Charlie Foxtrot
Screenplay by Denise Hazelwood
(Part I, Dealey Plaza)
Screenplay by Denise Hazelwood
(Part I, Dealey Plaza)
About "Part 1, Dealey Plaza":
Includes assassination re-enactment, autopsy re-enactment, Top Brass Briefing re-enactment, rush to Parkland with "accident" Pate broadcast.
Part 2 is about Parkland Hospital events.
Part 3 is about Oswald's death and the subsequent cover-up.
Log-Line:
The botched Secret Service response to the JFK assassination resulted in a Deep State cover-up of accidents and mistakes. What they didn’t want you to know: The SNAFUs, confusions, and cover-ups surrounding the JFK assassination. (Dramatization of Denise's "Benign Conspiracy" conclusions.
Includes assassination re-enactment, autopsy re-enactment, Top Brass Briefing re-enactment, rush to Parkland with "accident" Pate broadcast.
Part 2 is about Parkland Hospital events.
Part 3 is about Oswald's death and the subsequent cover-up.
Log-Line:
The botched Secret Service response to the JFK assassination resulted in a Deep State cover-up of accidents and mistakes. What they didn’t want you to know: The SNAFUs, confusions, and cover-ups surrounding the JFK assassination. (Dramatization of Denise's "Benign Conspiracy" conclusions.
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Pre-Opening Title Sequence--Top Brass Briefing: Kellerman & Humes Arrive, Z-Film is Shown, "Charlie Foxtrot" is Explained
FADE IN
Text shows “November 23, 1963, Early Morning”
A. EXTERIOR WHITE HOUSE (ESTABLISHING SHOT)
It is dark outside.
B. INTERIOR HALLWAY, OUTSIDE “CABINET ROOM” DOOR
TWO WHITE HOUSE POLICEMEN (clean shaven, dressed in white shirts with badges and shoulder patches) are guarding the door to a small theater. One of them yawns. It’s been a long night. Then he stands at attention as we hear FOOTSTEPS OF THREE MEN approaching. One is ANOTHER WHITE HOUSE POLICEMEN, who is guiding/accompanying the other two men. One is DR. JAMES HUMES, dressed in a coat and tie, and identified by a visitor’s pass as “Dr. James Humes.” THE THIRD has no coat or tie, and his clothes are rumpled. His shirt is bloodstained, especially on the back right shoulder. This is SECRET SERVICE AGENT ROY KELLERMAN, also identified by his visitor’s pass as “Roy Kellerman, Secret Service.” Kellerman unbuttons his shirt as he walks. A fourth WHITE HOUSE POLICEMAN approaches from another direction, carrying a clean shirt in one hand and a tie in the other. There is a table with a coffee urn and cups nearby. The policeman with the clean shirt holds it out towards hands Kellerman. Kellerman quickly changes his shirt, handing his dirty one to the aide, who removes the visitor tag and hands that back to Kellerman as Kellerman waves off the tie.
POLICEMAN
Good morning, sirs. Can I get you some coffee?
HUMES
No, thanks. I’ve had more than enough already.
KELLERMAN
No, thanks. Got anything hard?
POLICEMAN
Sorry, sir.
When Kellerman is ready, having tucked in his shirt, a policeman opens the door identified as “Cabinet room” for the two men and lets them inside the
C. INT. CABINET ROOM—TOP BRASS BRIEFING
TOP BRASS BRIEFING PARTICIPANT NOTES
The early morning on November 23 meeting (possibly a continuation of the November 22 pm meeting) is theorized, as autopsy information and other information developed. However, the Air Force One communications tapes (Reel 2) show that Johnson asked for a meeting with the first group of individuals below, to be present immediately upon his return to Washington, or at the later meeting of bipartisan Congressional leaders set to begin at 7:30 pm. There are no “minutes” or other official records of the two known White House meetings, other than the mention on the Air Force One recording as described above. The BRIEFING scenes are an extended/expanded theorized version of the second meeting.
Note: The Situation Room as being renovated at the time. This would actually have been held in a temporary situation room or make-shift briefing room, ergo “Cabinet Room.”
These individuals should be included among the PARTICIPANTS of the dramatized meeting:
SECRETARY OF DEFENSE ROBERT MCNAMARA, MCGEORGE BUNDY (Special Assistant for National Security Affairs, acting for Dean Rusk), CARL ALBERT (Speaker of the House), HALE BOGGS, LESLIE ARENDS, MIKE MANSFIELD, HUBERT HUMPHREY, GEORGE SMATHERS, EVERETT DIRKSEN, (there was also someone whose name sounded like “Kiegal” on the tape? Not sure who that is, possibly Carl Hayden? Thomas Kuchel?), and BOURKE HICKENLOOPER. (Per Reel 2 of radio traffic involving Air-Force One in-flight from Dallas to Washington, D.C.) The actors portraying these characters should look as much like the original historical persons to the extent possible.
Added to the above list are: MAJOR GENERAL CHESTER CLIFTON (Army, Kennedy’s Senior military aide, who was in the Dallas motorcade and aboard Air Force One and talking over the radio to set up the meeting, otherwise designated as “GENERAL LEADER”), an AIDE to Clifton (for dialogue purposes), MCGEORGE BUNDY (National Security Advisor), KENNETH O’DONNELL (Kennedy’s Chief of Staff, and in the middle row of the Secret Service Follow-up Car during re-enactment scenes), DR. GEORGE BURKLEY (Kennedy’s personal physician, also present in the motorcade and Parkland Hospital scenes), SECRET SERVICE CHIEF JAMES ROWLEY, CIA DIRECTOR JOHN MCCONE , FBI EXPERT ROBERT FRAZIER (who clearly participated in the cover-up), GENERAL MAXWELL TAYLOR (Chief of Staff Chairman, Army), GENERAL CURTIS LEMAY (Chief of Staff, Air Force), GEORGE W. ANDERSON (Chief of Naval Operations), and GENERAL DAVID M. SHOUP (Chief of Staff, Marine Corps, likely antagonistic toward the cover-up, retired in December). I also added a MEDIA AIDE to run the projector, but otherwise not participate in the discussion.
PARTICIPANT refers to various members of the named group above, and could be any of them, except Clifton, the Aide, Kellerman, Humes, Rowley, McCone, Frazier, O’Donnell, or Shoup (who have specific dialogue), unless otherwise noted.
SECRETARY OF STATE DEAN RUSK (unavailable at the first meeting, returning from flight to Japan) will be added to the next BRIEFING, after Oswald’s death.
There is a large conference table, around which all the participants except the AIDE to GENERAL LEADER are seated, a mixture of military and civilian men. One of the civilians is seated next to GENERAL LEADER. There is a projector at one end of the room, and a screen at the other. The military participants are all in impeccable uniforms indicating rank, etc. The civilian participants are all wearing dress shirts, though ties may be loosened or draped across backs of chairs, and suit coats draped across backs of chairs. There are coffee cups, mostly nearly empty, sitting on saucers around the table. There are some participants with note tablets and pens/pencils, taking notes or referring to notes occasionally. Ashtrays that have been in use are scattered around the table, and some of the participants (especially civilians) might be seen to be smoking. All the participants are seated except for the AIDE standing at the front of the room by the screen, and the MEDIA AIDE standing by the projector. There are also various BRIEFING BOARDS set up on easels, of which we see the back, but not the front. (Nor do we see the film that is about to be shown, just the reactions of the participants.) The AIDE and the MEDIA AIDE are the only men standing.
The door to the room opens, and Humes and Kellerman are shown inside by the POLICEMAN from earlier.
POLICEMAN
(Introducing the newcomers to the group) Dr. Humes from Bethesda and Special Agent Kellerman of the Secret Service. (He shows them to nearby seats that have obviously been reserved for them, Kellerman to an empty seat next to Rowley, then leaves.)
AIDE
Welcome, Dr. Humes, Agent Kellerman. We were just about to show the film.
HUMES
Please continue.
GENERAL LEADER
I remind you gentlemen that this is a matter of National security. Everything said in this room, stays in this room.
HUMES
I understand
Kellerman nods curtly.
The AIDE turns out the room lights, and the MEDIA AIDE starts the projector. It is the original Zapruder Film of the JFK Assassination, but we don’t see the film, We see the faces of the audience members watching the film. We see flickering lights playing across the reactions of the participants and hear the sound of a projector running in the background. The mood is grim. There is some indistinct murmuring. Suddenly there is a collective gasp in the audience as they see the visible head shot in the film. HUMES reacts with equal shock. KELLERMAN closes his eyes.
PARTICIPANT
Oh, my God!
PARTICIPANT
Dear Lord!
PARTICIPANT
Sweet Jesus!
The film runs a number of seconds more, then runs out, as we see by the end of the fliickering lights and the sound of the projector running down and turning off. The AIDE motions to MEDIA AIDE that MEDIA AIDE is now dismissed. He leaves the room. GENERAL LEADER, meanwhile, closes his eyes briefly in reaction to what he has seen. Otherwise, his face betrays little if any emotion. Once the MEDIA AIDE has left the room, discussion amongst the participants resumes.
PARTICIPANT
(To Kellerman) You morons had one job! You were supposed to PROTECT him!
KELLERMAN
We tried!
PARTICIPANT
You call that TRYING?
PARTICIPANT
He got more protection after he was DEAD than when he was alive!
PARTICIPANT
Our enemies are going to LOVE THIS!!
GENERAL LEADER
(Quietly) This whole thing is a Charlie Foxtrot.
NEARBY CIVILIAN
(To General Leader) Charlie Foxtrot? What’s that?
GENERAL LEADER
Military jargon. It means clusterfuck.
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OPENING TITLES with DRAMATIC MUSIC
FADE TO
OPENING TITLES with DRAMATIC MUSIC
CHARLIE FOXTROT
(Based on A Benign Conspiracy by Denise Hazelwood)
FADE IN DISCLAIMER TEXT:
This film is a dramatization of events related to the JFK Assassination. The events depicted herein are based on evidence available to and ignored by the Warren Commission and other official investigatory bodies, as well as additional evidence later uncovered by well-respected experts and researchers. Some characters and scenes were created for the purposes of explanation and story-telling. But the scenario depicted herein is evidence-based.
FADE TO
OPENING TITLES with DRAMATIC MUSIC
CHARLIE FOXTROT
(Based on A Benign Conspiracy by Denise Hazelwood)
FADE IN DISCLAIMER TEXT:
This film is a dramatization of events related to the JFK Assassination. The events depicted herein are based on evidence available to and ignored by the Warren Commission and other official investigatory bodies, as well as additional evidence later uncovered by well-respected experts and researchers. Some characters and scenes were created for the purposes of explanation and story-telling. But the scenario depicted herein is evidence-based.
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01. Dealey Plaza Re-Enactment: Dealey Plaza, TSBD, Stemmons Freeway, and Motorcade--Before 1st Shot
FADE TO
TEXT:
“Dallas, Texas, November 22, 1963, shortly before 12:30 p.m. Central Time”
DEALEY PLAZA
We get glimpses of various BYSTANDERS in Dealey Plaza, cheering, waiting for the motorcade to pass. (The advance car and pilot car, and advance motorcycles have already passed.) We see the five DPD LEAD MOTORCYCLES, followed by the LEAD CAR, and then the PRESIDENT’S LIMOUSINE, followed closely by the SECRET SERVICE FOLLOW-UP CAR, then LYNDON JOHNSON’S CAR and JOHNSON’S FOLLOW-UP CAR, followed by the rest of the motorcade, approach from Houston Street. Camera pans quickly across bystanders, stopping briefly at the ones named.
A. ON THE WEST SIDE OF HOUSTON STREET
Bystanders include amateur filmmakers MARIE MUCHMORE and ROBERT HUGHES, and professional photographer IKE ALTGENS (will run to Elm Street) and lots of other bystanders. A couple of cops holding traffic at the intersection.
B. ON THE EAST SIDE OF HOUSTON STREET
We see RUBY HENDERSON at the corner in front of the Dal-Tex Building and lots of other bystanders. Again, a couple of cops at the intersection, including patrol officer JOE MARSHALL SMITH.
C. NORTH SIDE OF ELM STREET AND IN FRONT OF THE TEXAS SCHOOL BOOK DEPOSITORY.
In the TSBD Doorway, we see BILLY LOVELACE and others. In front of the TSBD, we see Boy Scout ALAN SMITH and his FRIEND, jumping up and down and cheering in anticipation. And JAMES WORRELL, VIRGIE RACHLEY (BAKER), and various TSBD EMPLOYEES. Farther down Elm Street see KAREN WESTBROOK and friend and other TSBD employees. We see MARY WOODWARD (PILLSWORTH) and HER FRIEND showing excitement. They speak briefly.
MOMENTARY CLOSE ON MARY MOORMAN AND FRIEND
MARY WOODWARD’S FRIEND
I wonder what she’s wearing!
MARY WOODWARD
She’s always so elegant!
We see ABRAHAM ZAPRUDER and SECRETARY standing on the Zapruder pedestal. We see a BLACK COUPLE on the bench by the stairs, eating their lunch, which includes red soda pop. We see the CHISM FAMILY (John, Marvin Faye, and Ricky) standing near the Elm Street curb, (JOHN, WIFE MARVIN FAYE, with young son RICKY jumping up and down excitedly. We see UMBRELLA MAN and DARK COMPLECTED MAN. We see the NEWMAN FAMILY (BILL, WIFE GAYLE, TWO YOUNG SONS) clapping, with the parents bending down to talk to the children.
D. ON THE OPPOSITE SIDE OF ELM STREET
We see AMOS EUINS (16 years old Black male), HOWARD BRENNAN (45 year old white male, wearing hard hat), the TOWNER FAMILY (JIM TOWNER with camera, and WIFE PAT TOWNER with daughter TINA TOWNER holding her camera up to her eye. We see HUGH BETZNER getting his camera ready. We see young TONI GLOVER in her blue coat climbing up onto her pedestal and trying to maintain her balance. We see PIERCE ALLMAN with his friend standing on Elm Street. Allman grins, taps his friend, and starts to run closer to the corner. We see nearby Father ROBERT CROFT with his camera. We see the WILLIS FAMILY (PHIL WILLIS with his camera approaching Elm Street as his WIFE MARILYN hangs back and his TWO DAUGHTERS LINDA and ROSEMARY play a sort of game of tag). We see CHARLES BREHM and HIS SON approaching their location, Brehm carrying his son and setting him down. We see MARY MOORMAN and JEAN HILL talking excitedly to each other. (“Do you think he’ll wave to us?” “I hope so!”) Moorman has her Polaroid camera, and Hill is holding a couple of photographs that Moorman has already taken. We see MALCOLM SUMMERS (“The Falling Man” in the Zapruder Film) clapping as the lead cars pass. We see photographer RICHARD BOTHUN running across the grass toward his spot. We see IKE ALTGENS running across the grass and dropping his gear on the grass and getting his camera ready. We see the FRANZEN FAMILY (JACK FRANZEN and his WIFE and 6 year old SON) take a last step to their spot their spot and look towards the intersection in anticipation. The mood of the bystanders is happy and excited. The camera views are fleeting and somewhat chaotic.
(See the Don Roberdeaux map at https://educationforum.ipbhost.com/topic/19716-the-11-22-63-dealey-plaza-detailed-map-updated-new-address/ for more specifics on other witnesses and witness locations.
E. AREA IN FRONT OF THE GRASSY KNOLL.
ABRAHAM ZAPRUDER is on his pedestal. Marilyn Sitzman is behind him, holding onto his waist.
ZAPRUDER
(looking through his viewfinder) This is a good view. Don’t let go of me, now.
SITZMAN
No, sir.
The CHISM FAMILY (young black couple—JOHN and MARVIN FAYE—and their young son RICKY) is standing near the curb.
MARVIN FAYE CHISM
(to her young son) You’re so lucky. Not every little boy gets to see the President!
Nearby, the NEWMAN family (BILL, GAYLE, and children BILLY and CLAYTON) trots up to the curb, carrying their children, to take their place. They set their children down.
BILL NEWMAN
This is perfect! A whole lot closer than at the airport!
GAYLE NEWMAN
(to son Billy) Be sure to wave at him! And maybe he’ll wave back. We might even see Uncle Steve.
F. INT. TSBD 2ND FLOOR LUNCHROOM AREA
A BLACK JANITOR—EDDIE PIPER— Leaves his mop in a closet, goes to the refrigerator, takes out his brown paper bag lunch, and goes up the stairs.
G. INT. TSBD 4TH FLOOR
ELSIE DORMAN is getting her film camera ready. VICKI ADAMS, SANDRA STILES, and ANOTHER WOMAN are at another window, all preparing for the motorcade’s arrival.
VICKI ADAMS
Gonna film the President, Elsie?
ELSIE DORMAN
You know it.
SANDRA STILES
I’m hoping to see Jackie!
G. INT. NW STAIRWAY
BONNIE RAY WILLIAMS descends to the 5th floor from the 6th floor. After he leaves the stairway, we see EDDIE PIPER coming up the stairs, passing the 5thfloor, and continuing up.
H. INT. TSBD 5TH FLOOR
Three young BLACK MEN: HAROLD NORMAN and JAMES JARMAN are the open windows, Norman at the eastern most window, and Jarman at the next set of windows. They are preparing to watch the motorcade. BONNIE RAY WILLIAMS joins them and squats beside Norman at the eastern-most set of windows.
WILLIAMS
Looks like you got a pretty good view here.
NORMAN
(indicating) Cars are gonna come down Main, then come at us from Houston, then turn right in front of the building to get to Stemmons.
I. INT. TSBD 6TH FLOOR
EDDIE PIPER enters from the stairwell and moves to the front of the building, near windows. He uses a pile of boxes as a table and another box as a chair. He takes out his fried chicken, unwraps it, and starts to eat happily, obviously enjoying his food. He is unaware that LEE HARVEY OSWALD is hidden behind the boxes of his “Sniper’s Nest.” Oswald holds his rifle down by his side, and looks out the window. The two men are unaware of the other’s presence.
J. EXT. DEALEY PLAZA
ARNOLD and BARBARA ROWLAND, a young married couple not yet twenty years of age, are waiting for the motorcade. ARNOLD looks up and sees OSWALD standing next to the window with the RIFLE.
ARNOLD ROWLAND
(to Barbara) Hey, Barb! Look up there! 2nd row of windows down.
BARBARA ROWLAND
Is that a gun?
ARNOLD ROWLAND
Looks like. He must be a Secret Service man.
BARBARA ROWLAND
Boy, they sure are thorough.
K. STEMMONS FREEWAY
CARS are lined up, waiting for the Presidential motorcade to pass. Among them, we see the KBOX MOBILE RADIO UNIT.
L. ED HOFFMAN’S CAR — INTERCUT INT. AND EXT. CAR.
It is driven by a lone DEAF MAN ED HOFFMAN. We know he is deaf, because there is no sound or muted sound, and on the front passenger seat is the NOVEMBER, 1963 issue of DEAF AMERICAN or something from the TEXAS SCHOOL FOR THE DEAF Alumni Association archives? Or copy of Lottie Riekehof book Talk to the Deaf along with a copy of the Dallas Morning News.(November 22, 1963) and Dallas Times-Herald (November 21, 1963). Hoffman looks to the right, sees the people gathering. He pulls off to the side of the road. He picks up the newspaper (when we see the material identifying him as Deaf). We also see that he has a toothache because his hand keeps going to his mouth and he makes little moaning sounds. He looks at the Dallas Morning News briefly, sets it aside, then looks at the map on the Dallas Times Herald . He looks down towards Dealey Plaza, back at the newspaper. He signs Ohhhh. He puts the newspaper down and exits the car, not hearing the honk of a car horn as he exits the car to watch from the side of the road.
NOTE: Intercut the traffic sounds of ext. car with the silence of the int. car.
M. TOP OF TSBD BUILDING, CLOCK AND HERTZ SIGN
THE CLOCK CHANGES FROM 12:28 TO 12:29.
N. INT. TSBD 6TH FLOOR.
Oswald gets into position as the motorcade approaches.
O. EXT. DEALEY PLAZA
Zapruder films the lead motorcyles going under the Triple Underpass, then turns his camera back to the corner of Houston and Elm. We see the LEAD CAR ahead of them turning onto Elm Street.
P. BACK TO DEALEY PLAZA — MOTORCADE APPROACHES—INTERCUT WITH MUCHMORE FILM & ALTGENS 5
LEAD MOTORCYCLES, LEAD CAR, PRESIDENTIAL LIMOUSINE, SS FOLLOW-UP CAR, VP LIMOUSINE, VP FOLLOW-UP CAR, DIGNITARY CAR, REST OF MOTORCADE
AS THE LIMOUSINE APPROACHES THE CORNER FROM HOUSTON ONTO ELM, the cheering of the crowd grows louder.
The DRIVER WILLIAM GREER is smiling, enjoying the adulation of the crowds. He swings the car wide for the turn. (In a moment, he’ll overcompensate by having to maneuver the limousine in a sort of “S” shape in the turn.) Inside the limousine, ROY KELLERMAN is looking at the spectators to his right. GOVERNOR CONNALLY is waving to bystanders on the right. KENNEDY is smiling and waving to bystanders on his right with his left hand as his right arm rests on the edge of the car. MRS. CONNALLY is waving to bystanders on the left. Behind her, JACKIE KENNEDY is smiling and nodding. There is a bouquet of RED ROSES on her lap. The FOUR ESCORT MOTORCYCLES have slowed almost to a stop during the turn. The SECRET SERVICE MEN on the running boards are looking at the bystanders, not at Kennedy. Really, only the DRIVER SAM KINNEY and GEORGE HICKEY have their eyes on Kennedy. The mood of the crowds and inside the limousine is ebullient. Everyone in the car is smiling. The crowd is happy and excited.
THE LEAD CAR TURNS THE CORNER ONTO HOUSTON, THEN THE LIMOUSINE TURNS THE CORNER, FOLLOWED CLOSELY BY THE SS FOLLOW-UP CAR. THE HOUSTON STREET SPECTATORS CHEER.
IKE ALTGENS snaps a picture, then picks up his gear and sets off across to his place on Elm Street.
Q. INSIDE THE LIMOUSINE
MRS. CONNALLY
(Turns briefly towards Kennedy) Mr. President, you can’t say that Dallas doesn’t love you.
KENNEDY
No, you certainly can’t.
Mrs. Connally faces forward again, and returns to waving at bystanders.
R. INT. LEAD CAR — CURRY’S POV
The lead car is starting down Elm Street.
S. INT. LEAD CAR — CURRY’S POV
CURRY is driving. Behind Curry is Sheriff BILL DECKER. In the front passenger seat is SSA WINSTON LAWSON, and behind Lawson is SSA FORREST SORRELS.
CURRY
(Into radio) Approaching Triple Underpass.
T. EXT. TSBD BUILDING
The clock changes from 12:29 to 12:30.
FADE TO
TEXT:
“Dallas, Texas, November 22, 1963, shortly before 12:30 p.m. Central Time”
DEALEY PLAZA
We get glimpses of various BYSTANDERS in Dealey Plaza, cheering, waiting for the motorcade to pass. (The advance car and pilot car, and advance motorcycles have already passed.) We see the five DPD LEAD MOTORCYCLES, followed by the LEAD CAR, and then the PRESIDENT’S LIMOUSINE, followed closely by the SECRET SERVICE FOLLOW-UP CAR, then LYNDON JOHNSON’S CAR and JOHNSON’S FOLLOW-UP CAR, followed by the rest of the motorcade, approach from Houston Street. Camera pans quickly across bystanders, stopping briefly at the ones named.
A. ON THE WEST SIDE OF HOUSTON STREET
Bystanders include amateur filmmakers MARIE MUCHMORE and ROBERT HUGHES, and professional photographer IKE ALTGENS (will run to Elm Street) and lots of other bystanders. A couple of cops holding traffic at the intersection.
B. ON THE EAST SIDE OF HOUSTON STREET
We see RUBY HENDERSON at the corner in front of the Dal-Tex Building and lots of other bystanders. Again, a couple of cops at the intersection, including patrol officer JOE MARSHALL SMITH.
C. NORTH SIDE OF ELM STREET AND IN FRONT OF THE TEXAS SCHOOL BOOK DEPOSITORY.
In the TSBD Doorway, we see BILLY LOVELACE and others. In front of the TSBD, we see Boy Scout ALAN SMITH and his FRIEND, jumping up and down and cheering in anticipation. And JAMES WORRELL, VIRGIE RACHLEY (BAKER), and various TSBD EMPLOYEES. Farther down Elm Street see KAREN WESTBROOK and friend and other TSBD employees. We see MARY WOODWARD (PILLSWORTH) and HER FRIEND showing excitement. They speak briefly.
MOMENTARY CLOSE ON MARY MOORMAN AND FRIEND
MARY WOODWARD’S FRIEND
I wonder what she’s wearing!
MARY WOODWARD
She’s always so elegant!
We see ABRAHAM ZAPRUDER and SECRETARY standing on the Zapruder pedestal. We see a BLACK COUPLE on the bench by the stairs, eating their lunch, which includes red soda pop. We see the CHISM FAMILY (John, Marvin Faye, and Ricky) standing near the Elm Street curb, (JOHN, WIFE MARVIN FAYE, with young son RICKY jumping up and down excitedly. We see UMBRELLA MAN and DARK COMPLECTED MAN. We see the NEWMAN FAMILY (BILL, WIFE GAYLE, TWO YOUNG SONS) clapping, with the parents bending down to talk to the children.
D. ON THE OPPOSITE SIDE OF ELM STREET
We see AMOS EUINS (16 years old Black male), HOWARD BRENNAN (45 year old white male, wearing hard hat), the TOWNER FAMILY (JIM TOWNER with camera, and WIFE PAT TOWNER with daughter TINA TOWNER holding her camera up to her eye. We see HUGH BETZNER getting his camera ready. We see young TONI GLOVER in her blue coat climbing up onto her pedestal and trying to maintain her balance. We see PIERCE ALLMAN with his friend standing on Elm Street. Allman grins, taps his friend, and starts to run closer to the corner. We see nearby Father ROBERT CROFT with his camera. We see the WILLIS FAMILY (PHIL WILLIS with his camera approaching Elm Street as his WIFE MARILYN hangs back and his TWO DAUGHTERS LINDA and ROSEMARY play a sort of game of tag). We see CHARLES BREHM and HIS SON approaching their location, Brehm carrying his son and setting him down. We see MARY MOORMAN and JEAN HILL talking excitedly to each other. (“Do you think he’ll wave to us?” “I hope so!”) Moorman has her Polaroid camera, and Hill is holding a couple of photographs that Moorman has already taken. We see MALCOLM SUMMERS (“The Falling Man” in the Zapruder Film) clapping as the lead cars pass. We see photographer RICHARD BOTHUN running across the grass toward his spot. We see IKE ALTGENS running across the grass and dropping his gear on the grass and getting his camera ready. We see the FRANZEN FAMILY (JACK FRANZEN and his WIFE and 6 year old SON) take a last step to their spot their spot and look towards the intersection in anticipation. The mood of the bystanders is happy and excited. The camera views are fleeting and somewhat chaotic.
(See the Don Roberdeaux map at https://educationforum.ipbhost.com/topic/19716-the-11-22-63-dealey-plaza-detailed-map-updated-new-address/ for more specifics on other witnesses and witness locations.
E. AREA IN FRONT OF THE GRASSY KNOLL.
ABRAHAM ZAPRUDER is on his pedestal. Marilyn Sitzman is behind him, holding onto his waist.
ZAPRUDER
(looking through his viewfinder) This is a good view. Don’t let go of me, now.
SITZMAN
No, sir.
The CHISM FAMILY (young black couple—JOHN and MARVIN FAYE—and their young son RICKY) is standing near the curb.
MARVIN FAYE CHISM
(to her young son) You’re so lucky. Not every little boy gets to see the President!
Nearby, the NEWMAN family (BILL, GAYLE, and children BILLY and CLAYTON) trots up to the curb, carrying their children, to take their place. They set their children down.
BILL NEWMAN
This is perfect! A whole lot closer than at the airport!
GAYLE NEWMAN
(to son Billy) Be sure to wave at him! And maybe he’ll wave back. We might even see Uncle Steve.
F. INT. TSBD 2ND FLOOR LUNCHROOM AREA
A BLACK JANITOR—EDDIE PIPER— Leaves his mop in a closet, goes to the refrigerator, takes out his brown paper bag lunch, and goes up the stairs.
G. INT. TSBD 4TH FLOOR
ELSIE DORMAN is getting her film camera ready. VICKI ADAMS, SANDRA STILES, and ANOTHER WOMAN are at another window, all preparing for the motorcade’s arrival.
VICKI ADAMS
Gonna film the President, Elsie?
ELSIE DORMAN
You know it.
SANDRA STILES
I’m hoping to see Jackie!
G. INT. NW STAIRWAY
BONNIE RAY WILLIAMS descends to the 5th floor from the 6th floor. After he leaves the stairway, we see EDDIE PIPER coming up the stairs, passing the 5thfloor, and continuing up.
H. INT. TSBD 5TH FLOOR
Three young BLACK MEN: HAROLD NORMAN and JAMES JARMAN are the open windows, Norman at the eastern most window, and Jarman at the next set of windows. They are preparing to watch the motorcade. BONNIE RAY WILLIAMS joins them and squats beside Norman at the eastern-most set of windows.
WILLIAMS
Looks like you got a pretty good view here.
NORMAN
(indicating) Cars are gonna come down Main, then come at us from Houston, then turn right in front of the building to get to Stemmons.
I. INT. TSBD 6TH FLOOR
EDDIE PIPER enters from the stairwell and moves to the front of the building, near windows. He uses a pile of boxes as a table and another box as a chair. He takes out his fried chicken, unwraps it, and starts to eat happily, obviously enjoying his food. He is unaware that LEE HARVEY OSWALD is hidden behind the boxes of his “Sniper’s Nest.” Oswald holds his rifle down by his side, and looks out the window. The two men are unaware of the other’s presence.
J. EXT. DEALEY PLAZA
ARNOLD and BARBARA ROWLAND, a young married couple not yet twenty years of age, are waiting for the motorcade. ARNOLD looks up and sees OSWALD standing next to the window with the RIFLE.
ARNOLD ROWLAND
(to Barbara) Hey, Barb! Look up there! 2nd row of windows down.
BARBARA ROWLAND
Is that a gun?
ARNOLD ROWLAND
Looks like. He must be a Secret Service man.
BARBARA ROWLAND
Boy, they sure are thorough.
K. STEMMONS FREEWAY
CARS are lined up, waiting for the Presidential motorcade to pass. Among them, we see the KBOX MOBILE RADIO UNIT.
L. ED HOFFMAN’S CAR — INTERCUT INT. AND EXT. CAR.
It is driven by a lone DEAF MAN ED HOFFMAN. We know he is deaf, because there is no sound or muted sound, and on the front passenger seat is the NOVEMBER, 1963 issue of DEAF AMERICAN or something from the TEXAS SCHOOL FOR THE DEAF Alumni Association archives? Or copy of Lottie Riekehof book Talk to the Deaf along with a copy of the Dallas Morning News.(November 22, 1963) and Dallas Times-Herald (November 21, 1963). Hoffman looks to the right, sees the people gathering. He pulls off to the side of the road. He picks up the newspaper (when we see the material identifying him as Deaf). We also see that he has a toothache because his hand keeps going to his mouth and he makes little moaning sounds. He looks at the Dallas Morning News briefly, sets it aside, then looks at the map on the Dallas Times Herald . He looks down towards Dealey Plaza, back at the newspaper. He signs Ohhhh. He puts the newspaper down and exits the car, not hearing the honk of a car horn as he exits the car to watch from the side of the road.
NOTE: Intercut the traffic sounds of ext. car with the silence of the int. car.
M. TOP OF TSBD BUILDING, CLOCK AND HERTZ SIGN
THE CLOCK CHANGES FROM 12:28 TO 12:29.
N. INT. TSBD 6TH FLOOR.
Oswald gets into position as the motorcade approaches.
O. EXT. DEALEY PLAZA
Zapruder films the lead motorcyles going under the Triple Underpass, then turns his camera back to the corner of Houston and Elm. We see the LEAD CAR ahead of them turning onto Elm Street.
P. BACK TO DEALEY PLAZA — MOTORCADE APPROACHES—INTERCUT WITH MUCHMORE FILM & ALTGENS 5
LEAD MOTORCYCLES, LEAD CAR, PRESIDENTIAL LIMOUSINE, SS FOLLOW-UP CAR, VP LIMOUSINE, VP FOLLOW-UP CAR, DIGNITARY CAR, REST OF MOTORCADE
AS THE LIMOUSINE APPROACHES THE CORNER FROM HOUSTON ONTO ELM, the cheering of the crowd grows louder.
The DRIVER WILLIAM GREER is smiling, enjoying the adulation of the crowds. He swings the car wide for the turn. (In a moment, he’ll overcompensate by having to maneuver the limousine in a sort of “S” shape in the turn.) Inside the limousine, ROY KELLERMAN is looking at the spectators to his right. GOVERNOR CONNALLY is waving to bystanders on the right. KENNEDY is smiling and waving to bystanders on his right with his left hand as his right arm rests on the edge of the car. MRS. CONNALLY is waving to bystanders on the left. Behind her, JACKIE KENNEDY is smiling and nodding. There is a bouquet of RED ROSES on her lap. The FOUR ESCORT MOTORCYCLES have slowed almost to a stop during the turn. The SECRET SERVICE MEN on the running boards are looking at the bystanders, not at Kennedy. Really, only the DRIVER SAM KINNEY and GEORGE HICKEY have their eyes on Kennedy. The mood of the crowds and inside the limousine is ebullient. Everyone in the car is smiling. The crowd is happy and excited.
THE LEAD CAR TURNS THE CORNER ONTO HOUSTON, THEN THE LIMOUSINE TURNS THE CORNER, FOLLOWED CLOSELY BY THE SS FOLLOW-UP CAR. THE HOUSTON STREET SPECTATORS CHEER.
IKE ALTGENS snaps a picture, then picks up his gear and sets off across to his place on Elm Street.
Q. INSIDE THE LIMOUSINE
MRS. CONNALLY
(Turns briefly towards Kennedy) Mr. President, you can’t say that Dallas doesn’t love you.
KENNEDY
No, you certainly can’t.
Mrs. Connally faces forward again, and returns to waving at bystanders.
R. INT. LEAD CAR — CURRY’S POV
The lead car is starting down Elm Street.
S. INT. LEAD CAR — CURRY’S POV
CURRY is driving. Behind Curry is Sheriff BILL DECKER. In the front passenger seat is SSA WINSTON LAWSON, and behind Lawson is SSA FORREST SORRELS.
CURRY
(Into radio) Approaching Triple Underpass.
T. EXT. TSBD BUILDING
The clock changes from 12:29 to 12:30.
-----
02. Briefing--Frazier Enters & Z-Film Background Info
BACK TO BRIEFING
The room door opens again to admit the WH POLICEMAN accompanying another Civilian. His “Visitor” badge identifies the civilian as ROBERT FRAZIER, FBI”
WH POLICEMAN
(Introducing the newcomer to the room) FBI Special Agent Robert Frazier, from the FBI crime lab. (Leads Frazier to the last empty seat, then leaves.)
AIDE
Welcome, Mr. Frazier. We just saw the film. Shall I show it again?
FRAZIER
I’ve seen it already.
GENERAL LEADER
(To Frazier) You understand that everything discussed here is Top Secret.
FRAZIER
Yes, sir.
GENERAL LEADER
(To Aide at the front of the room) Show the briefing boards.
AIDE
Yes, sir.
The lights in the room come up. The AIDE picks up a pointer stick and moves to various BRIEFING BOARDS set up on easels, which we see the back of, but not the front. The Aide talks as he moves to the first board.
AIDE
The film you just saw was taken by a bystander to the event who had an exceptionally good vantage point. These are briefing boards of key frames from the film. (Pointing to the first briefing board)Here, the resident’s car is in the process of turning the corner. The assassin is preparing to take his first shot.
(pointing to a different briefing board) Here, we can see the Vice President’s detail reacting to the gun that they can see in the window. Their car is farther back, and they have a better view of the window than the President’s detail. A couple of the Vice-President’s agents actually saw the gun sticking out of the window…
BACK TO BRIEFING
The room door opens again to admit the WH POLICEMAN accompanying another Civilian. His “Visitor” badge identifies the civilian as ROBERT FRAZIER, FBI”
WH POLICEMAN
(Introducing the newcomer to the room) FBI Special Agent Robert Frazier, from the FBI crime lab. (Leads Frazier to the last empty seat, then leaves.)
AIDE
Welcome, Mr. Frazier. We just saw the film. Shall I show it again?
FRAZIER
I’ve seen it already.
GENERAL LEADER
(To Frazier) You understand that everything discussed here is Top Secret.
FRAZIER
Yes, sir.
GENERAL LEADER
(To Aide at the front of the room) Show the briefing boards.
AIDE
Yes, sir.
The lights in the room come up. The AIDE picks up a pointer stick and moves to various BRIEFING BOARDS set up on easels, which we see the back of, but not the front. The Aide talks as he moves to the first board.
AIDE
The film you just saw was taken by a bystander to the event who had an exceptionally good vantage point. These are briefing boards of key frames from the film. (Pointing to the first briefing board)Here, the resident’s car is in the process of turning the corner. The assassin is preparing to take his first shot.
(pointing to a different briefing board) Here, we can see the Vice President’s detail reacting to the gun that they can see in the window. Their car is farther back, and they have a better view of the window than the President’s detail. A couple of the Vice-President’s agents actually saw the gun sticking out of the window…
-----
03. Dealey Plaza--Just Before Lem Johns Shot
A. INT. VP FOLLOW-UP CAR, VIEW FROM THE BACK SEAT, BLOND AGENT'S POV (MIDDLE OF REAR SEAT)
There are THREE PEOPLE in the front, the driver (a TX HIGHWAY PATROL OFFICER), a CIVILIAN (Johnson aide) in the middle, and SSA JERRY KIVETT on the right front of the front bench seat. There are also three people across the back bench seat, but we only see TWO: SA LEM JOHNS on the passenger side, and SA Warren Taylor (behind the driver). The POINT OF VIEW is the unnamed third person sitting between them. (This will be the BLOND AGENT, as revealed later.) JOHNS has head partway out the open window, his revolver in his hand at the ready, but below the level of the window.
The VP Follow-up car is still on Main Street but approaches the turn from Main onto Houston. We can see the Presidential limo just turned onto Houston, SS follow-up car right behind it, and VP limo starting the turn. The camera view pans to the LEFT side of the car, where we see ROBERT HUGHES filming towards the President’s car three cars ahead, and MARIE MUCHMORE filming is the VP car just ahead of VP Follow-up car. TAYLOR, on the driver’s side of the car, also has his gun out and ready, but out of sight below the window.
B. INTERCUT BETWEEN HISTORIC MARIE MUCHMORE FILM & HISTORIC ROBERT HUGHES FILM.
We see the President’s car & the follow-up car & VP car turn onto Houston.
C. INT. VP FOLLOW-UP CAR--BLOND AGENT'S POV There are THREE PEOPLE in the front, the driver (a TX HIGHWAY PATROL OFFICER), a CIVILIAN (Johnson aide) in the middle, and SSA JERRY KIVETT on the right front of the front bench seat. There are also three people across the back bench seat, but we only see TWO: SA LEM JOHNS on the passenger side, and SA Warren Taylor (behind the driver). In the back seat, JOHNS has head partway out the open window, his revolver in his hand at the ready, but below the level of the window. The VP Follow-up car is still on Main Street but approaches the turn from Main onto Houston. We can see the Presidential limo, SS follow-up car right behind it, and VP limo approaching the turn.
JOHNS
(Out of view of the camera) What the Hell is THAT?
The camera swings back to Johns, who is now opening his door and readying his gun to fire a warning shot into the air.
D. EXT. DEALEY PLAZA, TSBD FROM JOHN’S POINT OF VIEWWe see a gun barrel coming out of the assassin’s window just as the VP Follow-up car is making the turn onto Houston. Camera quickly zooms in on the gun to show what has drawn Lem Johns’ attention, then quickly zooms back out again to show how difficult it is to see.
E. INT. VP FOLLOW-UP CAR
JOHNS opens his door and shoots upward between the door and the car, giving a WARNING SHOT. KIVETT starts to open his door.
The camera swings back to the left, back to TAYLOR, on the opposite side of the car, who opens his door also.
F. HISTORIC MUCHMORE FILM CLIP
We see Taylor’s door opening as the camera jiggles, and FREEZE FRAME on Taylor’s open door.
G. DEALEY PLAZA—TONI GLOVER & MOTHER
TONI GLOVER
(to her mother) Did you see? He waved at me!
H. EXT. VP FOLLOW-UP CAR
Lem Johns fires a warning shot into the air.
I. DEALEY PLAZA—TONI GLOVER & MOTHER
There is a brief REVERSE effect, and we see the Taylor shot from the POV of the far side of Toni Glover's pedestal. We hear it over the noises of the crowd and the motorcycles.
TONI GLOVER
(confused) What was that?
MOTHER
Probably motorcycle backfire.
J. PRESIDENTIAL SS FOLLOW-UP CAR
There is a brief REVERSE effect, then Behind the car/agents/VP car on Houston Street,Lem Johns fires his warning shot. We barely hear the sound of the shot over the crowd and motorcycle noises. The only one who appears to react is Hickey, who takes on a puzzled expression.
K. PRESIDENTIAL SS FOLLOW-UP CAR—HICKEY’S POV
The camera/Hickey glances at his fellow agents, but none of them react.
L. PRESIDENTIAL SS FOLLOW-UP CAR
Hickey relaxes. It’s (apparently) nothing.
A. INT. VP FOLLOW-UP CAR, VIEW FROM THE BACK SEAT, BLOND AGENT'S POV (MIDDLE OF REAR SEAT)
There are THREE PEOPLE in the front, the driver (a TX HIGHWAY PATROL OFFICER), a CIVILIAN (Johnson aide) in the middle, and SSA JERRY KIVETT on the right front of the front bench seat. There are also three people across the back bench seat, but we only see TWO: SA LEM JOHNS on the passenger side, and SA Warren Taylor (behind the driver). The POINT OF VIEW is the unnamed third person sitting between them. (This will be the BLOND AGENT, as revealed later.) JOHNS has head partway out the open window, his revolver in his hand at the ready, but below the level of the window.
The VP Follow-up car is still on Main Street but approaches the turn from Main onto Houston. We can see the Presidential limo just turned onto Houston, SS follow-up car right behind it, and VP limo starting the turn. The camera view pans to the LEFT side of the car, where we see ROBERT HUGHES filming towards the President’s car three cars ahead, and MARIE MUCHMORE filming is the VP car just ahead of VP Follow-up car. TAYLOR, on the driver’s side of the car, also has his gun out and ready, but out of sight below the window.
B. INTERCUT BETWEEN HISTORIC MARIE MUCHMORE FILM & HISTORIC ROBERT HUGHES FILM.
We see the President’s car & the follow-up car & VP car turn onto Houston.
C. INT. VP FOLLOW-UP CAR--BLOND AGENT'S POV There are THREE PEOPLE in the front, the driver (a TX HIGHWAY PATROL OFFICER), a CIVILIAN (Johnson aide) in the middle, and SSA JERRY KIVETT on the right front of the front bench seat. There are also three people across the back bench seat, but we only see TWO: SA LEM JOHNS on the passenger side, and SA Warren Taylor (behind the driver). In the back seat, JOHNS has head partway out the open window, his revolver in his hand at the ready, but below the level of the window. The VP Follow-up car is still on Main Street but approaches the turn from Main onto Houston. We can see the Presidential limo, SS follow-up car right behind it, and VP limo approaching the turn.
JOHNS
(Out of view of the camera) What the Hell is THAT?
The camera swings back to Johns, who is now opening his door and readying his gun to fire a warning shot into the air.
D. EXT. DEALEY PLAZA, TSBD FROM JOHN’S POINT OF VIEWWe see a gun barrel coming out of the assassin’s window just as the VP Follow-up car is making the turn onto Houston. Camera quickly zooms in on the gun to show what has drawn Lem Johns’ attention, then quickly zooms back out again to show how difficult it is to see.
E. INT. VP FOLLOW-UP CAR
JOHNS opens his door and shoots upward between the door and the car, giving a WARNING SHOT. KIVETT starts to open his door.
The camera swings back to the left, back to TAYLOR, on the opposite side of the car, who opens his door also.
F. HISTORIC MUCHMORE FILM CLIP
We see Taylor’s door opening as the camera jiggles, and FREEZE FRAME on Taylor’s open door.
G. DEALEY PLAZA—TONI GLOVER & MOTHER
TONI GLOVER
(to her mother) Did you see? He waved at me!
H. EXT. VP FOLLOW-UP CAR
Lem Johns fires a warning shot into the air.
I. DEALEY PLAZA—TONI GLOVER & MOTHER
There is a brief REVERSE effect, and we see the Taylor shot from the POV of the far side of Toni Glover's pedestal. We hear it over the noises of the crowd and the motorcycles.
TONI GLOVER
(confused) What was that?
MOTHER
Probably motorcycle backfire.
J. PRESIDENTIAL SS FOLLOW-UP CAR
There is a brief REVERSE effect, then Behind the car/agents/VP car on Houston Street,Lem Johns fires his warning shot. We barely hear the sound of the shot over the crowd and motorcycle noises. The only one who appears to react is Hickey, who takes on a puzzled expression.
K. PRESIDENTIAL SS FOLLOW-UP CAR—HICKEY’S POV
The camera/Hickey glances at his fellow agents, but none of them react.
L. PRESIDENTIAL SS FOLLOW-UP CAR
Hickey relaxes. It’s (apparently) nothing.
-----
04--Briefing--Discussing Taylor's Shot
PARTICIPANT
It looks like the VICE President is getting better protection than the PRESIDENT.
KELLERMAN
(runs a hand through his hair in frustration. He knows what it looks like.) The Vice-President’s detail had a better view of the building and the window than the President’s detail, because they were farther back.
An indistinct argument starts to ensue between the Participant vs. Kellerman and Rowley, who is defending Kellerman.
GENERAL LEADER
(Loudly) Gentlemen, please! Can we get back to what happened, and save the commentary for later?
The argument stops, and General Leader nods at the Aide to continue.
AIDE
(Moves to the next briefing board.) Here, the driver of the President’s car nearly missed his turn onto the planned route. Then he saw the lead car and motorcycles ahead, and corrected his course.
PARTICIPANT
Moron!
PARTICIPANT
If he had gone straight, we wouldn’t be in this mess!
O’DONNELL
I thought they were turning down the access way in front of the Building rather than going straight. I thought the driver was just a little confused as to which of the roads they were turning onto.
KELLERMAN(Defending the driver) ACTUALLY, he didn’t miss the turn. It was a REALLY sharp, REALLY hard left turn. Driving that car is like driving a TANK! The driver didn’t miss his turn. He was just maneuvering that TANK around that turn, that’s all! No one else could have done any better!
O’DONNELL
Yes, it was a really hard turn, more than 90 degrees. I can vouch for that.
BURKLEY
That’s true.
GENERAL LEADER
It was a hard turn. Fine. The driver swung wide because the car was difficult to maneuver. Let’s continue, please.
AIDE
The car was going very slowly at this point, perhaps 3 to 5 miles per hour. (Points to the next briefing board.) And here is where the car was when assassin’s first shot was fired.
PARTICIPANT
It looks like the VICE President is getting better protection than the PRESIDENT.
KELLERMAN
(runs a hand through his hair in frustration. He knows what it looks like.) The Vice-President’s detail had a better view of the building and the window than the President’s detail, because they were farther back.
An indistinct argument starts to ensue between the Participant vs. Kellerman and Rowley, who is defending Kellerman.
GENERAL LEADER
(Loudly) Gentlemen, please! Can we get back to what happened, and save the commentary for later?
The argument stops, and General Leader nods at the Aide to continue.
AIDE
(Moves to the next briefing board.) Here, the driver of the President’s car nearly missed his turn onto the planned route. Then he saw the lead car and motorcycles ahead, and corrected his course.
PARTICIPANT
Moron!
PARTICIPANT
If he had gone straight, we wouldn’t be in this mess!
O’DONNELL
I thought they were turning down the access way in front of the Building rather than going straight. I thought the driver was just a little confused as to which of the roads they were turning onto.
KELLERMAN(Defending the driver) ACTUALLY, he didn’t miss the turn. It was a REALLY sharp, REALLY hard left turn. Driving that car is like driving a TANK! The driver didn’t miss his turn. He was just maneuvering that TANK around that turn, that’s all! No one else could have done any better!
O’DONNELL
Yes, it was a really hard turn, more than 90 degrees. I can vouch for that.
BURKLEY
That’s true.
GENERAL LEADER
It was a hard turn. Fine. The driver swung wide because the car was difficult to maneuver. Let’s continue, please.
AIDE
The car was going very slowly at this point, perhaps 3 to 5 miles per hour. (Points to the next briefing board.) And here is where the car was when assassin’s first shot was fired.
-----
05. Dealey Plaza--1st TSBD Shot
BACK TO DEALEY PLAZA RE-ENACTMENT
THE LIMOUSINE IS NOW PARTWAY THROUGH THE TURN ONTO ELM. Bystanders are cheering.
PIERCE ALLMAN steps towards the limo.
CLOSE ON ALLMAN
PIERCE ALLMAN
Welcome to Dallas, Mr. President!
During this, we hear the distant/muted shot from the VP Follow-up Car, muted by the cheers of the bystanders.
RIGHT REAR MOTORCYCLES
JACKSON turns to look at the VP Follow-up car, then signals to CHANEY, motioning for him (Chaney)to check on the President, and that he (Jackson) will stay there to wait for the VP Follow-up car.
CHANEY
(as in the Gallery record) All right, Jackson.
CLOSE UP ON PRESIDENTIAL LIMOUSINE AS IT FINISHES THE TURN.
We see Kennedy waving to crowd at street level with his left hand.
TSBD WINDOWS — JFK’S POV
Spectators are Cheering at the windows. At the 4th floor, ELSIE DOORMAN has a movie camera, etc. At the 5th floor, Harold Norman, Bonnie Ray Williams, and Harold Jarman are waving.
CLOSE ON KENNEDY
He looks upward towards the 6th floor as he waves at the spectators in the TSBD windows. His expression starts to change as he sees…
EXTERIOR TEXAS SCHOOL BOOK DEPOSITORY (TSBD), KENNEDY’S POINT-OF-VIEW. QUICK ZOOM IN ON THE ASSASSIN’S WINDOW.
The rifle is sticking out of the window, aimed right at Kennedy.
INTERIOR TEXAS SCHOOL BOOK DEPOSITORY (TSBD)--EDDIE PIPER'S POV
Oswald is about to shoot, towards the limousine just at the end of the turn, as seen from a point of view farther down the wall, past the boxes stacked to make his “Sniper’s Nest.”
CLOSE UP ON KENNEDY’S FACE.
Continuing from the last instant when we saw Kennedy with his left hand raised to wave at the window spectators, with his expression starting to change as he sees the gun, we hear a BANG, barely heard over the crowd and motorcycle noises, and suddenly see a small wound in his forehead over his right eye right at the hair line, and the small throat wound appear almost simultaneously (with the forehead wound appearing just one frame before the throat wound). Kennedy’s face slowly loses all expression, and his left hand and head start to drop slowly.
CLOSE UP ON ALLEN SMITH.
The Boy Scout’s expression changes suddenly from happy/excited to open-mouthed shock. He turns and looks up at the TSBD window.
BACK TO DEALEY PLAZA RE-ENACTMENT
THE LIMOUSINE IS NOW PARTWAY THROUGH THE TURN ONTO ELM. Bystanders are cheering.
PIERCE ALLMAN steps towards the limo.
CLOSE ON ALLMAN
PIERCE ALLMAN
Welcome to Dallas, Mr. President!
During this, we hear the distant/muted shot from the VP Follow-up Car, muted by the cheers of the bystanders.
RIGHT REAR MOTORCYCLES
JACKSON turns to look at the VP Follow-up car, then signals to CHANEY, motioning for him (Chaney)to check on the President, and that he (Jackson) will stay there to wait for the VP Follow-up car.
CHANEY
(as in the Gallery record) All right, Jackson.
CLOSE UP ON PRESIDENTIAL LIMOUSINE AS IT FINISHES THE TURN.
We see Kennedy waving to crowd at street level with his left hand.
TSBD WINDOWS — JFK’S POV
Spectators are Cheering at the windows. At the 4th floor, ELSIE DOORMAN has a movie camera, etc. At the 5th floor, Harold Norman, Bonnie Ray Williams, and Harold Jarman are waving.
CLOSE ON KENNEDY
He looks upward towards the 6th floor as he waves at the spectators in the TSBD windows. His expression starts to change as he sees…
EXTERIOR TEXAS SCHOOL BOOK DEPOSITORY (TSBD), KENNEDY’S POINT-OF-VIEW. QUICK ZOOM IN ON THE ASSASSIN’S WINDOW.
The rifle is sticking out of the window, aimed right at Kennedy.
INTERIOR TEXAS SCHOOL BOOK DEPOSITORY (TSBD)--EDDIE PIPER'S POV
Oswald is about to shoot, towards the limousine just at the end of the turn, as seen from a point of view farther down the wall, past the boxes stacked to make his “Sniper’s Nest.”
CLOSE UP ON KENNEDY’S FACE.
Continuing from the last instant when we saw Kennedy with his left hand raised to wave at the window spectators, with his expression starting to change as he sees the gun, we hear a BANG, barely heard over the crowd and motorcycle noises, and suddenly see a small wound in his forehead over his right eye right at the hair line, and the small throat wound appear almost simultaneously (with the forehead wound appearing just one frame before the throat wound). Kennedy’s face slowly loses all expression, and his left hand and head start to drop slowly.
CLOSE UP ON ALLEN SMITH.
The Boy Scout’s expression changes suddenly from happy/excited to open-mouthed shock. He turns and looks up at the TSBD window.
-----
06. Briefing--Discussing 1st Shot in Original Z-film
BACK TO BRIEFING
PARTICIPANT
I didn’t see this shot in the film.
AIDE
If you look closely, you can see the President’s hair lifting. That was the bullet exiting. But you have to look closely.
PARTICIPANT
I thought I saw some paper or something flying out of the car.
AIDE
That was a skull fragment, from the back of the President’s head where parts of the bullet exited.
PARTICIPANT
Where did it enter?
Humes opens his mouth to speak.
BACK TO BRIEFING
PARTICIPANT
I didn’t see this shot in the film.
AIDE
If you look closely, you can see the President’s hair lifting. That was the bullet exiting. But you have to look closely.
PARTICIPANT
I thought I saw some paper or something flying out of the car.
AIDE
That was a skull fragment, from the back of the President’s head where parts of the bullet exited.
PARTICIPANT
Where did it enter?
Humes opens his mouth to speak.
-----
07. AUTOPSY--Preparations: Pitzer, X-Rays Prep
AUTOPSY
The room is set up as in the O’Connor Morgue Diagram (see https://www.history-matters.com/archive/jfk/arrb/master_med_set/md201/html/md201_0001a.htm)
It is still early in the autopsy, and rather chaotic. Kennedy is lying on a table with a sheet over his lower body. We see a WOODEN CHOCK BLOCK under his head, and we see a PLAIN SHIPPING COFFIN next to the table. DR. HUMES, DR. BOSWELL, and YOUNG NAVY CORPSMEN (CHIEF MARTINELL and CHIEF MILLS) stand off to the side as FLOYD REIBE is snapping pictures. KELLERMAN can also be seen. There are MILITARY and CIVILIAN MEN in the GALLERY, some from the BRIEFING SCENES, including GENERAL LEMAY. JAMES JENKINS can be seen setting out autopsy implements for the “Y” incision, etc. JERROL CUSTER and ED REIBE are fiddling with the portable X-RAY MACHINE, adjusting settings, etc.
DR. EBERSOLE is on the PHONE.
There is general loud murmuring, especially from the gallery, with some pointing to the body. Meanwhile, Martinell and Mills move the shipping casket to its second location. FBI AGENTS SIEBERT AND O’NEILL are moving among the spectators, asking for their names, and writing them down. LeMay prepares to light a cigar, handing the cut end to his aide, who pockets it.
EBERSOLE
(On the phone) Yes. I understand. Don’t worry, I’ll take care of it.
WILLIAM PITZER enters the gallery area and fiddles with an overhead camera, turning it on.
O’NEILL
(To Pitzer) What are you doing?
PITZER
My job
.
O’NEILL
If you don’t have business here, you’ll have to leave!
PITZER
I’m not staying. I’m done.
He turns to leave. O’NEILL glances up at the fixed camera. Just then Reibe whips the sheet off the body for some full body pictures. There is a general gasp from the gallery, and O’Neill also turns to look. He doesn’t see the light that signals the camera is RECORDING.
REIBE starts snapping pictures.
KELLERMAN
(Alarmed, to Boswell) What’s he doing?
BOSWELL
Standard procedure. Full-body pictures.
Kellerman shakes his head. In the Gallery, LeMay lights his cigar and smokes it.
HUMES
(Sniffing) Who’s smoking?
Humes sees LeMay in the Gallery with his cigar.
HUMES
(To O’Connor) Tell him to put it out.
O’CONNOR
Yes, sir.
O’Connor goes up to LeMay.
O’CONNOR
I’m sorry, sir. You’ll have to put that out.
LEMAY looks at the junior officer disdainfully, and blows the cigar smoke into his face.
HUMES
(To Reibe) About done?
REIBE
Yes, sir.
HUMES nods to CUSTER and REED and then moves closer to the gallery.
HUMES
(To spectators) Gentlemen, I’m afraid you’ll have to clear the room. We’re about to take X-rays, and you don’t want to be exposed to the radiation.
LE MAY
I’m staying.
HUMES
You want your man-parts to shrivel up and die from radiation poisoning? Fine by me.
LeMay thinks the better of it and stands up to leave.
HUMES
We’ll call you back in when we’re done. And when you return, there is to be no smoking in the Morgue. It interferes with the autopsy procedures.
LEMAY looks at the cigar in his hand, clamps it in his teeth, and exits the room with most of the other spectators. Humes shares a look and a small secret smile with O’Connor. Meanwhile, Martinell and Mills cover the lower half of the body back up with the sheet. Humes goes over to them.
HUMES
Go search the President’s limousine. Bring me any bullets, bullet fragments, bone fragments—anything like that.
MILLS AND MARTINELL
Yes, sir. (They leave.)
BETHESDA HALLWAY OUTSIDE MORGUE
While the SPECTATORS mill around nearby, FLOYD REIBE fiddles with his camera, preparing to change film. KELLERMAN comes up to him.
KELLERMAN
(To Reibe) That sure is a fancy camera. Mind if I take a look at it?
REIBE
Well, I’m not sure. I’m--
KELLERMAN
Come on, I’m Secret Service.
REIBE
Well, you can look, but--
Kellerman grabs it out of his hands
REIBE
Hey!
Kellerman opens the camera, takes out the film, and exposes it as Reibe tries to get it back.
REIBE
You can’t do that!
KELLERMAN
(Handing back the camera and exposed film) I just did!
Kellerman moves away, leaving Reibe stunned.
AUTOPSY — L LATERAL X-RAY, MANEUVER AROUND SINK
The room is mostly empty of spectators. Just HUMES, BOSWELL, CUSTER, REED, SIEBERT, and O’NEILL are left in the room. CUSTER and REED are maneuvering the X-ray machine to take the AP X-ray of the skull, putting the machine where shipping the coffin had been.
CUSTER
(To Reed) Careful. He’s, like, falling apart here. (Meaning, JFK’s head is in a fragile state.)
HUMES
(To Siebert and O’Neill) You have to leave the room, too. You can’t be in here when we’re doing X-Rays.
O’NEILL
Hoover told us to stay with the body the entire time. We stay.
HUMES
Do you know what an X-ray is? It’s RADIATION.
O’NEILL
They’re in the room. You’re in the room. We stay.
CUSTER
(To Humes, putting on a lead apron) We’re ready.
HUMES
(To Siebert and O’Neill) Well, at least move back here.
Custer and Reed finish putting on their lead aprons.
CUSTER
Clear!
We hear the brief buzz of an X-ray being taken. With Reed’s help, Custer carefully takes the plate from under Kennedy’s head.
CUSTER
Let’s do the right lateral next.
They try to maneuver the awkward portable machine from the gallery side of the table to the other side, but the space between the table and the sink is too narrow.
REIBE
What do you want to do? Move some of this stuff out of the way?
CUSTER
(fiddling with the arm) I think I can just get it. Might cut off a tiny bit, but not enough to matter.
AUTOPSY
The room is set up as in the O’Connor Morgue Diagram (see https://www.history-matters.com/archive/jfk/arrb/master_med_set/md201/html/md201_0001a.htm)
It is still early in the autopsy, and rather chaotic. Kennedy is lying on a table with a sheet over his lower body. We see a WOODEN CHOCK BLOCK under his head, and we see a PLAIN SHIPPING COFFIN next to the table. DR. HUMES, DR. BOSWELL, and YOUNG NAVY CORPSMEN (CHIEF MARTINELL and CHIEF MILLS) stand off to the side as FLOYD REIBE is snapping pictures. KELLERMAN can also be seen. There are MILITARY and CIVILIAN MEN in the GALLERY, some from the BRIEFING SCENES, including GENERAL LEMAY. JAMES JENKINS can be seen setting out autopsy implements for the “Y” incision, etc. JERROL CUSTER and ED REIBE are fiddling with the portable X-RAY MACHINE, adjusting settings, etc.
DR. EBERSOLE is on the PHONE.
There is general loud murmuring, especially from the gallery, with some pointing to the body. Meanwhile, Martinell and Mills move the shipping casket to its second location. FBI AGENTS SIEBERT AND O’NEILL are moving among the spectators, asking for their names, and writing them down. LeMay prepares to light a cigar, handing the cut end to his aide, who pockets it.
EBERSOLE
(On the phone) Yes. I understand. Don’t worry, I’ll take care of it.
WILLIAM PITZER enters the gallery area and fiddles with an overhead camera, turning it on.
O’NEILL
(To Pitzer) What are you doing?
PITZER
My job
.
O’NEILL
If you don’t have business here, you’ll have to leave!
PITZER
I’m not staying. I’m done.
He turns to leave. O’NEILL glances up at the fixed camera. Just then Reibe whips the sheet off the body for some full body pictures. There is a general gasp from the gallery, and O’Neill also turns to look. He doesn’t see the light that signals the camera is RECORDING.
REIBE starts snapping pictures.
KELLERMAN
(Alarmed, to Boswell) What’s he doing?
BOSWELL
Standard procedure. Full-body pictures.
Kellerman shakes his head. In the Gallery, LeMay lights his cigar and smokes it.
HUMES
(Sniffing) Who’s smoking?
Humes sees LeMay in the Gallery with his cigar.
HUMES
(To O’Connor) Tell him to put it out.
O’CONNOR
Yes, sir.
O’Connor goes up to LeMay.
O’CONNOR
I’m sorry, sir. You’ll have to put that out.
LEMAY looks at the junior officer disdainfully, and blows the cigar smoke into his face.
HUMES
(To Reibe) About done?
REIBE
Yes, sir.
HUMES nods to CUSTER and REED and then moves closer to the gallery.
HUMES
(To spectators) Gentlemen, I’m afraid you’ll have to clear the room. We’re about to take X-rays, and you don’t want to be exposed to the radiation.
LE MAY
I’m staying.
HUMES
You want your man-parts to shrivel up and die from radiation poisoning? Fine by me.
LeMay thinks the better of it and stands up to leave.
HUMES
We’ll call you back in when we’re done. And when you return, there is to be no smoking in the Morgue. It interferes with the autopsy procedures.
LEMAY looks at the cigar in his hand, clamps it in his teeth, and exits the room with most of the other spectators. Humes shares a look and a small secret smile with O’Connor. Meanwhile, Martinell and Mills cover the lower half of the body back up with the sheet. Humes goes over to them.
HUMES
Go search the President’s limousine. Bring me any bullets, bullet fragments, bone fragments—anything like that.
MILLS AND MARTINELL
Yes, sir. (They leave.)
BETHESDA HALLWAY OUTSIDE MORGUE
While the SPECTATORS mill around nearby, FLOYD REIBE fiddles with his camera, preparing to change film. KELLERMAN comes up to him.
KELLERMAN
(To Reibe) That sure is a fancy camera. Mind if I take a look at it?
REIBE
Well, I’m not sure. I’m--
KELLERMAN
Come on, I’m Secret Service.
REIBE
Well, you can look, but--
Kellerman grabs it out of his hands
REIBE
Hey!
Kellerman opens the camera, takes out the film, and exposes it as Reibe tries to get it back.
REIBE
You can’t do that!
KELLERMAN
(Handing back the camera and exposed film) I just did!
Kellerman moves away, leaving Reibe stunned.
AUTOPSY — L LATERAL X-RAY, MANEUVER AROUND SINK
The room is mostly empty of spectators. Just HUMES, BOSWELL, CUSTER, REED, SIEBERT, and O’NEILL are left in the room. CUSTER and REED are maneuvering the X-ray machine to take the AP X-ray of the skull, putting the machine where shipping the coffin had been.
CUSTER
(To Reed) Careful. He’s, like, falling apart here. (Meaning, JFK’s head is in a fragile state.)
HUMES
(To Siebert and O’Neill) You have to leave the room, too. You can’t be in here when we’re doing X-Rays.
O’NEILL
Hoover told us to stay with the body the entire time. We stay.
HUMES
Do you know what an X-ray is? It’s RADIATION.
O’NEILL
They’re in the room. You’re in the room. We stay.
CUSTER
(To Humes, putting on a lead apron) We’re ready.
HUMES
(To Siebert and O’Neill) Well, at least move back here.
Custer and Reed finish putting on their lead aprons.
CUSTER
Clear!
We hear the brief buzz of an X-ray being taken. With Reed’s help, Custer carefully takes the plate from under Kennedy’s head.
CUSTER
Let’s do the right lateral next.
They try to maneuver the awkward portable machine from the gallery side of the table to the other side, but the space between the table and the sink is too narrow.
REIBE
What do you want to do? Move some of this stuff out of the way?
CUSTER
(fiddling with the arm) I think I can just get it. Might cut off a tiny bit, but not enough to matter.
-----
08. Back to Briefing--Did you find any bullets in the autopsy?
BACK TO BRIEFING
PARTICIPANT
Did you find any bullets in the body?
HUMES
We found numerous small fragments in the brain, and one rather large fragment that came from the shoulder wound.
BACK TO BRIEFING
PARTICIPANT
Did you find any bullets in the body?
HUMES
We found numerous small fragments in the brain, and one rather large fragment that came from the shoulder wound.
-----
09. Autopsy--Custer Finds King-Size Fragment
BACK TO AUTOPSY
CUSTER
Help me lift him, and we’ll get some chest views.
Custer has plates ready to slide under JFK’s shoulders in one hand, and Reibe helps lift him. There is a tink as a large bullet fragment falls out of the back wound onto the table.
REIBE
Hey!
CUSTER
Is that a bullet?
Humes overhears and immediately comes over, grabbing forceps and a metal dish.
CUSTER
(peers closer) No, it’s a fragment. A king-size one.
Humes picks up the large fragment with the forceps and drops it into the metal dish.
BACK TO AUTOPSY
CUSTER
Help me lift him, and we’ll get some chest views.
Custer has plates ready to slide under JFK’s shoulders in one hand, and Reibe helps lift him. There is a tink as a large bullet fragment falls out of the back wound onto the table.
REIBE
Hey!
CUSTER
Is that a bullet?
Humes overhears and immediately comes over, grabbing forceps and a metal dish.
CUSTER
(peers closer) No, it’s a fragment. A king-size one.
Humes picks up the large fragment with the forceps and drops it into the metal dish.
-----
10. Briefing--Discussing Custer Fragment
BACK TO BRIEFING
PARTICIPANT
It just fell out of the body?
HUMES
Er, yes. It had been buried in the back of the shoulder and fell out when the body was lifted for X-rays.
PARTICIPANT
Where did it enter?
HUMES
It apparently fell out of the same hole it created when it entered. It didn’t have a lot of velocity. It didn’t penetrate very far.
PARTICIPANT
Not much velocity?
HUMES
Possibly from a ricochet. We think it bounced off some part of the limousine and then buried into the President’s shoulder.
BACK TO BRIEFING
PARTICIPANT
It just fell out of the body?
HUMES
Er, yes. It had been buried in the back of the shoulder and fell out when the body was lifted for X-rays.
PARTICIPANT
Where did it enter?
HUMES
It apparently fell out of the same hole it created when it entered. It didn’t have a lot of velocity. It didn’t penetrate very far.
PARTICIPANT
Not much velocity?
HUMES
Possibly from a ricochet. We think it bounced off some part of the limousine and then buried into the President’s shoulder.
-----
11. Autopsy--Custer Sees Jackie
AUTOPSY — BETHESDA STAIRWAY AND HALLWAY, A SHORT TIME LATER
CUSTER and REED are walking back to the X-ray lab, heading up the stairs.
CUSTER
Dr. Humes wants these developed ASAP. Ebersole will meet us back in the morgue when we’re done this batch.
Custer notices that HE’S the one carrying the X-rays, not the junior officer.
CUSTER
Why am I carrying these? That’s what JUNIOR officers are for!
Custer hands the X-rays to Reibe. They continue walking.
CUSTER
This whole thing is a goddam circus. Between the coffin on the one side of the table and the sink on the other, I could barely get the head X-rays. That left lateral one, especially!
REED
That left lateral was iffy, wasn’t it? We couldn’t hardly get the machine in close enough.
CUSTER
If we’re lucky, we may have just gotten it.
REED
(A beat) Did you double-load the film?
Custer stops, causing Reed to stop, too. There is a WINDOW overlooking the FIRST FLOOR ATRIUM nearby.
CUSTER
Shhhh! Don’t tell no one!
REED
Why did you do that?
CUSTER
I don’t know. Something about this whole business just strikes me as fishy. ‘Find the bullets,’ Ebersole says. ‘We’ve got to find all the bullets!’ I never seen any autopsy like this. It’s a goddam circus. Then Ebersole makes me take my marker off the X-rays, won’t let me use it. Somethin’ ain’t right. He’s a stuck-up son-of-a-bitch on his best days, and today he’s actin’ like he’s tryin’ to hide somethin’. ‘Find the bullets!’ He says, and then he won’t let me use my marker! Somethin’s up, for sure. They’re tryin’ to hide somethin’. I just don’t know what. They ain’t interested in finding out what happened as much as finding the bullets.
REED
Well, we found one of the bullets, didn’t we?
CUSTER
It was a fragment. Let’s get these developed, and maybe we’ll find the rest of the bullets.
REED glances out the 2nd floor window at the ATRIUM BELOW, and stops. JACKIE KENNEDY and BOBBY KENNEDY are escorted inside by CLINT HILL,
PAUL LANDIS, and a couple of other agents, along with st least one woman assistant for Jackie, and a couple of other people. Outside, visible through the open sliding doors as the group is entering, there is a HEARSE AMBULANCE visible.
REED
Is that JACKIE? And BOBBY?
CUSTER
(Looking) Yeah.
REED
What’s an ambulance doin’ out there, when they already brought the body in by helicopter?
CUSTER
Who knows. Come on. We’ve got work to do.
AUTOPSY — BETHESDA STAIRWAY AND HALLWAY, A SHORT TIME LATER
CUSTER and REED are walking back to the X-ray lab, heading up the stairs.
CUSTER
Dr. Humes wants these developed ASAP. Ebersole will meet us back in the morgue when we’re done this batch.
Custer notices that HE’S the one carrying the X-rays, not the junior officer.
CUSTER
Why am I carrying these? That’s what JUNIOR officers are for!
Custer hands the X-rays to Reibe. They continue walking.
CUSTER
This whole thing is a goddam circus. Between the coffin on the one side of the table and the sink on the other, I could barely get the head X-rays. That left lateral one, especially!
REED
That left lateral was iffy, wasn’t it? We couldn’t hardly get the machine in close enough.
CUSTER
If we’re lucky, we may have just gotten it.
REED
(A beat) Did you double-load the film?
Custer stops, causing Reed to stop, too. There is a WINDOW overlooking the FIRST FLOOR ATRIUM nearby.
CUSTER
Shhhh! Don’t tell no one!
REED
Why did you do that?
CUSTER
I don’t know. Something about this whole business just strikes me as fishy. ‘Find the bullets,’ Ebersole says. ‘We’ve got to find all the bullets!’ I never seen any autopsy like this. It’s a goddam circus. Then Ebersole makes me take my marker off the X-rays, won’t let me use it. Somethin’ ain’t right. He’s a stuck-up son-of-a-bitch on his best days, and today he’s actin’ like he’s tryin’ to hide somethin’. ‘Find the bullets!’ He says, and then he won’t let me use my marker! Somethin’s up, for sure. They’re tryin’ to hide somethin’. I just don’t know what. They ain’t interested in finding out what happened as much as finding the bullets.
REED
Well, we found one of the bullets, didn’t we?
CUSTER
It was a fragment. Let’s get these developed, and maybe we’ll find the rest of the bullets.
REED glances out the 2nd floor window at the ATRIUM BELOW, and stops. JACKIE KENNEDY and BOBBY KENNEDY are escorted inside by CLINT HILL,
PAUL LANDIS, and a couple of other agents, along with st least one woman assistant for Jackie, and a couple of other people. Outside, visible through the open sliding doors as the group is entering, there is a HEARSE AMBULANCE visible.
REED
Is that JACKIE? And BOBBY?
CUSTER
(Looking) Yeah.
REED
What’s an ambulance doin’ out there, when they already brought the body in by helicopter?
CUSTER
Who knows. Come on. We’ve got work to do.
-----
12. Briefing--Fragment Trail in X-ray
BACK TO BRIEFING
PARTICIPANT
(To Humes) You say you saw a fragment trail on the X-rays?
HUMES
That’s right.
BACK TO BRIEFING
PARTICIPANT
(To Humes) You say you saw a fragment trail on the X-rays?
HUMES
That’s right.
-----
13. Autopsy--Custer Returns with X-rays, which Ebersole Damages
BACK TO AUTOPSY
The morgue is noisy again, with a lot of people in the gallery, and autopsy people working. CUSTER enters, carrying developed X-rays. He nods to HUMES, who is working over the abdomen, removing intestines and putting them into a bowl being held by JENKINS.
HUMES
(To Jenkins) Go through these very carefully, and let me know if you find anything.
JENKINS carries the intestines to the sink, passing Custer. Boswell notices Custer and nudges Humes, then points to Custer
CUSTER
Sirs? I have your X-rays.
Custer starts putting them in the display clips. Ebersole grabs them from him, holds them up to the light and peers at them. He starts with a RIGHT LATERAL X-ray, showing a conical bullet fragment trail originating at the forehead location.
EBERSOLE
(Looking at the X-ray) Find any bullets?
Custer points to the forehead area in the X-ray Ebersole is holding.
CUSTER
No. But that looks like a--
EBERSOLE
Shut up! It’s not your job to look at the X-rays, just to take ‘em!
Custer closes his mouth. He is clearly not happy with the situation.
Ebersole studies the X-ray a moment longer, then smirks and moves to hold the X-ray up next to the bare lightbulb. The X-ray starts to burn.
CUSTER
Dr. Ebersole!
Custer’s outcry causes DR. HUMES and GALLERY SPECTATORS to look over at Ebersole
HUMES
(rushing over) John! What are you doing?
EBERSOLE
(Pulling the X-ray back, sees the gallery spectators looking at him) What? Oh, sorry. My mistake.
Humes takes the remaining X-rays from Custer and puts them up on the light board.
EBERSOLE
(Quietly, to Custer) If you know what’s good for you, you’ll keep your mouth shut!
Custer exchanges a look with Reed, and they leave.
BACK TO AUTOPSY
The morgue is noisy again, with a lot of people in the gallery, and autopsy people working. CUSTER enters, carrying developed X-rays. He nods to HUMES, who is working over the abdomen, removing intestines and putting them into a bowl being held by JENKINS.
HUMES
(To Jenkins) Go through these very carefully, and let me know if you find anything.
JENKINS carries the intestines to the sink, passing Custer. Boswell notices Custer and nudges Humes, then points to Custer
CUSTER
Sirs? I have your X-rays.
Custer starts putting them in the display clips. Ebersole grabs them from him, holds them up to the light and peers at them. He starts with a RIGHT LATERAL X-ray, showing a conical bullet fragment trail originating at the forehead location.
EBERSOLE
(Looking at the X-ray) Find any bullets?
Custer points to the forehead area in the X-ray Ebersole is holding.
CUSTER
No. But that looks like a--
EBERSOLE
Shut up! It’s not your job to look at the X-rays, just to take ‘em!
Custer closes his mouth. He is clearly not happy with the situation.
Ebersole studies the X-ray a moment longer, then smirks and moves to hold the X-ray up next to the bare lightbulb. The X-ray starts to burn.
CUSTER
Dr. Ebersole!
Custer’s outcry causes DR. HUMES and GALLERY SPECTATORS to look over at Ebersole
HUMES
(rushing over) John! What are you doing?
EBERSOLE
(Pulling the X-ray back, sees the gallery spectators looking at him) What? Oh, sorry. My mistake.
Humes takes the remaining X-rays from Custer and puts them up on the light board.
EBERSOLE
(Quietly, to Custer) If you know what’s good for you, you’ll keep your mouth shut!
Custer exchanges a look with Reed, and they leave.
-----
14. BRIEFING--Discussing 1st Shot Entrance/Exit
BACK TO BRIEFING
PARTICIPANT
(Pointing to the forehead entrance) So the first bullet entered here. Where did it exit?
HUMES
There were actually multiple exit points. The bullet fragmented upon impact, and pieces of the bullet exited the skull at various points. It also knocked out a piece of skull. That was brought to us into the autopsy from Dealey Plaza.
BACK TO BRIEFING
PARTICIPANT
(Pointing to the forehead entrance) So the first bullet entered here. Where did it exit?
HUMES
There were actually multiple exit points. The bullet fragmented upon impact, and pieces of the bullet exited the skull at various points. It also knocked out a piece of skull. That was brought to us into the autopsy from Dealey Plaza.
-----
15. DEALEY PLAZA--Effects of 1st TSBD Shot: Brain Blob, Skull Bone Fragment, Throat Wound, Bystander Reactions, Hickey, Various POV's.
DEALEY PLAZA--ZAPRUDER'S POV
With JFK turned to his right and looking up at the building, we hear a BANG! mixed with the sounds of motorcycle engines and crowd noises. The entrance is not clearly visible, but we can see JFK’s hair lift momentarily as a SKULL BONE FRAGMENT and BLOB OF BRAIN eject from the back of his head. Only 1-2 frames later, we can barely see the small THROAT WOUND appear. The SKULL BONE FRAGMENT flies towards Jackie while the blob of brain heads towards the top of the seat back, but from this distance, it just looks like stuff briefly flying around in the car. The SKULL FRAGMENT hits Jackie’s hat and bounces off, to fly towards the cheek of motorcycle officer Bobby Hargis. The BLOB OF BRAIN lands at the top of the seat back/trunk between JFK and Jackie. This is all at normal speed and somewhat indistinct.
REPEAT OF SEQUENCE, CLOSE IN AND SLOW MOTION:
The previous sequence is run with a quick rewind/reverse. Then we see OSWALD pulling the trigger for his first shot. We hear a PROLONGED BANG as he shoots, and from the various POVs that best show the sequence, we see the entire sequence play out again.
The FOREHEAD SHOT strikes JFK in the right temple/forehead just above the outside edge of the right eye and just at the hairline as
JFK is turned to his right, looking up at the TSBD window.
Then we see JFK’s HAIR FLY UP and we see the ejection of: A LARGE SKULL FRAGMENT, and some SMALLER SKULL FRAGMENTS, THREE LARGE BULLET FRAGMENTS (the nose and tail fragments and the large “king-size” middle section), a BLOB OF BRAIN matter, and SPLATTER.
Then we see the BULLET FRAGMENT RICOCHETS striking the top of the seat back.
One large BULLET FRAGMENT ricochets off the seat back and heads back towards the BACK WOUND LOCATION, where it enters JFK’s back.
The TWO OTHER BULLET FRAGMENTS ricochet off the seat back and head generally towards the front of the limousine.
Meanwhile, a SKULL FRAGMENT and a BLOB OF BRAIN eject and heads towards the trunk of the limousine. The BLOB OF BRAIN lands on the back trunk of the limousine.
We follow the LARGE SKULL BONE FRAGMENT as it HITS MOMENTARILY ON JACKIE’S HAT BEFORE BEING BLOWN OFF AGAIN, leaving a bit of shmutz where it hit.
We see the SMALL THROAT WOUND APPEAR. (This will be explained momentarily.)
We return to follow THE SKULL BONE FRAGMENT as it flies through the air and lands on the right cheek of DPD MOTORCYCLE OFFICER Bobby Hargis.
The PROLONGED BANG dies away.
We return to NORMAL TIME for REACTIONS.
The sounds of motorcycle engines and crowd noises becomes more pronounced as we…
CLOSE UP ON PIERCE ALLMAN. HIS EXPRESSION IS SHOCKED. HE LOOKS FROM KENNEDY UP TO THE TSBD WINDOW.
CLOSE UP ON TONI GLOVER
She has been looking at her mother and turns her head at the sound of the shot. Her expression is confused.
FOLLOW-UP CAR
Running board agents are looking at bystanders to the left and right, as are Roberts, Bennett, Powers, and O’Donnell. None of these men react. Clint Hill takes on a puzzled expression and starts to turn his head to the right to look at JFK. KINNEY and HICKEY looking straight ahead and see something. KINNEY’S expression is puzzled. HICKEY sees the skull fragment fly towards Hargis and turns his head to peer at Hargis.
CLOSE ON HARGIS, HICKEY’S POV
We see the SKULL FRAGMENT on his cheek.
CLOSE ON HICKEY
Hickey’s expression is alarmed as he peers at the skull bone fragment that has landed on Hargis. He turns forward again and reaches towards the floor of the car.
FLOOR OF THE FOLLOW-UP CAR
Hickey’s hand reaches for the AR-15.
DEALEY PLAZA--ZAPRUDER'S POV
With JFK turned to his right and looking up at the building, we hear a BANG! mixed with the sounds of motorcycle engines and crowd noises. The entrance is not clearly visible, but we can see JFK’s hair lift momentarily as a SKULL BONE FRAGMENT and BLOB OF BRAIN eject from the back of his head. Only 1-2 frames later, we can barely see the small THROAT WOUND appear. The SKULL BONE FRAGMENT flies towards Jackie while the blob of brain heads towards the top of the seat back, but from this distance, it just looks like stuff briefly flying around in the car. The SKULL FRAGMENT hits Jackie’s hat and bounces off, to fly towards the cheek of motorcycle officer Bobby Hargis. The BLOB OF BRAIN lands at the top of the seat back/trunk between JFK and Jackie. This is all at normal speed and somewhat indistinct.
REPEAT OF SEQUENCE, CLOSE IN AND SLOW MOTION:
The previous sequence is run with a quick rewind/reverse. Then we see OSWALD pulling the trigger for his first shot. We hear a PROLONGED BANG as he shoots, and from the various POVs that best show the sequence, we see the entire sequence play out again.
The FOREHEAD SHOT strikes JFK in the right temple/forehead just above the outside edge of the right eye and just at the hairline as
JFK is turned to his right, looking up at the TSBD window.
Then we see JFK’s HAIR FLY UP and we see the ejection of: A LARGE SKULL FRAGMENT, and some SMALLER SKULL FRAGMENTS, THREE LARGE BULLET FRAGMENTS (the nose and tail fragments and the large “king-size” middle section), a BLOB OF BRAIN matter, and SPLATTER.
Then we see the BULLET FRAGMENT RICOCHETS striking the top of the seat back.
One large BULLET FRAGMENT ricochets off the seat back and heads back towards the BACK WOUND LOCATION, where it enters JFK’s back.
The TWO OTHER BULLET FRAGMENTS ricochet off the seat back and head generally towards the front of the limousine.
Meanwhile, a SKULL FRAGMENT and a BLOB OF BRAIN eject and heads towards the trunk of the limousine. The BLOB OF BRAIN lands on the back trunk of the limousine.
We follow the LARGE SKULL BONE FRAGMENT as it HITS MOMENTARILY ON JACKIE’S HAT BEFORE BEING BLOWN OFF AGAIN, leaving a bit of shmutz where it hit.
We see the SMALL THROAT WOUND APPEAR. (This will be explained momentarily.)
We return to follow THE SKULL BONE FRAGMENT as it flies through the air and lands on the right cheek of DPD MOTORCYCLE OFFICER Bobby Hargis.
The PROLONGED BANG dies away.
We return to NORMAL TIME for REACTIONS.
The sounds of motorcycle engines and crowd noises becomes more pronounced as we…
CLOSE UP ON PIERCE ALLMAN. HIS EXPRESSION IS SHOCKED. HE LOOKS FROM KENNEDY UP TO THE TSBD WINDOW.
CLOSE UP ON TONI GLOVER
She has been looking at her mother and turns her head at the sound of the shot. Her expression is confused.
FOLLOW-UP CAR
Running board agents are looking at bystanders to the left and right, as are Roberts, Bennett, Powers, and O’Donnell. None of these men react. Clint Hill takes on a puzzled expression and starts to turn his head to the right to look at JFK. KINNEY and HICKEY looking straight ahead and see something. KINNEY’S expression is puzzled. HICKEY sees the skull fragment fly towards Hargis and turns his head to peer at Hargis.
CLOSE ON HARGIS, HICKEY’S POV
We see the SKULL FRAGMENT on his cheek.
CLOSE ON HICKEY
Hickey’s expression is alarmed as he peers at the skull bone fragment that has landed on Hargis. He turns forward again and reaches towards the floor of the car.
FLOOR OF THE FOLLOW-UP CAR
Hickey’s hand reaches for the AR-15.
-----
16. Briefing--What did bystanders see?
BACK TO BRIEFING
PARTICIPANT
What about the bystanders in Dallas? What did THEY see?
GENERAL LEADER
Most didn’t know what they were seeing.
BACK TO BRIEFING
PARTICIPANT
What about the bystanders in Dallas? What did THEY see?
GENERAL LEADER
Most didn’t know what they were seeing.
-----
17. Dealey Plaza--Spectator Reactions
DEALEY PLAZA WIDER VIEW OF FIRST SHOT—KAREN WESTBROOK’S POV
We see the first shot again, from farther away than before, with Kennedy’s HAIR LIFTING or rippling upwards at the back of his head at the same time as the forehead wound and throat wound appearances (these wounds are barely visible), and a SKULL FRAGMENT and BLOB OF BRAIN eject from the back of Kennedy’s head. The skull fragment bounces off the seat back towards Jackie’s hat, while the blob lands on the back of the trunk. We see Kennedy’s hand slowly fall as his head turns forward and starts to drop. The sounds of the motorcycles and crowd are prominent. A few members of the crowd are startled. Most don't realize Kennedy has just been shot and continue cheering.
CLOSE UP ON KAREN WESTBROOK.
Her expression becomes puzzled.
WESTBROOK’S FRIEND
(Excitedly) I think he’s waving at us.
KAREN WESTBROOK
I saw his hair fly up.
FROM THE FRONT OF THE LIMOUSINE, MORE DISTANT VIEW OF SKULL FRAGMENT EJECTION—JACK FRANZEN’S POINT OF VIEW
CLOSE UP ON JACK FRANZEN AND HIS WIFE
JACK FRANZEN
(Looking up Elm Street but talking to his wife) Someone just threw a firecracker into the car.
MRS. FRANZEN
Kids these days!
CLOSE UP ON RUBY HENDERSON
RUBY HENDERSON
(To herself) Was that paper?
DEALEY PLAZA WIDER VIEW OF FIRST SHOT—KAREN WESTBROOK’S POV
We see the first shot again, from farther away than before, with Kennedy’s HAIR LIFTING or rippling upwards at the back of his head at the same time as the forehead wound and throat wound appearances (these wounds are barely visible), and a SKULL FRAGMENT and BLOB OF BRAIN eject from the back of Kennedy’s head. The skull fragment bounces off the seat back towards Jackie’s hat, while the blob lands on the back of the trunk. We see Kennedy’s hand slowly fall as his head turns forward and starts to drop. The sounds of the motorcycles and crowd are prominent. A few members of the crowd are startled. Most don't realize Kennedy has just been shot and continue cheering.
CLOSE UP ON KAREN WESTBROOK.
Her expression becomes puzzled.
WESTBROOK’S FRIEND
(Excitedly) I think he’s waving at us.
KAREN WESTBROOK
I saw his hair fly up.
FROM THE FRONT OF THE LIMOUSINE, MORE DISTANT VIEW OF SKULL FRAGMENT EJECTION—JACK FRANZEN’S POINT OF VIEW
CLOSE UP ON JACK FRANZEN AND HIS WIFE
JACK FRANZEN
(Looking up Elm Street but talking to his wife) Someone just threw a firecracker into the car.
MRS. FRANZEN
Kids these days!
CLOSE UP ON RUBY HENDERSON
RUBY HENDERSON
(To herself) Was that paper?
-----
18. BRIEFING--What about the limo occupants (Connally’s and Jackie)
BACK TO BRIEFING
PARTICIPANT
What about the people in the limousine? Did they know what was happening?
GENERAL LEADER
The Governor did.
BACK TO BRIEFING
PARTICIPANT
What about the people in the limousine? Did they know what was happening?
GENERAL LEADER
The Governor did.
-----
19. DEALEY PLAZA—Inside the Limo
INTERIOR PRESIDENT’S LIMOUSINE
Governor Connally realizes he has just heard a shot. He turns towards his right rear, trying to get a look at Kennedy.
CONNALLY
No, no, no, no, no…
Meanwhile, Jackie has been looking at bystanders on her left (Tina Towner & others). Her expression becomes confused, and she starts to turn towards her husband.
INTERIOR PRESIDENT’S LIMOUSINE
Governor Connally realizes he has just heard a shot. He turns towards his right rear, trying to get a look at Kennedy.
CONNALLY
No, no, no, no, no…
Meanwhile, Jackie has been looking at bystanders on her left (Tina Towner & others). Her expression becomes confused, and she starts to turn towards her husband.
-----
20. BRIEFING—Throat Wound Explained
BACK TO BRIEFING
ONE PARTICIPANT (“THROAT PARTICIPANT”) has somewhat of an obsession for (and a great deal of confusion about)
THROAT PARTICIPANT
(To Humes) Where did that first shot hit the President? His throat?
HUMES
(Addressing the group and pointing to his forehead at the hairline above his right eye) As I said, we think the first bullet to strike the President entered about here, fragmenting on impact and leaving a bullet fragment trail from the point of impact.
THROAT PARTICIPANT
And you’re sure that’s where it entered? In the blow-up frame, it looks like he is shot in the throat.
HUMES
There was a wound there, but the forehead was the point of entry…
THROAT PARTICIPANT
For a shot from the assassin?
HUMES
Right. And as I said, it fragmented on impact, leaving behind tiny particles that formed a cone-shaped trail.
THROAT PARTICIPANT
Where did it exit?
HUMES
Most of it exited in pieces at the back of the skull… (He gestures with a small “claw” hand shape at the right rear of the head) …creating a blow-out exit hole.
THROAT PARTICIPANT
But didn’t the Parkland doctors say he was shot in the throat?
HUMES
The Parkland doctors were wrong. Apparently the ones who went on TV didn’t see the actual forehead entrance. The throat wound was an exit for a fragment. From the forehead shot.
THROAT PARTICIPANT
(Scoffs) How does a bullet that enters HERE (indicates forehead entry) exit HERE (indicates throat wound)? The Parkland doctors said on TV that it was an ENTRANCE.
HUMES
Again, the Parkland doctors were wrong. The throat wound was definitely an exit. We have a neck X-ray showing metallic fragments in the C3/C4 region of the spine, showing the path of the missile. We also successfully probed the throat wound from the back of the head. It was definitely an exit. Not a whole bullet. A FRAGMENT. Remember, I said that it fragmented on entry.
THROAT PARTICIPANT
So? Even if it was a FRAGMENT, why on earth would the Parkland doctors say the throat wound was an ENTRANCE if it was an EXIT? And how could it exit here (points to his throat) if it entered here? (points to the forehead entry)
HUMES
The Parkland doctors didn’t know. They didn’t see the entry wound, because it was covered by the President’s hair. They didn’t have the X-rays. The throat wound was a SMALL wound, with clean edges, and it DID look rather like an entrance, because entrance wounds are generally small, and exits are generally larger. But really, it was an EXIT. Not of a complete bullet, but of a fragment. A FRAGMENT exit can look like an in-shoot if you don’t have an autopsy to tell you what’s what. The bullet that hit the forehead fragmented on impact, creating a particle trail that we could see in the X-rays, heading toward the back of the skull. This FRAGMENT hit the back of the skull and ricocheted off the inside of the skull to angle down to the throat. Dr. Finck—he’s the pathologist with expertise in ballistics who was present at the autopsy—calls it an “internal ricochet,” and it is apparently quite common for bullets fired from pistols.
THROAT PARTICIPANT
But this was a RIFLE bullet, wasn’t it?
HUMES
A rifle bullet that FRAGMENTED. And the X-rays and the probe show it was definitely an exit, and it left other bullet pieces, very small ones, in its wake.
THROAT PARTICIPANT
All right. But what about him grabbing at his throat?
HUMES
I didn’t see the film until just now. But it makes sense. It’s a rare neuromuscular response to head trauma, called ‘decorticate posture.’ The patient’s hands come up to his chest, like this (demonstrates), and his knees lock so that his legs are rigid.
THROAT PARTICIPANT
So he wasn’t clutching at his throat?
HUMES
No.
THROAT PARTICIPANT
He wasn't trying to cough up a bullet?
HUMES
No.
THROAT PARTICIPANT
And it was an EXIT, for a…FRAGMENT…after it ricocheted off the back of the head?
HUMESS
The inside of the back of the head. That is correct. And we probed it to confirm that it came from the back of the head.
Throat participant remains unconvinced.
THROAT PARTICIPANT
The Parkland doctors said it was an entrance...
BACK TO BRIEFING
ONE PARTICIPANT (“THROAT PARTICIPANT”) has somewhat of an obsession for (and a great deal of confusion about)
THROAT PARTICIPANT
(To Humes) Where did that first shot hit the President? His throat?
HUMES
(Addressing the group and pointing to his forehead at the hairline above his right eye) As I said, we think the first bullet to strike the President entered about here, fragmenting on impact and leaving a bullet fragment trail from the point of impact.
THROAT PARTICIPANT
And you’re sure that’s where it entered? In the blow-up frame, it looks like he is shot in the throat.
HUMES
There was a wound there, but the forehead was the point of entry…
THROAT PARTICIPANT
For a shot from the assassin?
HUMES
Right. And as I said, it fragmented on impact, leaving behind tiny particles that formed a cone-shaped trail.
THROAT PARTICIPANT
Where did it exit?
HUMES
Most of it exited in pieces at the back of the skull… (He gestures with a small “claw” hand shape at the right rear of the head) …creating a blow-out exit hole.
THROAT PARTICIPANT
But didn’t the Parkland doctors say he was shot in the throat?
HUMES
The Parkland doctors were wrong. Apparently the ones who went on TV didn’t see the actual forehead entrance. The throat wound was an exit for a fragment. From the forehead shot.
THROAT PARTICIPANT
(Scoffs) How does a bullet that enters HERE (indicates forehead entry) exit HERE (indicates throat wound)? The Parkland doctors said on TV that it was an ENTRANCE.
HUMES
Again, the Parkland doctors were wrong. The throat wound was definitely an exit. We have a neck X-ray showing metallic fragments in the C3/C4 region of the spine, showing the path of the missile. We also successfully probed the throat wound from the back of the head. It was definitely an exit. Not a whole bullet. A FRAGMENT. Remember, I said that it fragmented on entry.
THROAT PARTICIPANT
So? Even if it was a FRAGMENT, why on earth would the Parkland doctors say the throat wound was an ENTRANCE if it was an EXIT? And how could it exit here (points to his throat) if it entered here? (points to the forehead entry)
HUMES
The Parkland doctors didn’t know. They didn’t see the entry wound, because it was covered by the President’s hair. They didn’t have the X-rays. The throat wound was a SMALL wound, with clean edges, and it DID look rather like an entrance, because entrance wounds are generally small, and exits are generally larger. But really, it was an EXIT. Not of a complete bullet, but of a fragment. A FRAGMENT exit can look like an in-shoot if you don’t have an autopsy to tell you what’s what. The bullet that hit the forehead fragmented on impact, creating a particle trail that we could see in the X-rays, heading toward the back of the skull. This FRAGMENT hit the back of the skull and ricocheted off the inside of the skull to angle down to the throat. Dr. Finck—he’s the pathologist with expertise in ballistics who was present at the autopsy—calls it an “internal ricochet,” and it is apparently quite common for bullets fired from pistols.
THROAT PARTICIPANT
But this was a RIFLE bullet, wasn’t it?
HUMES
A rifle bullet that FRAGMENTED. And the X-rays and the probe show it was definitely an exit, and it left other bullet pieces, very small ones, in its wake.
THROAT PARTICIPANT
All right. But what about him grabbing at his throat?
HUMES
I didn’t see the film until just now. But it makes sense. It’s a rare neuromuscular response to head trauma, called ‘decorticate posture.’ The patient’s hands come up to his chest, like this (demonstrates), and his knees lock so that his legs are rigid.
THROAT PARTICIPANT
So he wasn’t clutching at his throat?
HUMES
No.
THROAT PARTICIPANT
He wasn't trying to cough up a bullet?
HUMES
No.
THROAT PARTICIPANT
And it was an EXIT, for a…FRAGMENT…after it ricocheted off the back of the head?
HUMESS
The inside of the back of the head. That is correct. And we probed it to confirm that it came from the back of the head.
Throat participant remains unconvinced.
THROAT PARTICIPANT
The Parkland doctors said it was an entrance...
-----
21. AUTOPSY—Finck Arrives, Fragment Trail, Probe to Throat Wound
BACK TO AUTOPSY
The scene is chaotic and noisy. Mortician THOMAS ROBINSON is in the GALLERY filled with MILITARY BRASS (some of whom, but not all, are also at the BRIEFING), including GENERAL LEADER and CAPTAIN OSBOURNE, who is NOT at the Briefing, and an abundance of other NAVY personnel and CIVILIANS (including DR. YOUNG). The Gallery people are talking with each other as much JFK is naked on a table on a table with a sheet from his chest over his lower extremities. KELLERMAN is there, along with photographer FLOYD REIBE, busy snapping pictures, and an assistant to Riebe. KELLERMAN is there wearing his blood-and-brain splattered suit jacket. FBI agents SIEBERT AND O’NEILL are there, taking furious notes. JERROL CUSTER enters, carrying X-rays. SIEBERT and O’NEILL and KELLERMAN start to stop Custer from entering until they realize “He’s the X-ray guy.” Custer starts to put the X-rays up on the light board before DR. EBERSOLE snatches them from him and puts them up. HUMES and BOSWELL are near JFK’s head, quietly arguing somewhat about the nature of the wounds. JAMES JENKINS is at the sink, washing intestines. PIERRE FINCK enters the room and is stopped momentarily by SIEBERT, O’NEILL and KELLERMAN, before he is allowed to pass.
He goes over to look at the X-rays, which includes a neck X-ray showing metallic fragments at the C3/C4 level. As he studies the X-rays, Humes and Boswell continue their argument.
HUMES
I don’t know. If there was only one bullet, it looks like it both entered and exited from the rear.
BOSWELL
That seems unlikely. What about the forehead wound?
HUMES
They told me on the phone that all the shots came from the rear, but I don’t know about that. I think they WANT them all to have come from the rear.
FINCK
Gentlemen.
HUMES
(In relief) Dr. Finck. Thank you for coming. We can’t make heads or tails out of this.
Finck looks at the HEAD X-RAYS, studies them. He looks at THE BODY, focuses on the THROAT WOUND, then glances at the NECK X-RAY.
FINCK
Are you gentlemen familiar with Puppé’s Rule?
HUMES
Something to do with fracture patterns, I believe.
FINCK
The initial entrance will create the greatest number of fractures, spreading out from the entrance point. The exit will create secondary fractures that stop at lines of the initial fractures. The fracture lines of ubsequent entries and exits are likewise limited by the lines caused previously.
Humes and Boswell look at each other, then move to study the X-rays with Finck.
FINCK
(Pointing) Any fragment trail expands in a conical fashion from the point of entry.
HUMES
Yes, I see.
Finck studies the NECK X-RAY, then moves over to the BODY. He brushes the hair away from Kennedy’s forehead to show Humes and Boswell the FOREHEAD WOUND.
HUMES
Yes.
FINCK
Can we lift him?
Humes and Boswell lift the body. Finck looks into the hole at the back of the head.
FINCK
Someone give me a probe.
Humes hands him an AUTOPSY PROBE. Finck slowly inserts it into the back of the head, at a downwards angle. It comes out the throat wound.
IN THE GALLERY, THOMAS ROBINSON is watching intently. Other audience members are talking among themselves, and peering around the people in front of them to see what’s going on.
BACK TO AUTOPSY
The scene is chaotic and noisy. Mortician THOMAS ROBINSON is in the GALLERY filled with MILITARY BRASS (some of whom, but not all, are also at the BRIEFING), including GENERAL LEADER and CAPTAIN OSBOURNE, who is NOT at the Briefing, and an abundance of other NAVY personnel and CIVILIANS (including DR. YOUNG). The Gallery people are talking with each other as much JFK is naked on a table on a table with a sheet from his chest over his lower extremities. KELLERMAN is there, along with photographer FLOYD REIBE, busy snapping pictures, and an assistant to Riebe. KELLERMAN is there wearing his blood-and-brain splattered suit jacket. FBI agents SIEBERT AND O’NEILL are there, taking furious notes. JERROL CUSTER enters, carrying X-rays. SIEBERT and O’NEILL and KELLERMAN start to stop Custer from entering until they realize “He’s the X-ray guy.” Custer starts to put the X-rays up on the light board before DR. EBERSOLE snatches them from him and puts them up. HUMES and BOSWELL are near JFK’s head, quietly arguing somewhat about the nature of the wounds. JAMES JENKINS is at the sink, washing intestines. PIERRE FINCK enters the room and is stopped momentarily by SIEBERT, O’NEILL and KELLERMAN, before he is allowed to pass.
He goes over to look at the X-rays, which includes a neck X-ray showing metallic fragments at the C3/C4 level. As he studies the X-rays, Humes and Boswell continue their argument.
HUMES
I don’t know. If there was only one bullet, it looks like it both entered and exited from the rear.
BOSWELL
That seems unlikely. What about the forehead wound?
HUMES
They told me on the phone that all the shots came from the rear, but I don’t know about that. I think they WANT them all to have come from the rear.
FINCK
Gentlemen.
HUMES
(In relief) Dr. Finck. Thank you for coming. We can’t make heads or tails out of this.
Finck looks at the HEAD X-RAYS, studies them. He looks at THE BODY, focuses on the THROAT WOUND, then glances at the NECK X-RAY.
FINCK
Are you gentlemen familiar with Puppé’s Rule?
HUMES
Something to do with fracture patterns, I believe.
FINCK
The initial entrance will create the greatest number of fractures, spreading out from the entrance point. The exit will create secondary fractures that stop at lines of the initial fractures. The fracture lines of ubsequent entries and exits are likewise limited by the lines caused previously.
Humes and Boswell look at each other, then move to study the X-rays with Finck.
FINCK
(Pointing) Any fragment trail expands in a conical fashion from the point of entry.
HUMES
Yes, I see.
Finck studies the NECK X-RAY, then moves over to the BODY. He brushes the hair away from Kennedy’s forehead to show Humes and Boswell the FOREHEAD WOUND.
HUMES
Yes.
FINCK
Can we lift him?
Humes and Boswell lift the body. Finck looks into the hole at the back of the head.
FINCK
Someone give me a probe.
Humes hands him an AUTOPSY PROBE. Finck slowly inserts it into the back of the head, at a downwards angle. It comes out the throat wound.
IN THE GALLERY, THOMAS ROBINSON is watching intently. Other audience members are talking among themselves, and peering around the people in front of them to see what’s going on.
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