Kennedy's wounds

[Robin Unger]

When i look at this frame i see kennedy's finger pointing to his throat.

Is it possible he is trying to indicate to the people in the Limo that he has been wounded in the throat and can NOT TALK due to the wound.

He may even be choking on his own blood or gasping for air at this point. ?

Edited August 13, 2005 by Robin Unger

[John Dolva]

When ilook at this frame i see kennedy's finger pointing to his throat.

Is it possible he is trying to indicate to the people in the Limo that he has been wounded in the throat and can NOT TALK due to the wound.

He may even be choking on his own blood or gasping for air at this point. ?

<{POST_SNAPBACK}>

I think that's possible, with his other fingers he seems to be lifting his coat as well.

Perhaps a fine mist of blood has been blown from the corner of his nose across his cheek?

I had thought Connally was holding his hat the other way up. Now I can see his right fingers curled into it from the top. I guess that could make maintaining a grip on it after being shot in the wrist more likely?

[Robin Unger]

[Tim Gratz]

Great posts, John, Robin, etc.

The photos of JFK are excruciatingly painful, of course.

Edited August 14, 2005 by Tim Gratz

[John Dolva]

Using further information from the Muchmore topic.

Kennedy's body movements are the result of multiple factors.

A full description of all these movements, starting from a few meters before the headshot till a few meters after, is:

Kennedy has already been shot in the back.

His bottom remains largely in the same place. He does not slide left or right.

He leans towards Jackie. This is aided/caused obviously by their connection as man and woman, (I have speculated previously that if he had been fully conscious he would have sought to distance himself while forcing her down and throwing himself over her). However, he is rapidly loosing blood and while entering this last foggy world consciousness tends to recede to the lower, deeper more primitive regions of the brain.

Further, she IS fully conscious, perhaps approaching that time when a human in extreem stress acquires an almost 'superhuman' clarity and strength. Time slows and is often remembered after as a kind of slow motion dream. Her hand is on his arm pulling him towards her, her voice, presence, familiarity, smell even, compels him to obey the move towards her.

Meanwhile:: The limousine is on a slight downward slope. It is slowing down, decelerating. Yet he doesn't fall towards the front of the Limousine. Why?

It's like riding a bike. Once you know how, you don't forget. If we didn't learn how to react to the continual stop, start, right , left, up, down that goes with riding in a car we'd be flopping around like a mound of jelly.

He is naturally braced against a forward motion.

However this is not all that's happening.

Underneath him is a car seat. The seat has springs in it.

[it would be a custom built seat. Designed for comfort, support, stability and the possibility to sit anywhere along its length. The differential bell housing would protrude into the middle of the seat so the springs here would be shorter but in balance so a dignitary can sit here in comfort with the President and not have to wonder about beeing given the worst seat.]

As the Limousine is decelerating his muscles are compensating to keep him from tumbling forward while the seat springs are being depressed and deformed forward.

This leaning towards Jackie continues right up to about 1/46th of a second before being struck in the head by a bullet fired (distance(d)/2000+) seconds earlier from .......

He is still alive, and then he is dead. Ther are still residual nerve reactions but within a few meters its over. His body becomes subject without interference to all the natural forces that, say a ball in the backseat, or perhaps a bucket of water on the floor, or a full cup in the hand, is under in a car that's in motion.

Objects in motion tend to continue in said motion until acted on by an outside force. Muscle control as an outside force is over. The springs are depressed. Jackies hand is on his arm pulling him towards her.

The car moves to the right. (actually continues and increases a rightwards movement as can be seen by earlier observations)

The car starightens up again AND accelerates.

The depressed springs now rebound.

His body is pushed upwards while the car twists counter clockwise under him (he is sitting just forward of the rear axel.

His previous motion imparted by a slow forward movement continues.

The car that surrounds him accelerates.

When the back of the seat reaches where Kennedy's body is it 'catches' him and imparts its motion to him. His head, swivelling on his neck continues in its slow forward movement until it hits the top back of the seat and is pulled with the rest of the body forward with the force now imparted to it by the Limousine.

A camera panning along with this scene records it. The resultant film is projected onto a stationary screen.

The Limousine is moving.

The screen should move too to properly see motion as it was.

This is the value of the technique as I have here demonstrated. Against a background created by the entire film, individual moving objects can be isolated to see precicely how they moved in time AND space.

This image is a combination of views immediately before the headshot.

I've tried to orient Kennedy's head to roughly in the position it would have had at the time of the shot if viewed from the top. It is actually slightly more downward tilted and the exact rotation is not quite right. His face is facing south south west.

<{POST_SNAPBACK}>

The above needs to be corrected. Kennedy, after the head shot was still tecnically alive.When arriving at the Hospital they could see he was mortally wounded. But he still had a pulse. So the statement above that he was dead after the head shot should be changed to accommodate this fact. Perhaps unconcious with half his brain pulped would be technically more correct.

Nevertheless, the possibility that in that state that he had gross motor control is highly unlikely. So the summary stands.

[Robin Unger]

Edited:

Edited August 18, 2005 by Robin Unger

[John Dolva]

Robin, unfortunately large attacments can be counterproductive. Links and small images are better. Plus could you offer a commentary as well?

Looking at that zfilm sequence is interesting. They look like reacting at very much the same time?. I'm still working on trying to refine the relative positions of Kennedy and Connally and I so far can't get away from they are not aligned for a SBT.And The Connally's testimony to me is convincing.

It all adds up to two shots so far, closely spaced : hence not 1 shooter or not the carcano. either way : a conspiracy.

[John Dolva]

Kennedy's movements are the result of multiple factors.

(Kennedy has already been shot in the back.)

His bottom remains largely in the same place. He does not slide left or right.

He leans towards Jackie.

Her hand is on his arm pulling him towards her

Meanwhile:: The limousine is on a slight downward slope. It is slowing down, decelerating.

However this is not all that's happening.

Underneath him is a car seat.

The seat has springs in it.

As the Limousine is decelerating his muscles are compensating to keep him from tumbling forward while the seat springs are being depressed and deformed forward.

He is still alive, and then he his brain is pulped. Ther are still residual nerve reactions but within a few meters its over. His body becomes subject without interference to all the natural forces that, say a ball in the backseat, or perhaps a bucket of water on the floor, or a full cup in the hand, is under in a car that's in motion.

Objects in motion tend to continue in said motion until acted on by an outside force. Muscle control as an outside force is over. The springs are depressed. Jackies hand is on his arm pulling him towards her.

The Limousine continues and increases a rightwards movement

The car starightens up again AND accelerates.

The depressed springs now rebound.

His body is pushed upwards while the car twists counter clockwise under him (he is sitting just forward of the rear axel.

His previous motion imparted by a slow forward movement continues.

The car that surrounds him accelerates.

The accelerating back of the seat reaches where Kennedy's body is. It 'catches' him and imparts its motion to him. His head, swivelling on his neck hits the top back of the seat and is pulled with the rest of the body forward with the force now imparted to it by the Limousine.

......................................

A camera panning along with this scene records it. The resultant film is projected onto a stationary screen.

The Limousine is moving.

The screen should move too to properly see motion as it was.

........................................

**************

In addition to all this is the motion imparted by the TORQUE of the engine.

Transmitted to the Limousines body it lifts the front (or lowers the back) and tilts it as well. Both of these movements are in direction to aid the other movements.