The New JFK Show #207 Mike Machanska III

Video Transcript:

It's a matter of fact, you were standing on the first floor watching the parade. Using unprecedented modern-day digital computer technology, Larry Rivera presents scientific evidence, which in any court of law would exonerate Leozwald of the assassination of President John F. Kennedy. Rivera meticulously takes the reader through the intricacies of digital overlays, which proved that Lee was standing in the book The Pository Doorway while the assassination was taking place that the backyard photos were cleverly manufactured, framed him in how the 3D program blender can recreate Deely Posit was on 22 November 1963, so we can finally determine where JFK was really shot that painful day. As if this were not enough, Rivera reveals what really happened on Elm Street as recently transcribed interviews with the motorcycle Escort Officers who were closest to JFK that day, describe a here-to-for unknown version of the events that shook our nation to its core and affected the history of the world forever. Don't miss it, moonrogabooks.com . . . This is Jim Fetzer, your ad hoc host for the evening Gary King, missing an action. We hope we'll join us before the show is over with a new JFK show number 207. We have the regular lineup, including Larry Don and Mike, who's here often enough to constitute one of the team. So Larry and Mike have been discussing this a number of issues related to some of Mike's observations, particularly about early frames. Jack's right arm, the shadow area beneath the arm, where it appears as though somehow his reaction to what may have been an early shot or to the throat shot, which of course passed through the windshield may have been altered. So we're going to pursue it from there. Larry, why don't you begin? Yeah, I want to just introduce Mike again. This is a third installment of us having Mike here is our photographic expert, bona fide photographic expert, who has all of his credentials. So whatever Mike says, whatever Mike observes in an 8-millimeter film, due to his extensive education and extensive experience on this, I would have to take his gospel, Jim. So without further ado, I just want to... Well, Larry, Larry, because Mike's expertise that I'm particularly interested, if he finds any anomalies in the frames he's studying that differ from the Costella frames, which we have reason to believe is the best available version, because that would be an important finding in and of itself. It would show something is wrong with one or the other and would be worth pursuing further. Of course, because as we all know Costella version is the one that's been adjusted for pincushion distortion, aspect ratio and central, it has been adjusted in all these different ways so that we get the center, the image, everything is centered. And the sprocket hole images, yes, Larry. And the whole image is of course. You're going right ahead. Yeah, okay, so I'll do some screen share and I'm sure Mike will be able to see it. Mike, just tell me where you want to start. Well, kind of to what we were... Continuing what we were talking about last week, see pretty much constant alteration from basically his group of phone frame 153 when he brushes back his hair, and I've been going back to people who were right there in the Lupaza. You want me to go back to 153? I'll do that. Okay, keep talking. That's what people say he does and actually does it the beginning of the counterfilm when they're rounding the corner. So what we focused on last week was basically for 153 where he brushes his hair back and then what people have been saying is a lot different things, a lot different motions that he did that are not in the Z film. And that led me to look at those frames that only, you know, when the car is pretty far back just as, you know, you see the little for the first time in the Z film. And I just wanted to make a small correction. We have it on screen right now. I don't know if you can see that. It appears that his brushing his hair is frame 137, 138. And I want to mention that Roy Lewis talked about his action precisely because at this point and the motorcade as it's turning, he's practically right in front of Roy Lewis's position in the TSPD doorway. Yeah, and you can see I think he does it twice in the counterfilm. I was just looking at it. Oh, okay. Yeah. Right here on 138, 139. Okay. He might have been twice if he does it because he and then right at the end when he does it. Actually, you know, something I just noticed, there's a very quick, you know, from one frame, okay, what's his 140 to 141? And 142, his hand moves in a very, very quick, which I would have to say, impossible speed, you know, from being up here. You see that? Yeah. And you know, and how many we know that each frame is 18.3 seconds in my right? Yeah. Yeah. The extent version, yeah, sure. 0.13. So that's in the end of itself, you know, extremely fast for that type of movement. But then again, you know, we knew that the frames have been removed. But go ahead, Mike. Well, what about there is when I've read during all my research and other people's research, that when they started hearing what they thought were fire practice, which of course were a job. Yeah. Yeah. Yeah. And the version that he shots and the version that he sounds like Beverly Brunson said. Yeah. And then basically from there on out, it would be pretty easy to do is his hand is in front of his face the entire time, which would hide any facial expressions of what the hell is that? Jeff Gapors was in World War II. He would have known what gunfire sounded like. And also Connelly is really blurry, who also was hit. So basically, you know, where either they're hiding the hint to the back, which some people have said, the president reached back to his back. One of the said his hands went up above his head. We covered that, which I believe is when he gets right below the police. Riching back, of course, would be a response to having been shot in the back. It was a very shallow shot. Five and a half inches below the collar just to the right, this final column. Only went in about as far as the second knuckle on your little finger. And then of course, you're talking about a response to the throat shot. So, you know, this is all coherent. I agree with Larry about frames having been removed or we wouldn't have these motions that are too fast. Yeah, the correct motions. We don't frame 183 up on the screen. Well, it's also to tie in your book. Larry, that I was reading every day is again, a fascinating story about the day of the assassination when I forget the last name, but the NBC news affiliate, Gene Hill on. And yeah, yeah, yeah, yeah, Tom Wailin, Tom Wailin. And she had said, you know, among other things, that both their shots were coming from across the street, glass of gnaw, but also she heard two shots. And which, of course, a lot of people said they did, which is going to be two hits, either to, while you know, Jeff K was hit from the back and also on the throat, as well as Connolly. But then the NBC guy said, cut it, but those two shots, there should be two reactions. And I think that's of course what they're covering up is one or more reactions, whether to the hip to the back or misses that we know, hit the pavement. And it's the grass. So this is frame 193 and his hand is blocking his face here. And I don't know if this is what you were talking about, you know, this crazy shadow that we see here. It extends over to the, what do you call this? Oh my god, the chrome here on the top of the, the door. I'll have to get this over to you, Larry, for next time we do this, but I've been getting as many photos of Jeff K in the limo, whether it was in Dallas, but especially in Dallas. And I love feel and love feel. I love feel like I think I send you those as well. But his hand is always planted. His elbow is always planted on the top of that door. Maybe because again, you've got it raising your arm, you know, waving doesn't seem like much of a exercise, but you keep your, you know, your hand up like that, your elbow, especially if he's doing it for however long the the ride was for, of course, it's towards the end of it. You know, your elbow, your, I mean, your shoulder is going to get tired. So he has his elbow down on the, uh, the most vaginal goose. So, so, so again, to get back what I'm saying is, um, some of the photos that I showed you, if his elbow is on the door, there's no way his hand could be up on his face like that. You may not seem like it, but if you show these, some of those other photos, I sent you, you could see that. This hand just won't fit up there with it at that angle. And then also, um, you would, uh, these, these, these podium possible shadows, which, um, um, anyway, because I'm trying to get his, uh, his hand stationary for this entire time so that he can have his hand in front of his face to hide, hit, um, I'm looking from side to side and basically just duplicating that one look where he's waving to his crowd duplicating that and, um, magnifying it for the each frame, getting bigger and bigger as the, when I was getting towards, coming towards us, uh, superior or the camera. So if it's pretty easy, just to kind of keep that, because it's only from his chest up, um, they want to hide any, any reaction to shots and that happens. This one is in front of his face until, um, it goes behind the stem and spine, and we don't see anything, and then right when he comes out of the stem and sign, he's grabbing, he's grabbing, uh, as throat. So that's a whole line of, of where, it's probably altered. I don't, I don't want to sidetrack you here, but what's your opinion on, on the, uh, on the reflections here, on the side of the limo, which, um, we have, we picked up from Brunson's research, um, the reflections, as you can see, the motorcycle, shainees, uh, uh, motorcycle being reflected perfectly, and we have had, we've had a couple of shows that we've talked about this after the stem and freeway sign, you don't see any reflections. But yeah, we're going to show them a lot more that they've been wondering. I know because it was closer to the Zabruder, exactly, exactly. They also want to take these, well, Zabruder didn't zoom in, but because he was already in the zoom in as much as it could be, but they optically zoom in to get, uh, to hide that we were talking about last week, to hide the wheels, which you would see slowing down. To hide, uh, other reflections, which, which, you know, a lot of people say, people who were there, uh, right in front of the car, should have been seen in it. Yeah, like, like, like this one right here, uh, 234, you don't see anywhere, uh, reflections, you know, and go on onto a 255, you know, it seems like there's kind of, some kind of blue paint over there, uh, which was, uh, Brunson's observation here, right here, right here on this area right here. And again, like, like you've mentioned before, you know, the lack of the, uh, of the wheels, but would you say that this frame has been cropped here at the bottom, Mike? Yeah, one of the odds that it's cropped right there where you can't see any the wheels and you're right, right, right, that's what I'm saying. Would you say that this area here has been cropped to remove? That's very good, Larry, because look at the, uh, you know, the images in this sprocket area, that's, I guess we ought to be seeing something in that very location where it's all blacked out. That's right. And you see, uh, this, uh, yeah, you see that, uh, and it seems like you didn't have this sprocket area. You wouldn't even notice it. You just assume it was the bottom of the camera view. Mm-hmm. That's a very, very, very, this is right at the point where he is, uh, supposedly slowing down. Also, another to go back to the Willis. Um, okay, I'll give you Willis. So, uh, you're, uh, has not put his hand up yet, but his hand is now up. He's on that. Okay. By do what Mike's expert opinion on that, because it's also missing at the top, of course, Larry, where, you know, the same argument can be made. There's something in this sprocket hole, Larry, but not at the top. So, do you think Mike, this is just the bottom of the field up for the camera and not had deliberately blacked out? I think they deliberately blacked out, uh, the reflection in the door, and they didn't want, they did crop it. So, you, uh, see the, see the wheels, or maybe there's some of the positions, position of the people who were there, because, um, they don't, they won't want, um, people to look what's going now to be able to kind of, uh, compare, um, because I don't think you want us to know exactly where the car was. Right. That's a shot. Okay. I, can you guys see Willis five here? Yes. Yes. This is what Mike's talking about. As you can see, when, uh, 202, which is equivalent to Willis five, he's waving, okay? But here in Willis five, he's not waving. That's good. So, that's substantial. Mike's claim that the arm was added in. You know, and it obviously has been heavily edited, of course, but I think that this is something that never has never been, uh, you know, right. And that's why, you know, we brought Mike in here, so he can, you know, tell us exactly what he sees in all this. And there we have the Cuban and the umbrella man, of course. Yeah. Right. Right. Of course. Yeah. The Cuban is not, his hand is not up yet. Right. That's right. So you can, so you can estimate exactly what, which frame that would be, which, uh, again, I guess, uh, let's see. Let's see, uh, let me get back here. It's surprising. His hand isn't up already. Yeah. Okay. Here's 202. Let me see. Yeah. Here's 202. Okay. The Cuban is behind the Simmons freeway sign on, uh, or he's not visible in the Z film. Let me give you 202. Okay. But he ought to be Larry. Yeah. Well, see, here's 202. Well, he's further to the right here. Yeah. He's to the right. He's not in the, neither umbrella man or, uh, fist pump man here, dark, complex, and man, or whatever you want to call him, are visible. Okay. But going back to what Mike has been telling us, see here, where Jive Kay, you can see him waving, you know, let me zoom in here if I may. Okay. This is a clone into Willis 5, okay. And you can see that he's waving there. All right. So, uh, that's, that's what Mike is telling us, you know, that's an anomaly that, uh, and of course, nobody's ever talked about this before. So the angle and the willis isn't sufficient to count for the absence of the visibility of the arm. No, I think it is. I think it's quite the contrary. Right, Mike? Isn't that your point? Yeah. Absolutely. I mean, his, in the most honest, it should be up. And it should also be more towards more visible because, um, he's always leading towards, towards right where, um, where his arms, you know, on the door, the little door and his hands extended, waving, and we're up. And that's where it was, that's where it was looking. And also, I was going through some of my testimony of people, again, on the A, and they were yelling towards the present end and, and say, you know, uh, I want to bring, I want to bring on in here. Excuse me. I want to bring, bring down in here and see, you know, what, what his opinion is about this. Well, I was listening to, uh, Black Ops Radio and, uh, you know, they don't think this, the footer film was altered all that much. Okay. And, you know, we're just watching this. I mean, it's like the more you look at it, the more it just sticks out. I mean, the people in the background, I mean, look at the little girl back there. She's almost the same size as the motorcycle cop. Yeah, really. You know, yeah. So obviously, the film has been tampered with. Mm-hmm. Um, and, you know, we have Rich Delarosa, um, the late Rich Delarosa gave a, uh, pretty good breakdown of what the Reels of Proof of Film contained. Mm-hmm. You know, it's actually an appendix in the great subpoena film folks. Yeah. Yeah. Rich, yeah. When we play that on the show, maybe we can do that. Yeah. And I interviewed him about it. Of course, he'd actually seen what appears to be the unaltered film on three different occasions, believe it or not. Yeah. And the, the limo took, when it came around the corner, it took a huge turn. Right. And they almost missed the almost one upon the curb, I believe. And you know, we don't see any of that in the Extensive Proof of Film. So how, yeah, somebody can get up there and see that there's been maybe a frame or, you know, maybe a couple of touch-ups here and they're done to it. You know, or Jim, you know, you would see pliable. You would see pliable. You would see touch-ups and I brought this up on dfkfacts.org and my post was censored. Okay. I would have say that, you know, I'm not allowed to post a fun dfkfacts because they were talking about the crop. This is a Robert Crop. And I just want to say that Robert Crop was a missionary, a Mormon missionary and he was in Dallas and he went and he took some pictures. And as soon as he, you know, he took the pictures, he was off to South America on a mission. Okay. So he sends his film over to his parents, the FBI, gets wind of this. They go in and they pick up the film and then they put, they finally, you know, they published, you know, this photograph. And I want to, I want to show you guys because this is what I've been talking about. We've presented this many times about the African-American, uh, uh, uh, witnesses standing on the North curb of Elm and you can count one, two, three, four, five, six, seven, eight, nine, ten, eleven, twelve, thirteen, thirteen, Jim and not a single one was ever identified. All right. Not a single one of these witnesses came forth or even dared to identify themselves. Okay. And don't you think they would have had a story to tell, of course. Now, the reason I'm bringing this up here is that they presented this photograph on JFKFx.org, Jeff Moryley, okay. The uh, so-called uh, uh, expert self-appointed expert. Yeah, self-appointed expert, you know, who wrote, uh, you know, some, a book called, our man in Mexico City about, uh, when Scott Benini, wait, that's either here or there. But I want to point out here, the operation here of Jackie where her hair has been extended. And maybe I might would come in here and tell us what his opinion is here where, okay, you can see that JFK's cheeks are already puffed, okay. And look at the reaction, Jim, okay, of JFK. And then what they did here was they extended. This is my opinion. Mike, you know, he can tell us, uh, you know, what he sees here because this is, I wanted to show Mike this photo because this is also, you know, following what he was saying about the right arm, okay. And if it's a big wave or not, and I promised Mike that I would show this one. There's a black blob of hair there. It's been added, Larry, just a blob for a lot of dying down. Not only that, look at this big blob. Yeah, right over this effort. Very good, very good. Okay. Can you guys see this? Yes or no? Yep, yep, we see it. Okay, now is this alteration or not, Mike, Machineskem, please tell us. One of the eyes that they're in each one of these photographs is always some kind of blob or, or, uh, and this is still for talk, the broad film that's, uh, that's a single 35 millimeter film. Sit down. Tell the truth. Yeah. Dazs are astronomical that it would be all these eyes being filmed. It's just a coincidence. I wonder if they tried to make a little bunchy enough of his jacket. Of course, Jack wore custom made shirts and jackets. Really, really, really to, uh, to try to, accommodate that, uh, that, uh, that's a shot from the back. Yeah, that's a great, I love that, Jim, really, really. It doesn't look right to me. No, but, but again, look at Jackie's hair. You know, I wouldn't be here. It's clearly wrong, Larry. You got a good one there, right? That's exactly right. I wanted I found pictures on the sausage put on there. Yeah, I want to look at pictures of Jackie, you know, earlier in the motorcade and her hair was completely bilateral. Perfectly. One side was exactly the same as the other, okay? Now here you see that, uh, you know, they have not even the same color Larry. I'm exactly. Obviously they've added the airbrush this in here to cover JFK's reaction to being shot in the back. Okay. And then I don't know why they would have added this here, you know, what the heck was this holding a camera? No, you know, I, you know, I don't think so because they both of those women are seen in the Alchuss 6 photograph. They're the two women that are right above the, uh, the biser of JFK's limo. Okay. If we go to the Alchuss 6, those are the two women that you can see in the, the two African-American women that are in the, in, uh, very visible, right to below a woman and child at orbit. We make quite a telling point that none of these thirteen witnesses was ever even identified, much less called a testify. That's, that's, that's, that's just something that I don't, I have no words to describe that, Jim, you know, that's just what about the white people in the back or a waving, were they identified? Yes, I believe they were. I believe they were. And this guy went right here. Yeah. Yeah. Okay. But it's like blacks didn't exist in Dallas and I did exactly that is unconscionable, Jim, you know, it's, you know, and, and don't you think these people knew that the limo stopped? Okay. Yeah. Yeah. Yeah. That, uh, that, uh, that shainty and that, uh, hard just dismounted and ran in between the two limos. Right. That, that, that, that Jackson wrote his bike up the right, no, right. The five secret service agents surrounded the limo. Okay. That's very good. That's very good. Very good. That's drawn. Don't you think they witnessed it? Don't you think they witnessed the limo stopping completely on Elm Street for at least 30 seconds? Don't you think they witnessed, uh, uh, the, the, uh, boy picking up the piece of skull? You know, on a secret service agent guy, you know, pay, I think it's stretching it away from him and throwing it back into the limo, desecrating, you know, first desecration of James Cage body at that time before, you know, before he was even dead. Sorry, Jim, I get a little emotional about that. Oh, that's good Larry. That's all good. No, you were right spot on. Okay. So anyway, let's go on to, uh, sorry guys. You're completely right, Larry, when you look at the reality versus the illusion. Yeah. It's enough to piss you off. We're talking about the president of the United States, a man many of us loved. So, uh, Mike, uh, what else you got for us here? No, I mean, I'm going back. We'll have a little time for you, Larry. I'm going over a lot of testimony of what people said we saw and tried to piece together because, um, you know, one or two people could be, you know, exaggerate or wrong. I love it. I love it. Said his hands were above his head. He was reaching back and, and, um, it's just more, it's just more proof of, of, uh, that something was done. And then you've got to shine more light on, um, what we can now pick apart and, uh, start being, you know, just back together. What we've seen. I want to go over again, uh, what Dean of Virginia said he saw. Yeah. Yeah, go for it. Go for it. No, no, no, I mean, like in the future because just, uh, I mean, again, um, well, I'll tell you because I write about that in my book, uh, he talked about a spray of matter and body. He calls it a piece of body going vertically up, okay? And, and, and crossing over to many frames, not just what you see in 313 and in 314, okay? Where you only see a little, uh, uh, glimps of it. Okay? And he says that it was prevalent there for at least, you know, 4, 5, 6, even 7 frames, all right? And it was something more a vertical, okay? Yeah. He was talking about. And Douglas Horn is the one that interviewed him, by the way, about that. Yeah, that's, that's, that's a must watch interview. Uh, so anyway, we're here on 188. Uh, we're, uh, I, I, I wanted to point this out here because the, the lack of sprocket holds here. And these are frames that, these are frames that supposedly grow and later found, okay? Because originally these frames had not, we're not part of this approved film, okay? And, later on, uh, this is where there was supposed to have been an edit made by time long. That's right. That's right. Okay? And you see this here. And then all of a sudden, they're here. And I also wanted to talk about maybe perhaps, and maybe Mike can, uh, talk to us. I want to go back to 153, and, uh, this is something that, uh, from Roy Schaefer and Roy, you know, I hope you're doing good, you know, we love you. You're one of the best ever, you know, and, uh, I followed your, your work and your guidance and everything. Uh, if you go back here, okay? And you look at, uh, LBJ and the follow up limo. Forget about looking at the, uh, JFK limo, okay? And he, talked about a splice, okay? And let me see if, uh, I can bring it up here. Yeah. 154, 153. Okay. Let me see here. As you can see here, the background, those cars are moving. You know, and you see this here, all of a sudden here, this happened. And as you can see, you see how, how this car here is all the sudden on top of some kind of shadow. Can you guys see this? Yeah. Oh, okay. Here's 154. And here's 153. I mean, 155. You see this? Yeah. Right here. Yeah. Okay. This is what Roy, and this is like, I mean, and this is pretty obvious. Okay. Can you guys, okay? And then all of a sudden, it's not there. You know, now what happens here, Mike? You know, if, you know, you can, uh, are you, why are you looking at this, Mike? Yeah. There's no practical reason for that. It's an impossible shadow. There's no, right. Well, tell us about him, Mike. Well, it's more of a, I was talking about the last two shows. Is that when, when the, you see, you see this wave, we see this wave type of anomaly here that I'm pointing at. You know, it's like something very, very strange is going on here, Mike. What do you think? Yeah. Yeah, that's the first time I saw that. Um, the question is, why, like, what is, what are they hiding? I mean, hiding the, um, I know what they're hiding. They're hiding, Jeff, I mean, LBJ, Duck. Now that's the secret service car, you know, that LBJ's, uh, secret service car, you know, because this is LBJ's car right here, but this is very strange, and I want to credit again, Roy Schaefer for discovering this. Okay. And it's, you know, very, very strange. And I want to know what this is all about. Mike, it's something one day. Go ahead, Mike. What frame is that right there? It's 155. You go 154, 155 and 156. You see this? I just, one of the things I read today were, uh, funny, great Williams. Um, after Jeff K brushed back his hair, which was at 153. Right. Right about here. He heard a loud shot. What else? Um, as did other people, right? I think this is pretty much the, the first kill zone, right? Um, good, good, good, good, good, good. Now again, I just took a little side track here too, just thinking about how many people were there. They're going to be people who were on Houston. And of course, the easiest shot would have been to shoot Jeff K when he's coming towards the TSP, the on Houston. But think about how many people, there's two directions of people that would have been looking at him then and two directions of people maybe more, uh, if you clean people on Elm who could be photographing it. Right after that turn, and of course, you know, the turn was wide. So that, that means screw things up for it to kind of, uh, the sheers to readjust or, or maybe even that first kill zone. Maybe this is the actually the second one or the first one was paused. But anyway, like, right about here would be where everyone is looking, um, just think about everyone on Houston. Everyone is looking towards the present. So, and they know that. So they all, all this kind of crossfire of photography that could have happened. Who did he just run on Houston? Would have been, uh, would have been a nightmare. Now, everything is kind of going away, you know, there was going to be two sets in the Dow text building. And I think this is where, you know, they were setting off fire. Everyone does, as people say, they were setting off firecrackers, as the turn away. So this is, this is realistically when they, uh, start shooting. Mike, Mike, I've just zoomed into that area, you know, and it's so incredibly pathetic here how they seem to have just pasted the car onto that image there onto that frame, you know, it's Jim, Jim, and I definitely want you to figure out this. I agree with you. There's something very artificial. I would say there was something about the original they had to conceal or cover up and they did it in a very awkward way. Well, my point was that I think we would have slowed down, uh, and this first kill zone, stopping all the cars, you know, each one behind had to have to have to slow down as well. So many of that car stopped. So they had a, um, or genetically push it over and they had a little way they could do that. Again, hiding the wheels is, is what they're, um, blacking out the, you know, the back. And look at how the windshield and the roof here disappear. I'm pointing, you guys see this? They disappear. You don't see, you know, the, you know, he's not on the car. She looks to be in front of the windshield with you up to me behind it. And in front of me and behind like, y'all just six is that what you're talking about? Right, right, right. I love it. I love it. So I, you know, anyway, I think this is very, very darn darn what, what do you, you know, Pacos? Yeah, just another example. I'm sorry guys, I had kind of a, getting over a cold this week. So, um, that's some long issues and whatnot, um, starting to feel a little bit better. But, um, yeah, there's definitely, uh, some Hainkey Pinky going on in this frame, as you were pointing out. For those who insist that, uh, that the Z film has never been, has not been altered, Jim, you know, like Mr. Dick Killish and Mr. Thompson at all. Well, oh, yeah, yeah, you were talking about the impossible speed of like, you know, but look at this edit line. Look at the, I'm going to run the mouse. Along this entire edit line. Look at all the way across the screen. Ah, very good. Yeah. Yeah, you can see very good. Okay. Mike. Yeah. This is a supposed to be the expert, not me, Mike. No, I, I, yeah, I, I was always looking at where I thought the shots were going towards, you know, the limo. Um, but it looks like, um, so, so what's going, what's so, uh, what's a particular about frame, uh, 155, Jim? But, you know, what's going on here? Is there like a much, much earlier shot that we don't know about some kind of action that we don't, that there's never been, uh, defined, uh, you know, something, something, something very clear. What, what frame do you think that the tape, tape shot took place? Oh, wow. That's hard to say because, you know, you don't, you don't see, uh, you know, but it was, I don't know, maybe the 180s, you know, you know, I'm just, uh, you know, throwing, yeah, ballpark. Yeah, obviously you're not going to be able to tell. Yeah, 180s, you know, something like that. And of course, we had the shot that hit the Grom strip above the windshield. So, and the one that went like Jim is pointed out last week, the one that went through the, uh, the cushion, the back seat cushion. Right. Well, that's the shot that hit him in the back. Yeah. It's all right. Tell us, let me get a little more light going. Who's that? Gary, Gary, Gary, Gary, we're already in the middle of the show, my friend. Okay, keep on rolling. Yeah, you join us. You join us, friend. We've already flipped over a couple of, uh, of, uh, stand and, uh, fuck verschieden got the show number right, Gary. Yeah. 207, just for you. All right. Hold on. I was, or whatever you want to call it. Anyway, uh, yeah, a lot, a lot of, you know, interesting stuff going on here. I want to go over here and, because, uh, again, you know, Roy, uh, Schaefer is really, uh, did a lot of, uh, really important work on this. And we talked about here, uh, Jody Brem and his father. But I want to look at Malcolm Summers, okay? And because we've done this, you know, Jody Bosser up here, you know, Malcolm Summers does a summer salt here within, you know, I don't know, maybe half a second, you know, and, uh, again, uh, here's both of them and here's all jins. Okay. Okay, right here. This is Malcolm Summers. Okay. And again, we see something, uh, covering up the sprocket hole. Okay. But look at this. Look at this. Look at the movement here in point. What is this point? 18, what point? 183, you know, you see this here? You see this guy right here? This is Malcolm Summers, you know, and he is, when a couple of, uh, frames, he's already done, you know, this, uh, so yeah, so yeah, you're completely right. Completely, you know, impossible. You know, I think this makes that two-minute mile, like one minute mile, Jim. Yeah, and then, yeah, the handle driver turning around. Oh, of course. Oh, that's the impossible speed. It's like the same thing happened on 9-11 when these jets were flying at an impossible speed. Yeah, of course. 540 miles an hour. Yeah, yeah. It's very much like flight 175. And of course, if you compare the Nix and the, uh, and the, uh, as a brutal film, you know, Jackie is well over, you know, the trunk, okay? In comparison to the Nix film, you know, at that position. And, uh, you know, remember we did some, uh, study here on, on Clint Hill's hand, and we found this, the sloth pen, which, uh, obviously, you know, did not have any digits, okay? We can't see it, uh, right here. Maybe I can zoom in here. Yeah, right here, uh, maybe go back. I, you know, I did, we did a, a study, you know, a couple of years back. They were, in fact, Jim and I published in Veterans Today, and we had a lot of responses on, uh, what, the so-called sloth pen of Clint Hill, uh, which only showed, you know, a couple of digits, you know, so, you know, a lot of things, a lot of things, you know, anomalies. But of course there would have been brains and debris all across the trunk, which they had to remove. Yeah, yeah. But again, here, you see the Jackie only goes so far, Jim, and in the Nix film, she's already, she's touching, you know, I think he's touching, uh, right. I use that. Well, they could not synchronize with the other, I mean, it would have been impossible, obviously, well, he did their best. Yeah, I know, he, you know, I would have loved to have been the fly on the wall, you know, that weekend over there at Harkin, uh, works, you know, where they were trying to, you know, fit this whole thing, you know, this whole scheme together. I think part of the problem was they were actually changing images in Zapruder, and that would have been extremely difficult to replicate in the Nix. Well, also, don't forget that the Nix did not make its appearance until a week later. So they had to, they had an extra week to mess with it. And they had to, uh, uh, reverse engineer the Nix, okay, to coincide with the, uh, with the Zebra. Of course. I mean, we're very, Gary, we're very apologetic. We had to go forward because Larry can't stay, he won't be here for later. So we had to go earlier and I tried to, you know, what? I always learned more the second time I watch it. I've watched these shows for the second time. Like, we record them. When I watch it, I learned like 10 times more. So, hey, I'm all in, fellas. Okay. It's good. It's good to have you. I'm glad you could join us. Mike, I know there must be things you want to add. Yeah, I was talking about, talking about the wheel and the spokes here, right here. I want to, I want you to tell us about this right here, the wheel. Well, see now they can show it because it's speeding away. They don't have to hide anything. Right. Why wouldn't that be? It's kind of hard to explain it once, um, with lenses and, and the way, I mean, again, when you've filmed something, especially if you're an amateur, you're going to keep the main thing in the center of the frame. And now, again, the way things are right now is pretty much, you know, Jeff K's still in the center of the frame of the way. It was a normal person like Zabruder, if he was, you didn't see the blow-up right there, of course. Yeah. So, so this is, it's in the center of the frame, normal framing, whereas during the, the headshot is, is anything but a normal frame where, you know, it's obviously, it's tough. But before I forget, um, I don't know if they even when I was really young, I could, but I could tell from these things is the convening editing. Like right at the beginning, what we started this around 153, 154, that's when Towner cuts out. That's, you know, a towner is, I mean, she was right on top of it. And, it could be an elite, why would someone stop filming when, when Jeff K's still pretty much right on top of you? They don't show anything more from the towner film after that because they couldn't, they couldn't fake that one, but they could fake this a fronofilm because you still pretty far away and coming towards it. And also, the same thing with, with the next, um, in wonderful, like they cut away where no one would have, you know, have stopped filming. So, um, anyway, let's, let's, let me, uh, find Towner. So he's saying all, all of the, uh, films were conveniently cut at the right time. Yes. Well, they made the effort, Gary, but they weren't quite successful. All right. Yeah, but Mike, Mike was talking about the wheels. They can show it now, but they had to hide the limo stop earlier. So that they had to obscure the, the spinning of the wheels. In fact, that the wheels were not turning would have been up. Yeah. Yeah. So they couldn't show that. That's why the background's out of sync with the way they had to adjust the center of focus. Yeah. No, no film. No one actually filmed me and it would have done. They would have kept J. M. K. in the center. Mike, go ahead. And people who were actually there in the, uh, supposed to be there in the foreground in this purter film, they had to hide because then they couldn't match it with where they were and other, in other, in other, um, yeah. Oh, this is a bad copy of it. I just watched it very. It's stabilized, supposedly stabilized. Yeah. Back. Yeah. Do you want to redo them? Okay. I'll give you the original. All right. We pause this over here. I want to make sure Mike's getting the opportunity to report everything he's found of interest. So yeah, he wanted to see the town or film. That's what I'm giving him right now. You guys see that? Wow. This is really, uh, under exposed as well. It is. It is. Yeah. As a kind right to you, you could see that the natural color of J. F. He's there. Uh, but anyway, it was let's just one. And again, you know, look, they have it. The aftermath, but the search. Here it is. It's a motion. There's a motion. So motion. Yeah, that was a cut right there. So where were the crossbeard right around here, right? Where's the what? The cross. You mean to tell me that they went from that shot to the aftermath in one split second? That's incredible, isn't it? Just amazing. There is too much there. They had to get rid of it. So they just obliterated it. Uh, Mike and I can see her here too as well. You know, uh, look, it's there's no, there's no heavy, uh, a little bit of hair on on her left, uh, or left side. Right. Her hair looks normal. Her hair looks natural. But Gary makes a great point. I mean, where the hell is the rest of the event? Man, to the aftermath from seeing Jackie Kennedy right before the shots. I mean, my god, everybody just kind of stopped filming there all the same time. That's right. That's right. They just won't get lost. They have seen it up. And the long way did all day with our camera, you know, but we'll just catch you of these seven and start. And a perfect example is the bell film. The bell film, you know, you see this whole thing. The all of a sudden, you only see the aftermath, you know. Well, sure as that one. Yeah. What do you do about it? You know, fellas, I really have to admit, you all have done such great work on, you know, in the film, the Z-film authorization and all that. But it's really not my area of interest as much as other areas, you know, to study the different films and you really analyze them. So I'm just amazed with everything that you've found. Let me show you the bell. I'll show you some stills from the bell. Okay. You guys got this? Here it is. Yeah, head screen share. Got it. Yeah. Well, all right. Okay. You see the limo and then all of a sudden, the only aftermath. Okay. So I've seen last week, there's a lot of black, black meow between the branches there. Oh, yeah. And look at the poor quality of this. And I'm going to show you, I'm going to show you what the belt film really looked like. Okay. From the beginning, I'm going to close this, stop the share and I want to go and show you guys this because and this is what Jim and I have been presenting this over the years because it shows the actual tire marks of the motorcycle cop. Yeah, the motorcycle cop. Okay. Okay. These are images from the bell. Okay. Now, look how that's clear. They are clear as a bell. That's right. Okay. Now, look at this. This is the bell. And you've never seen all the frames, but this is what the bell really looks like. And this is where we found the tire tracks there. Yeah. Okay. And then after that, you see Jean Hill going up, well, you know, we don't have it here, but okay, this is where we did the study on the tire tracks. That was what Grash had looked like on film. Not to what the big green blob that we saw. Yeah. Good. Good. You just see green blurs. You see this? See the tire tracks here? Yeah. And this is at least what? A couple of minutes after this estimation, you know, right. So anyway, although those guys drove up on the lawn there because no shots came from that area. I know. You know what really got me is that when they interviewed Bob Jackson, and we talked about this in some of my blog, you know, he said, oh, you know, it's a motorcycle cop. You know, he went up the embankment and he let his bike go and it bike just went off, you know, by itself, you know. Yeah. I remember that didn't even know what they said. Yeah. The president was shot that yet motorcycle cops are just driving in all random directions. Yeah. I remember Larry actually walking up the embankment right there where they are. Sorry, drawing out by his hand. Yeah. You know, Bob Jackson, you know, that's why the 6th 4 Museum, you know, shouldn't be interviewing, you know, these witnesses without giving them scripts because they did the same thing, you know, with Bill Westie Frazier and Bill Westie Frazier said, oh, you know, Captain Prince came in and he wanted me to sign a confession, you know, and him and I almost got to know fight that night. Yeah. Gotta be careful, man. They might tell you more than they think they're doing. Yeah. We have we have less than 10 minutes left. I know you must have things you want to add right now, although we're open to bringing you back again, of course. Yeah. Well, Larry, if you can search on Bing, but Crawff photo JFK. Which one, which one cropped? Cropped. With a used Bing, he's been search engine. He said Croft? Yeah. Cropped photo JFK on Bing. I showed you guys, Croft. Yeah. Yeah. Croft. I know, no, no, no, but that's when the towner film came up. A really, really good version of the towner film. I just just so happened that while I was searching the croft, researching the Croft photo, this towner, a really good image of the towner. It's, I don't know what you call it, but it has the film there. It's okay. Me, no, something. Crofts. Okay. Oh, they have, they have, I took some screenshots from it. It's still, for next time, or, you know, when we do a more of a presentation. Again, showing that his arm, his elbow is resting on the limo door and where his hand is, there's no way that he could have put that in front of his face. Okay. Here's what you're talking about. And we already covered this before, but we'll do it again. Oh, can you see this? That's clear. You can see it. And we talked about, you know, the 13 black witnesses never identified much less called. The anomaly here, and Jackie's hair covering, Dave, case puffed cheeks info. There you go. There's a close-up, you know, and then I believe this is part of the towner. Yeah, I think this is what you were talking about. Yeah, for some reason, when I, when I searched Croft photo, GFK, yeah, a really good version. It's just to start playing, you know, in the search engine. Of the towner phone. Okay. Yeah. And this is the comparison of allchins with Croft, which numbers, if you can, I know I can't zoom in here, but, you know, all the African-American witnesses, where they are placed in relation to the allchins six. Okay. And again, you know, 13 witnesses who were never identified were never called, you know, and I think that's disgusting, Jim. Of course. Well, they hit control Larry. They were being quite blatant. You know, they were just suppressing evidence, cutting it, destroying it, altering it. And just really to make it all fit. And this is your favorite, Jim, you know, we're on inspector, you know, talking about this with a lot. Just proving his own theory. Yeah, this is this is what I was talking about. This is, you know, this is the one where they number all the African-American witnesses in relation to the allchins six photograph and how the four short me. Yeah. I'm like, I've got to ask you. We've talked about the Z film a lot. What's your view point on the Allgen six? Talk about that. Oh, I'm right with you guys all the way. I remember watching the first show, really getting into it. I'm just amazed that they didn't, and I think it says something about what was going on, that they didn't at first before Larry did the overlays, I thought they took level ladies face and face to it where overlies face. It kind of looks like that to me. I mean, like if you're going to do all these other alterations, why not do that? I mean, but going back to the timeline of the allton six is when it was sent to the presses is still coming. Whether they were going to go with with we as the Pats here and on, you know, they still have a lot of people locked up. They had Jack Lohans locked up. They had a Frazier locked up. And I think, you know, somewhere I think the money still had Allison and Bill. You know, Billy Lovelady, you know, with the girl. I'm not sure if that George Bush go by now. Yeah. Well, it's pretty good of all that all those guys are there at the same spot. You know, I think I think the just just of all this is it pretty much people are accepting the fact that it's leading the doorway based on the overlays. Yeah. Unless you're a big show. I think this is one thing, you know, got away. I mean, why like black out the, let me robber it's talking to the mic. I mean, and some other stuff, you know, they say, I don't think the things went perfectly that day. There were things did not go the way they planned and something's got got past them. I just why not black out? When it didn't kill the Oswald in the theater, that's when things really went wrong. Yeah, you know what I always wondered is how many other photographs of Lee in the doorway existed before the FBI camped out at every photo processing lab in Dallas and, you know, just collected them and said, hey, this is a proof. This is evidence and we wanted it and, you know, goodbye, you know, see you later. Everyone was trying to help and they thought they were helping, but right actually they were being laid. So, if you might, you know, the ability to develop their own film, I mean, we think it worked, you know, we were, they take it if they did develop themselves. You know, sure that people camped out at the, at the new stations and newspapers and everything, but that's another show is the multiple passes and what this says about, you know, yeah, yeah, because they might have had a plan. Yeah, that's what I haven't worked on for the most. Joe Malina, he was as passing possible. No, no, it might, might get some very interesting, that brings, has been doing some very interesting work on the multiple passes, the angle, especially Mexico City, you know, and Richard Case-Nagle, you know, and other things that he's been working on. So, would this be good for the next show? Would you be over that, Mike? Because it's a project in a work in progress. Yeah, I work in progress. It's like there's a lot of work about Pam, the camera over to the left there, you'd see a mountain of papers and also over there and, you know, books of it done through and that's the real basis of, at least we can talk about our Thomas Arthur Valley, you know, and how the Chicago plot was so intertwined with the Dallas, okay, in the sense that everything seemed to be, you know, from the same blueprint. What do you think of that? Yeah, both had, there are played with people with the mini-cards and, oh, man, the guy from a, the downtown motorcade routes and stuff like that. I mean, that Valley worked in a building about the same size as the TSPD that was on a curve at the same 180 degree curve that was on the way from the airport to the purple game. Yeah, there were plots in Miami and I heard Wisconsin too. We started out at a little past a quarter after we're at a quarter after again, so we've done a one hour show. Jerry, I know you want to take us out. Mike, we want to have you back. We want to have you back again next week. Congratulations, Mike, Janala, conspiracy theorist. Yeah, we have no egos here at JFK. We're just looking for the truth. All right, no egos to brews. There you go. All right, we got to the number right JFK 207. We'll see you next week, Mike. I'd have to put you on the, on the beginning, you know, we have our intro. All right, man, talk to you later. In Dallas, Texas, three shots were fired at President Kennedy's motorcade. That's what we were told. Most Americans never believed LeAuzwald was the lone gunman for excellent reasons. In fact, there were at least six shooters who fired from eight to 10 shots or more who are identified here. We have finally the solution to the greatest murder mystery in history. Layed out for the world to see proof after a proof after a proof. Photos were faked. The body was changed. X-rays were altered. The whole movies were fixed. Fifteen experts contribute to a 529-page book with 1,037 photos and diagrams in black and white and color. Hi, this is Gary King. If you'd like JFK who, how and why, and would like to support the new JFK show, then go to patreonradialbooks.com. That's patreonradialbooks.com.