Very host. All right, welcome to the new JFK show. Number 292, we've got Mike Machenza, Larry Rivera, Jim Fetcher and myself, Gary King. And we're going to go to Larry Rivera's blog. We've got lots of images there, and he's got some new stuff. And what he says to me is it's game over with the Z film. All right, Larry, what do you think? It, what do you think? Well, let me say this. 

I actually gave a speech at the moment of silence on November 22, and I spoke before Robert Grodin, and he says it's not game over after 60 years. Now all he had to say was two things when he got up there with the microphone. Number one, that there's these crazy people that think that the Z film has not been altered, and there's this other crazy guy who thinks that Lee was in the doorway and it wasn't Billy Lovelady. 

Let me start, Jim. Maybe Jim has an opinion on that. Well, Grodin has been a limited hangout since he was hired by the HSCA in 1977 to explore the rumors that Lee had been in the doorway and came back to explain they were false after fabricating evidence about Billy Lovelace. It was just disgraceful. And he has not redeemed himself. He's running a limited hangout, as is Josiah Thompson, who, if he had his way, would have renounced every proof. 

We had a conspiracy in the case of JFK as we got to the 50th. But when they did the first about the umbrella man, I wrote a scathing review of it, and they abandoned the project to have him do an ongoing series, which was very fitting. So they have discredited themselves as much as anyone could. But a lot of people in the community still haven't put two and two together. 

Well, I want to point out that this is a 60th anniversary that we are observing this year, and as was predicted many years ago, that the available evidence does not pass the scrutiny of modern day digital technology and reinforcing that we have to have the nukem tapes. I mean, Jim and Gary and everybody else in this world, how can you refute what those guys were talking about? Gary and I did shows, what, almost ten years ago? Remember in 2014 when the first JFK horseman came out? We did those and so many views and hits and everything. 

Gary, tell us about that. Well, we've been having that show for a long time, and it's one of the most popular ones. It gets the most hits, and I think it's your finest work as far as the newcomb tape, and it was even recommended by Douglas Horn. Yeah, that's when we were excited to have talk about it. We were very high praise, by the way. That's very high praise, Ari. 

Doug is very conservative about handing out accolades. We were slashing and burning. And I really wonder where is the rest of the JFK community on that type of evidence that you brought almost ten years ago? Tell the truth never gets brought up. And also your overlays with Lee in the doorway never gets brought up. It's just amazing to me. But I think the most important thing here, gentlemen, here, and the end of this year, the 60th anniversary, is the paradigm, has to be the newcomb tapes going forward. 

Jim, what do you think about that? Yeah, no, I think that's totally reasonable, Larry, because remember, they're substantiated by those who have seen what they call the other film. There are at least six. Some who, like Rich Delarosa, saw it on multiple occasions and they confirmed the limousine stop. They hit in the back of the head, slumping forward, Jack easing him back up, being hit again, and then slumping to the left while she climbs out on the trunk. 

I don't think that's disputable, but there are a lot of people who are ignorant. They're ignorant about it, who think that the film is authentic. Well, among them, ridiculous. It's just ridiculous. What you got to say about all. Mike? Mike, what do you have to say? Oh, I got a lot to say. But once, Larry, this incredible clear footage, every frame I could talk about for a long, long time. 

And now it really unravels the mystery even more. Because now you know why they were doing all this, why there were so many alterations. They could not show one or two secret service agents jumping in the car. We'll start with the one first because that proves that it stopped. And I've been saying this. Clint Hill jumping on the back. I have an image that I want to present in a second. 

Gary, if you can, or Jim, make me host. I think Gary already. No, no, it's not. I'm going to screen share. Hang on 1 second, participants. Right, because you got to see this. To Mike's point. And we're going to go further into this here tonight with my blog post, with all the images that I posted up there. I've declared war on the Z film alterations and the egregious stuff that's going on there that Mike obviously has already seen. 

And we have a lot of eyes on know, including know on the other side of the Atlantic. Your host. Now. Larry. Your host. All right. Who agree with what I'm saying here. Okay. Look at this. We're talking about data streams. We're not talking about actual frames. But this is from one to the other. Look at the hump and look at the meat hooks. It's so funny. Mike. Anything to say about this? I can go to my laptop. 

You can't see this. Okay. It's just small here. But I could see it. 337 is that what I have? Yeah. But those are our numbers. Which we're going to explain in a second what those are about. But look at this hump on Clint Hill. Jim and Gary. Can you see that? Yeah. We're looking. And then for the very next frame it's not there. And we're talking about 18. 

6 frames per second. We're talking about 3 seconds right between one and the other. Obviously we've done the calculations so many times. And this is what we get. Okay. So let me get out of there and we'll go straight to the you blog. Yeah. Okay. I just need to do the screen share. Okay. You guys got that right? There it is. Yes sir. There it is. Okay. This is what we're going to call this. 

And. Damn. We haven't done this in so long. I know. Did you want me to read? Sure. Obviously after the end of the paragraph we'll talk about it. A revolutionary way of breaking down the Zapruder film is yielding spectacular results. By reducing the timeline to its finest speed, it's now possible to analyze a film as never before, as is common in the photographic record of the JFK assassination. 

And as suspected for years, the film has been massively edited. Or even Dallas Police Department motor jockey Douglas Jackson was quoted in the newcome capes of 1971 as saying, life magazine printed that picture of that film. But it's been cut up. It's been edited. Part of it's been cut out. The alterations are far too many to list here. In the past, perhaps not enough attention was paid to what was actually going on inside the limousine. 

However, with the help of the newcome tapes, a heretofore unknown event had been ignored. As crazy as it may sound, a second Secret Service agent inside JFK's Lincoln Continental. What do you think Jack White would have said about that? Jim? He'd be just blown away. He would love it. He would love it. I chatted today with this past November in Dallas with somebody who knew him well. And he said exactly the same thing I know he was doing about Jack White. 

There in the newcome table, Bobby Hargis and his supervisor staff Azales talk about the second agent inside the limo beside Clint Hill. In searching for evidence of a second agent in a digitalized version of the Z film readily found online, more was found than any JFK research could have bargained for. Crystal clear images revealed the extent of the airbrush in perhaps two thirds of the film. A new approach in analyzing the Z film involved treating it as any other data stream, which can be streamlined for the purpose at hand. 

Instead of frames, we use data snapshots in our reinterpretation. Here's the front end of a popular program with which the film can be broken down to its granular components. So, in other words, we're not going 301 to three two. We are intercepting the data, and that's what this is all about. And we were able to establish the demarcation between when one frame turns into the next. All right? That's exactly what the program does. 

In between, we can go ahead and take snapshots of that point in time of the film, which is what, 40 something seconds, Jim? 46. Do you remember how long the Z film was? 27 seconds. Okay. Sorry. Wow. But I'm thinking in terms of the amount of frames which surpasses the 400 mark. This is what it looks like when you start breaking the film down. And if you look at the line there, the red line, that is the exact second of the Z film there. 

So from there, we can go and extract going forward, exactly the frames that we want to look at. And what we did here was we went from 313 on, 312 on. But before we get there, we can start right here. Here. This nice rendering. As we can shortly see, this is a nice rendering, arv, as we'll shortly see obvious alterations using airbrushing techniques available at the time have been deployed. 

Yeah. And you're going to see them in a second. Before we do that, what we want to do here is look at the color of John Kennedy's suit. It is a grayish. Okay. And Connolly's suit. And this might sound dumb at the beginning here, but you're going to see instantly how important this is. Gray and black. And here. Yeah. Connolly looks even black. Yeah, exactly. And guess what? One of our friends from the UK produced this one, which actually shows the shirt with the bullet hole there, which we're going to show in a second here. 

Oh, coming out of the chest. Yeah. And showing the exit evulsive effect there. Jim and Gary and Mike there. Any comments so far there? I love it. Okay. We're in on. I'm telling you, man, frame reversal. The first anomaly appears to be a reversal of frames at the snapshots that shows us our two eightyn. The reader should note that there are no subruder frame numbers. Rather a sequence of snapshots within our data stream that can be taken with a software as it establishes a number sequence of its own. 

Yeah, so in other words, we're going by another frame numbering than what is established. That's basically, this is a new way of looking at the film. Right? So we get the frames here, two Eightyn and 291. And this is how they are shown in the software. And these are the results in the same order. Two eightyn to 291. And we go here, here, and then here. And I'm going to show you with the animated GiF, how it lurches. 

The limo actually lurches backward. So definitely an anomaly here in the order of frames detected. Okay, so let's just show this here. When Jackie lifts her right arm, that's the last frame of the three. We're only going three frames in this. Okay, but it's in the middle here. And then as you see that last one where she lifts her arm, what this is denoting here and showing here is that this is a frame reversal. 

The arm here should be further up in the order of frames, but it's not. In fact, it's taken back. Okay. And it's important to see where her arm lifts. You see this? That's the last frame. And it should be further up ahead. And it's not. Okay. Airbrushing alterations is a baseline for this study. This Titus photograph shows a bouquet of yellow roses carried by Nellie Conley on 22 November 1963. 

It also shows the color of suits worn by Kennedy and John Conley. Exactly. We have to go back there. Now, notice this here are, and I have the mouse going around here, the yellow roses with very scant little leaves. Green leaves, all right. But in the Z film, guess what? It explodes into a bizarre greenish haze, like purple haze. Jimmy Hendrix, something like that, obliterating everything under it. 

And it's visible. And it's in at least 30 snapshots. Now, even more important is the fact that the person in the Connolly position is not wearing a black suit, opting instead for gray as shown below. Well, he must just want to change his jacket and dealy posit because his old one was bloody. I'm looking at a frame here where they went over it with some kind of black marker and darkened the suit because it's obvious in the early frames. 

That's right. I'm looking at 203 of the snapshot that you showed me. It's obvious that they're covering up over Conley. And it goes further, Mike. This here is the crux of the matter here with the Z film here. I don't know how know before. And I have to denounce people like perhaps Oliver Stone, who had the very best teams, who could have interpreted the Z film, and those other folks who supposedly got a hold of these stupor scans of the Z film. 

And we're finding this now where this has been here all along. Yeah, it's fascinating, Larry. Just absolutely fascinating. The red outline shown here present a shocking array of amorphous, non related figures. Strategically and critically placed. A mask, what appears to be that second agent in the limousine side by. Moreover, there has definitely been retouching of JFK's back, perhaps in an attempt to obscure blood oozing from a bullet too low to be in accordance with a single bullet theory. 

And I'm showing right here with the mouse pointer right here, what I'm talking about. What do you think of this? Yeah. They weren't just backing out the back of his head to see the blowout. They were blacking out the back of his jacket that concealed the blood. You're absolutely right. Other things that are happening here with the second figure here, who is obviously not John Connolly. And we're going to go deeply, deeply into that study. 

Right. What we were talking about at this point, if an agent, if Bennett jumped in the car, then they had to completely fabricate from earlier frames, frame by frame. Yeah. So everything that's happening and deleting certain frames in the process as well. Right. Do they have the flowers? Look at this one. We got to keep watching Jackie's head. And she's got a black collar around. You can go see the messing. 

They're recreating what happened when the limo stopped. The flowers are hiding. Nellie Connelly. Yeah. And John. John is already on the know. She's on top of him. And. And this guy, as you're going to see now, he's arranging bodies in the limo. Let's not get ahead of ourselves. So. And this next image, Jackie's face has been covered up. You go here. Okay. I don't know if you guys can see this, but nothing's there. 

All right? Nothing. Okay, so even the, you know, Jeff Franzen was six years know. And right here, his father was holding him. But look at the retouching in his face. And it looks like an elephant has him by the head. Jim, look at this. All right. And by the way, this kid was interviewed for the 50th anniversary, and you know what he said? He talked about Douglas Jackson, the motorcycle cop who wrecked his bike up there on the stairs right in front of. 

Yeah. Must have made quite an impression, Larry. Absolutely. He's so far ahead of the students who haven't caught on. Second agent Bobby Hargis and Stavis Alice stated the following. Whitney, did you notice who was in the car? Ellis? It was the governor, Governor Connelly and his wife, the driver, and a secret serviceman and Jackie Kennedy in the back with a dead present. One or two agents. One or two agents then were on there because we nearly lost one of them hanging on as fast as we were going. 

We had a hard time hanging on there. In fact, of the two agents, that's one old boy that Jackie knew had made the trip overseas with her. He comes running and jumped on there and another one, and by the time we pulled out of there, we had two of them, agents hanging on the back. Whitney, you had two on the back. You don't remember else I believe. I know we had one and possibly two. 

And now this is the interview with harges. Whitney. Were they the guys who jumped out of their car and pursued it to the car in front of them? Hargis? Well, two of them did. Two Argus ran to the back of the continental. Whitney. Two ran out to the back of the continental. Argus. Hunt. Two ran out to the back of the continental. There were two secret servicemen. You know, they've got them steps up. 

Whitney. Right, right. That they ride on. This one on the left hand side stopped Jackie Kennedy from coming out. Whitney. One of them got up on the back and stopped Jackie. That was probably Clint Hill. The other one. How did he get in the. What? When did he get in the car? Well, I'm not exactly sure. It was one on the left and one on the right. One of them put his body over the present where no harm could come to him. 

I don't know. All you could see was his feet sticking out. Stop. And I want to cite an article that Jim did on veterans today precisely remember, about the Clint Hill. And when he came out with that book, and you were highly critical of what he wrote in that book and where there was a report where it said that he came completely covered. He covered both the president and the first lady with his own body. 

So he wasn't even on the trunk at this time. Remember that? Yeah. Well, I think the theory was he pushed her back down in the seat. And then he lay on top of the two of them. And that's when, from where he was, he could see the big hole in the back of JFK. Guys, real quick, let me add here. There's frames here we can go over. We can get to it later. 

But I can tell you which snapshot frames where his foot was leaning over the edge of the limo because they blacked out something. And the black is over the edge of the limo, so it's an impossibility. Do you have the snapshot number? Well, we're going to continue here, but if you can find that, because we have a lot of stuff here, 20 is a really good one where you could see where Connolly would be. 

They're blacking out Connolly. And there's other photos. I can't remember which one, but where you do see someone's foot hanging over and they said it was JFK's, but it's not because it's. Oh, that's in the miller. That's in the. Yeah, we're not going to cover that here tonight because the stuff here we're going is very important. Go ahead. Over the years, over the years, JFK researchers that coined the phrase sensational claims require sensational evidence. 

Searching for, finding and proving that a second agent entered the limousine on Elm street is a high bar to clear. The next part of this post will attempt to clear that bar. It must start with the analysis of John Connelly and his wife Nellie, as we follow their movements and positions as they both tumble toward the floorboard of the limho, notably Connolly, falling backward to his left and face up into the arms of his wife. 

At this point, we got two essential markers in trying to prove our hypothesis. Conley's gray hair and the color of his suit jacket, a very dark and black color as seen in these images where he is identifiable. So everybody think of it. Yep. Okay. In the image above, Conley has not been shot. In the next snapshot, he's visibly reacting to being shot, possibly from three different directions. Becomes collateral damage, as a prime target is many. 

I don't want to go too much into this because we go into rabbit hole, but how many different positions do you think Connolly got shot from? Well, there might have been three shots to Connelly. I agree. I mean, the back that went through his chest, the right wrist and the thigh. There's many as three, Larry. Possibly. Okay, go ahead. But I mean, that's the max. Bear in mind, however, a 46 year old Conley has sustained bullet wounds as seen here in four major areas of his body. 

In meta collegial medical legal investigation of the President John F. Kennedy murder 1970, age 94 90. That's a paper we got the following. In going through Connolly, the following sheets of skin were perforated back anterior chest, anterior arm, posterior arm thigh. This eleven CD 1134 report shows a seriousness of his wounds. See, I think each of those arrows, each of the lines is a straight line. Suggests a different bullet in my. 

And obviously I'm being a little facetious know presenting this week because at know, it shows how perforated Mr. Connolly was that day. I think this is showing two. The one to the back and then the one that went through the wrist and wound up in his thigh. Just look at the angles of straight trajectories. Yeah. Perforated lung, known as pneumothorax, is an extremely painful condition. With a mere effort to breathe is seen. 

I've seen somebody with that. Trust me. Every single move in breath is excruciating. Jim and everybody here. That is why tubes are inserted between the ribs to reduce pressure and drain the excess demon liquid that the body produces in response. It produces the following symptoms and takes weeks for recovery. Sharp, stabbing chest pain that worsens when trying to breathe. Shortness of breath. Bluish skin caused by lack of oxygen and fatigue. 

Rapid breathing and heartbeat. A dry, hacking cough. Damn of. There must have been a lot of pain to endure. And bullet holes and bleeding to deal with. Would Connolly have been able to sit up and shift around the limousine as we see our mysterious friend do in the Z film? Here's what the shirt looked like from the bullet that went through him, showing the point of accent in his chest. 

The nickname image is Snapshot 280, which is the equivalent of Z 312. Did anyone ever notice Connelly's mouth has been painted over? But going back to this here, this is the classic exit wound of a shot that goes through you with the evals pattern there on the shirt. And this is coming from. I don't know. I think his clothing was laundered. Because you should have absolutely. Oh, no, absolutely. 

But at least this shows the pattern there of that shot that comes. And of course, it should never have been laundered. So that was all part of the course. Yeah, absolutely. So going here in a close up of that Conley, he's got eyes, but he doesn't have a mouth. The next image is 280, equivalent to Z 312 today. When notice Collie's mouth had been painted over. Now scroll up and we'll see. 

Yeah, right there. That's very damn strange, Larry. Very strange. It's been there. Our snap 281 is the equivalent of z 313, where JFK's head explodes in the film. Again, the point of showing this is none other than to establish the movement of the conlies, which mean, remember, Costella explained that that blood flatter and all that was painted know. Now a badly wounded John falls into Nelly lap, all the while showing that gray top, obviously his hair, which are the marker that we established, and the black Suit jacket, which we have established as crucial identity markers. 

And now we have this black stripe here running down the back of, you know, from the nape, which is strange. Mike, you got anything to say about that? That's what I was telling you about, because it would have been too obvious that it was a completely different person, different jacket in there. They're constantly darkening things where they're trying to hide stuff. You're going to see even more spectacular ones here, coming up here. 

But why was this never ever detected in the Z film? 60 years later, it comes and falls into our lap like this. Let me tell you, the stuff that you're going to see here is just amazing. Going forward here again, I think it was falling. They're watching it on a projector, which is also from the 60 millimeter film. And all those copies were purposely of bad quality because it goes by too quick. 

It's one fourth of a second. Once you could see it frame by frame. You can't miss. Know with the technology, know you can do all this stuff. Larry, I think they realize this was an Achilles heel here, that it was a weak link. So they followed Lenin's admonition. In order to control the opposition, it's best to lead it. And that's where Thompson, I mean, he's got a frame by frame book about it, right? The guy's got to be an expert on the film. 

Grodan, the great collector. That's right. I think they used Thompson and Grodin to suppress serious research, because people were supposing they knew what the hell they were talking about. And they did. They were just talking out of both sides of their mouth. And what we're doing here is we're looking at the other components of the film. Not forget about JFK and Jackie. We're looking at what's going know besides knew. 

Who knew, Larry? Who knew? Yeah. That's amazing. Yeah, and you're going to find some real crazy shit. It looks like JFK's face melted in that picture. Thank you, Gary. Thank you. Nonsense. Go ahead. Okay. Snap. Three thunder. It becomes obvious darker airbrushing is concealing something going on over the Conley. Right here. Right here. Massive. I mean, come on. Give me a break. That could be a whole Larry. 

And it's going to be a whole person. Go ahead. Of course it is. I know. In Snapchat three and three, we begin to see evidence of someone's right arm and shoulder emerging from under the paint job. As noted above, the color of the suit, goat, is gray, not black, as worn by Conley. Senor Snapshot 303, three eight. And look at this. I could have traced everything else in here, but I just got bored and tired. 

Look at this. Look at the green airbrushing here. Mike, Mike, tell us about this. Yeah, I think your numbers you're working off are different ones than I got here, but I could tell pretty much what you're talking. We're talking about the Kelly green airbrushing over the. I mean, it's. And it's dancing in the know. Right. And it changes. Right. It's impossible what they're trying to. Didn't. You didn't know what they were trying to hide before? Because I was never positive if that agent jumped in when suppruter was filming or when they went through the tunnel. 

But obviously, now it makes sense that they're hiding another person. That would be where the JFK and Jackie were sitting and between the colonies. So they got to cover that second. Yeah. And also what's going to freak everybody out here is how he starts. He's moving about, and he's going to end up moving into the backseat. So let's proceed here in order. So here we've got Snapshot 309 here. 

And again, I want to look at these areas of airbrushing here, which are pretty obvious. Everybody. And why would they want to airbrush a dark area there on JFK's back? Why would they want to. Yeah. Yeah. I can tell you that. It's because at this point, when that limo was there, they had to take previous frames from JFK as if he was still right, create a mosaic or something like it. 

They had a mess with time because everyone knows that Jackie jumped out on the trunk, but she did it when they were stopped. And then on top of that, a second agent jumps in the car. So they had to hide the stop, but they still have to show Jackie jumping on the trunk and take out the second secret service agent. So when the limo was stopped, they got to take Jackie's actions and do it as the car was going away. 

And we can go are you talking about something like they did in the. Yeah, yeah. Well, this towner is much simpler where they just mess with her head, but here they have to cover a whole other show. Remember, just think about this. When Jackie jumped out, when the car stopped. They can't show the car stopping, but they have to show Jackie jumping out. So they have to show it at some point. 

So what they were doing is they were recreating what actually happened and while covering up this second Secret Service agent. And again, every frame from Jackie when you see here, especially with her collar and everything is completely fabricated, but they're disjointed, I would say disjointed. Yeah. Well, remember, she actually did that. So they have to take it and move it as the car is moving away. But of course, it can't be really perfect. 

And also, they have to cover this agent. And here's one other thing, too. When that car takes off, Jackie is, what, 5600 and not even 100 pounds off. She's doing what she's doing. She would have flown right off that back there. Had it been moving. Yeah, had it been moving, it had to be to. They can't show anything stopping, so they have to show Jackie doing something when the car was stopped, as it's going away. 

So I know you don't want to go into the stuff. We got some good stuff coming up. Yeah, I agree. We're up to snapshot 325. Go ahead, Jim. There shows more of the figure with a gray colored jacket rising from the ashes like a phoenix. And let me tell you, these images where we have highlighted the airbrushing here is just unbelievable. I never looked at it like this. 

And let me tell you, by breaking the film down the way that we do in the data stream, and we can extend the timeline, that is key in being able to isolate these images here. And snapshots 336 and 337 confirmed. This is not the seriously wounded John Conley, where we're able to track his movements as he looks down, then back, then forward and back again, what appears to be an effort to go grab what's going on inside the limousine. 

The Kelly Green airbrushing appears to span it in air as it changes in shape and intense. And, you know, something, to be able to publish something like this and stake your reputation, Jim, and everybody here, it's got to be serious. Right? Right. It's got to be. Know if you're going to make sensational claims, you got to have sensational evidence. Here it is. Yeah. You got it. You got it. 

You got it. Okay. I mean, go figure. It was here staring at us for 60 years. Come on. Yes. And all the Life magazine who suppressed and everything else that happened with the Z film. And your brilliant book on the great subruptive frame, the film hoax and everything. That's where students need to start. Yeah. Okay, so here we go. And this is the conundrum here. You have somebody in that backseat with the Connollies, all right? And that is not John Connolly. 

You can see the whole figure there, Larry. Exactly. You can see his shoulders, his head, right. Or it's going over the limo side, too. They're cutting it from where he would have been. Remember, they said he covered GFK's body with his, which is what they were supposed to do. And they're taking that and they're covering up Connolly. That's why I didn't do any outlines on this one. Because I thought that this was so obvious here. 

And I want to show you guys how if you focus on his head here. Look how he's looking down. Now. He's looking left a little bit here. You got this. And now he's looking down. So he is going back and forth here. He's looking again. Okay, to the back. What do you think was his role, Larry? What the hell was he supposed to be doing? Well, he reacted just like. 

And that's what we're going to look at right now. And I'm glad that you brought it up, because now we're going to analyze, after showing this, what the newcomer, the next two snapshot sequence, 355, 356. Shows the agent looking down, then immediately looking back. As he appears to be making his way into the backseat. He is a young guy who's moving at will. And does not look like someone who's been shot three times. 

The marker mentioned earlier, the gray hair, is not seen here at all. Everybody agrees on that. Obviously, this guy. This is not John Connolly, people. Okay, amazing. See, people just pick up on these subtleties, Larry. Watching the film, it goes by so fast. Exactly. Because you're concentrating on looking at JFK's head explode. And I dare say that Groton and Thompson have been aware of this the whole bloody time. 

And I would add to that list Oliver Stone and those other people from Hollywood. Who have been delaying the analysis of this. To hell with them. We did the analysis, and this is the truth right here. Finally, for good measure, we find the agent now in the backseat. In these two snapshots. 410 at 411, right before entering the tunnel of the triple overpass. Where we lose it ends, of course. 

Wow. In a back seat with Jack. Wow. Okay. That's his job. Cover the president. So when did all this happen? In order to try to establish when. And now the second agent entered the limousine, we have to go back to the newcome tapes and what hargis, Alice James Cheney, Douglas Jackson, and BJ Martin had to say about the limo stop. That's right. Whitney, do you remember how long it stopped when it was on Elm Street? Hargo. 

So you mean after that first shot, Whitney. Right. Oh, only about three, 4 seconds. Maybe about five, six. That's all. That's a lot of time, Jim. Well, I've gone through mentally all the activities that took place. I don't see how it can be less agree. I don't get why Harvard is saying fiber civics. And I know the discussions that you have had online, and maybe not as many, maybe not as much as 20, but maybe somewhere in between there, but definitely significant, and people are in shock. 

So it's time. I was about to say that. Yeah, very good. You said stop for about five or six second arguments. Yeah, but you won't find that in the Warren commission. Don't they claim that stopped? Argus hunt, don't they claim that stopped? No, I don't think it didn't. You guys see a rolling stop? Maybe it's going less than a mile an hour, right? Argus. Well, that's what he was doing. 

He wasn't completely stopped or dead still. But that's wrong, too, Larry. Yeah, and regardless, that's not what you see in the Z film. Of course. True. Cheney slowed down enough that he did get on that car. Now, whether or not he was on there or know several different times during the procession, he'd run up and jump on this little staff and right there for a couple of seconds and dropped off. 

And that all depends on how fast it was going and where we were at. So whether I don't believe that it actually stopped, it could have, but I don't know. I know the second car did, because I recall the officers and officer Hargis jumped off the motor and ran in front of Whitney. Right, right. That's another thing, Cheney. I don't recall myself stopping. I must have come almost to a stop. 

Hargis did. He got off his motorcycle over on the left hand side and run between those two cars and run in front of me. So apparently I did, too. I don't recall stopping, but I must have. They did stop, and they're just okay now, Gary, I hope I'm able to play this, because I got a sound bit here. Did you hit optimize for sound and pictures when you share? I don't think so. 

Okay, hold on, hold on. Yeah, do that real quick. Just hit screen. Share. Got it. Share sound, optimize. Okay, we're back in business. Okay, check. Recall myself. Stop it for that. Stop. Think of, by the way, Jim, when it said humming there it was the humming in the tape. He wasn't humming. Yeah, got it. I don't recall myself stopping, but I must have come almost and stopped target to get off of his motorcycle over on the left hand side and run between those two cars. 

Right. That is monumental. I don't know how something like that. Are you guys there? Larry? It stopped so abruptly, it jostled all the passengers forward. We got that from multiples, seen the other films. So it happened regardless of what they're saying. We know it happened. And you can't explain these other events without it. You can't get another agent in the car unless something like that happened. You'd have. 

And that's the perfect segue. Go ahead. Whitney. The president limousine stopped for a while right at that point. Alice well, no, it didn't stop. It almost stopped. If you've ever ridden a motor, you know, well, you go so slow, your motor wants to lean to one side. You have to put your foot down and balance it. But we were going so slow. That was what was happening. We're having to kick our foot down a very slow paces. 

Was after the first shot was fired. We got the speed. The secret Service cut the speed on the convoy. Just look how absurd it is that after a shot, they would slow down rather than speed up. Whitney, you know for how long? Ellis well, it was just momentarily. It never did stop. It almost stopped. It got so slow, we were just barely moving. And then they go, go, let's go. 

Get him to the hospital as quick as you can. And I just want to interject there very quickly there. You have to understand that Davis Ellis, when this happened, he was already at the entrance of the tunnel. So he's looking back up Elm street. So he does not have a very good perception of the vehicles when they stopped or how fast they were going. And you got to understand that. 

All right, so now we go to BJ. Martin and what he had to very, very brief here. Whitney, do you remember by what shot the limousine stopped? Martin no, sir, I don't. Whitney, you remember how long it stopped? Martin it was just for a moment. And that's BJ. And now we're going to go for the star of the show, which I believe is, you know, I've been saying it all along, and so did Whitney. 

Oh, what was the situation of the speed of the car around that time? Jackson well, I never did get too far from it. So I just say that car just all but stopped. Whitney for how long a period of time would you say? Jackson just for a moment, because the length of time that I was stopped between that second shot and the third shot would have been but just a little bit. 

I had stopped, put both feet down, looked toward the railroad track, back through the crowd, back to the car in time to see that third shot hit him. Then I turned around back to my right rear, looked again, and I never did look up that window, never did look up to the top of that roof. Whitney now, you say the car came to that stop between the second and third shot? Jackson yes. 

And the only thing that Jackson didn't talk about, obviously, was his crazy ride up the grassy, hear what he, let's hear what Jackson had to say. Okay. What'd you think of the film? I liked it. Only thing is, I thought that Caravan stopped and it didn't. Right. Do you guys want to hear that again? I thought that caravan stopped and it. All right. Okay. Okay. Now what limo stop? Well, Douglas Jackson and James Cheney spoke about agents and officer dismounting from the Queen Marion surrounding the JFK limo after the limo stop, actually during it, the probability that this is when the second agent entered the limo would have been very high. 

We cannot dismiss what both of them reported. And here you can listen to their own words. That was four people that came of that follow up car and run out to either side of that presidential limousine with rivals of some type, said Douglas Jackson. Between that 2nd, 3rd shot, I believe, when I noticed them run by the car. That's right. And now we're going to hear from Shaney. 

I don't know whether the lead car ever stopped or not, but I know that, pardon, the second car, the one behind him, apparently did because it was officers that run from the left hand side in front of me, James Cheney said, and here, so what we have done before we finish, to wrap it up here, Jim, and our audience and everything is, we are trying, and I believe successfully have paired the newcomb tapes with what we see in the new interpretation of the Zapruda film with the second agent in the car. 

I don't think there's any way that you can refute know the way that it has been presented here. So let's pick it up right here. A good indication. A good indication when this all happened, has been shown above, where obfuscationist snapshots with evidence of airbrushing begin to populate the interior of the limousine. For those who undertook this endeavor, it had to have been quite the sis of being task, because the number of frames that had to be painted over and altered, notwithstanding the effort, 60 years later, we are now able to detect the incredible amount of work involved. 

AI will not be needed to figure this one out. Do you think the effort to do this, Jim, now that we know the trajectory of the Z film that weekend and how this would fit into that story? You mean of the alteration? Yeah, right. Well, you're absolutely right. They had to do a huge amount of work, and part of it was guiding out too many frames to leave that left into the know that very dramatic effect. 

That didn't occur because he simply slumped to the left. But they took out so many frames. But you can see they were doing so damn much, it must have been nearly impossible to keep track of it all and the frames that they had to work on during a limited amount of time there. Right. That was key in Rochester. They had to get it down to the photographic interpretation center Sunday. 

Right. They were pressed. They were pressed. Okay. Of course, what could take one man, 100 hours, could take ten men 10 hours or 100 men 1 hour. So it just depends. Maybe that's the reason why we see this different disjointed effect there on the airbrush here and there. Yes. They had a team. They had different people working on different frames. That's it. Thor, the fact that Dallas police motor jockeys were ignored by the Warren commission says a lot about how fearful the commission was to get their true stories. 

We come full circle here. The most important, inclusive witnesses, Cheney and Jackson had the most important testimony to tell. Had they been allowed to appear before the commission. From what we've seen in the historical record, they never had a no. No. Thanks to Fred Newcomb and the Newcomb tapes, we're now able to set the record straight. This is great work, Larry, which is the only thing we're ever going to have, Jim, and everybody remember, we got all those witnesses who've seen the other film, Larry, and when you integrate it, you get a longer stop. 

I think they just weren't aware, I mean, how much the actual duration, because they were doing things themselves. I never thought I was going to get involved in the Z film, to tell you the truth. But when I started to know this whole thing, I said, damn, it's crazy. Well, remember Thompson, Grodin would have us believe that that is the most basic evidence because they know, because it's been massively edited. 

If you take that as a premise, you can never figure out what actually happened because it's a false depiction they're asking you to assume to be true. Yes, go ahead. Now, you don't want to get into it tonight, but reverse engineering from what everybody said. And I went back, too. I went back to all these things, and now you could see, because, again, I used to edit and cut film frame by frame. 

So I've been trained to know what is possible and what isn't, one frame to the next. And now we know what they were hiding. So it's as clear as day of figuring out what they were trying to hide is crucial. You're absolutely right, Mike. Jim, it's the second agent in the limo. That's what this is all about. And showing there had to be a stop long enough for him to get in the car. 

And let's forget the show we did about the Daniel film. They were actual hiding. And you're the one that pointed that out from the beginning, Mike, for people who don't understand, the limo is coming out of the tunnel. They need to hide that. This is exactly what, and the same thing we've been going back and forth about looking at the follow up car and how many were on it because they're missing a guy. 

We're missing two, because this is stuff that we've been working on in another group here, where now we're thinking that maybe since we've got extra agents in the JFK limo, there might have been and has been postulated before that there were other secret service agents in Dealy Plaza. All right? And either that or some of the ones that were in LBJ's follow up car could have participated in this. 

But I think more in the sense that other agents that were there, deployed in Dealy Plaza could have been called upon, know what was going on there. This is just. That gets a little tricky, Larry. I think we're dealing with the right number of agents who are on the backup, the know. Well, that's the thing, Jim, that the numbers don't add up with the McIntyre photos that we've been analyzing. 

Stay tuned. Well, we need to get into that, then. And one more quick thing, too. Guys who are really interested in watch the Knicks film frame by frame. You could see in the beginning those agents come off the follow up car. Just, you got to watch the stills because you'll never see it. Watching the movie on your. And then it cuts out. Yes. That's very good. All right. 

Very. Mike, thanks. Wonderful stuff. All right. Well, we know. End the year with a bang. Well, here it is. I think we're right. I got. We'll call it a show. I don't know how we're going to top that, so we might as well get out while we're ahead. All right. It's been the new JFK show number 292. Mike, we really appreciate you being on. We want you to be on a lot more often. 

All right. We'll see you next time. All right. .