The Zapruder Film Content Problems- The Grand Deception on Elm Street Continued
The Zapruder film is filled with things that are at the least weird. Most Zapruder film content problems do not make sense or are not rational. I will make an attempt to explain what I mean by Grand Deception on Elm Street with the following examples.
The East Elm Crosswalk
The crowd at the intersection on East Elm Street at the crosswalk is the first content problem in the Zapruder film. Jack White, a long time Kennedy assassination researcher and expert in the Dealey Plaza visual record, said this group of people are said to be different in Altgens 5 and the Zapruder film. Not a one is the same person in either photo according to Jack! I use Jack White often because he is a pioneer in researching some of the problems presented by the visual record of the assassination in Dealey Plaza, in particular the Zapruder film. There are times I “rediscover” things that Jack has already exposed. It is a vast literature. It is hard to know or remember all of the things that can be known about the Kennedy assassination.
The red lines indicate the people in question.
The Three Motorcycle Policemen
Are not really a problem as far as can be seen. It’s just odd how one policeman vanishes from the screen and then reappears many frames later. I don’t think the intersection is that wide in the turn onto Elm Street. Stand on the corner of Elm and Houston and watch the traffic. Nobody has a problem making the turn that I noticed. It is also odd that this outside policeman never gets to pass Mannequin Row and then the film switches to imagery beyond the 132-133 frame gap. There is a wide curve in that intersection and, apparently that policeman got confused and was lost over there for some seconds.
The Zapruder Gap
There is a gap or break in the Zapruder film between z frames 132 and 133. There has never been a satisfactory answer for this gap. It could be as long as 20 seconds. Abraham Zapruder said he did not quit filming. He said he filmed the entire motorcade as it passed. Is this enough time for Mary Moorman to take 2 Polaroids?
We don’t get to see the Advance Car or the Pilot Car turn on and pass through the intersection. We do get to see the Advance Motorcycles at the beginning of the film. They take about 7 seconds to travel the 132 frames to Z frame 132. The time to travel for that distance takes about 7 seconds for the Advance Motorcycles. Hence, we have about 20 or so seconds for the presidential limousine to show up in Z frame 133. The time may go to a longer time if there were slow downs or stops or the turn speed was slower. When the presidential limousine shows up on Elm Street, magically, in Z frame 133, we have missed the Lead Motorcycles and the Pilot Car.
There are many people saying that they heard shooting as the presidential limousine turned onto Elm Street. Others say the presidential limousine slowed down or stopped while in front of the TSBD. If you want to see the assassination images from the Zapruder Gap or other places then just look at the assassination assault as portrayed by Zapruder in front to the Grassy Knoll.
The Number Of People On The Southwest Corner
Because the Zapruder film is not of the best quality it is difficult to establish how many people were on the Southwest Corner of Elm and Houston Streets. The number changes at different parts of the Zapruder film. You would naturally expect this as time goes past. The problem is we can’t see people moving to the SW corner as we can see in the Elsie Dorman film. The number of people on the SW corner of Elm and Houston is a fine example of the Grand Deception on Elm Street.
The method I have used does not count all the people on the corner. It is a method that is easy to understand and gives you an idea of what is a problem there. And, there is a problem when you compare the Zapruder film to the Elsie Dorman film. The number of people on the SW corner of the intersection does not match in the two films. Here is some background information for this problem.
I have drawn a red line between Howard Brennan sitting on the retaining wall and the Railroad Man near Elm St. The method is to count people west of this red line in the direction of the Triple Underpass.
It works out this way in Z frames 61 and 95. There are 8 people z frame 61 and 10 in z frame 95.
There’s no problem at this time. People are just shifting around and about 2 seconds has pasted between frames. There is one problem. The Mary Moorman look-alike in the light blue rain coat is not visible. She is in the Dorman film and in Zapruder but, later on such as below.
After the Zapruder film gap the number of people on the corner, using this method, rises to 16 in Z frame 140. The time period between frames 132/ 133 is about 20 or more seconds in the Zapruder Gap. This is estimated by the 7 or so seconds it takes for the first element of the motorcade to pass through the intersection. Based on that time of 7 seconds the other elements of the motorcade are timed until we get to the presidential limousine in that position.
When you count the people frame by frame starting with our markers, Brennan and the Railroad Man, and moving west on the SW corner in the Elsie Dorman film you come up with 26 people. That’s a big difference between 16 in Zapruder and 26 in Dorman. The two films are different. Reality is not the same. The time difference between the two films is minimal, about 5 to 7 seconds. It is the time it takes for the presidential limousine to travel from the Court Records Building on Houston St. into the intersection.
People There And Not There On The SW Corner Of Elm and Houston According To Zapruder And Dorman
Linda and Rosemary:
In the Dorman frame above Linda and Rosemary are just running into the SW corner of Elm and Houston. This is before the presidential vehicle arrives and before Phil Willis, dad, gets there. Rosemary said she ran with her dad down Houston to the corner. Linda said the same. If you go back to Z frame 140, Phil Willis is already in the street when Linda and Rosemary arrive. What do we believe here?
Another problem with Linda and Rosemary is that Linda precedes Rosemary in their run into the SW corner. This is not shown in the Zapruder film. The reverse is true there. The Dorman film also shows Linda with a camera and taking a photo. What happened to her camera and photos? Dad eventually, after years, got his film back. Why didn’t Linda? Why isn’t her camera and film mentioned by someone.
The Woman in A tan coat and white collar’s vanished companion in black:
These two women are both in the Zapruder film and the Elsie Dorman film. Only, the woman with the tan coat’s companion in black is harder to find in the Zapruder film. Here is Elsie Dorman they are both visible.
If you go back in the article to Z frames 61, 95, and 140 you will not be able to find her companion in black. Even though the lady in black is taller she is hidden and obscured by other characters, mainly the woman in the tan and white coat, throughout the film. The only reason I can think of for this is the two look to much like Jean Hill and Mary Moorman. Even though their clothes are different they are the spitting image of Hill and Moorman.
The Dorman frame on the right is a good match for Altgens 6 when you consider the problem of the difference in size of the alleged Hill and Moorman shadows. These shadows show that Mary’s shadow is longer than Jean’s. Is this where the editors of Altgens 6 got the idea to do the shadow painting in Altgens 6? The shadows of Mary Moorman and Jean Hill which were painted in as impressionistic candle flame shaped shadows. Hurriedly done.
Phillip Willis and Robert Croft:
There are two things to note about Willis and Croft. First is their move from the NW corner of Houston and Main for Phil Willis and the South Houston and Main intersection for Robert Croft to the corner of Elm and Houston. The question is could they have taken their photos on Houston and then run and beat the presidential limousine to Elm Street in order to take further photos. I don’t think so.
The second problem is that Willis and Croft are not in the Elsie Dorman film. They are in Zapruder but, not Dorman. Willis’ daughters are in both films.
A group of five women:
There is a group of 5 women seen in Elsie Dorman that is not in the Zapruder film. They are part of the different number of people one counts on the SW corner in both films. In some versions of the Dorman film these woman are blacked out such as in the frame montage version.
Here is a book page from The Complete Unraveling of the JFK Assassinaiton. The five women in this group are shown in the photo frames.
These women were said to be:
1.) Judy Johnson
2.) Delores Kounas (Mrs. George Andrew)
3.) Sharon Nelson
4.) Roberta Parker
5.) Betty Dragoo
6.) And, one man: Lloyd Viles, McGraw-Hill employee
There is conflicting FBI witness testimony about this group of women. They are said to be there but, other FBI witnesses dispute that with their testimony. So, who these women are is questionable.
This page does something remarkable. It tries to relate the time of the Zapruder film with the time of the Dorman film. Elsie Dorman said she quit filming before the motorcade entered the intersection. So, relating the expressions and reactions of the people in this Dorman scene with the Zapruder frame 310 is nonsensical. The presidential limousine is still on Houston Street and had not reached the intersection at the time of this scene in Elsie Dorman. The presidential limousine will probably reach that area of the SW corner in about 5 or 10 seconds.
Does the photo with the 5 women look like it is taken from the 2nd floor rather than the 4th. The photo below looks like it might be taken from a higher floor.
Couples at the western end of the monument pavement on south Elm Street:
Here is another frame from Elsie Dorman that depicts about a dozen people at the western end of the pavement in the SW corner of Elm. Most of these people are not in the Zapruder film. The two men and two women to the center and left are in the Zapruder film. They are not in this location but, further east of where they are pictured there in Zapruder. This leaves about 10 people as being unknown and only in Dorman and not Zapruder.
I don’t think Phil Willis and Robert Croft made it to the SW corner in time to photograph the President. The two men in the frame might be responsible for their photos. One of the men is Pierce Allman, a reporter. Who, his friend is difficult to find out. Look at Z frame 157 and other frames and see if you can find these two men. Elsie Dorman contradicts Zapruder on many occasions exposing the Grand Deception on Elm Street.
The Johnny Cash Car
This problem was discussed in another article, The Zapruder Film- The Grand Deception On Elm Street. You can’t have the bottom half of a vehicle going north on Houston and the top half of a vehicle going south on Houston. Why do something stupid like this? Why show an image with two rear ends for the top half of the vehicle? What could be the point of having such a stupid looking vehicle? Why is the Johnson security vehicle in need of alteration? It is altered in Altgens 6 with a weird perspective. Why was it necessary to alter this vehicle in film and photo? In Altgens 6 there appears to be a semi-transparent shotgun projecting from the window. The rear door is open. In a scene on Main Street is door of this vehicle is open.
What could be covered up by altering the Johnson security vehicle in Altgens 6 and Z frame 166.
Across The Street In Mannequin Row
For a long time it was thought that the people in Mannequin Row did not move. But, they do move slowly and noticeably. It’s hard to see but, it’s there. Even if they move a little or move slowly it is still an unnaturally appearing scene.
In the following Zapruder frame, frame 136, we have two familiar characters in Mannequin Row. The Lady in Blue and the Babushka Lady are present there. Why they are there I couldn’t say. The Lady in Blue is somewhat disguised with a scarf covering her blond hair and her blue dress darkened. This is probably as close as you will get to see the BB Lady’s face.
I have to acknowledge an error here. Previously, I have stated with emphasize the BB Lady is not in the Zapruder film. She is. But, who would have thought she was in this row of people on Elm Street during the assassination. It can be demonstrated she is in other films over on the NE corner of Main and Houston Street when the presidential limousine passes by there. Other than Mannequin Row you cannot find her in the film.
In the row are 5 ladies wearing babushkas. There are 4 in a row, including the Lady in Blue and the real BB Lady, plus one other down by the Stemmons sign. The Zapruder film is the only place you can see these 5 BB Ladies. If you look for them in other media such as Phillip Willis or Hugh Betzner you will not fine them at this time and place.
The Two Black Men On The Grass South Of Elm Street
The two black men are seen waving and clapping for the president as he passes by. The problem is they continue to stare in the same direction, wave, and clap the further the president moves down Elm away from them. They were not and are not paying attention to the president as he passes by. What’s up with that? Maybe they are fans of Lyndon Johnson.
The president has been shot. They ignore that all together. Maybe they didn’t hear a shot. Other people did. This is supposedly the first shot of three. The Umbrella Man’s companion is across the street waving or doing something. His hand looks like it might be retouched. In other frames it appears he is holding up 1 or 2 fingers.
The two black men are in the film from around Z frame 219 to Z frame 252. Not once do they look at the president or the presidential limousine. They continue to look up the Elm Street toward the TSBD during the entire sequence. What are they looking at or expecting to see? Maybe it is the President passing on Houston Street?
This scene is suspect. The black man with the black apron may have been over on Houston Street as the presidential vehicle passed by there. If so, he joins a crowd of speed demons who were one place and then show up at another to be seen. The picture from Dorman is difficult but the black man with the black apron can be recognized.
If you compare Z frame 252, above, with the earlier Z frame in this sequence you will see that the stance, expression, and behavior of these two men has not changed during this entire film sequence. In the last of this frame sequence the two black men continue to stare up the street ignoring the presidential limousine. What is so important that they would overlook hearing and seeing President of the United States shot? Very strange!
Charles Brehm, Son, And The Lady In Blue
From Z frame 252 to 275 we have the occupants of the presidential vehicle reacting to the first shot. In frame 275 there are new people introduced into the film on the grass just south of the presidential vehicle. Charles Brehm and his son start to become visible. Charles’ son is behind him and begins to emerge into sight. Motion blur or something makes the emergence of the boy seem transparent.
Next to and behind Charles Brehm and son is the Lady in Blue. I believe her oddity was first noticed by Jack White. She is definitely not the Babushka Lady seen in this spot in other films and photos such as Nix, Muchmore, and Bell. There is no way you can get around this other than fabricate and further the deception that she is the BB Lady. They are definitely two different women but, the photo editors used them as one in various media for some reason that is hard to fathom. I suspect it has to do with who they are and who they were connected to.
Jean Hill And Mary Moorman
These ladies are visible in the film from z frames 287 to 315. That is 28 frames or less than 2 seconds. They are there long enough to be noticeable and they are. Their story is one of the more important ones for understanding how the cover up of the assassination of President Kennedy was conducted.
People with distinctive appearances such as Jean Hill in her red coat, the BB Lady, the Lady in Blue, the two Black Men, the two Altgens (Altgens and Bothun), and others were used by the cover up photo editors. They were used to mark film editing spaces for different editing teams and, to coordinate the various other film sequences so that they have some semblance of being relatable one to another by showing the same people in roughly the same places.
If you try to move these two, Mary and Jean, inches or feet from the grass into the street then war is declared amongst the various assassination camps. This is so even though you see Mary in the street in Nix and on the grass in Muchmore and Zapruder. Think of what people think and say when you try to move them to where they were originally on the SW Corner of Elm and Houston Street.
This is a long and complex story and will be gone into more detail in another article.
Three Men On The Steps Or, Is It Two Men Or, None?
There is a debate between the Orville Nix film, Marie Muchmore film, the Polaroid photo of Mary Moorman, Zapruder film and, the Phillip Willis 5 slide as to how many men are standing on the steps of the walk going up to the pergola at the time of the assassination. Nix and Willis say two men. Muchmore and Moorman say 3 men. Zapruder says none. Who’s right?
When the Zapruder film follows the presidential limousine down Elm Street the men on the walk should be visible before you see the limousine. The angle of view from Zapruder’s perch passes right through them. They are not in the film although the angle is right. How’s that?
The Two Altgens
Beginning at Z frame 329 and lasting until z frame 359 we see James “Ike” Altgens and someone who appears to be his double or twin. This other person is said to be Richard “Dick” Bothun. They both took pictures at this location and afterwards. Bothun’s photos ended up at the Dallas Morning News along with the photos of Altgens who worked there. How about that?
Altgens and Bothun took pictures from the SW corner of Main and Houston Streets when the presidential vehicle passed through there. Allegedly, they ran down to Elm Street where they are portrayed in Zapruder and waited for the President to come by for additional photos. Here, again we have a speed and distance problem. Could Altgens / Bothun, portly, middle aged men run from the intersection of Houston and Main and be at their position in time to take Altgens 6? Everyone assumes they can.
The only differences I can see in these two men are the length of their ties and the greyness of their hair. Other than that they are identical, same suit, same built, etc. If you enlarge this frame and take these two men’s measurements for height, width, arm length, leg length, etc. they will be the same. The only difference is minor and accounted for by the distance between the two men. Altgens’ camera box does not have a shadow.
Altgens has to be in this area for Altgens 6 to be possible.
Did the photo editors screw up and include Altgens twice in the film and had to take measures to insure folks would see these identical images as two people. Are two films blended in this? Or, is another camera man needed to explain the story across the street?
Jack White had a curious thing to say about Bothun in January, 2009 on the internet. He said, “When I met him about 1979-80, I remember him being in his 40s or early 50s. Based on this I think he died way before his time. He lived in Fort Worth and commuted to Dallas to his job at the M-K-T railroad offices two blocks from the Plaza, on Main. In 1963, he would have been perhaps in his 20s or early 30s. I remember him looking much different than the man seen in Zapruder beside Altgens. I remember him as tall and thin, not stocky.
This is one hell of a thing to say after validating the Altgens photos as authentic for 30 or more years until 2009.
Based on White’s statements the other person is not Dick Bothun but, a second copy of Ike Altgens.
The Thing At The End Of The Film
There are other things to discuss in the Zapruder film but, we will move on towards the end of the film with Jack White’s Stickman. There is a silhouette, matte like, stick figure that can be seen beginning a Z frame 405 and runs to Z frame 420. It is there for less than a second and would probably not be noticed in a non-computer era.
More than anything this stick figure’s run reminds me of Clint Hill and his run for the back of the presidential limousine. Believe it or not, this figure is running in the same direction as Clint Hill, according to Nix, over in the grass. It should suggest no connections to Clint Hill. But, to me it does. Maybe, it is its nearness to Clint Hill in this frame. Maybe Stickman’s posture, movements, and behavior suggest Clint Hill?
Can this be? What is the figure in Zapruder running to and reaching for? If he is not reaching for anything then this is an unnatural running stance. Are the figures in the two frames similar?
There are other things that can be discussed about odd things in the Zapruder film. Many other people have pointed some of these out. There are things I want to talk about in more detail and will do so later.
Some people will never get the point of the 3 related Zapruder film articles on fraudulence. They will reject the ideas presented here by conscious choice or firm believe in their convictions which blind them to contrary information or they will reject what is shown here for sinister purposes.
It is my opinion that this type of evidence, the Zapruder film, should never be used in a court of law or any serious scientific research. It is the standby, the beginning of just about any discussion of the Kennedy Assassination. It is the “bible” of how President Kennedy was shot and killed for most people. Invariably it is the first thing that pops up in a Oswald “mock” trial. I haven’t seen an honest “mock” Oswald trial.
It is a fraudulent, manufactured work designed to hide the truth of the Kennedy Assassination and present a different story of the assassination, The Lone Gunman Theory, which is based in large part on the Zapruder film is false in all regards. The assassination in front of the Grassy Knoll is false in all regards. What you see happening in front of the Grassy Knoll in the Zapruder film is imagery taken from other places and artwork to embellish the story. This is the Grand Deception on Elm Street.