aware.
I mean, You know, how much, how the actual duration, because they were doing things themselves.
I never thought I was going to get involved in the Z film, to tell you the truth.
But when I started to see, you know, this whole thing, I said, damn, that's crazy.
Well, well, remember Thompson wrote and would have us believe that that is the most basic evidence because they know because it's been massively edited.
If you take that as a premise, you can never figure out what actually happened because it's a false depiction.
They're asking you to assume to be true.
Yes.
Um, maybe you don't want to get into it tonight, but, Reverse engineering from what everybody said and I went back to I went back to all these things and now you could see because again I used to edit and cut film frame by frame so I've been trained to know what is possible and what isn't uh one frame to the next and now we know what they were hiding so it's it's as clear as day of what yeah
Yeah, figuring out what they were trying to hide is crucial.
You're absolutely right, Mike.
Absolutely 100% spot on.
Jim, it's the second agent in the limo.
That's what this is all about.
And showing their head to be a stop long enough for him to get in the car.
Right, right.
And let's not forget the show we did about the Daniel film, that they were actually hiding.
Yeah, right, right, right.
And you're the one that pointed that out from the beginning, Mike.
Yeah.
You know, for people who don't understand, the film, the limo is coming out of the tunnel.
Right.
A little boy waving.
They need to hide that.
This is exactly what and the same thing we've been going back and forth about looking at the follow-up car and how many were on it because they're missing a guy or missing two.
And you know what and now and because this is stuff that we've been working on you know you know in another group here where now we're thinking that maybe you know since we've got
Extra agents in the JFK limo there might have been and has been postulated before that there were other Secret Service agents in Dealey Plaza, all right, and either that or some of the ones that were in LBJ's follow-up car could have participated in this, but I think more in the sense that other agents that were there deployed in Dealey Plaza could have been called upon to, you know,
Reinforce, you know, what's going on there.
This is just a little tricky, Larry.
I think we're dealing with the right number of agents who are on the back of the Cadillac.
And, you know, that's the thing, Jim, that the numbers don't add up, you know, with the McIntyre photos that we've been analyzing.
Stay tuned.
Well, we need to get into that then.
And one more quick thing too, guys who are really interested in, watch the Knicks film frame by frame.
You could see in the beginning, those agents come off the follow-up car.
Right, right, right.
You gotta watch it, you gotta watch the stills, because you'll never see it watching the movie.
And then it cuts out, yes.
That's very good.
All right.
All right, Mike, thanks.
Wonderful stuff.
All right.
Well, we promised, you know, end the year with a bang.
Well, here it is.
All right.
I guess we'll call it a show.
I mean, I don't know how we're going to top that, so we might as well get out while we're ahead.
All right.
It's been the New JFK Show number 292.
Mike, we really appreciate you being on.
We want you to be on a lot more often.
All right.
We'll see you next time.
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