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June 10, 2024 - Jim Fetzer
01:04:59
The New JFK Show #296 Jim Fetzer, Larry Rivera, Mike Machanska, Gary King
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Time Text
This is Jim Fetzer subbing for Gary King for a new JFK Show.
We'll fill in the number by and by.
We've got Mike Machenska has been doing great work on whether, you know, this extra Secret Service man who climbed into the vehicle in Dealey Plaza, which would have been impossible had it not been brought to a complete halt.
And I dare say, I reaffirm again, no matter how many may contest it, when you consider all the activities that took place while the limousine was stationary, it cannot have consumed less than 20 seconds.
Now- Jim, if I may interrupt, don't forget the Newcombe tapes where Hargis and his boss, Stavis Ellis, you know, talked about that, you know, Exactly.
Yeah, but Larry, do you agree with me that it took 20 seconds is a pretty good estimate?
15 or 20, you know, and we're still trying to figure that one out, but definitely a good estimate.
I regularly do a Jimmy Dean sausage sandwich.
It goes in the defrost for a minute and a half, then it goes for regular for 55 seconds.
Now, I know what I do when it's on that 55 seconds, like going out to my recycle bin and back, that's only about 30 feet, and it takes about 20 seconds just to do that.
So I'm just saying, this is...
This is a pretty good estimate when you consider everything that was taking place.
Five agents dismounting Bobby Hargis Park and his bike, running between the two limos up to the grassy knoll.
Douglas Jackson motoring up the bank, falling over, then proceeding on foot.
Now, these things are taking place concurrently, of course.
The five surrounding the limo, the one taking a chunk of skull from a little boy and throwing it in the backseat, but Another climbing into the limousine.
Mike comes in.
Mike, shall we begin?
Take it away.
Let's do it.
Okay.
Here's your first slide, my friend.
Go for it.
All right.
This isn't a common photo that you see, and I just recently Ran upon it.
I think this is not too long after they came through the Triple Underpass, a little bit further down the road.
And that's the full frame.
We can get really into the next one.
It really starts to show what's going on here.
All right.
Look at – well, let's look at the back, because since we're talking about the second agent getting on the back, and it was actually Clint Hill who was in – because he was assigned to protect Jackie – He's the one who was actually in the car and went in, and he even says this in interviews that we can link up with, that he jumped in, he saw JFK's head,
The big hole in it that gave a thumbs down to the guys in the back in the follow-up car and then said, go, go, go.
We can get that.
Uh, I have that interview.
Well, that's the official, that's the official thing.
Right.
Yeah.
But anyway, um, just to give people a little bit of background, um, so don't lose people here.
Um, so we have an agent in the car above Jackie and JFK.
And then we'll get to how awful that was.
And Mike, Clint Hill's supposed to be lying flat on top of their bodies.
So is this supposed to be Clint Hill or is this supposed to be Bennett?
No, that's the point.
Well, they can only show one agent.
And I think they could be fabricating the agent that we see here because It gets complicated because they can't show the agent on the back.
There's somebody on the back there because there's a huge blackout mark.
And even you can see to the right of it too, there's a little airbrushing, 1963 airbrushing.
You're talking about in this area here that they're blacking out somebody there?
So we got one guy here, then we got another guy there, but they don't want to admit they're two, because this would be Clint Hill, presumably, and this then would be Bennett.
Yeah, yeah.
Look how fake this is.
Clint Hill standing up in the back.
The whole damn thing looks very strange, because you got this block here that doesn't appear to have any basis physically for its existence.
And then you got this mishmash down here.
So I think we're all in agreement.
Something's very, very wrong.
Yeah.
And again, back in 1963 or 64, whenever this came out, it wouldn't have taken them this long to do, but they had to coordinate all these things and see who had what captured.
So make sure nothing got loose, nothing got out there.
And also, we're showing this in a 1963 newspaper.
Everything would have been dark and it would have been shaded in, so it wouldn't be as prominent as you see now with a 4K TV.
That's where I'm getting this off of.
When, you know, just like you could see, like, you know, you could see the special effects and some of the things now that you have... I remember when DVDs first came out, I could see things in the background.
I could see all this other stuff.
So now that we're getting... and this isn't even, you know, I don't have a...
Mike, the next slide is this area right here that's supposed to be the face of this other agent.
That's about as obviously fabricated as one could have.
Let me interrupt if I may.
Mike found the anomalies in the Towner film Where the painted hand, and that's exactly what that reminds me of, of JFK's painted hand over Jackie's blazer there in the frames after those that were removed from the Tommer film.
And also the fact that Jackie's expression Remains constant throughout, I think, something like 12 or 13 or 14 frames, as well as JFK, where they have also superimposed onto that film.
And nobody knew about that.
The Towner film, I'm talking about Mike's discovery on that, And also the Daniel film, where he found, you know, coming out of the tunnel, you know, the extra agent or agents, you know, in the limo.
So that's Mike's pedigree here.
I just wanted to... Yeah, it's wonderful stuff.
Yeah, of course.
You know, looking here, it even looks like there's something printed on there.
I mean, I can't tell you how amateurish this is, but it looks that bad, like there's some kind of word here.
Tell it.
You know, like I said, when you see this, they must have forgotten about this because it's just so obvious.
It's gotten through the cracks with technology.
And Larry, the towner film, it's more than frames.
It's the whole turn.
Jackie Spade's move.
It's the whole turn.
And then there's 14 or something frames that's cut out.
And I'm going to try to fill in those frames at the end, you know, as the Annie Rooney here of the show here tonight.
Nice.
Nice.
Then you're looking at the back here, right, Mike?
This is all the back end now.
Here you're looking at a face which is obviously fake, fabricated.
Now you're looking at the back.
Go for it.
Yeah, and then pretty much the next three are similar.
But you can see that shape, that black trapezoid, double trapezoid changes.
And especially the very last one, they're hiding something back there.
There's no other reason for it.
Yeah, but people would have believed it 60 years ago.
Dude, after what we have uncovered in the Z Film, this is peanuts!
With the airbrushing and the show that we did with Lorian on Memorial Day, I mean, incredible the feedback coming back on that, Jim.
Yeah, I agree, I agree.
Oh, Larry, tell us just a tad more before we proceed.
Tell us a tad more about the feedback.
Well, Lorian was beside herself, you know, she sent me, you know, text messages, you know, regarding that and apparently, you know, things that had never been really discussed, you know, in the way that, you know, Mike and I, you know, presented it that
The airbrushing in the Z film is so incredibly extensive, Jim, you know, and that up until today, you know, 60-something years after, it's unbelievable.
I get the impression there are people who never really understood about Z-Film alteration until we did our little mini panel thing, you know?
Well, you start, of course!
Your book, I tell everybody, that's the Bible, you know?
The great Zerputta film hoax, you know?
What more can you say?
Yeah.
They want to pretend it was never even published!
I mean, how can you have Josiah and Grodin still insisting that Hilb is authentic after all these years?
It's just bizarre!
Let me tell you, Pig on a Leash is required reading for anybody because it'll tell you what Robert Grodin did to suppress
You know, the Zapruder film, you know, and to this day, Jim, and you outed him out, you know, in articles on Veterans Today and everything, you know, you were the first one to challenge, you know, his supremacy, you know, and kudos to you on that.
This has been solid.
So Andrea was very proud to be the first out Josiah Thompson.
Please continue Mike.
Alright, we're going on to the next.
Yeah, so again, you could have taken every single frame.
Again, watch it frame by frame.
You can get it online.
And these are just different examples just to give people, you know, if they want to check it out on their own.
Wow, again, we got to tackle that.
The reason They're faking this.
The reason they're faking this is because they can't show a stop.
And everyone saw Jeff climb out on the back.
And everyone saw an agent go to the back.
Yeah, they can never synchronize that with the Z, of course.
Yeah, yeah.
So, this is one of the first things I, you know, when I first started looking at this, look how black And fake looking, these shapes are.
And look how far Jackie goes to the back as well.
What she could have done if the car was stopped.
Again, we've got to reiterate, there is no way that Jackie would have, with her fancy white gloves or whatever, you know, that letter would have stayed on the back of that truck holding onto nothing.
Right.
There was no friction there to hold her there in place.
Her inertia.
She would have remained in the same place while the car moved out from under her.
She's moving in.
And a couple of these things, the agent on the back, who could have never ran with this car while holding onto those handrails.
It's because you're using like little short steps.
That's that's another and you'll see that if you watch it in slow motion, you'll see how fake his legs are.
But so they're there.
They had they had to show this.
They had to show this happening.
And so they're recreating it.
Because they can't not show it, but they can't also show the stop.
So, um, oh, and then another thing that we were saying about Jackie falling off, um, at points here, Hill is literally surfing the back of the bumper and not holding on to, his hands are not holding on to anything.
So we'll, we'll, you know, um, it's, it's, these frames are... It'd be a disaster if the car were in motion, because he would have fallen backward.
Yeah.
The limbo would have pulled his feet out from under him.
Yeah, well, and maybe we'll get this.
I don't want to overload it, but again, at the end of the Much More film, you see Jackie's still seated.
And Clint Hill, who's assigned to protect her, is on the front and on the outside, on the running board of the follow-up car.
He's already there.
He's already to the end of the car.
And they cut they cut it out.
Because they don't want to show him running to the side.
He would have never run to the back.
Furthest away.
You would never be able to get over it.
That's the Knicks.
That's the Knicks, right?
The Knicks?
Yeah.
Oh, yeah, yeah.
Let's not forget that the Knicks ended up at UPI for years and years and years.
And with Robert Grodin being the intermediary, you know, on that, where Knicks' granddaughter wrote about, you know, Robert Grodin's, you know, dishonesty on what happened with the Knicks film, you know?
And what we know now about the Knicks is not exactly what was at the uh originally you know when it was confiscated it wasn't confiscated they went in the FBI took it over and his camera later on the camera was completely destroyed when it was uh returned to them months later and uh obviously not the the Knicks film that uh was uh available which was processed you know the weekend in fact there was I believe a week before it was even processed Jim
And anyway, yeah, but... Orville said it wasn't the same when he got it back.
Exactly, and the camera was completely destroyed where they could not... And the camera was destroyed, yeah.
Yeah, and so, in fact, they don't even know how he took the film because supposedly he was running, you know, disoriented, and, you know, and that's why the film, you know, looks like it's going uphill, you know, which I asked Gail about that, you know, but anyway, that's, you know, another story.
Yeah, look at the tilt of Elm Street, which is downward to the left, and now it looks upward.
Right, right.
And I asked about that.
I asked her, you know, he said, well, you know, he was just running, you know, he wasn't even looking through the viewfinder.
I said, really?
That doesn't sound right.
Anyway, another thing, I think those images, they're obviously, they do not synchronize with the Z Film.
Yeah, yeah.
And in the second image there of the next year, you'll see The glare of the sun.
They were in direct sunlight, you know, like high noon.
And for something to show that black is... Actually, I can show you the relationship right there in Blender in a little bit, you know, when we get there at the end.
I can give you that exact same angle and show you, you know, if there was that type of glare.
Excellent.
Excellent.
Yeah, it was 12, 1230 rather than high noon.
But don't forget in November, late November, so, you know.
True.
Croft.
Oh, yeah.
Oh, man.
We can go on forever with this one, Jim.
We're gonna have a feast here tonight.
Go ahead, bud.
And let me tell you, from the beginning, I mean, ten years ago, Dennis Camino, and you know, this guy was a really, really good Uh, image expert.
Yeah.
And, uh, he was, still is, obviously, you know.
We haven't had any, uh, communication.
But, uh, he, he spoke about, he wrote about, uh, in the emails about the piss, uh, the piss, uh, slit eyes of all the Black people that were there on, on the curb.
He's going, holy shit, man, there's no eyes!
It's piss slit!
Just exactly that.
That was his expressions.
I even dug up the emails on that, you know.
To see, you know, how far back we have been researching this image where, you know, I did a collage that showed how Jackie's hair, you know, was extended to block Jeff K's face there, but also new things that have been coming out, you know, for example, blood, you know, what appears to be blood, you know, from the wizard who also confirmed that
The guy from Across the Pond.
So, and you know who I'm talking about.
Yeah, so yeah, of course.
Anyway, it looks like blood there on the top of the backrest, you know, and that's something, you know, that Mike's gonna talk about, I'm sure.
Go ahead, Mike.
Absolutely.
Yeah, that's the, well, that's the second slide, but The examples that you'll see later, every single person here, who again, they're looking straight at the sun.
You know where the sun was, because you've been there.
The eyes, every once in a while, if someone's looking away from the sun, that could happen, but not to every single one in the frame.
You can go to every single person, and their eyes have been taken out, and they're above their mouths.
It looks cartoonish!
It looks cartoonish!
And that's because JFK has been hit, or they heard the shots, or they heard him reacting to a miss.
And the most blatant thing is, the woman right To the right of the back of JFK's head, look at that huge, big blackout that's there.
Right.
That really stumped me for a while.
She's holding the camera.
This here, this here, this here.
Yeah.
I think she's holding something.
And, you know, where this is in reality, in Dealey Plaza, I think there were shots, you know, before this.
And she was filming her, you know, and saw that and brought it down to her waist.
And you know how they, from all shows, they're blacking out people with cameras.
So I think that's the reason because, you know, cameras were a little bit bigger back then.
And then you've been going back to some of these different other examples of... Yeah, that's the first thing.
Jackie's hair is black.
Yeah, and it's hiding his face, the painful expression of his face.
Like he's cuffed, like he's reacting to a shot in the back there.
Yeah, and also, you know, I thought about this a lot.
Yeah, look at the artificiality of the hair right through here.
Yeah, I did an extensive collage on that.
Yeah, go ahead.
Yeah, that's more of a 90 degree Yeah.
Yeah, yeah, yeah.
Why would she ever be looking that way?
They did that so they could extend the hair and hide part of JFK's face.
And again, to go...
Well, is this for the shot in the back?
It's not the shot.
Yeah, yeah, yeah.
For the back.
Notice how his shoulders are hunched.
Yeah.
Yeah, absolutely.
And the top of the collar there with his suit jacket is also hunched up, you know, where he's obviously reacting.
Yeah.
And then... Yeah, that's the one I want to know about.
Go ahead.
Well, yeah, that's the thing.
They're hiding that camera just like they did with the Ultras.
If you want to go to the woman in the blue, um, dress, um, and I wanted to hide again.
So why would she lower her camera?
Why would she lower her camera at that?
And you think, you know, you're going to see happy JFK.
And then he, he, he gets reacts to a shot or does this.
You're going to like, okay.
And, and want to look for yourself because, you know, again, looking through it.
Gotcha.
Yeah.
Um, Looking through a camera back then, it was really hard.
It's not like, you know, looking through a cell phone.
You had to look through this little thing.
And the two women, African-American women, to her right, the teeth and everything, like they're smiling and laughing.
You know, what's up with that?
Oh yeah, you gotta go to the woman with the blue dress.
What, you mean just look at her here?
No, before.
They look like they were rehearsing for Thriller.
Yeah, here, the woman with the blue dress, right?
No, she's pointing?
No, there's one clapping, and the other one is... Well, no, it's a separate slide.
It's after the one... Yeah, it's after that one.
I'm not quite sure, Mike.
These are what I got.
Am I missing a slide?
Well, you can talk about that one, but that's the one I wanted to talk about.
That's the one I have up here now.
Well, you can talk about that one, but that's the one I wanted to talk about.
That's the one I have up here now.
Look at – she's pointing, and look at her mouth.
It's – well, I drew – That's not real mouth.
That's a fake.
Yeah.
And again, the black fake... This stuff here.
This stuff here.
Yeah.
As you'll see throughout, every single one of them, you'll see funny things with their arms and their hands.
They've been manipulated to, if they like put their hands over their mouth or some kind of like, you know, horrified expression, They've been slightly altered.
You know, you wouldn't have to, you know, do that much to it.
And they're all blurry.
And none of the people should be blurry because they're still...Croft, who took the picture, not with a film camera, is still...he's taking it with a good camera.
And there's no way...
This should look like this and it just it dawned on me.
You know the story of Robert Croft?
Should we briefly mention that?
He was waiting at the train station there in downtown Dallas and he went and he walked over to Dealey Plaza to take some film and pictures, not a film, but pictures from his camera and he was a missionary, a Mormon missionary, and from there after Going back to Denver, his hometown, from there he was supposed to go to South America.
How convenient.
So, he's there in Dealey Plaza, waiting for the train, you know, a couple hours, and he snaps these pictures.
So, he ends up home, and he calls the FBI, and he says, hey, you know, I got a roll of film here, you know, from Dealey Plaza.
The FBI, of course, goes running, picks up the film, and after that, this is what we have.
All right, so that is the story of the photo, and there are so many images, you know, that are missing from the roll of film that were never developed, and that the FBI said that, you know, there wasn't really any evidentiary value in whatever else, you know, there was, you know, in Robert Proff's film.
So, like I said, you know, a few days later, He ends up in South America as a Mormon missionary, which also reminds us of Gordon Arnold, you know.
Remember, after just a couple of days, he was shipped to Alaska, you know.
So, you know.
Go ahead.
Getting the key witnesses out of town.
Yeah, yeah, yeah.
It's not a dodge!
Is there more you want to say about the Krofft stuff, Mike?
Yeah, just real quick, just to explain why I circled that.
JFK's like, you know, where a beard would be.
That's hard to see here, but again, for people who want to know, again, off of a TV, you can see the discoloration.
They're just trying to hide.
What's that?
Yeah.
Yeah, and you can see it goes all the way up, all the way up to his ear.
There's a little triangle behind his ear that's that's the last one that's all black again you could really see it the very last one then the one after this uh jim and then you could start seeing how they blended this to his hair and you could see you know anomalies and it's almost like um z-frame 317 because the is he's got an elongated back of his head i don't
I think his head was back from from reacting from the throat shot here.
And so they had a they had a hide.
They had to move his head up front.
The elongated with his black.
you know, a shadow, fake shadow in the back, just like frame 317, but for just, you know, different reasons.
You can see the top of his head.
That's really, you know. - But he doesn't start reacting to the throat shot until about 189, 190, Mike.
I know.
Well, I mean, we've got about 30 something frames.
Happened a lot earlier.
I don't think in the Z film.
Obviously, he was shot in the throat.
But I think they use that they move that later.
You know, and I'm not just doing this by looking at it.
I'm going off of what people said how early they said.
He was shot, you know, and I've been collecting snippets of interviews and, you know, quotes, people saying as soon as the limo turned onto Elm, they started hearing shots.
So, I mean, I can't pinpoint when they shot in the throat, but I think it was earlier or was easier, again, to the way they moved Jackie further along because they can't show multiple shots at once.
They had to move the throat shot But the new information coming out of all this is that the towner vans, you know, were in perfect position and perfect eyesight, line of sight, to create that shot at the C-160, 161 of the C-film, which is shown in the Croft.
So we're looking at It's not a new source or a new position, you know, from where shots could have been fired.
And of course, I have done some tests with the Blender platform, which suggests, highly suggests, that that could be.
Of course, we also have the Dow Text.
Uh, Jim, which, uh, you know, I don't know what your, uh, position is on exactly what Z thing that could have arisen from, but, uh, what I'm suggesting here is that on Z160, which is a Croft, uh, where you see, uh, the, uh, hunched up shoulders and everything could have been from the Towner Vans and they line up perfectly.
You mean that should have been acquired there from the, from the...
Oh, a perfect coverage of the town events, you know, one after the other, of course.
But that Daltex building, that second floor... That's another, that's why I throw that in there as well, with others, of course.
That's possible as well.
Yeah, you know, I'm giving you, you know, of course, I'm suggesting, you know, that all these alternatives, which include the Daltex, you know, second floor, of course, which I'm sure... Mike, this is... I love these photographs.
Tell us... Oh, yeah, this one is... You're gonna freak out on this one.
This is unbelievable.
Now, before I forget, you see in the background there, I think that's... that's the Daniel film.
I think that's... this is... they're coming out of the, um, the triple underpass, um, and they... And they're going onto the ramp.
They're going onto the ramp.
Yeah, now this again.
Oh yeah, yeah, yeah, yeah, yeah, yes, yes, yes, I agree.
I'm hip.
Yeah, I agree.
I agree.
Um, and remember, you know, they had to black out all these, these, these cameras because they didn't, they didn't know at this point, they didn't know who had what.
So that's not, that's not on Stemmons.
Like, uh, we had supposed, of course.
Perfect.
Perfect.
On a TV just pops out.
Like, I mean, again, in the direct sun, how black is, um, so that would be, that would be right before the second stop, right before the, uh, Yeah, but this has been fabricated, because look at the guy's head!
Oh yeah, yeah, yeah, I agree, I agree.
You have another slide for that, which I suppose reveals that.
Yeah.
You wouldn't see it in a newspaper in 63.
Sure see it now.
That's...
This doesn't even do a job.
The second thing here is look at his left shoulder and arm.
Look how long that arm is coming across the entire limo!
You're talking about down here?
This is supposed to be an arm?
Or this one here?
Yeah, that's the left, of course.
This is the right.
He's got the arms of a gorilla.
Yeah, because again, look at where he's positioned.
They're positioning him to hide right behind under his armpit.
His left armpit is that handle, and you can see where the spare tire is in the back because there's someone on there.
All these connect.
You could say, okay, let's do this or that or whatever, you know, but when you have multiple And like I said, I have more of these, too, for another time.
But where they're hiding, where they cropped out, the back of the limo.
And look how straight the top of the spare cover is, the Continental kit.
It should be round, but it's flat, because when they edited it, they did it too much.
They took out a little too much.
So is he wearing glasses, yes or no?
No, he's not here, I would say.
But go ahead, Mike.
Well, and again, another interview that I heard, either heard or saw, I did a couple with Clint Hill.
He said at one point his glasses fell off.
But this is all fabricated anyway.
Yeah, he's covering.
He's covering.
It's not clean in all of this, I'm sorry to say.
Obviously, since he never even mentions a second agent climbing in, he's suppressing very crucial evidence.
I think they took the upper torso off of what you would have seen unaltered of the guy in the back, and then they had a hell of a time with that head.
Yeah, the arm doesn't look right.
The arm looks added in.
Yeah, and then again... It's like the arm went straight down, but they made this, they plugged this in here like he was a tinker toy.
Yeah, and then, so that's, he's hiding where Bennett would be on the back because he's probably, you know, crouching down, because that's, you know.
Now again, this pops out more on the TV, but Again, there's just more of the shading, hiding the facial features.
I don't know.
Again, it's in the direct sun, so you can't have a shadow on the face there.
It's more obvious.
The nose to the right, yeah, but not the rest of the face like this.
Yes, you're right, you're right.
A nose doesn't show a face.
What do we have here?
So, yeah, it's...
What's this last image here?
I can't make heads or tails of it.
No, that's what we saw in, I guess, the second one.
That's where the Daniel film.
It's just a close-up of the blackout of All I can say is I don't see any sunglasses.
No.
I think this is Bennett.
know that the limo coming out of the triple underpass on the other side of Dealey Plaza.
Sorry, you want to add more comments here?
All I can say is I don't see any sunglasses.
No.
Yeah.
I think this is Bennett.
I don't think this is Clinton.
Notice all the reflections on the limo on the side panels or the limo, which is very important for what I'm gonna show you guys.
See the, even in the black and white, you can see the reflections there on the side panels.
Yeah, we're talking about here.
Yeah, all the way up and down.
Yeah.
Which we do not see.
Up and down, yeah.
There's a street here, then whatever's there.
No, Larry, you know what?
You can see the reflections in the scene film before it goes behind the steps.
Of course.
Right.
Yeah.
But not after it comes out from the sign, the sentence.
It's all black, and there would have been plenty of- And it's not obvious what they're concealing there either.
It's so odd that after they- And I'm going to show you, I'm going to show you something All right.
I'm gonna make you a host, Mike, Brendan.
I'm gonna make you a host.
No, are we done?
No, no, we're done.
Are we done with Mike?
Yeah, this was all Mike's.
Okie dokie.
We can save the other stuff for another time.
I don't want to overload people.
No, no, no, man.
It's your show, man.
No, no, no, no.
These were all the slides Mike had for today, Larry.
Okay.
That was it.
Well, I sent you something.
Let me make you a host.
But we can do that another time.
Oh, sure, Mike.
Mike, this is the first of many.
Don't you worry.
We're going to take advantage of your expertise, Mike.
You're adding a lot here.
We really appreciate it.
This is the group that's done the most to expose what the hell's gone wrong with a Zabruder film.
When you throw in John Costello, we're getting pretty close to a complete set.
How are we doing there?
Are we online?
We're fine.
You go for another 30.
I don't have any audio, so I don't have to do any... But are we... Hold on.
Okay, there we go.
Can you see that?
Yes.
Yeah, but we got all your miscellaneous stuff on the side, Laura.
You might want just to have the image showing.
No, but this is part of the… but you can see this, right?
Yes, yes, we can see it.
All right, okay, okay, okay.
So, anyway, this is our view from the Z Film.
I prefer if you could just make your visual image the center, Larry, without all the paraphernalia on the side.
Can't you do that?
No, no, because it's part of the software.
Anyway, you see where I got the mouse here?
This is time and space continuum here, where we have Time versus position, and that's what Blender is all about, actually.
And at the bottom here, you can see that I have a timeline that goes all the way to 533 frames.
Which include, give or take, given that we have the 18.4 frame— Well, given they're only 486, how'd you get up to 533?
No, but that's what I'm going to explain now.
Okay, you're adding in what's missing.
How'd you get up to 533?
No, but that's what I'm going to explain now.
Okay, you're adding in what's missing.
That's good.
The 24, so you've got that balance in.
It has to be, of course, that's why.
So anyway, in the timeline, I can control Zapruder's view.
You see this?
Yeah.
And so it's really cool, you know, this thing.
So I can zoom in and zoom out, you know, and I want to say something because this is important.
The first time, Jim, I brought this to Jim's attention was 10 freaking years ago in the Lawrence Hotel, where I sat with a laptop.
I didn't know what the hell I was doing with Blender.
I said, this is the future of the case, you know, and it's taken me 10 years to get to this point here, you know.
You were right, Larry.
You were absolutely spot on.
So anyway, since, you know, the younger generation doesn't want to get involved in this, you know.
So anyway, as I look through Zapruder's camera, okay, we get this action going all the way through the tunnel, right?
But lo and behold, we know that Greer When he made the turn, he almost hit the curb, right, Jim?
Right, because he stuck the frontage road for Elm Street.
Right, so we've got to take that into consideration, and I'm going to go ahead and give this a little bit of a color.
Pause.
Yeah, we're the only guys in town doing this, so anyway.
Let this render here.
And then from there, I'll show you the importance of the reflections.
So we've got this big-ass turn here.
And we're probably going to go through almost there.
See?
And I can't give it too much, because the curb doesn't come up until later.
But look at where I'm at in relation to the curb.
I'm in the right lane, OK?
So this is not exact, exact, OK?
But it's a very, very good start in tracking and interpolating the trajectory of the limo as Greer was driving it.
It is.
I cannot stress how important this thing is, Jim, you know, because we know from the Alton's that the limo is right in the center lane with one of the tires almost hitting, you know, the divider line.
Okay, but Then we can see as the limo goes down Elm Street, we can see the curb on the other side.
Remember that it's seen in that one of the frames where you can see the yellow painting there?
So that gives us an idea about where that limo is in relation to Elm Street.
You got three lanes, so is he And then you got the situation here of Algins, who is occupying the extreme left lane as we're going down Elm Street, right?
And that's important here.
And, you know, what's going to trip you out here is that this is Bill Newman, and he's not seen in the Z-Boom.
And here's Algins, all right?
So we got this situation here, okay?
Where the limo is going through, and it's in that lane.
For example, Z255 Autins is about right here, okay?
And you can measure it from the ornamental holes here in the... Yeah.
And if you look at the Z film, you know, this is where 255 is, give or take, maybe, you know, a little bit.
But it tells us now, if I go and move over to Hold on.
Now we're going to go into another camera, and we're going to go into Altune's camera.
Hello!
This is what we're going to get, all right?
So, we've got that limo that's going from the interpolation of the program and, you know, the calculations and everything going from the curb Yeah.
To the center lane, correct?
Right, right.
Grazing the lines, okay, as in the Alton's.
This is right now is the Alton's, right here with the one that I'm showing you right now.
And if I were to go to the Z film, you would show, I would show, you know, where that the position of the limo was in relation to those ornamental blocks.
Anyway, so this is what
Shows us and gives us an idea of how to exactly trace that route there on Elm Street, which leads me to believe and hypothesize that Greer was tracking that limo over closer to the storm drain, Jim.
Okay, to give, yeah, because he's in the center lane, but he's been told, okay, and I'm sure I'm gonna get attacked for this one, okay, that he's gotta put that car in a special position there, you know, what do you guys think?
Right, right, right.
And that's where, and that's where I have him here, okay, so.
Well, Larry, real quick, you know, for people, Jim Garrison thought there was a shot from the storm drain.
Oh, and many, many, many others.
Those are, yeah, those are my, of course, my favorite.
And notice the reflections here, you know, the incredible reflections.
You know, if I were to go to, I'll show you, I constructed a special video here on putting together all the frames.
Okay, let's go.
Let's get that out of there.
But as I go close enough to the limo and I rotate, you can see all these wonderful reflections.
So where is that leading me?
If I go back to the Z film.
Okay.
For those, get a little bit of a blender tutorial here.
I'm going to go back to that, okay?
And look at these wonderful reflections coming off of the curb, Jim and Mike!
Are you guys seeing this?
And guess what?
You know, when I get to the—by the way, that's Emmett Hudson there, you know, the African-American guy that was the caretaker there at Levy Plaza.
And you can see as we go here, The actual image of the storm drain.
So, in addition to that... We ought to be able to see a shooter or a rifle there.
Well, in addition to that, you got to account for this guy.
That's Bill Newman.
And I only, you know, I can only put his, you know, him there.
And of course, you've got his two kids and his wife.
But just to show you that he's not in the Z film.
Of course not.
But he should be, and the same as... That's huge.
That is huge, Larry.
That is Bill Newman, the representation.
I even went and got a color video, and I And I, you know, did the shirt from what, yeah, he was wearing that day, but with the eyedrop thing.
But yeah, that's him.
And I'm not even counting the kids, two boys and his wife.
Yeah.
And they should be in the Z film.
So going back to that optical printer and all that theory, I think this is so important because it just funnels right to that theory, Jim, of Hawkeye works and all that.
Yeah, that's what it would have seemed because look at the very beginning of the Z film.
Look at all that information.
Look how wide that lens is.
Oh, and exactly.
And here, I'm giving you that turn.
I'm giving you that turn right there.
Okay, that you don't see in the Z film.
So, Larry, you didn't enlarge that Stemmons freeway sign like they did.
That's how it looks.
Yeah, it's right, you know.
Well, I mean, hey, you know, there's a certain degree of, but as you can see in the Z film, the top just grazes the top of the Stemmons and what's his name?
The Cuban.
And by the way, let me tell you something.
The Cuban guy is not, he's not holding a fist.
He's doing like this with his hand.
And trust me.
Larry, I can't see your hand, how you mean it.
Yeah.
He's going left to right with the hand completely open.
Left to right with a head completely open.
Like he's waving.
Yeah, like he's waving.
Like this.
Like, can you see that?
Yeah, I can see that.
That's what he's doing.
That's what he's doing, Jim.
No, he's not signaling Greer to stop.
No, but that's okay because that could be another sign that they had, you know, hey, you know, this is what is going on.
He's still alive.
He keeps shooting.
Yeah, yeah, yeah.
You know, didn't have to be the fist.
So, we're good on that.
Hey, Kevin King, man, you're late!
Yeah, man, I had a grandkid cut her foot on her nail, so we had all kind of drama.
So, I finally got here.
Well, we're done.
Okay, well, I'll definitely watch it.
And people who saw the original Z film say, you could see the umbrella man pumping his umbrella.
Yeah, right.
That's in there.
But not that fist pump.
That's not true.
That's not true at all.
Trust me.
Trust me.
Let me just say this.
If you're waving your hand, you're actually blending in more with the crowd.
That's right.
That's what you're actually doing.
That's right, Gary.
100%.
All this, you know?
Let me show Gary a little bit of the animation.
Gary, this is the new animation that just came out on Blender.
Yeah.
You know, and with this, you know, it's been 10 years.
I was just talking in the introduction, remember?
At the Lawrence Hotel, I put my laptop and it was you and Jim and I was trying to show you guys what Blender was about and I didn't know shit.
I remember you said there's a big learning curve.
That's right.
That's right, brother.
So, anyway, it goes under this, and this is a very crucial point here because Mike and I believe right here, right, Mike?
You can see the second agent in the back seat, right, Mike?
Yeah, no, they're altering that with blackouts all the way until that goes into the tunnel there.
Yeah, but the one that I'm talking about are the frames which show the second agent clearly, you know, in the back seat right here at this point.
Yeah, no, absolutely.
You want to throw up the Z film to show it?
Oh, yeah, that'd be great.
Oh, that's absolutely.
Okay.
Let me stop.
Yeah, I'm pausing.
Just go ahead.
Don't worry about the pause.
Just go ahead and do it.
That's a great idea.
And when Larry's doing that, another thing, at this point of the Z film, you'll see more of the trees.
Look at the, you'll see the detail of all those leaves and all those, you know, the colors.
Well, not some of the colors, but the details of all the different leaves.
And you can't even see grass when you would have seen, you know.
During the previous, uh, when, you know, when they were cropping stuff, you know, you would have, you would have seen all that detail.
This was such a great location for an ambush because there were so many shooters.
It's just staggering that the secret service would have even allowed it, except of course they were in.
They were, they were complicit.
Raleigh was in on this thing.
Exactly.
And they were all bastards.
Okay.
I got it.
I got it teed up.
Go ahead, Larry.
You're the host.
Just take out your blender and put it up.
We're still looking at your blender.
There you go.
You've lightened it up, I can tell.
This is the clearest one that I've run across.
Go ahead.
You can't see the reflection.
And yeah, of course.
We're getting there.
We're getting there.
Oops.
Go back.
Go back.
Oh, go back?
All right.
You want to go back and show the frame where you can see the second Secret Service agent in the vehicle.
Okay.
Look at all that.
Well, that's right here.
That's right here.
Okay, there he is.
You guys got it right here on the mouse pointer?
Good.
He stays there for a while.
He looks back.
I mean, he looks to the front, looks down, looks to the back, like what a colleague noticed.
You see that?
That he was like arranging bodies or doing something, you know.
Yeah, I wonder what the hell he's doing.
My thought has been... My thought has been he was there with that 38 to finish off Jack, if Jack were still alive.
Really, really.
That was... Yeah, that was Mike...
But the thing here is that that guy is not Connolly, okay?
I cannot stress this enough.
He's not Connolly, but he's also not Clint Hill.
No, of course, but you know, I'm just discarding Connolly by logic, okay, with considering and taking into consideration the injuries that he has suffered going through a bullet going through his chest, you know, Sure!
you know, coming out and forget it.
It didn't go anywhere else.
Okay.
And then another one that goes through, you know, and, and, uh, damages his wrist and his thigh and everything.
So we're talking about at least two different shots, right?
We agree on that.
So, yeah, pneumothorax is such an incredibly painful condition where you You know, I had that happen to my first wife in a car accident and she was miserable for two weeks, you know.
And all that happened was her seat, the seat belt, she didn't have the bottom part engaged, but only the front that goes diagonally across her chest, and it was so forceful, you know, on the collision that she had a, you know, a perforated, not a perforated lung, but... A cracked rib.
Yeah, and she had, you know, a lung that had to be You know, you gotta put all these tubes and everything, you know.
But just to tell you, not only that, it looks like in the Z film, like he is losing consciousness.
So for you to tell me that that guy that we see later on in the Z film, Yeah, it's ridiculous.
Yeah, medical impossibility.
Impossibility, of course.
Yeah, medical impossibility.
But they got that void because he's on the floor and they can't just show a big black spot.
So that's why they're doing it.
And to go back just a second... Which is why all the alteration, all the airbrushing, which happens from 3.31 on until it comes out from the bushes.
And I think, to go back just a little bit real quick, I think Hill was calming down Jackie.
That's what he was doing there.
She was trying to get out of the limo.
I think he, when he was assigned to her, I think he was calming her down.
So what you're saying is what Hargis said, she was trying to get the hell out of there.
Yeah, yeah.
Never believed that.
She was going after a chunk of Jack's skull and brains, which she held in her hand all the way to Parkland.
Well, that's what they wanted you to believe.
Remember, on the last show we did, David Lifton interviewed three people who saw, on the second stop, Jackie get out of the limo again, or tried to get out of it.
The second stop.
Yeah, under the ramp, on the ramp, under the overpass.
I believe she might have on the second stop.
Anything!
That was a reconfiguration of everything there, of course.
Remember when we went there and we stood on there, you know, it was so creepy, you know, because the wind and everything there.
When you stand there and cars are going by you, you know, they're going onto the ramp and then on the other side they're going like 70 miles an hour, you know.
Remember, Gary, when we went down there in 2014 and we went onto the ramp there?
Yeah, I do, man.
And then after that we went over to the cubbyhole.
I know, the cubbyhole changed my life.
For sure.
Larry, are you telling me you don't think she was going after that chunk of skull and brains and jack on the trunk?
It's still, yes, yes, but I think they stopped a second time to make sure Jack was dead, right?
That was about 30 seconds.
Well, I'm certainly willing to believe the second time she was just trying to get the hell out of there.
I think they stopped the second time to make sure Jack was dead, right?
That was about 30 seconds.
They wanted to make sure the man was dead.
That's incredible.
And that was Earl Brown.
Had it not been for him, Officer Brown, who was brought, you know, he was like three-quarters of a mile away from Dealey Plaza, and they bring him before the Ward Commission.
We wouldn't have even known!
What a joke!
I wonder if they intimidated Jackie at that point.
I mean, I'm wondering if she could have been threatened at that point.
Well, the people who said they saw the second stop, and it was other, you know, Ed Hoffman and everything, they went up They up the ramp, so there's no cars in front of them.
And then the follow-up car and the other cars were blocking everything off.
So-- - Yeah, they came up, yeah.
Yeah, yeah.
So, you know, to almost like, you know, guarding, make sure.
Can you believe it that LBJ had clear view of that scenario there on the ramp?
That's fucked up.
Well, remember, he was such a hands-on guy.
He was going to make damn sure Jack was dead and not just wounded.
He wanted to see, yeah, with his own eyes.
He wanted to be certain he was dead.
Yeah.
Talking about LBJ, we of course want to express our deepest condolences to the Nelson.
Bill Nelson.
God, what a great guy.
What a terrific guy.
His research on LBJ and the Liberty will never be forgotten.
It's got to be.
Absolutely.
He has left enduring monuments to his integrity and his scholarship and his dedication of truth.
Bill Nelson passed away?
Yeah, I'm a huge fan, huge fan.
I'll never forget it in Santa Barbara, you know, when he had all those technical glitches.
I was personal friends with him, man.
I was personal friends.
I worked with him on the USS Liberty video.
That's what we're talking about, fool!
I know.
Just kidding, Gary.
Just kidding.
No, I have a bunch of grandkids and one of them stepped on a nail and there's blood everywhere and just, you know, chaos.
Was it a clean nail or are they going to have to have a tetanus shot?
I'm not into any shots, you know, so we're just going to... A tetanus shot, Gary, a tetanus shot is a worthy shot, but don't get anything else.
You want to be gangrene later on, brother.
Yeah, you don't want to fart around with that, a tetanus shot.
You think a tetanus shot is okay?
Yes.
Yeah, they got some good prosthetics over there.
A tetanus shot is okay, Gary.
Don't get anything else.
Don't say, while you're here, let's shoot you up with a bat.
Yeah.
Wow.
Hey, I can't believe that about Phil.
Yeah.
Wow.
He was like Richard Witt when you found out on the show.
What was he?
Was he 79?
Yeah, 79.
79.
79.
Yeah.
Good guy.
Yes, sir.
Let me tell you, like I said, his books and his work is going to be up there forever.
Yep.
Not only that, his book on Martin Luther King, oh man, incredible, incredible work there as well.
We did a lot of shows with him.
He did that, he did The Liberty, he did LBJ in two volumes, The Colossus and The Mastermind, you know, what more can you, in fact, I tried to recruit him a couple of years ago to see if he could help me finish my book, you know?
And he said, man, Larry, I'm so busy, you know?
Because, you know, he was the type that I could call him up, you know, and talk to, you know, and stuff like that, you know?
He was a slow, methodical worker.
Yeah.
Yeah.
But he kept plugging.
In his mind, he was a mile, you know, he was, it's just that, you know, for presentations and stuff, you know, he was, he was like, Morphine, you know.
Such a slowpoke, you know.
Remember in Santa Barbara, you were going nuts because of the technical glitches.
Yeah, that's true.
That's true.
That's true.
You had him first or second or something like that, you know.
That's where I met him in Santa Barbara.
He was fantastic.
We kind of hit it off, he and I. Yeah.
Yeah.
Sorry to give you that news, Gary.
Sorry to give you that news.
Gary, if you'd like to say a few words about Phil as we close this out?
Yeah, Phil Nelson was, I mean, I'll quote you, Jim.
It was a dirty, nasty, filthy job to research LBJ, but he did it.
And as filthy and nasty as it got, he brought us the truth about it.
And I talked to him a few times and he You spoke about the title of his book.
He wish you would have maybe named his book a little differently because a lot of people really I had a problem with the title, but I know LBJ was up to here in the whole thing.
Gary, there was nothing wrong with the title.
It was a litmus test, and those who are criticizing the title were on the wrong side of the research.
I'll tell you right now.
Phil was calling it the way it was, and you got a lot of phonies and frauds out there trying to protect LBJ at all costs.
This whole Dulles thing is just absurd.
The devil's chessboard.
Give me a break.
Dulles was a pimple compared to LBJ in relation to JFK.
And Bill told it like it was, you know?
And the information that he obtained, you know, for his two books, you cannot refute that, you know?
It's irrefutable.
Very thorough, very thorough.
Mark, we're delighted with your contributions tonight.
We look forward to many more.
Larry, Gary, take us out, my friend.
Yeah, I'm not sure what number show it is tonight, but We're really happy to be there.
I'm sorry I wasn't able to join.
I was only able to join late.
I just have to say I'm really upset right now about finding out about Phil.
Out of all the JFK researchers, I was closer to him.
I really could call him up at any time.
We had two good videos when he put together a song with... Who is it?
Go ahead, Gary.
Express yourself, man.
We're here to help you, man.
We're here for you.
Yeah, D.C.
Dave wrote the poem, and then Phil Nelson wrote the book, and then we all came together and had a musician sing the song, and I put all the videos together of it.
It's got many thousands and thousands of views, and I will say this... Gary, why don't you add it to this Today Show?
All right, I'll do that.
Edit today's show.
Okay.
I'll edit it in.
But let me just say this, those shows on 153 News and on YouTube continue to gather views and views, so his work is being seen all the time.
You know, I think Phil's, all of Phil's shows have at least 17, 20,000 views, and they continue to go up.
You know, he ran a blog, he ran a blog where he had tons of stuff, you know, just in case.
I don't know how long that's going to be up there, you know, but You know, now that he passed.
God bless Phil Nelson.
I guess there's really nothing else to say.
There is a lot to say, but it's with a heavy heart that we close up this show.
Mike, as always, I love it when you're on the show, and we'll see y'all next time.
All right, sounds good.
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