JFK Another Angle

[KokomoJojo]

again,seems like no matter how many times you explain that fact to him dummies style,he acts like you never posted that.

You, I, Koko and everyone see Greer's left arm push back in nix and much, but NOT Zap. This case was closed three years ago.

yep,yep and yep.

whats the case number?

connallys own words fucked the greer theory.


all I see in YOUR nix version is painted graphics in the form of black blobs, not an arm.

post something lit up in the light you know stuff people can SEE not that shadow shit.

​

What is so hard for you people to understand about get the fucking original not some fucked up back yard painted in version and then we talk. Otherwise you are wasting everyones time with bullshit.

 

[Rat in the Hat]

I hvae much big konsern of blob bullet angle. I will make much thought to figger out new angling of blobby bullet.

 

[KokomoJojo]

What black blob are talking about? The film was enchanced and the movements are the same. It looks different in color but no alterations were made. His left extends over and the same thing occurs in Muchmore, or more directly his arm retracts in it, after the shot.

no they are not the same. I see no arm, no head, no shoulders, just a fucking black blob. the clip is worthless.

irrefutable proof greer did it.




treust me its greer behind that black blob! LOL

 

[Rockland]

7-watt bulb's black blobs: The saga continues!

 

[KokomoJojo]

well I dont care who ya are ya cant on one hand say they edited it out and its on the other tapes, then come in with the other tapes and they are so badly modified you cant even see greer at all, (because he is drawn over with black pen), and claim it was greer. Even in a kangaroo court in cross ya ask greer or anyone else if they can identify the driver in the video as greer the answer is NO, NO and NO! Despite the fact I have a different assessment it would be easier for me to buy into the oswald version, well maybe not.

 

[7forever]

What black blob are talking about? The film was enchanced and the movements are the same. It looks different in color but no alterations were made. His left extends over and the same thing occurs in Muchmore, or more directly his arm retracts in it, after the shot.

no they are not the same. I see no arm, no head, no shoulders, just a fucking black blob. the clip is worthless.

irrefutable proof greer did it.






treust me its greer behind that black blob! LOL

If they aren't the same then post them together. They are the same. The guy just made his arm extending over more clear. You've offered no evidence the movements of Greer or anyone else were altered compared to the raw footage from Groden's video. His shoulder is rotating. You might not be able to see his arm per se but the shoulder rotation is clear.

 

[7forever]

the invisible ones you dont see.

the movements cannot be confirmed in the zap film.

Exactly. Greer's left arm does not motion back to jfk in Zap, but does so in both nix and muchmore.

wrong, modified blobs (enhanced video) have no probative value.

Zapruder Frames - Costella Combined Edit

Greer passes the gun starting at frame 242 with both his hands off the wheel at frame 241. The last frame you see the fitted gun is 278 and then the film pans upward with zero evidence his left hand ever returned to the wheel. We know it didn't because his left arm crosses his right shoulder in nix proving.

Frame 241 shows both hands off the wheel just before he passes gun..

Greer passes gun and his left hand goes missing because they panned upward during the frames which Greer transferred the gun from the lower position to near his shoulder before he turned the second time to shoot jfk. You can see the grip, barrel, and muzzle briefly while it fits to his left hand.

 

[7forever]

Exactly. Greer's left arm does not motion back to jfk in Zap, but does so in both nix and muchmore.

He seems to have reading comprehension problems.I mean isnt that like the 100th time we have explained that to him?

I do not see a left arm, I see a painted in black blob. When you can find me a version with a left arm let me know I will review it. Until then the version you posted has no probative value. In other words its trash.

We both see his left arm rotating back toward jfk. So, your silly denial is rendered moot. The original from the video is less clear than after enhancement. Money well spent, I must say. It leaves no doubt that Greer's left arm did in fact move back toward the President, exactly as it appeared to in the altered Zapruder film.

 

[7forever]

Before killer Bill Greer shot jfk, he braked the limo to an almost complete stop. Notice the motorcycles and the follow-up car come to complete stops. This is the Orville Nix film.

http://www.acorn.net/jfkplace/09/fp.back_issues/27th_Issue/59_1.html
1) Houston Chronicle Reporter Bo Byers (rode in White House Press Bus)---twice stated that the Presidential Limousine "almost came to a stop, a dead stop"; in fact, he has had nightmares about this. [C-SPAN, 11/20/93, "Journalists Remember The Kennedy Assassination"; see also the 1/94 "Fourth Decade": article by Sheldon Inkol];

2) ABC Reporter Bob Clark (rode in the National Press Pool Car)---Reported on the air that the limousine stopped on Elm Street during the shooting [WFAA/ ABC, 11/22/63];

3) UPI White House Reporter Merriman Smith (rode in the same car as Clark, above)---"The President's car, possibly as much as 150 or 200 yards ahead, seemed to falter briefly" [UPI story, 11/23/63, as reported in "Four Days", UPI, p. 32];

4) DPD motorcycle officer James W. Courson (one of two mid-motorcade motorcycles)--"The limousine came to a stop and Mrs. Kennedy was on the back. I noticed that as I came around the corner at Elm. Then the Secret Service agent [Clint Hill] helped push her back into the car, and the motorcade took off at a high rate of speed." ["No More Silence" by Larry Sneed (1998), p. 129];

5) DPD motorcycle officer Bobby Joe Dale (one of two rear mid-motorcade motorcycles)---"After the shots were fired, the whole motorcade came to a stop. I stood and looked through the plaza, noticed there was commotion, and saw people running around his [JFK's] car. It started to move, then it slowed again; that's when I saw Mrs. Kennedy coming back on the trunk and another guy [Clint Hill] pushing her back into the car." ["No More Silence" by Larry Sneed (1998), p. 134];

6) Clemon Earl Johnson---"You could see it [the limo] speed up and then stop, then speed up, and you could see it stop while they [sic; Clint Hill] threw Mrs. Kennedy back up in the car. Then they just left out of there like a bat of the eye and were just gone." ["No More Silence" by Larry Sneed (1998), p. 80];

 

[7forever]

What black blob are talking about? The film was enchanced and the movements are the same. It looks different in color but no alterations were made. His left extends over and the same thing occurs in Muchmore, or more directly his arm retracts in it, after the shot.

the invisible ones you dont see.

the movements cannot be confirmed in the zap film.

Liars will always lie. Many eyewitnesses reported a shot in the limo because there was one. Miller had a perfect, elevated view of the President.

Posner vs Harris

(Miller was standing on the triple overpass)

Mr. BELIN - Where did the shots sound like they came from?
Mr. MILLER - Well, the way it sounded like, it came from the, I would say from right there in the car. Would be to my left, the way I was looking at him toward that incline.

 

[7forever]

What black blob are talking about? The film was enchanced and the movements are the same. It looks different in color but no alterations were made. His left extends over and the same thing occurs in Muchmore, or more directly his arm retracts in it, after the shot.

irrefutable proof greer did it.

http://i1273.photobucket.com/albums/y410/mypbemotes/zzzzzzzzzz/blk_blob_SG][/URL]


[/QUOTE]

It's not about rubbing it in, but setting the record straight. [B]Many eye, ear, and nose witnesses supported a shot in or around the Presidential limo[/B]. The three films showing all or parts of the assassination confirm these accounts.

Look under 'Beats Fists Against Car'. "[B][U]The third shot he heard might have been a Secret Service man returning the fire", he said[/U][/B]. "The Senator was two or three cars behind Jfk's, with LBJ. [B][U]Look above 'Could Smell Gunpowder'[/U][/B]; [B]He smelled gunpowder all the way to Parkland Hospital[/B].

[img]http://i889.photobucket.com/albums/ac98/77forever/Gifs/Senatorseesdrivershootjfk.jpg

Royce Skelton's Warren Commission Testimony (back to the list of witnesses) [url=http://jfkassassination.net/russ/m_j_russ/comp.htm]Posner vs Harris

(Skelton was standing on the triple overpass)

Mr. BALL - Did you see the President's car turn on Elm Street?
Mr. SKELTON - Yes, sir; I saw the car carrying the Presidential flag turn.
Mr. BALL - And did you hear something soon after that?
Mr. SKELTON - Just about the same time the car straightened up - got around the corner - I heard two shots, but I didn't know at the time they were shots.
Mr. BALL - Where did they seem to come from?
Mr. SKELTON - Well, I couldn't tell then, they were still to far from where I was.
Mr. BALL - Did the shots sound like they came from where you were standing?
Mr. SKELTON - No, sir; definitely not. It sounded like they were right there - more or less like motorcycle backfire, but I thought that they were these dumb balls that they throw at the cement because I could see the smoke coming up off the cement.
Mr. BALL - You saw smoke come off the cement?
Mr. SKELTON - Yes.
Mr. BALL - Where did it seem to you that the sound came from, what direction?
Mr. SKELTON - Towards the President's car.
Mr. BALL - From the President's car.
Mr. SKELTON - right around the motorcycles and all that - I couldn't distinguish because it was too far away.
Mr. BALL - How long did you stand there?
Mr. SKELTON - I stood there from about 12:15 until the time the President was shot.
Mr. BALL - How many shots did you hear?
Mr. SKELTON - I think I heard four - I mean - I couldn't be sure.
Mr. BALL - You think you heard four?
Mr. SKELTON - Yes.

 

[7forever]

Before killer Bill Greer shot jfk, he braked the limo to an almost complete stop. Notice the motorcycles and the follow-up car come to complete stops. This is the Orville Nix film.

http://www.acorn.net/jfkplace/09/fp.back_issues/27th_Issue/59_1.html
1) Houston Chronicle Reporter Bo Byers (rode in White House Press Bus)---twice stated that the Presidential Limousine "almost came to a stop, a dead stop"; in fact, he has had nightmares about this. [C-SPAN, 11/20/93, "Journalists Remember The Kennedy Assassination"; see also the 1/94 "Fourth Decade": article by Sheldon Inkol];

2) ABC Reporter Bob Clark (rode in the National Press Pool Car)---Reported on the air that the limousine stopped on Elm Street during the shooting [WFAA/ ABC, 11/22/63];

3) UPI White House Reporter Merriman Smith (rode in the same car as Clark, above)---"The President's car, possibly as much as 150 or 200 yards ahead, seemed to falter briefly" [UPI story, 11/23/63, as reported in "Four Days", UPI, p. 32];

4) DPD motorcycle officer James W. Courson (one of two mid-motorcade motorcycles)--"The limousine came to a stop and Mrs. Kennedy was on the back. I noticed that as I came around the corner at Elm. Then the Secret Service agent [Clint Hill] helped push her back into the car, and the motorcade took off at a high rate of speed." ["No More Silence" by Larry Sneed (1998), p. 129];

5) DPD motorcycle officer Bobby Joe Dale (one of two rear mid-motorcade motorcycles)---"After the shots were fired, the whole motorcade came to a stop. I stood and looked through the plaza, noticed there was commotion, and saw people running around his [JFK's] car. It started to move, then it slowed again; that's when I saw Mrs. Kennedy coming back on the trunk and another guy [Clint Hill] pushing her back into the car." ["No More Silence" by Larry Sneed (1998), p. 134];

6) Clemon Earl Johnson---"You could see it [the limo] speed up and then stop, then speed up, and you could see it stop while they [sic; Clint Hill] threw Mrs. Kennedy back up in the car. Then they just left out of there like a bat of the eye and were just gone." ["No More Silence" by Larry Sneed (1998), p. 80];

Greer pressed on the brakes in the Muchmore film. The brake light illuminates. 59 EYEWITNESSES ARE CONFIRMED BY 2 VIDEOS showing Greer brake during his second turn to shoot the already wounded President.

[ame=http://www.youtube.com/watch?v=hrX8lsb2WTk]The Muchmore film suggests frames were removed from the Zapruder film - YouTube[/ame]

 

[7forever]

7. James Altgens: (photographer, south curb of Elm):“The last shot sounded like it came from the left side of the car, if it was close range because, if it were a pistol it would have to be fired at close range for any degree of accuracy," 7WCH518.

8. Hugh Betzner, Jr. (south curb of Elm, nr junction with Houston): “I cannot remember exactly where I was when I saw the following: I heard at least two shots fired and I saw what looked like a firecracker going off in the president's car. My assumption for this was because I saw fragments going up in the air,” I also remember seeing what looked like a nickel revolver in someone's hand in the President's car or somewhere immediately around his car 19WCH467

James Altgens was a press photographer and shared some mighty fine testimony that supports Greer's shot from the driver's seat. The pistol mention has some mighty fine company.

 

[Rat in the Hat]

Is muchly of bigg konsern for me aboot blobbity blob blobs.

I will has lot of konsern thiinking aboot things this.

 

[KokomoJojo]

The pistol mention has some mighty fine company.

the problem you have is that you need to go through and find out everything that has been faked to really get a good picture.

The JFK Assassination

 

[KokomoJojo]

Before killer Bill Greer shot jfk, he braked the limo to an almost complete stop. Notice the motorcycles and the follow-up car come to complete stops. This is the Orville Nix film.

http://www.acorn.net/jfkplace/09/fp.back_issues/27th_Issue/59_1.html
1) Houston Chronicle Reporter Bo Byers (rode in White House Press Bus)---twice stated that the Presidential Limousine "almost came to a stop, a dead stop"; in fact, he has had nightmares about this. [C-SPAN, 11/20/93, "Journalists Remember The Kennedy Assassination"; see also the 1/94 "Fourth Decade": article by Sheldon Inkol];

2) ABC Reporter Bob Clark (rode in the National Press Pool Car)---Reported on the air that the limousine stopped on Elm Street during the shooting [WFAA/ ABC, 11/22/63];

3) UPI White House Reporter Merriman Smith (rode in the same car as Clark, above)---"The President's car, possibly as much as 150 or 200 yards ahead, seemed to falter briefly" [UPI story, 11/23/63, as reported in "Four Days", UPI, p. 32];

4) DPD motorcycle officer James W. Courson (one of two mid-motorcade motorcycles)--"The limousine came to a stop and Mrs. Kennedy was on the back. I noticed that as I came around the corner at Elm. Then the Secret Service agent [Clint Hill] helped push her back into the car, and the motorcade took off at a high rate of speed." ["No More Silence" by Larry Sneed (1998), p. 129];

5) DPD motorcycle officer Bobby Joe Dale (one of two rear mid-motorcade motorcycles)---"After the shots were fired, the whole motorcade came to a stop. I stood and looked through the plaza, noticed there was commotion, and saw people running around his [JFK's] car. It started to move, then it slowed again; that's when I saw Mrs. Kennedy coming back on the trunk and another guy [Clint Hill] pushing her back into the car." ["No More Silence" by Larry Sneed (1998), p. 134];

6) Clemon Earl Johnson---"You could see it [the limo] speed up and then stop, then speed up, and you could see it stop while they [sic; Clint Hill] threw Mrs. Kennedy back up in the car. Then they just left out of there like a bat of the eye and were just gone." ["No More Silence" by Larry Sneed (1998), p. 80];

most reports say the limo came to a stop after the head shot.


a sewer shot would have sounded like it came from the knoll to many, not all but many of the bystanders. Of course like any good cover up the most reasonable and logical course is always the most ridiculed.

I have heard about the possibility of a shot from the storm drain for many years and even met the daughter of a woman who said she and friends witnessed someone firing from the drain opening. But the mother refused to be interviewed and I have been unable to substantiate this story. I have always hesitated to discuss the storm drain because many years ago one of the earliest and best researchers, Penn Jones Jr., editor of the Midlothian Mirror, was ridiculed incessantly. Debunkers said he was claiming that Kennedy was shot "from a sewer." I have myself stood down in the storm drain which is located a mere six feet from the point of Kennedy’s fatal head shot. I could comfortably stand in this drain (I’m not too tall being 5’7&#8221 and it would have been an easy pistol shot to a person sitting upright in an open convertible. Some witnesses said that one of the shots sounded hollow, had a ringing sound to it. And it could have been possible to leave the storm drain via a large drain pipe which connected to an opening behind the wooden picket fence on the notorious Grassy Knoll. But did a shot come from this drain? At the moment, there is not enough evidence to state yes, but it remains an interesting premise.

An interesting sidebar to this speculation is the fact that in the 1980s a section running vertically down the Grassy knoll collapsed. The Dallas Street Dept. found that someone had dug up a section of this drain pipe and cut away a piece about 2 feet X 4 feet and replaced the cut section. But instead of welding the section back, whoever did this simply replaced the section on the pipe and over time it gave way causing a collapse at that point. There was some speculation that perhaps an assassin had stashed his weapon in the drain pipe and was retrieved surreptitiously at a later date. This drain was connected to the storm drain at the foot of the Grassy Knoll.

JFK Jr. had announced to close friends he was planning to enter politics and run for the Senate from New York but he had not made this public. This, of course, would have placed him head to head against Hillary Clinton, who just announced she was going to run for the New York Senate seat. Since, Hillary was the first American First Lady to attend the secretive Bilderberg meetings, she obvious was the choice of the New World Order gang. Against this backdrop we learn that JFK Jr, by all accounts an excellent pilot who had always flown with an instructor in previous flights, sudden flew alone that night, got lost and dove into the sea. However, an early Coast Guard press release stated the FAA had last heard from him when he was 13 miles out on approach to the airport. This means he was not lost and was descending for a landing. Moments later, his plane dropped off the radar screen and was not recovered for two days despite the fact that the type of aircraft he was flying had an emergency transponder. Something caused his plane to lose altitude very rapidly. And according to the National Transportation Safety Board’s investigation report, the fuel switch on his plane was in the “off” position. Was he assassinated? The evidence to me indicates… most assuredly. How remains a mystery.

Jim Marrs

Excellent trajectory from bridge storm drain side opening:
But the biggest reason to have the 'real' shot from such a perspective would be the excellent trajectory.

1. being in front, there would be no side-to-side tracking necessary. One could hold on the sight picture for quite a while (many seconds).

2. being in front, the target would not be moving away (as in a TSBD shot) and the sight picture would be getting bigger as the motorcade neared.

3. all other things being equal, if one had to pick an ideal position, then that would be it (unless you stood someone right on the bridge, which wasn't really possible).

4. it would have given all the other favorable aspects of the street-level storm drain - concealment and escape, in addition to the favorable trajectory.

5. it would explain the presence of the blood and ejecta that hit Bobby Hargis on the flanking motorcycle as he reported. If you draw a line from him, past Kennedy's head, it pretty much lines up with that stormdrain.

6. Several people reported they thought a shot came from the bridge area and a policeman reportedly ran up there and looked on the bridge.

 

[KokomoJojo]

Brazen Deception by Bill Smith of the Secret Service:

Bill Smith of the Secret Service (and yes, Homer McMahon did express some degree of whimsical, bemused doubt about his true identity) [20] lied his eyes out to Homer McMahon about the origins of the assassination film he brought to NPIC with him from Hawkeyeworks in Rochester, New York. We know definitively from the examination of the four briefing board panels by both Homer McMahon and Ben Hunter, in the summer of 1997, that Bill Smith did bring with him to NPIC a version of the Zapruder film, and not some other film. This is crucially important, for from this basic fact we know that Bill Smith of the Secret Service lied to Homer McMahon and Bill Hunter about a number of things: (1) he lied when he said a private citizen donated the assassination film out of patriotism because he did not want to make any money on it; for Abraham Zapruder was determined to make as much money as he could off of the film, and did; (2) he lied when he said he carried the undeveloped film to Rochester and had it developed at Hawkeyeworks; for it is well documented that the camera-original Zapruder film was developed at the Kodak Plant in Dallas on Friday, November 22, 1963; (3) clearly, the film brought to NPIC from Hawkeyeworks by Bill Smith was created there, but it was not just developed — it was a re-creation of the Zapruder film after its alteration at that facility, intended to masquerade as an original out-of-camera, unslit (16 mm wide), double 8 film. It had to have been produced in an aerial-imaging optical printer with an animation stand affixed, such as that shown in Figures 9.4 and 9.5 of Professor Raymond Fielding's seminal 1965 textbook, The Technique of Special Effects Cinematography (Focal Press, Fourth Edition, 1985). The technique undoubtedly used — aerial imagery — was widely employed in Hollywood during the 1950s and 1960s, and can be read about on pages 224-232.

Those orchestrating the Zapruder film cover-up the weekend of the assassination were determined to call in a different work crew when the altered film (now reassembled optically in an aerial imaging optical printer as an unslit, 16 mm wide double 8 film again) was returned to NPIC the night after Brugioni's briefing board event. The goal was obviously to make a sanitized set of briefing boards, from the sanitized film, which would now necessarily be absent the more egregious evidence of frontal shots, and therefore of crossfire, and conspiracy. This need is the only reasonable explanation for calling in a different work crew and telling them that the work was need-to-know and above Top Secret, and that not even their bosses were allowed to know what activity they had been involved in. Simply put, it was easy to fool McMahon and Hunter and whoever assembled the four panel briefing boards using their prints; the hard part, and the necessary part, was to keep the Brugioni team ignorant of the activity of the McMahon team. This succeeded remarkably well because of the culture of secrecy within the Agency, and Brugioni never found out about the second NPIC event until 2009. McMahon, who cannot be located today in 2012, and who is presumably deceased, never found out about it. This does not speak well for Arthur Lundahl, or Navy Captain Pierre Sands, however, who both must have understood the Big Picture, and known what was afoot at the facility they managed.

So the operative question remains, did the Hawkeyeworks facility have the capability to perform aerial imaging? Was there an optical printer with an aerial imaging animation stand installed, present at Hawkeyeworks?

Hawkeyeworks Explained:

After the Homer McMahon interview was released in 1998, JFK researchers loyal to the concept of an authentic Zapruder film that is ground truth in the Kennedy assassination downplayed the importance of the Hawkeyeworks story, either doubting its existence because there was no documentary proof, or alternately saying that the Hawkeyeworks lab was solely dedicated to U-2 and Corona satellite photography. But these critics were wrong on both counts.

First, Dino Brugioni, during his 2009 and 2011 interviews with Peter Janney and me, not only confirmed the existence of the state-of-the-art Kodak lab in Rochester used by the CIA for various classified purposes, but confirmed that he visited the place more than once, including once prior to the JFK assassination. (He also confirmed its existence in his recent book, Eyes in the Sky, on page 364.) Second, Dino Brugioni made clear to me, when I interviewed him in July of 2011, that the Hawkeye Plant (as he called it) was an enormous state-of-the-art private sector laboratory founded and run by Kodak, which performed far more tasks than just Corona satellite and U-2 special order film services. He said that the Hawkeye Plant was involved in developing new film products and in manufacturing and testing special film products of all kinds, including new motion picture films, and that it definitely had the capability to process motion pictures. He did not see such equipment himself, but was told by Ed Green, a high-ranking Kodak manager at Hawkeyeworks with whom he had a relationship of trust, that the Hawkeye Plant could, and did, definitely process motion pictures. When repeatedly questioned about this capability by Peter Janney throughout the 2009 interviews, Brugioni said with great reverence, on several occasions, They could do anything. [21]

The CIA refused to provide me with any information about Hawkeyeworks when the Agency finally responded to my September 12, 2009 Freedom of Information Act (FOIA) request on February 7, 2011. But that was hardly surprising, since over one year earlier, on January 27, 2010, the CIA wrote to me, cautioning: The CIA Information Act, 50 U.S.C. Section 431, as amended, exempts CIA operational files from the search, review, publication, and disclosure requirements of the FOIA. What this meant, in rather blunt language, was that if the CIA was running an op, such as the alteration of the Zapruder film immediately after JFK's assassination, then they didn't have to search for those records or tell me about it, in any way. So the failure by the CIA to answer any of my many questions about Hawkeyeworks means literally — nothing.

The plain facts are these: (1) the 8 mm (already slit!) camera-original Zapruder film was delivered to NPIC late on Saturday evening, 11/23/63, and the two Secret Service officials who brought it to NPIC for the making of briefing boards left with the film at about 3 AM Sunday morning; and (2) a 16 mm, unslit version of the Zapruder film was returned to NPIC the next night, after dark, on Sunday evening, 11/24/63; and its courier ( Bill Smith ) said it had been processed at Hawkeyeworks, and that he had brought it directly to NPIC in Washington, D.C. from Rochester (using the unmistakable code word Hawkeyeworks ) himself.

Double 8 home movies which have already been slit at the processing facility do not miraculously reassemble themselves from two 25-foot strips 8 mm in width, and connected with a splice in the middle, into 16 mm wide unslit double 8 films. A new Zapruder film was clearly created at Hawkeyeworks in Rochester, in an optical printer. Bill Smith told the truth when he said the film he carried had been developed there at Hawkeyeworks; he lied when he said that it was the camera-original film taken by the photographer in Dallas.

If Hawkeyeworks truly had the physical capability to do anything, as Ed Green informed Dino Brugioni, then all that would have been required that weekend would have been to bring in some experienced personnel — an animator or two, and a visual effects director — experienced in the black arts of Hollywood. Those personnel, if not already on-site, employed at Hawkeyeworks, could have been brought into Rochester on Saturday, November 23rd, the same day the JFK autopsy photographs were being developed in Washington, D.C. at Naval Photographic Center, Anacostia. The JFK autopsy photos developed on Saturday (per Robert Knudsen's 1978 HSCA deposition transcript) would have provided the guide for the image alteration necessary on the Zapruder film the next day, on Sunday. The JFK autopsy photos document the massive head wound created by clandestine, post mortem surgery on JFK's head wounds at Bethesda Naval Hospital, and would have provided a rough guide for the massive head wound in the top and right side of the skull that had to be painted onto selected Zapruder film frames the next day, on Sunday. No such parietal-temporal-frontal wound was seen at Parkland Hospital in Dallas by any of the treatment staff the day Kennedy was shot and treated there, but it had to be added to selected Zapruder film frames, to match the illicit post mortem cranial surgery at Bethesda that was being misrepresented in the autopsy photos as damage from the assassin's bullet. [22] In addition to painting on a false wound, of course, the forgers at Hawkeyeworks would have had to obscure — black out — the real exit wound, in the right rear of JFK's head, that was seen in Trauma Room One at Parkland Hospital. (More on this below.)

What is undeniable is that there are undisputed facts on the ground which indicate that an optically edited Zapruder film — a re-creation — arrived at NPIC in Washington, D.C. on Sunday night, 11/24/63, after the film had been in Rochester, at Hawkeyeworks, all day long. Remember, the two Secret Service officials who had the original 8 mm camera-original film departed NPIC with the film at about 3 AM (4 AM at the latest) on Sunday morning. They may have been at Hawkeyeworks with the film as early as 6 AM; and since the Zapruder film did not reappear at NPIC until well after dark on Sunday evening, approximately 12 hours (or more) may have been available to those at Hawkeyeworks who were engaged in its alteration.

A final comment here: those who insist upon injecting Hollywood expertise into the equation here, must respect the facts on the ground. The film that arrived at NPIC Sunday night did not come from anywhere else other than Rochester, N.Y. — it was not couriered from Hollywood, or New York City, or anywhere else other than Rochester — it came from Hawkeyeworks, per the words of the courier who brought it to NPIC Sunday night, Bill Smith. And the code word Hawkeyeworks meant one thing only — the state-of-the-art, Top Secret Kodak lab located at Kodak Headquarters, in Rochester, New York. Hollywood talent may very well have been involved in altering the Zapruder film, but if so, it was talent employed at the Kodak facilities at Hawkeyeworks in Rochester.
The Two NPIC Zapruder Film Events: Signposts Pointing to the Film's*Alteration ? LewRockwell.com

 

[KokomoJojo]

[ame="http://www.youtube.com/watch?v=nJg2Iii55CQ"]JFK Autopsy Photo Switch and Jack Ruby Polygraph[/ame]


Over and beyond the medical evidence, however, Horne—in Vol. IV of INSIDE THE ARRB (2009), has also demonstrated that the home movie of the assassination known as “the Zapruder film”—and others that correspond to it, such as the Nix and Muchmore films—have been massively edited to remove indications of Secret Service complicity in the crime and to add other events to these films in order to sow confusion and conceal evidence of the true causes of death of John F. Kennedy. For those unfamiliar with this question, see “Kennedy Assassination Questions”, in which I explain how even the consistent testimony of Clint Hill, the Secret Service agent who rushed forward to assist Jackie during the shooting in Dealey Plaza, confirms it.

[ame="http://www.youtube.com/watch?v=0aBqRB-DsFQ"]YouTube - Veterans Today -[/ame]​

There are many proofs that the film has been fabricated—including that the driver brought the limo to a halt to make sure he would be killed; that his brains were blown out to the left-rear; and that a motorcycle patrolman accompanying the limo rode forward at the time of the stop to inform Dallas Chief of Police Jessie Curry that the president had been hit. But none of these events appears in the extant version of the film, which has been massively edited. That these events occurred has been established by more than 60 witness reports of the limo stop, where the wound to the back of his head was confirmed by 40 witnesses, including virtually all the physicians at Parkland Hospital, who described cerebellum as well as cerebral tissue extruding from the wound. The blow-out to the right-front, as seen in the film, therefore, is not authentic.
Indeed, in an appendix to Vol. IV, Horne explains that a copy of the film has now been studied by Hollywood exerts, who found that the blow-out to the back of his head had been painted over in black in an amateurish effort to obfuscate the blow out, which can actually be seen in a few later frames, including 372 and 374. Those who have persisted in defense of the authenticity of the film have offered three major arguments—(1) that the features of the extant film correspond to those of the original processed in Dallas, (2) that there was an unbroken chain of custody, which precluded the film be changed; and (3) that the Dealey Plaza films are not only consistent with themselves but with one another, where the Zapruder could only have been faked if the others had been as well.


The following extracts from INSIDE THE ARRB (2009), Vol. IV, demonstrate that all three arguments are fallacious: (1) there are five features of the extant film that differ from those of the original and (2) that different films were brought to the NPIC on consecutive days, which vitiates the chain-of-custody argument. The consistency of the films with one another (3) turns out to be an interesting question, since they all seem to have been edited to remove the turn of the presidential limousine from Houston onto Elm. More significantly, there are subtle inconsistencies between the films and, most importantly, the Zapruder film is not even consistent with itself, which proves that it cannot possibly be authentic!

[ame="http://www.youtube.com/watch?v=VJ0s9kspL4g"]YouTube - Veterans Today -Jim Fetzer at The Zapruder Film Conference[/ame]​

Horne’s new studies thus confirm the previous research that has previously been reported in [ame="http://www.amazon.com/Great-Zapruder-Film-Hoax-Deception/dp/081269547X"]THE GREAT ZAPRUDER FILM HOAX [/ame](2003), [ame="http://www.opednews.com/articles/opedne_jim_fetz_080205_new_proof_of_jfk_fil.htm"]“New Proof of JFK Film Fakery”[/ame] (2007), and [ame="http://www.opednews.com/articles/Zapruder-JFK-Film-Impeache-by-Jim-Fetzer-090324-48.html"]“Zapruder JFK Film impeached by Moorman JFK Polaroid”[/ame] (2008), [ame="http://www.und.edu/instruct/jfkconference/UNDchapter30.pdf"]“Dealey Plaza Revisited: What Happened to JFK?”[/ame] (2009), [ame="http://www.lewrockwell.com/orig11/fetzer1.1.1.html"]“The JFK ‘Head Shot’ Paradox”[/ame] (2010), where more can be found at [ame="http://assassinationscience.com"]assassinationscience.com[/ame]. An especially valuable study, which uses the new enhanced version of the Zapruder film (by removing pincushion and aspect-ratio distortion and adding missing frames and correcting the order of others) has been produce by John P. Costella, Ph.D., as his [ame="http://www.assassinationscience.com/johncostella/jfk/intro/"]“JFK assassination film hoax” tutorial[/ame].


The Turn from Houston Onto Elm May Have Been Removed from the Zapruder Film, the Nix Film, and the Muchmore Film

First, let us examine the suggested identical alteration of the Zapruder film, the Nix film, and the Muchmore film. Neither the Nix film, the Muchmore film,nor the Zapruder film show the Presidential limousine turning left from Houston Street onto Elm Street. Orville Nix told Mark Lane (on film) in 1966 that his film has initially been ‘lost’ by the processing plant and that when the FBI returned his film to him, some of the frames had been ‘damaged’ and were missing. The originals of both the Nix film and the Muchmore film (taken from the opposite side of thje plaza from which Zapruder was shooting his film, and from much farther away) are missing today. How convenient. The absence of first-frame overexposure in frame 133 of the Zapruder film suggests, but in my view does not prove, that the limousine’s turn from Houston onto Elm was removed when the film was altered and recreated, using an optical printer. The fact that the originals of the Nix and Muchmore films are missing is extremely suspicious; they may have been removed from circulation to prevent detection of their alteration—specifically, removal of the limousine’s turn onto Elm from Houston and of the car stop during the assassination. If ever found, one of the first things that should be checked is to see if the limousine’s turn onto Elm Street in these two films has been excised—either crudely, with splices, or via reprinting those films in an optical printer.

Clint Hill’s Interactions with Jackie Kennedy on the Trunk of the Limousine Appear to be Inconsistent in the Nix Film and the Zapruder Film

There is also significant disagreement between the Nix film and the Zapruder film. In Harry Livingstone’s 2004 book about the Zapruder film, he discusses differences between the images of Clint Hall and Jackie Kennedy on the trunk of the limousine in the Nix film, versus what is shown in the Zapruder film. Livingstone correctly points out that in the Nix Film, Clint Hill appears to place his left arm around Jackie Kennedy’s right shoulder and push her back into her seat—where as in the Zapruder film, he barely touches her with his right hand, and is not seen embracing her with his left arm at all. (See pages 250–251 of Livingstone for the pertinent Nix frames, and the MPI video of the Zapruder film for comparison. A projected version of the portion of the Nix film showing Clint Hill on the trunk of the limousine can been seen in the 1973 film “Executive Action,” and it can be seen in its entirety in the Groden DVD JFK Assassination Films: The Case for Conspiracy.)

Is the “Headsnap” Different in the Zapruder, Nix and Muchmore films?

The ‘headsnap” in the Nix film appears to be slightly slower, and less violent than in the Zapruder film; in the Muchmore film, there appears to be no ‘headsnap’ visible at all, but this may be inconclusive because of the camera angle at the time of the headshot(s) and because the line of sight to the President’s head is obstructed by Dealey Plaza bystanders immediately afterwards. (See episode 3 of “The Men Who Killed Kennedy” for footage oft he headshot(s) in both the Nix and the Muchmore films; both films can also been seen in their entirety in Robert Groden’s DVD JFK Assassination Films: The Case for Conspiracy.) The perceived differences between the headshot(s) in the Zapruder, Nix, and Muchmore films suggests that when debris exiting from the back of President Kennedy’s head was removed from the three films, that it was not done uniformly, resulting in three slightly different versions of the motion of the President’s head caused by the fatal shot(s). This has not been conclusively proven, but is worthy of further investigation. . . .


Concluding Reflections

There is much more, but the Addendum, “The Zapruder Film Goes to Hollywood,” pages 1352 to 1363, is of special interest, where highly qualified experts on film restoration viewed a digital version of the forensic copy of the Zapruder film obtained from the National Archives and found that the massive blow out at the back of the head had been painted over in black, which was a stunning confirmation of the observation of Roderick Ryan, reported in Noel Twyman, BLOODY TREASON (1997), that the bulging out of brains—called the “blob”—and the blood spray visible in frames 314 and thereafter had also been painted in, where Ryan would receive the Academy Award in 2000 for his contributions to cinematography, where his area of specialization was special effects.



the zap film is modified but the nix film and the muchmoor film is gospel and absolute proof greer did it! Lets hang em high! LOL

 

[Wolfstrike]

ther driver in front of full view of several people turned around, aimed a gun, and popped off a shot at the president? ...all in a split second?


it's a stupid theory

 

[KokomoJojo]

ther driver in front of full view of several people turned around, aimed a gun, and popped off a shot at the president? ...all in a split second?


it's a stupid theory

that was a facetious comment.

The problem is that all the material out here is altered, and it has been altered in collusion with government agencies.

kennedy wanted to shut down the cia and we have a perfect example why. There is only one reason those films would be so grossly modified.





a shot from the sewer would have sounded to many like it came from the knoll, others like it came from the depository depending on where you were situated and left the smell of gunpowder in the street fulfilling every angle of what people said in their testimony.

In re-reading the testimony I am not finding anyone who said they heard a bullet zing past their head. That and the questioning of these witnesses is inconclusive. In other words you will never get the correct answer if you dont ask the correct question. The commission did not ask the correct questions, or at least if they did it is not showing up on any of the testimony put on the internet.