FOR WHATEVER subconscious reason that I care not to evaluate here, I went with the unorthodox position of claiming Zapruder’s footage of the JFK assassination was a royal hoax before ever showing a shred of evidence for it. Historical proof of my methodology can be found here. Agent Zapruder. An entire week has gone by and still I make no apologies. If my work frustrates or bores you, then I highly suggest doing your own research. Regardless, here we are. Welcome. Also, as a matter of public policy, I do not respond to shrink questions. In case you were wondering, Cosmology is not a couch for me to recline on while you pull out a monocle and a notebook and attempt to assign my pedigree of insanity. We have already established the fact, and this is a matter of public record, that agent Abraham Zapruder, the man who gave us one of the most important film documentations of the 20th-century, was indeed a 33-degree Freemason. That’s a deal breaker. Sorry, whatever he has to show us is a no go. I could care less about his Zionist or Langley ties at this point. The Zapruder film was nothing more or less than a magical ceremony.
Agent Zapruder’s movie has been called the most important 26 seconds of film in history. The only reason we consider it as such is because spook communities and the media tell us it is. Who do you think runs the Gallup polls? Spooks. It is spooks who create our perceived reality and then spooks who inform our opinions about it. Since we’re on the subject of important 20th century film documentation, I’m reminded of the original Apollo 11 moon landing hoax footage, which NASA admittedly recorded over. You would think the other most important film footage of the 20th-century, perhaps all of human history, would be slightly more worth preserving that Archie Bunker’s chair, but no. I can only assume somebody wanted to record the Super Bowl, and it was either that or Wernher von Braun’s wedding video. I don’t know, you tell me. Perhaps we shall save Sasquatch and the 1967 Patterson–Gimlin film for another outing.
Now that we have thoroughly established that spooks had their hand in every element of the Kennedy assassination, I should pause here and remind my reader that spooks have been making themselves known to me in recent months, and in a number of ways. It is one of the very reasons I closed my Facebook account in April of 2020. Spooks. The above screenshot just arrived in my mailbox the other day, and it’s not the first. Freemasons and the “Illuminated” from the local Lodge often like to let me know they’re keeping an eye on me. As in, “the Eye.” One ring to rule them all—that sort of thing. I figure it’s their way of reminding me that my special interests are nobody’s business but their own. Also, it means I’m doing something right. Pulling back curtains. I never trust tapestries or a conveniently hung drape. This is probably a good place to remind everyone that I love my family, am not on psychotropic drugs, and have never once thought about committing suicide. That is all for now. This article is brought to you by my commercial sponsor, BOSCO chocolate flavored syrup.
Kids, tell your mom to buy BOSCO today.
And now we are on the subject of the Zapruder film. So, let us begin.
The Motionless Crowd
The Zapruder film consists of only 486 frames. This amounts to a running time of precisely 28 seconds. President Kennedy does not enter the stage for the first third of the picture, and it is there were we encounter a serious problem. If you were born at any time during the 20th century, then you’ve likely seen the Zapruder film a hundred times already. That and other momentous pieces of fiction like
NASA Star Wars. Regardless, I highly suggest you give it another review while reading this paper. It may help to open your eyes to a far greater number of anomalies than is being discussed here.
The first thing you should notice is that Zapruder abruptly cut filming at frame 132. Or so we’re led to believe. This is a problem because Zapruder’s 8 mm Bell & Howell displayed no fade in exposure while it slowed down and then started back up again. Kids, this is before digital technology. You don’t simply turn a reel of film off and on again without a slight hiccup in the presentation. That is, unless you want to take scissors to the reel and make an edit. Otherwise, the first two or three frames after 132 should be blotchy due to a heavier exposure to light, until the film corrects its speed. And yet, there’s no apparent fade out as is often customary when releasing or pressing the shutter button of the camera. If I’m being repetitive, it’s because the jump from frames 132 to 133 should immediately tell us something. Zapruder did not start filming again at frame 133.
We can know for certain that somebody took a shnip to the film because a good deal of time is missing from the final cut, an estimated 30 seconds in total. We see three police motorcycles round the corner from North Houston to Elm Street and then quite suddenly the President’s Lincoln convertible appears out of nowhere. How adorable. Kennedy was killed in a Lincoln, and as we all hopefully know by now, Lincoln’s assassination was another hoax. The only thing more obvious in the Kennedy hoax would be a nod to Ford’s Theater. Oh wait. The Lincoln was a Ford. Within that 30 seconds of missing time, the motorcades lead car, an unmarked white 4-door Ford Mercury sedan, which included Dallas Police Chief Jesse Curry, Dallas County Sheriff Bill Decker, and Agent Forrest Sorrels, has completely rounded the corner and passed Zapruder by. It makes absolutely no sense that Zapruder would show up to film the Kennedy’s, stop filming the very moment the lead motorcycles and cars round the corner, only to presume work again.
But that’s not even the abnormality I want you to focus in upon. There is no enthusiasm in the crowd. For nearly 200 frames, some three dozen people on the bottom of the frame, or the north end of Elm Street, remain perfectly motionless. And that doesn’t even include the missing gap between frames 132 and 133. We are expected to believe that Zapruder shut his camera off at frame 132 and then started it up again at frame 133, some 30 seconds later, while the crowd remains standing frozen in time, completely motionless. They have come to see the president and there is no enthusiasm whatsoever.
You may notice in the Zapruder film that various photographers are poised and ready for action on the south side of Elm, just across from the motionless crowd. Despite the fact that their pictures document a single frame, they seem to capture the motionless crowd looking far more jubilant—and worse. The people within their ranks are poised in conflicting orders when compared to the Z film. There were several photos taken from the south side of Elm, and again, when compared with Zapruder, they all imagine various sized crowds. Only the man with a construction helmet seemingly remains the same in each one, and he’s been identified as an agent. If we were viewing a Hollywood production, we’d have simple explanations for this.
A rotunda of walk-on actors.
Post-production still frame that has been composited.
But since we are not watching a Hollywood production, or so we keep telling ourselves, all we are left with is that uncomfortable sinking feeling and a pill bottle of cognitive dissonance.
Jean Hill and Mary Moorman: Crisis Actors
32 year-old Jean Hill, aka Norma Jean, is dubbed the “lady in red” in the Zapruder film. She is seen standing nearly alone in Dealey Plaza, and had only recently separated from her husband, Bill Hill. They wouldn’t divorce until August of the following year. We are told that Jean and her friend, 31 year-old Mary Moorman, who is seen holding the camera to her eye, traveled to Dealey Plaza to nab a picture of Jean’s latest boyfriend. Information on Jean’s boyfriend is terribly difficult to come by. Apparently, he was a Dallas police motorcycle cop, assigned to the motorcade. He is almost always mentioned in the press as “the boyfriend.” I found one source identifying him as J.B. Marshall, but that also may be a pseudonym. More than likely he is a Freemason. The strangest part has little to do with her initial backstory and everything to do with the mere fact that she and Mary Moorman are standing in Dealey Plaza almost completely alone. Take a note of that. We shall return to that thought in a moment.
Jean maintained until her dying day, and she testified to this from the very get-go, that she jumped out into the street the very moment the Lincoln passed and cried: “Hey, Mr. President, look over here! We want to take your picture!”
There is another glaring problem here, because agent Zapruder never captured Jean Hill making any such notion towards the Lincoln. The curb looks to be a good 12 inches higher than the street. Such a leap would not go unnoticed. And yet, in the Zapruder film, Jean is clearly shown some 2 feet from the curb. Perhaps you are beginning to see where I’m going with this. Either there were multiple takes and her best performance was not a part of the finished product, which would also explain the discrepancies among the motionless crowd, or we’re simply dealing with a one-take crisis actor. I personally interviewed crisis actors after the 2017 Las Vegas shooting, and I can tell you that inconsistent crises actors are a dime a dozen. This is partly due to the fact that they like to add their own little flare, a back story if you will, to the narrative, just to keep it organic, and to make their part known. There is of course a third option. The Zapruder film was heavily doctored, post-production.
On November 22, Jean Hill gave a statement to the police where she stated: “Mary Moorman started to take a picture. We were looking at the president and Jackie in the back seat… Just as the president looked up two shots rang out and I saw the president grab his chest and fell forward across Jackie’s lap… There was an instant pause between two shots and the motorcade seemingly halted for an instant. Three or four more shots rang out and the motorcade sped away.” Jean repeated her account to the Warren Commission in 1964, and adamantly rejected their single gunman findings.
Apparently, on the 22 of November, 1963, Jean immediately ran to the grassy knoll where she saw a “puff of smoke” and a “shadowy figure.” I have chosen the word “immediate,” or else why would she run? We have already heard Jean explain that she jumped into the street as the Lincoln passed and there is no recorded documentation of any such action. So, take note of her sprint towards the grassy knoll. The Lady in Red, still dressed for the part in 1992, rehearsed what she saw in the Beyond JFK documentary. “It was right up there. The man was shooting from right just this side of that tree . . . that large tree, and that’s where I saw the shot come from.”
You will tell me this is further proof that Norma Jean Hill was going up against the corrupt establishment which had hoped to steer the gullible public away from any notion of conspiracy. And yet I have already explained in my last paper that the second shooter was another layer to the psyop, created by spooks in order to throw us off their scent. The Warren Commission was nothing more than a script, written and fleshed our by Freemasons. Entertainment for the barracoon. This can only mean one thing. Agent Zapruder was a 33 degree Freemason, and Jean Hill was in on it.
Remember, the only reason you know about the existence of a possible second shooter is because of Jean Hill. If the Warren Commission, which was made up of top ranking Freemasons, the CIA Director, and a future president, wanted to steer America away from pondering the possibility of a cover up, why would they even ask the lady in red to testify? The answer is: they wouldn’t. Contrarily, the CIA wanted America to theorize over the potential for conspiracy. That and the magic bullet theory, created by 33 degree Freemason Arlen Spector, was all a part of the psyop. Jean was simply keeping to their plot twist.
As a crisis actor, Jean Hill is filled with colorful war stories. A Secret Service agent told her after the attack that another agent, watching from the courthouse, saw a bullet strike “at my feet.” Mm-hmm, Jean. We’re listening. Also, according to The Wikipedia, “Hill stated that after the firing stopped she saw a white man wearing a brown overcoat and a hat running west away from the Depository Building in the direction of the railroad tracks. She has since stated when she saw a photo of Jack Ruby after his killing of Lee Harvey Oswald she now believes he was the man she saw running.” We’ll return to Norma Jean’s claim in a moment. The Woman in Red furthermore stated that “she received death threats and that the brake lines of her automobile were cut after the assassination. Hill apparently always thought of herself as a survivor after many of the other witnesses to the assassination died shortly after President Kennedy’s death under what some considered to be mysterious circumstances.”
Okay, let’s be clear. If the shadowy Deep State wanted Jean Hill dead for outing their second shooter, then Jean Hill would be dead. Plain and simple. The cutting of breaks sounds like the plot line to an episode of Superman, whereas George Reeves, who ironically died of mysterious causes, needs to save Jimmy Olsen from driving off a winding mountain cliff-side. No, in reality Jean Hill would be diagnosed as bipolar, or perhaps a manic depressant. She’d take to the bottle, lose her career as a teacher to some scandal, and then jump off a bridge. While slowly killing her off with a daily dosage of poison, the CIA would sadistically give America reason to discredit her. As previously noted, some crisis actors like to dabble in the art of Improv, and Jean Hill appears to be one of them. On November 7, 2000, she died of complications due to a blood disease in Dallas. Not the Deep State.
Look how few people witnessed the actual shooting at Dealey Plaza. They had positioned themselves there knowing it would make the perfect photograph of John and Jackie Kennedy. Why did nobody else but Zapruder and a handful of witnesses have the same idea? Nowadays crisis actors are a dime a dozen. They’ll rear you in the craft and then bus you out to the event for free. Enjoy the performance until the lights go down and it’s your cue to die, that sort of thing. We’re talking about the chance of a lifetime, to stand several feet away from the President. John F. Kennedy. And what better place to peer over one’s shoulder, once the curb had filled with too many bystanders to number, than the grassy knoll? It makes for natural auditorium seating. Dallas saw a high of 70F that day. Certainly not too hot. Humidity wasn’t an issue. Where are all the people? There should be hundreds filling this one print alone. Even President James Buchanan would have a larger turnout.
There’s Jean Hill in her red coat, positioned next to Mary Moorman, precisely where they were last seen in the Zapruder film. At what point did she chase after the second shooter? Is that the mysterious Babushka lady standing stage left? I believe so. It’s like everyone is waiting their turn, having already rehearsed their part, and only little America is not in on it.
Where did agent Zapruder go? You’d think if the press and the police wanted to speak with anyone, it was the guy holding the movie camera. Oh, that’s right. He ran off the very second he finished with his movie project, right alongside the fat man leaving the Book Depository Building and the second shooter. Had he stuck around to film another moment, as any curious person with an 8mm logically would, everything he and others had planned so long for might have been compromised.
Look across the street. Notice the family ducking for cover.
There they are again. Bill and Gayle Newman. Still poised in position while LIFE Magazine stands around, capturing their drama for the nation.
Oh wait, another close-up. Courtesy of photographer Frank Cancellare.
How long do you suppose the Newman’s remained ducking for cover while the media stood around photographing them—and just as importantly, why? We’re supposedly dealing with journalistic integrity. Meanwhile, on Elm Street, we can see cowboys going on a joy ride, and if I’m not mistaken, Norma Jean Hill is no longer sitting. That looks to be the legs of the lady in red and perhaps the Babushka lady, standing around, comparing notes, getting their stories straight.
And there they go running off for their next shot while the Newman’s remain poised in position, waiting to be cleared by the director.
This may be a good time to look into another anomaly. We are on frame 403, as you can tell, and dealing once again with composite images. If you look to the far right you will see what appears to be an inhuman looking shape-shifter. Nothing is natural about the way he lumbers across the screen like a cartoon. I wish I could tell you they just had to throw that in there, give us a glimpse of the evil working behind the scenes, but the far more likelier explanation is that we’re dealing with a ccompositing artifact, mutated with the merging together of multiple film sources. In other words, multiple takes. There is much else to see in this single frame. Here we also find that the parked automobiles beyond Dealey Plaza will change their appearance. Look to the lamppost and then beyond that lamppost to the elongated truck. Notice how nothing and nobody can be seen in the back of that truck. Now, let’s turn back to the Newman family and another Frank Cancellare original.
Here we can clearly see a man kneeling in the pick-up truck, which has now been shortened. There is an item to his left. Neither appear in Zapruder’s film. The Cancellare photo is an estimated 20 seconds after Z film frame 313. Speaking of which.
We arrive now at frame 313. This is the precise moment when Kennedy’s head explodes like a firecracker. The infamous image would remain withheld from all public releases of the film until 1975, when it was finally shown for the first time on reporter Geraldo Rivera’s television show, “Good Night America.” I had asked you to take note of the fact that Jean Hill insisted until her dying day that she stepped out into the street while the Lincoln convertible passed. Notice how Jean’s shadow is bent out of shape. This could be due to the fact that her curbside narrative is legitimate, assuming we are not looking at the composite of multiple takes, and her position has been altered. Only slightly. This is also the precise moment when Jean is said to have looked into the direction of the Texas School Book Depository and saw Jack Ruby making his getaway. How a fat man could make it down six flights of stairs after making his kill shot within the span of a few seconds is beyond me. Not even John Wilkes Booth could accomplish that task. Her story seems less and less likely with every retelling.
Before we move onto Kennedy’s head wound, via frame 313, let’s address the running woman seen only one frame earlier, in 312. The lampposts in Dealey Plaza are precisely 14 feet tall. An analysis of the photo pins the running woman as somewhere in the range of 7 feet tall. Before you conclude that we’ve spotted yet another giant on the loose, I assure you the woman was interviewed in person and her interviewers concluded she was in reality only five feet tall. If this confuses you, then just rest assured this is yet another problem to official narrative which insists that Zapruder’s film was in no way altered.
The next series of frames reveals a massive exit wound upon Kennedy’s right temple and forehead. There is a big blob where his skull once was. More like a glob. Vaseline, perhaps? As the film progresses, his wound morphs. It changes shape as he falls into his wife’s lap. In fact, his entire forehead is shown to be missing. Nothing but a stump of head. If you play the footage slowly, the head wound constantly changes shape. According to this frame, we can see right through his skull.
Autopsy photos clearly show that the President’s face was undamaged. The Zapruder film disagrees with all other evidence. Strange, since convincing America that Kennedy had been assassinated was never a problem. Had Walter Cronkite simply told America their president was dead, then they would have believed him. If Kennedy truly was shot in Dallas, Texas, and somebody happened to be filming it, then why not show the unaltered footage? It’s not like Zapruder was facing in the direction of the Book Depository Building or the grassy knoll, suspected location of the first and second shooters. Post-production editors simply gave Kennedy an impossible head wound. The more probable explanation is that Kennedy never received a head wound to begin with.
America had been a bad boy. Our Slave Masters demanded a psychodrama. Yet another alchemical ceremony which promised to mold the collective consciousness into the image of the New World Order. Everything went down without a hitch. In one stunning moment, Kennedy took his exit from the world stage.
But perhaps not forever.
Just look at Bush. Laughing his ass off. What’s so funny, Mr. President? Probably just got off the phone with John. Someone told the other a dirty joke.
The official narrative claims George H.W. Bush, the Skull and Bones alumni who would ascend from Director of the CIA to Vice-President under Reagan and finally Commander and Chief of the Corporate United States, was not yet a member of Central Intelligence when Kennedy was shot. But we know that’s all part of the psyop. George H.W. Bush, code named ‘Timberwolf,’ was indeed in Dallas on that November day, a fully functioning member of the CIA.
But we can do better than Dallas.
There is unlikely a person alive who cannot remember where they were on November 22, 1963. When asked, George H.W. Bush never could remember. How strange. This probably has something to do with the fact that he was photographed in front of the Book Depository Building within hours or minutes of Lee Harvey Oswald’s arrest, and the thought of an alibi had never occurred to him. No, this is not proof that George H.W. Bush had a hand in Kennedy’s assassination. I stress assassination. Bush didn’t ascend through the ranks of secret societies and intelligence to the seat of vice president and then the presidency by killing presidents. He did so by becoming the Sorcerer’s apprentice, and finally the Wizard of Oz. Timberwolf had a hand in the illusion.
The future Director of the CIA made Kennedy go away.
But the thing about the disappearing act is, while it is true that people prefer the illusion over the slight of hand, what they ultimately show up for is the reappearing trick. And more than anything, they want to be fooled by it.
Perhaps Kennedy really was a two-term president.