JFK Assassination Forum

Most of what I am arguing here is based on David Von Pein's outstanding website regarding the SBT. It is a close examination of the critical Zapruder frames 223-226. During this sequence, both JFK and JBC are struck by the single bullet and react reflexively at the same instant, frame 226. DVP's website uses enlarged and stabilized frames and allows toggling between critical frames.

For many years it was, it was believed that JFK was reacting to the first bullet that struck him when he reappeared at frame 225. He had been hit by that frame but as EVP's website shows and I will explain, he had not year reacted. That wouldn't happen until one frame later but to the naked eye, it appears he was reacting when he reappeared because 1/18 second is too short for the naked eye to perceive what happened.

As the limo was heading down Elm St. JFK was waving to the few remaining spectators on the sidewalk with his right elbow on the side of the car. Just before he disappeared behind the sigh, he started to low his right hand. He disappeared behind for approximately one second. JBC reappears first. We see him in full view at frame 223. Between frame 223 and 224 the right side of his jacket suddenly bulges outward. This is strong visible evidence that the tumbling bullet had passed through his jacket at that moment.

We then move on to frames 224 and 225. We cannot see JFK's face in frame 224 but are able to see his right hand out in front of him. By toggling between these two frames, we see that his right hand was still moving DOWNWARD when he first came into full view. The bullet had struck him at this point, but he had not yet started the dramatic reaction which brought his hands in front of his throat. That would not happen until the next frame, 226.

At 226, both his arms suddenly start upward and here's the remarkable thing which went unnoticed by me for many years and which most people are still unaware of. JBC's right arm, which had just been hit by the single bullet a few frames earlier, suddenly flips upward in perfect unison with the movement of JFK's arms. His right hand, which held his Stetson comes into full view. Both men are reacting at the same time to a bullet which struck them only a few milliseconds apart, virtually simultaneously. 

People base the timing of his reaction on what he testified to which was his cognitive reaction. He remembered feeling a blow to his back which caused him to double over at twist to his right. That motion began in the 230s. But that was a secondary reaction. His reflexive action happened about a half second earlier at 226. Reflexive reactions occur more rapidly because they require no interaction with the brain. The nerves are responding directly to an outside stimulus.

For those who would like to see this for themselves, visit DVP's outstanding webpage on the SBT at:
https://jfk-archives.blogspot.com/2013/02/sbt-clips.html

Donald Carpenter's biography of Shaw, "Man of a Million Fragments", goes over in some detail Shaw's finances during the time he managed the Trade Mart. It doesn't appear that he saw Shaw's tax returns but he has a lot of detailed information about Shaw's sources of income, property purchases, expenditures, and other finances. As he shows, Shaw was quite adept at flipping property: buying rundown residences, restoring them and then selling them for a handsome profit.

I would think that any odd income - his "highly paid" work income - from any CIA work would appear somewhere? Might? Could? Carpenter is still alive; Fred interviewed him last year. It might be worthwhile to ask him about any evidence of CIA or strange income.

Note: Carpenter mentions that after all of Shaw's trials and legal problems he was nearly broke. According to Carpenter, Shaw spent more than $50,000 alone just for his defense team's investigative expenses. In today's dollars that would be almost $500,000.

Here's a small section on Shaw's income:

Tom,
The car was placed consistent with the Robert Hughes film of the TSBD doorway at about 12:40. I could be a few inches off, but not feet.

The “light-colored car,” if real, would be parked lengthwise in front of the Huge Gates. A car was not parked  there, but further east in the Martin film of the Euins/Harkness scene. There is no car parked there in the Wiegman film. No red tail light or car is there.  We are only seeing the Bonneville in Wiegman. Some of the “features” on the car in the gap are due to shadows from the Live Oak Tree.

James

Hi James, excellent work as always. Here’s a crop from a very clear photo by William Allen taken on 11/22/63 during the three tramps walk through Dealey Plaza. Royell claims the car in question didn’t move at all before the Allen photo was taken. I have drawn yellow arrows pointing at the rear bumper and taillight. You can line that up with the opening for the large gates and the pole for the highway numbers sign. I believe that Allen’s position was a few feet ENE of Tina Towner’s filming position on the SW corner of Elm & Houston streets. I hope this might help clarify the position of the car.

James,

I may be wrong, but I think Royell's "Getaway Car" is too far to the left in your lower montage.

I say this for two reasons:

1) In Wiegman, the "rocket ship exhaust" design on the side of the car by "Fedora Man's" crossed arm looks wide and therefore nearer the end of the car, and

2) We can see the somewhat rounded end of the "Getaway Car" where it is darker colored than the light-colored car across Elm Street Extension and with which it visually merges to a certain degree.

Regardless, keep up the good work!

-- Tom

Tom,
The car was placed consistent with the Robert Hughes film of the TSBD doorway at about 12:40. I could be a few inches off, but not feet.

The “light-colored car,” if real, would be parked lengthwise in front of the Huge Gates. A car was not parked  there, but further east in the Martin film of the Euins/Harkness scene. There is no car parked there in the Wiegman film. No red tail light or car is there.  We are only seeing the Bonneville in Wiegman. Some of the “features” on the car in the gap are due to shadows from the Live Oak Tree.

James

The car was always there but the ladies in front are blocking most of it.
The first image below is from the above photo gallery and you can see some of the car next to the lady with the folded arms and you can see the roof a little bit to her right.
I believe the car to our left is directly in front of this car and as can be seen the perspective angle relatively shortens the length and when approximately sized, fits well within the block of obscuring ladies.



Royell's Car on the extreme left and a car directly behind, shows that the car in the above image was behind Royell's car.



In this Couch frame, the end of the car is a good match compared to the folded arm lady and the roof section as compared to the ladies in Wiegman is a similar height.



JohnM

   The "getaway" car is estimated to be 17.5 FEET LONG. Yet, the baseless claim is being made that this 17.5 FOOT LONG Car is actually parked behind Fedora Man. We just can not see it.  The largest Civil War Canon was 12 Feet Long. So, if there had been a 12 FOOT LONG CANON sitting behind Fedora Man, it too would have been missing from the Wiegman Film? This is how unbelievable this claim is. The images filmed by Wiegman as his camera car turned the corner and he panned the camera speak for themselves. Those images are reality. They have been for 62+ years.