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Nix GIF made from the first generation FBI Nix Copy


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#21 Bernice Moore

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Posted 16 May 2014 - 08:32 AM

Speed of Limo research ......

Subject: Re: Speed of JFK Limousine Date: 02 Aug 1999 17:33:12 GMT From: sfz@aol.com (Sfz) Organization: AOL http://www.aol.com Newsgroups: alt.assassination.jfk


credit Steve zeigler........Speed of Limousine..


I'm reposting just the smoothed speed figures, since the multicolumn version was pretty messy. I can now say that the speed of the car is almost certainly related to Greer turning around to look in the back seat. I've written before that there are two turns by Greer: F285: Driver Greer appears to be looking in the rear view mirror F291-5: driver takes a very quick glance to the rear F302-5: Driver twists to look into back of car F316: driver begins turning back to front, and will duck forward In the smoothed data we can see very clearly that the car actually goes through two decelerations, both of essentially the same rate (of between 3.6 and 5 mph/sec) with each episode lasting about a quarter of a second. Although Greer is in shadow, we can verify what direction he is looking by comparing the outline of his head - an oblong outline means his head is looking forward or backward, and a rounded, smaller outline means he is looking towards the camera. Thus I repeat: the car slowed down when Greer turned to look into the back seat. I slowed down because the act of twisting to look back caused his right (accelerator) foot to lift. I also note that Greer essentially stomped the accelerator at F338, yielding an acceleration of about 11 mph/sec - not a bad zero-to-sixty time for a big car. The force on Jackie as she rose would have been terrific, especially as she was facing rear and without warning or support. It is amazing to me that she didn't slide right out of the car - and might have had Greer not let up apparently because he saw Jackie and perhaps Hill on the trunk. Frame smoothed speed 260 263 11.7 266 11.3 269 11.8 272 11.6 275 11.6 278 11.4 281 11.1 284 11.2 287 11.1 290 10.8 293 10.3 296 9.8 299 9.4 302 9.5 305 9.5 308 9.7 311 9.3 314 8.9 317 8.7 320 8.3 323 8.4 326 8.3 329 8.5 332 8.6 335 8.8 338 8.9 341 9.3 344 10.1 347 11.3 350 11.8 353 12.6 356 13.2 359 13.9 362 14.4 365 15.0 368 15.7 371 16.3 374 16.7 377 16.8 380 17.1 Note: after F380 the car stops accelerating for a bit, apparently to let Hill and Jackie get situated, and then it takes off again. regards Steve Zeigler

#22 Charles Drago

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Posted 16 May 2014 - 09:44 AM

Using the Z-film to calculate anything other than the unyielding gullibility of far too many well-intentioned JFK assassination researchers preserves and otherwise enhances the cover-up.

 

The Z-film has been altered in ways we can demonstrate -- and perhaps in other ways that are as yet resistant to discovery.

 

GIGO


"[Y]ou can't blame the innocent, they are always guiltless. All you can do is control them or eliminate them. Innocence is a kind of insanity." -- Graham Greene, The Quiet American

"If an individual, through either his own volition or events over which he had no control, found himself taking up residence in a country undefined by flags or physical borders, he could be assured of one immediate and abiding consequence. He was on his own, and solitude and loneliness would probably be his companions unto the grave." -- James Lee Burke, Rain Gods

a wind has blown the rain away and blown
the sky away and all the leaves away,
and the trees stand. i think i too have known
autumn too long
-- e. e. cummings

#23 Bernice Moore

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Posted 16 May 2014 - 08:11 PM

Hi Charles, true, agreed, but the terrible problem is that it really is all they , the researchers,have to try to determine any such speeds of any actions related to that day.....the Government knows they got them by the , you know whats, and love it...that's the way it was to be and is..ta..take care..b



#24 Charles Drago

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Posted 17 May 2014 - 02:05 AM

I understand, Bernice.  

 

So now, I submit, the missions of all who understand that the Z-film has been altered and thus rendered worthless as a timing metric are to drive home this point and to reject as necessarily spurious all conclusions drawn from analyses predicated upon acceptance of the footage as unaltered.

 

I'm reminded of the story of two politicians engaged in passionate debate.  One is in the middle of a complex argument when the other interrupts and says, "Wait a minute!  You're lying!"  And the first one says, "I know, but hear me out."


"[Y]ou can't blame the innocent, they are always guiltless. All you can do is control them or eliminate them. Innocence is a kind of insanity." -- Graham Greene, The Quiet American

"If an individual, through either his own volition or events over which he had no control, found himself taking up residence in a country undefined by flags or physical borders, he could be assured of one immediate and abiding consequence. He was on his own, and solitude and loneliness would probably be his companions unto the grave." -- James Lee Burke, Rain Gods

a wind has blown the rain away and blown
the sky away and all the leaves away,
and the trees stand. i think i too have known
autumn too long
-- e. e. cummings

#25 Greg Burnham

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Posted 17 May 2014 - 09:38 AM

Using the Z-film to determine the speed of the limo, the timing of the shots, the time required to travel between two points, etc., is like determining the nature of the wounds based on the Single Bullet Theory. It yields ZERO value to the research being attempted while it props up the Z-film as reliable evidence by assumption. All hypotheses being advanced by Steve Ziegler in his work as to the speed of the limo rely upon Z-film authenticity as that is a premise. The study, therefore, yields ZERO value to our understanding of the subject he is covering, while at the same time it passively, if not subliminally, passes the Z-film off as authentic.

 

I regret to say that, as far as I can tell, there is nothing to be gained by this study whatsoever. The calculations are based on erroneous data.


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#26 Adele Edisen

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Posted 17 May 2014 - 05:12 PM

The vehicle parked behind the solid concrete fence at the top of the Grassy Knoll is an

Edsel station wagon, built by the Ford Motor Company during the last three years of the 1950s.

It belonged to Rubin Goldstein, owner of Honest Joe's Pawnshop which sold guns and

sold or rented out used Dallas Policemens' uniforms, as well as other pawned objects.

Rubin Goldstein, also called Ruby, was a close friend of Jack Ruby's and acted as the

Executor of  Jack Ruby's Will.

 

On the day of the assassination the vehicle, with its advertising painted on it for the 

Honest Joe's Pawnshop and its side and back windows covered up on the inside, drove

up and down on the Dealey Plaza streets and just before the motorcade came, drove

behind the solid concrete fence where it stayed until the fatal head shot hit the President.



#27 Bernice Moore

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Posted 21 May 2014 - 08:27 AM

FWIW......In a long thread somewhere on the Education Forum, which of course I cannot find right now, Jack and I and others got into the changes within the Plaza, that were made shortly after and not too far in the distant past at the time, they had recently  moved the Lamp Posts back to where they had been the day of the tragedy. Onto the sidewalk...I am pasting below information from one of Harold's books...FYI , keep in mind, they also cut down a couple of trees also, if not mentioned, so let alone them creating the  Snapper Zapper as being a farce...they distorted the Plaza as well, so that no one ever could positively create an exact picture of all as it happened and needless to say it that they also screwed up their own re-enactments in the doing so..another .duh...thanks...  take care b


The re-enactment was conducted between 6 a.m. and 1 p.m. on Sunday May 24, 1963. Obviously the light conditions were different between the photographs (sunny or cloudy). However the conditions in CE894 - CE897, in which the dark end of the sign pole is missing, are the same as in CE888-CE890, and CE893, in which the dark top of one or both poles is visible.

"Whitewash ....The report on the Warren Commission". Page 44..

Harold Weisberg.

""Six months and a day following the assassination.( May.23/64 ) the Warren Commission had the FBI photographic agent, Lyndal L.Shaneyfelt ( 5 H 138 ) do a photographic re-enactment. The report indicates no reason for such a prolonged delay.

The Secret Service had completed it's re-enactment by Dec. 5. 1963. It is difficult to imagine that the Commission could have loaded Mr. Shaneyfelt with more invalidating conditions. His re-enactment could only serve one purpose...to try and make credible a reconstruction under which the Commission's thesis, that all the shots came from the sixth floor window, might be possible. In fact, he attempted nothing else. In order to accomplish this, he had to show that no shot was fired before the frame numbered 210 on the Zapruder film..

To begin with, Shaneyfelt had to work with a black-and-white copy of the original Zapruder colour film. Necessarily, the copies were less clear. Then the re-enactments began at 6 a.m. as a concession to traffic. Between the time of the year and the time of the day differences between the mock-up and the real thing, al the values of shadows in photographic intelligence were forfeited, For the precise placing of the camera, mounted on the rifle, and other measuring devices Sheneyfelt had the information supplied by the Commission. He was working in fractions of degrees, yet he had to bade everything on "information furnished us by the Commission, photographs taken by the Dallas Police Department immediately after the assassination....." 5H145.......

( Don't you believe it..NOT)...see Tom Alyea..information.)

Snip:

None of the photos of such are or were in agreement with each other nor the facts, as the testimony also shows...."with none of them at the moment of the assassination showed, this was an immediate and total disqualification of anything he might try...
No matter how fine and expert Shaneyfelt , no matter how excellent his equipment or how careful his associates, his testimony and reconstruction could have no validity"..

" For example, Example Exhibit 887 ( R99) is a camera mounted atop the rifle pointing westward from the sixth-floor window. The window is raised several inches higher than it was shown in the Dillard photograph. Of necessity the rife is mounted on a photographic tripod. But there can be only one necessity for fudging on the window--- to make the whole reconstruction possible where otherwise it would not have been. The tripod is adjustable. The rifle is inside the window. With such an obvious flaw, the exhibit is invalid as is any testimony based on it..Another photograph of the re-enactment printed on page 41 of Life Magazine for Oct. 2,1964, shows that part of the reconstruction was made with the window entirely open...This picture shows the ballistic expert resting his arm on a box incorrectly positioned . It is much too far to the west.... Worse, the rifle is without it's telescopic sight. Can any testimony based upon this reconstruction have any value ?"

snip...page 45...

"" In addition, the experts " duplicated certain frames of the Zapruder film" and of two others available to the Commission. These appear in the Report on pages 100-8 and are readily available for inspection. Not a single on can be called a duplication, as the most superficial inspection, even without instruments, will show. The angles are grossly different. The elevations are radically wrong.

Even the backgrounds are not the same. One of the best examples is the critically important frame 210 ( R102) . These are printed side by side and it will be no problem for any doubting reader to satisfy himself.
This particular illustration is also proof of another inexcusable fault :

The landscaping in the background has been altered.....
Valuable intelligence was thus lost........ In other cases trees which served the same purpose were removed and even the vital signs that figure in all of this identification and testimony were both moved and removed. It is no longer possible to make the most precise photographic reconstruction of the assassination because of this destruction and mutilation of evidence.........."'

Continued..

Whitewash 11...Harold Weisberg 1966..

Page 4......

"The Commission staff was not unaware of this, for although there is no indication it ever heeded it's own unavoidable proof or wondered why anyone would dream of destroying evidence in the assassination of an American President, the whole story was blurted out by Emmett J.Hudson, ( witness to the killing )groundskeeper of Dealey Plaza, in his belated testimony of July 22,1964, almost two months after the Commission had originally scheduled the end of it's work..( first mentioned page 45..WhiteWash.) .

Not only were the hedges and shrubbery trimmed, thus destroying all the projection points essential to photographic analysis, but all the road signs absolutely vital in any reconstruction had been moved-------All Three Of Them--------Zapruder had filmed over the top of the center sign ( Stemmons) ..Two of the signs were entirely removed. The one over which Zapruder filmed was replaced, and there is no reason to believe it's replacement is in exactly the same location in the ground. Or at exactly the same height above it.

Unless both of these conditions, plus the angle of the sign toward Zapruder's lens , were exactly identical with conditions when he took his pictures, no precise reconstruction is possible..

All this funny business with the signs got on the record by accident, not through the diligence of the Commission or it's counsel. Wesley Liebeler was questioning Hudson. Not until eight months to the day after the assassination, but finally Hudson was being questioned. He volunteered this testimony: "Now, they have moved some of those signs. They have moved that R.L. Thornton Freeway sign and put up a Stemmons sign ".....It was this "Stemmons" sign over which Zapruder photographed.

"They have? They have moved it?" Liebeler asked, his cool nonchalance preserved in cold type.

"Yes, sir." replied Hudson.

"That might explain it", Liebeler then said. at the same time, without even seeming so to intend, preserving for both the Commission and history the certain knowledge that the two photographs about which he was interrogating Hudson, one taken at the time of the assassination and the other after it, were not in agreement. ....And here the accidental interest of the Commission in the destruction and mutilation of the most essential evidence ended"..................





If the Commission did not know it sooner...

Now even with all that said and done, for one I do not know of any researcher off hand who in the beginning of their involvement in researching any area of the Assassination, who did not spend time within the tragic Dealey Plaza trying to see, what could not possibly be seen, and or trying to make come true some old die hard information that had been put to rest years ago,...within that specific area, as it is a fascinating area, no matter how changed as it is as it was the death centre, like who the hell would want to die there in Dallas anyway...let alone within a plaza..even if any had a choice that is....imo..b

#28 Adele Edisen

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Posted 23 May 2014 - 10:03 AM

The Nix Film (Cloe-up)

 

It looks as though there is a person(s?) moving around that car, a station wagon previously

identified as an Edsel, belonging to Rubin Goldstein, owner of Honest Joe's Pawnshop

in Dallas.

 

 

http://www.youtube.c...h?v=_ITufzd4l4A



#29 Gayle Nix-Jackson

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Posted 05 June 2014 - 10:39 AM

Hello all,

 

I've been remiss in adding to this awesome Forum (thanks Greg) but with my daughter's HS graduation, my book launch on June 26th (if you're in Dallas that day, its at 1026 N. Beckley, Dallas, TX from 6-9 pm) and life I haven't had time to add/ask questions/or submit thoughts.  I would like to add one here though.  First, thank you Robin for the visuals on the Nix film.  Secondly, the re-enactment/timing thing has always bothered me, but let me preface this with, I'm not a photo expert.  My grandfather's camera was spring-wound, which, depending on the force and pressure used to wind it, would affect timing, or at least that's how I understand it.  I know that he bought his Keystone because he had overwound his previous camera.  So my question is, when re-enacting, how can they truly determine timing without:

Having the original film

Having the original camera

Not being the person (my grandfather) who originally wound the camera.

 

Am I way off base here?  Does it even matter?  It does to me, because after the FBI kept his camera for 5 months, it was sent back in pieces and the spring (for the timing) was bent.  Why would they do that?

 

Thanks all!

 

Gayle



#30 Jim Hackett II

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Posted 08 June 2014 - 01:16 AM

It seems to me that IF all the Fable bound lies were true, THEN no alteration of "films" and such would have been needed to promote the deceptions.

 

The films would supplement each other. Would agree in content and such.

 

Development and printing a copy for other than the owners of the film would have been straight forward.

 

NPIC I can see involved but only for anaysis and no one would be describing having seen other versions of events preserved on film some-damn-where but not public.

 

Thanks Ms. Nix-Jackson, Robin and all above members.

 

The Edsel and Honest Joe's Pawn shop have intrigued me for a long time. Anyone can see the "horse-collar" grille of the Edsel and the seeming figure(s) moving in proximity to that car.

 

I don't think it is light and shadows as ITEK tried to dismiss my thought of private analysis long ago.

 

I remember a topic at Rich's when Jack White asked what seemed suspicious in the Nix frames to "us", I have always thought the "knoll" area was oddly dark and I posted to that point, Jack pointed out that other photos and film did not show the complete shadows in Ms. Nix-Jackson's grandfather's film depicting the north knoll.

 

It all gets one thinking doesn't it - the old parlor game who from where instead of who altered the evidence to obstruct justice and who empowered the protection forces to stand down?

 

Sometimes the rats can be caught with their pants down

...like rifling differences between CE 399 (WC 1964) and CE 399 (HSCA 1979).

 

They must take us to be damnably stupid.

 

Jim

 

Ma'am I will be buying your book at some time.



#31 Greg Burnham

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Posted 08 June 2014 - 09:35 AM

Hi Gayle,

 

Although I am not familiar with your grandfather's specific camera model, I do own a Bell & Howell (Zapruder) camera that is also a wind up. I will double check this with Scott Myers who is more technically savvy than I with regards to the camera's function. However, my own empirical observation, FWIW, is that my camera records at a nearly constant speed when in proper working condition. This might be a false assumption on my part, but I don't think so. The reason I say a "nearly" constant speed is because I expect (right or wrong) that such a mechanical spring mechanism would be less than "absolutely perfect" even when brand new, although I have never actually observed any discernible variations in the speed of the film from beginning to end.


Edited by Greg Burnham, 08 June 2014 - 02:18 PM.
deleted erroneous information

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"Too often we enjoy the comfort of opinion without the discomfort of thought." -- JFK

"It is difficult to abolish prejudice in those bereft of ideas. The more hatred is superficial, the more it runs deep."  -- Farewell America (1968) 

“The ancient Greek definition of happiness was the full use of your powers along lines of excellence."  -- JFK

"A wise man can act a fool, but a foolish man can never act wise."  -- Unknown

 

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#32 Scott Myers

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Posted 08 June 2014 - 01:55 PM

Greg,

 

I think the design of the spring motor on the B&H 414 kept the speed pretty constant.  I ran some timing tests many years ago but never had the time to analyze the results.  I don't think there'd be much difference at all between the speed at full wind, mid-wind and near the end of wind.

 

The 25' rolls of double-8 (16mm) film allowed for 50' of 8mm film once split and spliced end-to-end.  The roll started as 33' of 16mm film.  Of that, about 4' at each end was meant to be unused to protect the exposed film while loading and unloading.  On the finished 66' roll of 8mm film, you'd end up with 4' unused at the start, 8' unused in the middle and 4' unused at the end.  There'd be about 50' of film that wouldn't be fogged from loading and unloading. [corrected this paragraph]

 

You may have had the wrong impression about how long the motor runs in relation to the length of the film.  A single wind of the motor would not run the entire 25' of film so you can't count on any particular point in the film either having a full wind or having almost no wind left.  The camera could be run multiple times on a single wind and might have had a slight wind at the beginning or a full wind at the end.  It would all depend on the user and how often a full wind was put on.  A full wind could be put on every 30 seconds of film, for example - or every 10 seconds.  The camera would run for about 70 seconds on a full wind, so no continuous running could go beyond about that length.  And at that point, only a slight wind might be put on if you were in a hurry to start again.  Or a full wind could be put on at that point, or anything in between.  So, the length of a continuous running could vary just as the amount of winding between exposures could vary from nothing to full.  You could not assume a full wind at the start of a roll or nearing the end of a wind at the end of a roll.


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#33 Greg Burnham

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Posted 08 June 2014 - 02:17 PM

Thanks for the refresher course Scott. I'm a little bit embarrassed since I've shot a lot of footage with the camera, some of it with you in Dallas, and I should have remembered all of that since I have done it myself! What, with all of the scurrying to reload film and wind and rewind, you'd think I would've remembered. It's only been a few short years since I used it.

 

Sorry for the confusion Gayle--and thanks again, Scott.


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"Too often we enjoy the comfort of opinion without the discomfort of thought." -- JFK

"It is difficult to abolish prejudice in those bereft of ideas. The more hatred is superficial, the more it runs deep."  -- Farewell America (1968) 

“The ancient Greek definition of happiness was the full use of your powers along lines of excellence."  -- JFK

"A wise man can act a fool, but a foolish man can never act wise."  -- Unknown

 

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#34 Scott Myers

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Posted 08 June 2014 - 04:32 PM

No problem, Greg.  I wouldn't expect anyone with mostly just a passing knowledge and experience with the camera and film to either know or remember all that.  It's been a long time since I had thought about it much so I had to remind myself a bit. :)

 

[Later] And thinking of it again this evening, I realized I messed up, too, so I've corrected my mistake.


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#35 Donald Manning

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Posted 16 June 2014 - 03:38 PM

Thanks to Paul Rigby for originally posting the link to this article years ago: The Shadow of a Gunman. In Nix..for those interested..
http://www.cjr.org/f...nman.php?page=2


.b

 

Some nice references to Jones Harris in there thank you.

Harris as you know claimed Sitzman told him a shot came from her right that almost deafened her, he also allegedly talked to Bowers but kept no notes, of anything, ever.

The original buff.

Anyone have any more on him?



#36 Charles Drago

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Posted 16 June 2014 - 08:39 PM

The son of actress Ruth Gordon.

 

Favorite drink: just plain, ordinary Lipton's tea.


"[Y]ou can't blame the innocent, they are always guiltless. All you can do is control them or eliminate them. Innocence is a kind of insanity." -- Graham Greene, The Quiet American

"If an individual, through either his own volition or events over which he had no control, found himself taking up residence in a country undefined by flags or physical borders, he could be assured of one immediate and abiding consequence. He was on his own, and solitude and loneliness would probably be his companions unto the grave." -- James Lee Burke, Rain Gods

a wind has blown the rain away and blown
the sky away and all the leaves away,
and the trees stand. i think i too have known
autumn too long
-- e. e. cummings

#37 Bernice Moore

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Posted 17 June 2014 - 10:59 PM

Donald, also recall Zapruder also made the same statement to a SS agent behind him and to his right, that info was sent into the records that day...but when they got him to the W/C for his testimony although he did falter during their questioning, he had forgotten his first day on the scene information, but then they did not ask him about such, the ruddy usual...best b


old info, link DOES NOT WORK.....

Abraham Zapruder ..SS interview: "According to Mr.Zapruder, the position of the assassin was behind him .39 Lane, Rush to Judgement page 41..citing National Archives, Basic Source Materials in Possession of Commission No.87, Folder No.1, Secret Service Control No.66

Abraham Zapruder believed that one or more shots came from behind him . 40 Summers page 60, citing CD 87.15566, and HSCA page 89..


The message is ready to be sent with the following file or link attachments:
Shortcut to: http://74.125.95.132...clnk&cd=9&gl=ca

I HAVE A PRINTED COPY OF THIS DOCUMENT SENT IN BY THE SS .. I will find it and post...

Donald, Marilyn through I believe through Tink she denied she had ever spoken to Jones Harris and that latest war was on, they disregarded his information and to this day, but from what I have gathered on that girl and her many changes she made down through time, I have no doubt she did at the time tell him .it is just that down through time her memory deliberately became shite...

#38 Bernice Moore

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Posted 17 June 2014 - 11:44 PM

For now, am having trouble finding the doc and upon a search it appears the w/c renumbered all the early docs...so it is being difficult in pinning it down so for now..but .will find the little beggar...b




Today at 1:25 AM






At 9:55 p.m. Dallas time on November 22, United States PRS Special Agent Maxwell D. Phillips sent a hand-written memo (Warren Commission Document, CD87) to U.S. Secret Service Chief James Rowley that accompanied one of the first generation copies said of Zapruder's origins of at least one shot, "According to Mr Zapruder the position of the assassin was behind Mr Zapruder." Behind Mr. Zapruder was the Dealey Plaza grassy knoll. However, in his testimony to the Warren Commission Zapruder was less certain

#39 Bernice Moore

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Posted 18 June 2014 - 11:41 AM

Donald you may be interested in this old post from Rich's..re Marilyn mentioning a shooter from behind which you will not see on the web, now the link no longer works but the link ad is there...b




Kennedy Newspaper Archive : Sitzman

« on: July 17, 2008, 12:59 AM »


First.......

Kennedy Assassination Newspaper Archive.....free search......

http://www.kennedyas...e.com/Home.aspx

Thanks...

Example........

Wed.Sep 8th, 1993......Valley Shopper :Paris, Texas

Era of assassination

Museum collects verbal history of Kennedy's death..

.....


"" Marilyn Sitzman an office worker, told how she steadied Zapruder as he filmed the assassination and how she heard three shots from the direction of the book depository.

But she said she had come to believe a second gunman, using a silencer, was firing on the motocade from behind a picket fence.....""


http://www.kennedyas...0&currentPage=0


Well if anyone had that perfect view behind that fence, it was Marilyn, or whomever.......Note, she has come to believe, hmmmmm .

Aw Marilyn..... cool

Hog wash...

B.......

#40 Bernice Moore

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Posted 18 June 2014 - 01:30 PM







The following print out copy of the CD87 SS PHILLIPS document comes thanks to Don Roberdeau's site. it is copied exactly as it is, in the government copy...



hopefully eventually mine will come to light, until then this is the best available that I have found, so thanks again to Don...b







http://droberdeau.bl...05/page-10.html






As witness testimony specialists, and even apologist for the warrenatti, Gerald
Posner makes a specific point of saying in his warrenatti-apologists “lone-nut”
canard, "Case Closed" (1993), when in doubt about conflicting witness statements
from the same witness, you should weight heavier the earliest statement of the
witness.... The earliest definitive location from where Mr. Zapruder stated that,
at least, one audible muzzle blast or mechanically suppress fired “silenced” bullet
bow shock wave that he remembered hearing (or could hear) was fired from comes
in the 11-22-63 dated, 9:55 PM time stamped and signed Secret Service memorandum
(documented as Warren Commission Document, CD-87) provided us by United
States Secret Service Agent (Protective Research Section), Maxwell D. Phillips,
and this memorandum states....


(QUOTE)

To: Chief Rowley 9:55 PM
From: Max D. Phillips
Subject: 8mm movie showing President
Kennedy being shot

Enclosed is an 8mm movie film taken by Mr. A. Zapruder 501 Elm St., Dallas Texas (R.I 8-6071)

Mr Zapruder was photographing the President at the instant he was shot.

According to Mr Zapruder the position of the assassin was behind Mr Zapruder.

Note: Disregard personal scenes shown on Mr. Zapruder's film. Mr. Zapruder is in custody of the "master" film. TWO prints were given to SAIC Sorrels, this date.

The third is forwarded.

[Signed]

M. D. Phillips
Special Agent-PRS

(END QUOTE)

(My emphasis)



In Mr. Zapruder’s warrenatti-testimony (volume 7, page 571), he further described his sense of
the origin of at least one audible muzzle blast or mechanically suppress fired “silenced” bullet
bow shock wave that he remembered hearing (or could hear) as coming from behind himself




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