Oswald in the doorway: the blog of the Oswald Innocence Campaign, by Ralph Cinque

 I think I have figured out how they did what they did in the Zapruder, namely, to remove JFK riding down the hill already shot in the back.

First, they didn't remove it completely. To some extent, they left it in but obscured it so that no one would notice it. And that worked for a very long time. 

Let's consider the elements of JFK being shot in the back. The first was the shot itself, the actual hit. That they just removed. Then, they played hopscotch with the frames. They progressed it by jumping 2 or 3 frames at a time many times, and I'm sure they jumped over the actual hit. 

But, there were two persistent elements: JFK looking strange, like he wasn't himself, like he was suddenly internalizing, and in distress AND Jackie being turned and looking at him and knowing that something was wrong. The way they handled those two elements was by covering his face with his hand, which I'm sure he didn't do. And for Jackie, they had the big phony sign which covered most of her, and the little bit showing of her looking at him was so small that it went unnoticed. Now, I'll show you what I mean. 

Let's start with the all's well: JFK smiling and waving. Here's frame 189. He has his hand up waving; he is looking at the spectators. He is approaching the sign, but that isn't real. He is high on the hill.

What happens next is that gradually, the waving hand became a hand covering his face. And one of the tools they used to accomplish that was blur. They blurred it a hell of a lot. 

So, in 195, he is no longer facing the spectators, and his hand is  covering his face. It appears that Jackie is turned and looking at him. So, that's when he was shot between 189 and 195, and I'm sure those frames were removed. 

Let's jump to 200. His hand is over his face, and Jackie is looking at him. He is definitely not engaging with the crowd, nor is she. He's in trouble. I assume you see that now, but did you ever notice it before in all the times you watched the Zapruder film? 

Here it is close-up.

We'll jump to 205. His hand is solidly over his face, and she is focused solely on him.

Notice the extreme blur on the left, and it's the same way in the Costella frames of this. They may have been merging portions of frames. You know how John Armstrong found that there were images of Oswald in which it was the right side of Lee's face and the left side of Harvey's, or vice versa, such as his passport photo to Russia. Well, they may have done that here too. 

But, all along, they were playing hopscotch, and now I'll give you a clear example. These are frames 208 and 215. That, supposedly, was about a third of a second. But, look how much leftward shift has occurred to the little girl, whom I have circled. And look at the corner of the enclosure which I have painted in white. How could it shift that much in 1/3 second? 

Notice that in 215, all we see of the Kennedys is the top of Jackie's pill box hat. As I watch the Zapruder film, I observe a very distinctive jump from 212 to 213. It's very apparent. 

Now, please try something. I want to see if you get the same thing. As I watch this Zapruder film, and this is as good as it gets, I try to see how fast I can stop it. Usually, I can stop it in 1 or 2 frames. More often 2, but sometimes, I can start it and stop it with my mouse with just one frame passing. But, with me starting at 207, it jumps to 213, and I can't do better than that. That's 6 frames. But, from 213, I can easily stop it at 214. What that tells me is that, in places, they not only removed frames, but the ones they left pass much faster than before. See if you get the same result.  

https://www.youtube.com/watch?v=0HZc99iD7ho

Let's jump to 222. Jackie has come back into view, still looking at JFK, though we don't see him. The two spectators on the right are not looking at them. They are looking back up the street as though the Kennedy's haven't reached them yet. They haven't! What I'm about to say others have been saying for a long time. And that is that they separated the film into three sections: the foreground, the centerground, and the farground, and they slid them. So, here we have a farground that actually came earlier. But, in the centerground, with all the frame deletions and jumps that were made, and with all the speeding up they did of the frames they left, the centerground is at a later point in the film than the farground.

So, that's why those people on the right seem to be focused on someone other than the Kennedys. They weren't. There is a disassociation. The street section is further along in time than the farground. 

And that brings us to the famous 225, the first sighting of JFK post-sign, with him starting to react to the throat shot. He must have been hit just a few frames before, perhaps in 222.

This is a good spot to take a break because this is long enough. But, what I shall leave you with is something from Oliver Stone's JFK. It's what he showed for the execution of the throat shot.

So, Kevin Costner as Jim Garrison, in his closing statement, is explaining to the jury what happened. He said that the first shot was from a low elevation in the Dal-Tex building which missed. He was right about the shot, but it didn't miss. That's the shot that hit him in the back. It wasn't a bullet. Had he been hit with a bullet, he'd have known it, and considering how minor the trauma was, he'd have been able to respond fully. But, it was no bullet. It was a drug-laced ice flechette. 

The second shot is the one that hit him in the throat. And this is the shooter taking it in JFK the movie:

Ollie was right about that. The throat shot was not taken from the bridge and shot through the windshield. They weren't going to whiz a bullet close-by all those people and with the uncertainty of deviation from shooting through glass. That would have been way too reckless- even for them. It was done something like this.  However, I don't think it was a bullet either. I think it was another ice flechette. No bullet was found, and Dr. Perry did poke around and look for one.