Previous Update: October 8 - 14

Updates Index

(if there are any to speak of)
October 15 - 21, 2013

Unlocking the Forbidden Door
Still Looking for the Key

The shutdown of the American government, and the uncertainties of the aftermath of a prolonged shutdown, should be a wake-up call to all. The next threat of shutdown is just months down the road. I would strongly suggest that you purchase more food starting now, everytime you shop, until, after a few months, you have several weeks of extra food. If you are loaded with money, get extra food for your family members too, who are not able to stock.

I went out and purchased $1,000 of food in one outing a year ago August. None of the food went to waste, except perhaps the five-gallon pail of spaghetti I still have (I don't eat it much, but thought it was a great, cheap emergency-situation food for the whole family). I continued to keep the food stock up for months afterward, always buying sale items from local grocery stores. The original $1,000 expenditure cost nothing extra, but, because it was from Costco, I saved money. I'm going to do this again at the first opportunity.

The following from Infowars sounds like they are announcing the 666 skincode system, but are just shy of doing so:

Alex Jones: The fact that these letters were being sent out to Chase customers was confirmed at the time that we published, but in the last 24 hours we have confirmed that even large businesses doing international transactions have also received the same letters.

I personally visited Chase Bank and inquired about setting up an account and asked if I could wire money out of the country or withdraw the amounts of cash listed in their letter. I was told no, and that I would have to "qualify" with them for a special type of international bank account and would have to deposit huge amounts of money and pay fees to be able to access those services.

What this constitutes is a war on cash and a war on small business and individuals. Two years ago we saw a giant backlash against Bank of America when they announced customers would be charged for using their own money via their debit card. We have crossed the rubicon where now the currency has been so devalued that you will have to pay fees to have your money in a bank or use a debit card.

In saying that international wire transfers are too much of a risk, Chase Bank might as well be bankrupt because it is telling you there is no money to withdraw.

This is where the mega banks have wanted to take us all along -- a total cashless society that destroys all privacy and allows them to fine and fee the general population into serfdom. This is clearly a major step towards capital controls as we saw with the Cyprus bail-in.

We are now receiving reports from business partners who we know well that they are being told by their banks that similar regulations to those adopted by Chase are coming within the next few months.

Chase would not be implementing a business killing strategy like this unless all other major banks were also planning to follow suit. What we see is mega banks leading the way to set the precedent that all the others will follow.

...Customers need to rally and speak out against this and immediately move their money to smaller and local banks that will promise to give them good service and not rake them over the coals...

Better yet, keep your money in your house, one way or the other.

Some prophecy watchers believe that Isaiah 10 speaks to the end-time anti-Christ conquering the Syria-Turkish border area, around ancient Carchemish. The following development could be speaking to its fulfillment:

The brutal, Al Qaeda-linked group rebels invited into Syria to help topple President Bashir Assad has virtually taken over northern Syria, raising fears that its brand of indiscriminate terror could spill into neighboring Turkey..

According to a recent analysis from Stratfor, a Texas-based global intelligence organization, ISIS "has dispatched hundreds of [Muslim] fighters north toward Turkey in response to closure of certain border crossings."...

...Abu Omar...confirmed that he joined ISIS to create an Islamic caliphate, a radical Islamic empire bent on limitless expansion.

"Syria and Iraq are the same struggle to us. Both governments in Iraq and Syria are run by unbelievers, so we will fight both. Syria is currently very weak and close to falling into the hands of the mujahedeen [Jihadis]," said Abu Omar.

It's not necessary for this group to fight Turkey, necessarily, to fulfill Isaiah 10. The prophecy seems to have more to do with conquering Syria's capital, Damascus. That could happen soon. It depends on whether the West joins these Muslim forces to get the job done sooner rather than later, and, of course, the West is in many cases anxious to do so. It's debatable as to whether a Western False Prophet will act on behalf of the anti-Christ in Syria. With Obama, I would say, yes.

In some respects, Christians need to be low-key where the anti-Christ system is globalized via a Western False Prophet. They are watching us:

The National Security Agency is harvesting hundreds of millions of contact lists from personal e-mail and instant messaging accounts around the world, many of them belonging to Americans, according to senior intelligence officials and top-secret documents provided by former NSA contractor Edward Snowden.

The collection program, which has not been disclosed before, intercepts e-mail address books and "buddy lists" from instant messaging services as they move across global data links. Online services often transmit those contacts when a user logs on, composes a message, or synchronizes a computer or mobile device with information stored on remote servers.

Rather than targeting individual users, the NSA is gathering contact lists in large numbers that amount to a sizable fraction of the world's e-mail and instant messaging accounts. Analysis of that data enables the agency to search for hidden connections and to map relationships within a much smaller universe of foreign intelligence targets.

During a single day last year, the NSA's Special Source Operations branch collected 444,743 e-mail address books from Yahoo, 105,068 from Hotmail, 82,857 from Facebook, 33,697 from Gmail and 22,881 from unspecified other providers, according to an internal NSA PowerPoint presentation. Those figures, described as a typical daily intake in the document, correspond to a rate of more than 250 million a year. Each day, the presentation said, the NSA collects contacts from an estimated 500,000 buddy lists on live-chat services as well as from the inbox displays of Web-based e-mail accounts.

...Taken together, the data would enable the NSA, if permitted, to draw detailed maps of a person's life, as told by personal, professional, political and religious connections. The picture can also be misleading, creating false "associations" with ex-spouses or people with whom an account holder has had no contact in many years.

The NSA has not been authorized by Congress or the special intelligence court that oversees foreign surveillance to collect contact lists in bulk, and senior intelligence officials said it would be illegal to do so from facilities in the United States. The agency avoids the restrictions in the Foreign Intelligence Surveillance Act by intercepting contact lists from access points "all over the world," one official said, speaking on the condition of anonymity to discuss the classified program. "None of those are on U.S. territory."

The article goes on very long. There's also

France have summoned US ambassador Charles H. Rivkin, seen here in Paris on September 19, 2013, over a report that US spies eavesdropped on millions of calls made by French citizens

NSA Hacked Email Account of Mexican President

The Straight Piece in the Little Hole

I apologize for having the wrong link for the wheel-away video in the last update(s). The links are now fixed. I haven't the time to go over all the links to check them. I try hard not to make mistakes as I create them, but some always slip through. The video can also be found here:

Perhaps you missed this addition to the end of the last update:

After this update was published, I discovered that the image below was just seconds after the fourth image of the string. In the third, the police vehicle was not moving while men were at the driver window; in the fourth, the vehicle begins to move; in the image below, it is arrived to the finish line, perhaps 15-20 seconds later according to the positions of the people...I'm going to call this picture the bulging-wallpaper image, because the blue and white "wallpaper" (for lack of a better word), under the press box, has someone behind it...who looks like one of the security people with the Escalade.

Let's talk about that bulge, which is not there in any other image that I've seen (actually, it's bulging in the orange-stretcher image, but I didn't realize it until writing further below). What could possibly have been behind that fabric? And why did the bleacher wall start coming apart seconds before the first image of the string? It seems that the fabric is bulging as part of the bleacher-takedown operation. What were they looking for? No sooner had that operation begun, that it ended. The bleacher wall was yet untouched in the wheel-away image; the bleacher wall was yet untouched in the iconic image of Jeff taken as he passed that "wallpaper" fabric.

Unless all those people (as per the bulging-wallpaper image) under the press box were pasted in or were very-trusted insiders, I don't think the plotters would have had Jeff coming out from a hole behind the wallpaper. On the other hand, that might have been the best place to have him come out most-secretly. One could theorize, with high likeliness of being correct, that a cameraman took a picture of the iconic scene before the bleacher wall was removed, and while Jeff came out afterward, they pasted him into the picture taken before the bleacher wall was removed.

The long-haired cameraman in yellow vest can be seen, in the six-minute image, walking very near, and toward the underside of the press box, and then he's seen walking out from underneath the press box, in the other direction, in the wheel-away video (he ends up in front of the Escalade). He was therefore at the spot of the iconic photo before the bleacher wall was taken apart. See wheel-away video here:

Plus, late in this update, you will see this same cameraman taking the crouching-medic image at about 5:15-30. He's is where no cameraman had gone before, in front of the Lenscrafters window. It assumes he was special to the insiders, to be allowed to go that deeply into the injury zone. You will also see him in an image about a dozen seconds after the crouching-medic image, walking toward the press box i.e. walking toward his position in the six-minute image. When he was taking the crouching-medic image, it was of the Jeff-spot, and the woman who wheeled Jeff away was at the Jeff spot at that time.

This cameraman, therefore, was in charge of the Jeff hoax. As you must understand, he did not get a picture of the cowboy lifting Jeff into the wheelchair, because Jeff wasn't at the injury zone.

I do not think the insiders would release an image of bulging fabric if Jeff came out from behind it. I do not think that Jeff came out from behind this fabric.

The bulging-wallpaper image is an Aaron-Tang photo, and yet I did not see this image in his 151-photo pages (he doesn't allow anyone to download them). It must have been obtained by someone before Tang stopped permitting the images to be downloaded. People were asking the "wrong" questions, you see, and so the Tang people stopped allowing the masses to share the photos. Mr. Tang, or whoever owns the pictures, is therefore suspect as an insider on that basis alone.

There is another theory for the bulging wallpaper: the removal of the bleachers walls was to hide Jeff's exit from the little hole in the wall beside the Escalade. The bulging fabric would facilitate this cover for Jeff. In the bulging-wallpaper image, see the position of one blue panel: perpendicular with the bleacher wall. In other words, that panel (held by the heavy woman with marathon white coat) is obstructing the view of people under the press box toward the little hole under the bleachers. That little door's view is obstructed by other things, including the blue fabric to the other side of the Escalade, and the people taking down the bleacher walls.

Shortly after the six-minute point, the white cart had been parked in a spot to discourage passers-by from going in to the driver's-side area of the Escalade i.e. at the little hole in the bleacher wall. The police vehicle (seen in the bulging-wallpaper image) looks itself to be in a location to obstruct the view further. It may be at a stop at this time.

The straight piece of what looks like a metal, structural bar / tube inside the little hole had been touched / moved by someone inside the hole. This is the first time that I've understood this. In the third image of the string, that piece shows differently than it does in the fourth. It's an Aha! moment. It then shows at yet another angle in the bulging-wallpaper image, such an eye-popping discovery. Someone has moved it just as the wallpaper is bulging and the blue panel is blocking the view. It's not quite the smoking gun, but it is the trigger being pulled back.

In the bulging-wallpaper image, there is a large man in the press box with his camera rolling, taking a shot in a straight line down the bleacher wall. It's perfect for capturing the Jeff-wheel-away scene...that was then pasted into the wheel-away scene while the bleachers walls were still untouched. This cameraman is to our right of the man in white coat. I think I recognize him as the CNN cameraman. He can be seen in the first minute of the Silva video. He was shooting the bomb site at the moment of the explosion, at which time he was standing behind the man in Martian-green coat, who is himself, in the bulging wallpaper image, up in the press box. The CNN cameraman (black coat, jeans) is in the lower-right of this view of the 411-timeclock scene, and the man in green is near him yet again, shooting a camera of his own.

It is suspicious that, in the orange-stretcher image (timed after the bulging-wallpaper image), the straight piece inside the hole is back to its original position / angle. I've not had the images before by which to prove that someone was inside the hole at this time. Excellent, thank you Mr. Tang, or whoever you are that took / released these images.

The top of the piece, in all images, appears to be in the same position (and moreover appears to be on a hinge of some sort, capable of swinging while connected to another piece). It's the bottom of the piece that is shifting. In that case, the piece appears to be obstructing the hole... until someone moved the bottom end over so that the hole can be passed by a wheelchair??? In one of its positions, it looks as though that piece was suspended over the ground (perhaps hooked to the door frame's mid-section) rather than its lower end sitting on the ground, for in the bulging-wallpaper image, where the entire length of the piece is visible / accountable, it doesn't look long enough to be touching the ground when crossing the mid-section of the hole's frame.

A tentative conclusion is that Jeff came out of that hole between the bulging-wallpaper and the orange-stretcher images. In the latter image, the wallpaper is bulging even more, by the wind by the looks of it, but only because the man/men had loosened the bottom corner(s) as per the bulging-wallpaper scene. If there was a hole behind the wallpaper from which Jeff left, I doubt very much that the men in charge of that part of the hoax would leave the wallpaper unfastened, allowing the wind to expose the hole.

The CNN cameraman is in the same spot at the orange-stretcher image, but has the camera pointed to the injury zone. In order for the Jeff wheelchair ride, from true wheel-away scene (that we don't have), to be pasted into another scene, someone in the press box needed to capture the other scene, and of course they needed to capture it as the wheel-away scene (minus the wheelchair crew). Fortunately, the wheel-away image, showing that scene from the opposite direction, shows the men in the press box. Comparing the angle and other particulars of wheel-away video, it appears that the cameraman with what looks like a huge lens, second in from the stairs, is the one who took the wheel-away scene.

You need to understand the powers of the team that conducted this hoax. When it has everyone's home address, telephone number, and/or email address, it can secretly antagonize / threaten / punish / kill anyone (especially includes media people) who attempts to thwart them publicly / legally. It is a huge advantage over good persons seeking to end this corruption. The American people are not screaming anywhere near loud enough to have the NSA records disabled and discarded. It is by these records that the corruption will, not merely continue as always, but go full-speed ahead. The only consolation is that the masters of deception will arrive to Armageddon faster in this way.

Ahh, the straight piece was in the down position initially, as can be seen in the wheel-away image (timed before the four string images). The one man (in a hat) from the Escalade crew is looking inside the hole at this time. The "curtain" consisting of the advertisement posters is in the process of being ripped off the bleacher wall, which is why we can determine that the position of that piece is the original at the time of the hole's exposure. Therefore, within a minute, someone moved it; he may or may not have been the man in the hat looking into the hole.

Judging by the positions of people in the third and fourth images of the string (especially the people walking toward the finish line in the third), there are but five seconds at most between images. Yet the piece inside the hole has moved between images. In fact, as the piece is midway between the up position and the down position, one must assume that it's in the process of moving, in the fourth image, from one position to the other, the point being that the man in the hat is not touching that piece in either the third or fourth images. If correct that the piece is in the process of moving in the fourth image, it can only be moving as per a hand inside the hole. What better evidence could I have had, back in April/May, for the theory that Jeff was wheeled out of this hole?

Let me put it another way. The "curtain" comes off in the wheel-away scene. There is a piece of straight wood / rod / tube blocking entry into the hole. One can see that the piece is NOT in the same position as in the bulging-wallpaper image. In the latter image, the lower end is inside the hole; in the wheel-away image (with curtain being removed), the lower end is across the threshold of the hole, i.e. thereby acting as an obstruction to anyone wanting to enter / exit. If someone entered the hole after this point, the piece would not show as it does

In the first and second images of the string (one or two seconds apart), the man with hat is at the passenger door of the Escalade, well away from the hole. No one is visible at the hole in either image. Someone could conceivably have entered the hole from the street, but someone(s) could have been in the hole to begin with, before the curtain came off. The man with hat is outside the hole in the third image, some ten seconds later (the furthest anyone has walked between the second and third image is about 20 feet, by a woman in white approaching the finish line). The position of the piece has not changed between these three images, so that, if someone entered the hole from the street, it was between the wheel-away image and the first of this string.

As the man in the hat is visible outside the hole in the fourth image, someone else must be inside moving the piece. That in itself is not exactly smoking-gun evidence that Jeff was wheeled out, but, in the bulging-wallpaper image, that piece can be seen with its lower end well inside the hole, far enough in to allow clear passage through the hole. If that, too, is not smoking-gun evidence, then let me ask what the chances are that, after having reasons months ago for suspecting a Jeff-exit from this hole, I here discover someone inside the hole making a clear passage through the hole at exactly the time I expected Jeff to be making his exit.

Most of the Tang "photos" (from his Flickr account) that I discuss are from a camera having the ability to capture the entire patio, but some are from another window which cannot capture the entire patio. It suggests two cameramen. The bulging-wallpaper image is one of those which does not capture the bulk of the patio scene. I don't know what significance this could have, but thought it could be pointed out.

Below is a Tang image (aftermath of the bombing), from his 151-photo website, showing a wide scene after all injury victims have been removed from the sidewalk. It does not capture the entire patio; one can see that the camera is at the particular window where the bulging-wallpaper image was taken. The piece of tubing / rod inside the little hole is now higher than it had been in any of the previous scenes, and the truck is parked in such a way as to greatly obscure anyone coming out of that hole. To boot, a red fire truck has parked in front of the white cart to obscure the hole still more from that end of the street. (Always click the double arrows if you get a small or blurry version of the Tang Flickr image).

That's why it should be a tentative conclusion that Jeff came out between the bulging-wallpaper and orange-stretcher images. He may not have come out until after the longer truck arrived, and/or after the injury scene was wholly cleared of actors. Note that the bleacher walls are basically as they were in the orange stretcher images, not much different even than in the bulging-wallpaper image. Why did they do that to the bleachers only half way down, leaving the hole area intact?

Below is another image from the 151-photo webpage that shows one window itself, from inside the office (looks to be about the third floor), where the camera takes shots that cancapture the entire patio.

The photo below likewise shows the inside of Tang's office (Tang has his back to the camera). But is it really Tang's office? It is suspicious that, at the window, we see a bulletin board with a photo of Tang, his face showing, something I would do too if I were a deceptive insider tasked with making the world believe that this was the workplace of Aaron Tang. In this image, the window is different than in the image above, and this window is, apparently, where the patio cannot be captured. There is a horizontal piece to the window in the image below that does not appear in any of his images that I've seen, suggesting that the camera was on a stand the entire day, which then suggests that there were two cameras on stands, one at each window. The insiders are predicted to have set up that way.

At the top of his page, Tang (or whoever it was) writes:

I was at my office overlooking the boston marathon which is half a block from the finish line when the explosion went off while watching which was a shock.. I ran to grab my camera [doesn't suggest a pre-planned camera on a stand, but rather a happen-chance photo event] hoping to catch any leads but here is what i have...

My observation is that the explosion was in front of the "candy store" or "marathon palace" in a trashcan or something on the far side of the sidewalk near the fence that exploded [the fence did not explode]. Big blast of fire, and smoke, but it all vanished so fast and not much left to see minus lots of shattered glass.

This is a sad day for such a great event. I was amazed how fast [it was not fast enough to reflect reality] the medics and nearby citizens took action to run into the smoke, rip off their shirts to help the wounded [the complete opposite was obvious, after viewing the images: hardly anyone took off a shirt to wrap the wounds. This is undeniable. Tang's lying.]

My (free) Firefox browser (not latest version) gets me larger images than my Internet Explorer. It might be the same for you.

The Woman In Taupe

Under this scenario, where Jeff comes out of the hole, we can't have him coming from the building's wall area discussed as a possibility in the last update. Nor can we have him coming from the forbidden door into the "candy store." Since writing the last update, I studied the image below (end of this paragraph) showing both the woman that could be the owner of Marathon Place, and the man at the wall sitting on the green lawnchair. The woman under discussion (taupe sweater, leg-tight black pants) is first seen at one end of the outdoor patio (near the forbidden door) in the 411-timeclock image, at which time the heavy-set woman was looking in her direction from the other side of the outdoor patio. The woman in taupe later escorting the heavy-set woman from the forbidden door. Earlier, at about 30 seconds after the explosion, this heavy-set woman was pointing passionately toward Marathon Place, as if to exclaim something like, "Look! There's Obama!" The way in which her finger was pointed, with outstretched arm and surprise, seemed as though she was caught by surprise by something important. I'll call the below the low-resolution image, asking why a media image, from the press box, should be provided with such blur:

As was shown in the last update, the heavy-set woman went to the forbidden door as the 4:00 point was arriving, but was quickly escorted out by the woman who could be the owner of that place. She was shocked to see the heavy-set woman going into the door, and ran to avoid her entry (see it in the action-scene video). We then saw, not many seconds after the 4:09 point, the heavy-set woman approaching the door area again, but the second woman did not at that time block her path, so far as the available Tang images show.

It's a little peculiar that she was initially adamant to keep the heavy-set woman from entering the door, only to see her leave the woman alone seconds afterward. I had not known where the woman in taupe went after this episode, though, more than three minutes later, she was on the street as per the wheel-away image. Now, however, in the low-resolution image, she can be seen near the street curb perhaps as little as a dozen seconds after she leaves the vicinity of the heavy-set woman. The man at the wall is in the green lawnchair in the low-resolution image; he was shown to be on that chair in the wide timeclock-takedown image, timed at 4:43 without doubt, but was not on that chair in an image (see below) showing the timeclock at 4:09 minutes (after the explosion). The low-resolution image can be timed, therefore, after 4:09, but this is made plain, anyway, by the position of the heavy-set woman in the 4:09 image.

In the low-resolution scene, there is a woman (blue bag on her back), beside a wheelchair, standing beside the woman in taupe. The woman with blue bag shows at this same curb location in the is-that-Jeff? image (timed now at 4:10), but is soon-after walking toward the building, in the timeclock-takedown image (4:43). In the 4:09 image, the taupe woman's black hair can be seen (beside the red cap) turning toward the street for the first time after pushing the heavy-set woman away. She doesn't seem to have time to watch the heavy-set woman. (I was wrong to time the is-that-Jeff image "with certainty" at 4:00-02 a couple of updates ago.)

So, while concerned about the heavy-set woman, she yet took off for the street, though the low-resolution picture doesn't tell us why she went, for she's walking along alone at that moment in time, not speaking with anyone. But in this other low-resolution image below, she's standing beside the woman with wheelchair (under discussion), at the curb, just two or three seconds earlier. Is the woman with blue bag the only reason the woman in taupe went to the street?

We could tentatively time both low-resolution images at about 4:20 at the earliest (there needs to be time for the man at the wall to get into the lawnchair after 4:09). The police officer is standing beside the man at the wall in both images, just as he's standing there in the timeclock-takedown image. We could be very near 4:43, in other words, in the low-resolution images. However, the woman in taupe is not seen in the timeclock-takedown scene, wherefore there needs to be time, between the low-resolution images and 4:43, for her to go back (in)to Marathon Place.

Did she go back to Marathon Place because the heavy-set woman walked into the door again? The latter woman is likewise not in the timeclock-takedown image. Where did she go so fast? The last time we saw her, she was facing the forbidden door (at about 4:12), and we could not tell whether she was walking or standing. She could have been walking. Judging by the two positions of the woman in taupe, in both low-resolution images, she's on her way back to the building in the second one. I do not think that the heavy-set woman is in either low-resolution image.

The plot now thickens. There are two other issues. One, the medic seen beside the woman with blue bag in the timeclock-takedown image is suspect as the one who pushed Jeff away. But if he's not, he at least looks like the medic/fireman who pushed Jeff away (both have their collars up, beards, sunglasses, and short, dark hair). He was mentioned in the first update of this month, shown in some images beside the forbidden door. He is definitely on his way toward the forbidden door in the timeclock-takedown image because he appears on the street, behind the woman in taupe, in both low-resolution images. In one of them, he carries an orange bag.

But let's start with the second issue: the woman with blue bag is walking toward the building in the timeclock-takedown image. It looks like she's pushing a wheelchair, and the medic under discussion blocks the view so that we cannot see whether she has a wheelchair. But there is a wheelchair at the curb in the position (facing the street) and location that we see it in, seconds earlier, in the low-resolution images. Therefore, she did not take her wheelchair. I'm fairly sure about that, anyway, wherefore the suspicion is that the insiders wished to block the wheelchair so we do not discover that she did not take it with her.

She can be seen pushing a chair in the is-that-Jeff? image, some 20-30 seconds before the low-resolution images. In the last update, her pushing that chair past the cowboy was a suspicious topic. There were two wheelchair-under-cowboy images discussed; the one below happens to be the one where the heavy-set woman is looking at / walking toward the forbidden door, some seconds shortly after the 4:09 image. This is important because, in "helping" us time the low-resolution images, it could "help" us to time them wrongly. The woman in taupe is on her way to the street at this time (she's seen at the far right in the wheelchair-under-cowboy image below), to be with the woman with blue bag...who's chair is now passing by the cowboy in the opposite direction, toward the building. Hmm, it begs the question of how she could be in two places at the same time. Here we have her passing the cowboy at about 4:12 at the earliest, and yet, in the low-resolution images, at about 4:30 at the latest, she is at the street curb beside a wheelchair. We are thus to assume that she turned around in the mid-section of the injury zone, going back to the curb between 4:12 and 4:30ish, only to be walking back to the building without a chair at 4:43. Perhaps this was done because the woman in taupe called her to the street. Or, as an alternative, she was pasted into the wheelchair-under-cowboy image (a tentative suggestion made in the last update). That's the importance of timing the low-resolution images as accurately as possible. I apologize for screwing up again. Until Thursday of the last update, I spoke of the wheelchair-under-cowboy1 image that I failed to share a link to. It's been since repaired. Here is the image below, clearly showing the woman with blue bag passing the cowboy. The face of the woman in Taupe is, apparently, to the right of the tree trunk. Judging by the distance walked by the woman in taupe, the wheelchair-under-cowboy1 image is at about 4:13. It's important to note that this image cuts off the heavy-set woman who was, a second or two earlier, looking at / walking toward the forbidden door.

As the woman in taupe is not in the timeclock-takedown scene at 4:43, I think we can time the low-resolution images at 4:30 at the latest. Whatever the correct time may be, look closely at what I'm about to describe. Again, in the timeclock-takedown image, the woman with blue bag has her wheelchair obscured by the medic, but I don't think she has the wheelchair with her because, down by the curb, we see a chair looking like it matches the description of the chair she was standing beside in the low-resolution images. However, this chair appears moved down the street a few feet, very suspicious. In the low-resolution images, the chair is midway between the lamp post and the tree trunk, but in the timeclock-takedown image, the chair, though in the same position, appears to be beyond the tree trunk.

The fact that it's in the same position (facing the street), and also at the curb, had me wondering whether the insiders doctored the image. But what could have been the motive? Apparently, they wanted to hide the fact that the woman with blue bag doesn't have a wheelchair in the timeclock-takedown image. But if that's the case, why not just leave the chair at the curb out of the timeclock-takedown image? Why move it up the street a few feet? Possibly, an image was released to the public showing the chair in the real position (midway between the tree and lamp post), thus revealing that the woman walked away from the curb without the chair. Later, when they wanted to hide this, they started to paste a wheelchair of the same color and design further up the street (hoping we wouldn't notice), as we can see in the wheelchair-under-cowboy1 image. Yes, there is a wheelchair -- looking exactly like the chair in the timeclock-takedown image -- at the curb beyond the tree, in the wheelchair-under-cowboy scene. But it's not facing the street.

When comparing the positions of the chairs between the two images, one is led to believe that the chair simply rolled around so as to face the street. No problem...except that the chair is empty in both images while there is a person in it in one of one of the low-resolution images! And look who blocks the person in the chair in the other low-resolution image: it's that medic who blocks the chair of the woman with blue bag in the timeclock-takedown image!!

Besides, I say that he's the driver of the white cart arriving in the six-minute image, a minute and a half later i.e. he's perhaps not supposed to be at the injury zone yet as per the low-resolution images. Do these things suggest that he was pasted into the two images where he blocks two wheelchairs? The feasibility is there.

It is very clear to me that the chair should not be empty in the timeclock-takedown image. In fact, this image shows a woman (in white coat, dark pants) wheeling someone away from that spot so that it seems certain the empty chair was pasted in. Perhaps you don't understand me: the timeclock-takedown image has both the person being wheeled away, and the empty wheelchair. Where did the empty chair come from that is not in the low-resolution images some 10-20 seconds earlier? Only the owners of the videos can tell us for sure.

In the low-resolution images (you could have these on separate browsers for easier viewing), one can see the woman with white coat and dark pants beside the person in the wheelchair, and it is this person exactly who wheels the chair away in the timeclock-takedown image. Plus, not only is there no empty wheelchair in the low-resolution image, but the chair with person in it faces the same direction as the empty chair in the wheelchair-under-cowboy image. In the latter, one can see the woman in white about to drop a man (walking) into the chair (this is one of the first people ever in a wheelchair, if not the first, and he's able to walk on his own), but there is no second chair seen there at this time (about 4:13). In the same image, the woman with blue bag pushes a red chair, but the black-suspect chair that she will soon stand beside at about 4:20-30 is not there; where did it come from between 4:13 and about 4:30?

In the is-that-Jeff? image (4:10), she's starting to walk with the red chair from midway between the tree and the lamp post, exactly where the black-suspect chair shows in the low-resolution images. Yet, at 4:13, she's walking near/beside the cowboy, while at 4:43 she's walking several feet away from that spot, beyond the far end of the patio railing, supposedly pushing the chair that she was standing beside at about 4:20-30. Anyone taking this event to court could have access to the media videos, to show whether there was any monkey business with these images. Be a hero; do it. Watch your back, and the backs of your family members. Do it with as many others as necessary for making it too risky for them to attempt anything wicked against you or family members.

In the low-resolution image, the woman with blue bag does not appear prepared to take the wheelchair with her. It's behind her, and she could be oblivious to it. Remember, here, she appears to be speaking with the woman in taupe who is suspect as the owner/manager of Marathon Place. The issue that they are discussing could be on what the heavy-set woman saw, in which case the woman with blue bag could care less for pushing a chair at this time. I'm suggesting that she's walking toward the forbidden door without a wheelchair, to help deal with the potential problem.

The problem first started, for the insiders, when the action-scene video went out, showing a suspicious event at that door, wherefore all hint of events having to do with that door, in images after the action-scene video, needed to be covered. We are not supposed to know that certain movements of certain people, after that video's timing, are in relation to protecting the secret inside that door. The danger for any outsider treading on this problem depends on how great / important that secret is. Wouldn't the judges across the land like to know?

It's possible I have Marathon Place confused with the "candy store." Marathon Place is the one behind the patio railing, and, possibly, the candy store is beside Marathon Place. Until I know the truth, I will speak on the two as though they are one.

After the low-resolution scene, both woman walk toward Marathon Place, and because the woman in taupe is not in the 4:43 scene, I assume that she's in the store already. The medic under discussion will later be at the side of the patio railing where the door to the store is located. He will be there after the six-minute image, and it is in that image where we see the woman with blue bag at the corner of the patio near the forbidden door...without a wheelchair beside her. She then goes missing. I pointed out that she is missing from the wheel-away image, but I had no idea then as to where she went. I now suspect that she was inside the store. That makes sense.

The Woman with Black Bag, and the Obama Suspect

It is in the wheel-away image where there is a Negro man who looks much like Obama. I have this image in my own files, and can therefore expand it greatly. I have some doubts that it is Obama, but everytime I look at it, it looks much like him. He's in a white jacket beyond the far end of the patio railing. I do not find him in the string of images that come soon after. I do not find this man in the six-minute image. Where did he come from??? He and a woman appear to be walking toward the street (with the forbidden door to their backs), and while the string of images shows the street well, the couple (doesn't necessarily include Obama's wife) is not there.

Now, look at the orange bag at the corner of the railing in the wheel-away image. Could this be one of the orange bags that were previously near the lamp post? They are identical in design, after all. But wait. The medic who blocked the two wheelchairs was carrying an orange bag (in the low-resolution images, and he appears beyond the patio in this very image. So, we must assume that he carried this bag to this spot. However, in the world of digital-image paste jobs, anything is possible. I noted that, in this low-resolution image, the medic carries an orange bag past the orange bag that was lying on the sidewalk before any medics arrived to the injury zone. I took suspicious issue with that orange bag on the sidewalk, and claimed that, where it is seen in various images, it was pasted in to keep us from knowing that the short-sleeved medic took roughly the 1:28 point of the Silva video. After taking it, he laid it down beside the lamp post.

By the way, my computer is infected with the malware (could be spyware). I have removed it from my downloaded files, and from both browsers that I use, but the program still persists. It takes me to even when I don't request it. It hijacks many of my searches, taking me to an page instead. I just noted that this was the case when trying to load the Silva video from (link above). Hmm.

It was reasonable to claim that the insiders would show the orange bag on the sidewalk in images timed after 1:28, but that they would paste in a bag different in design than the one(s) the medics were using. You can see one clear example of that bag on the sidewalk (at the tree trunk) in the 4:09 image. Notice how the fireman is about to walk into the bag, which I do not think he would be doing unless it was pasted in. The black wheelchair is behind this fireman, and nearby is the woman in white coat who is escorting her walking injury victim into that chair. We were told that there were "many" people without limbs intact there; she couldn't possibly have missed one, and yet here she is taking a walking man away who has both his arms and a look on his face of being a very low priority. Such a thing makes sense only in the deluded world of criminal monkeys playing criminal-level tricks on us. This man (grey shirt) is standing up also in the fireman-without-stretcher image (timed about 4:00 minutes).

The question is: did the medic carrying the orange bag replace the one at the tree trunk with one not matching the medic bags? I don't know, because I don't know whether he himself was pasted in. What I do know is that the orange bag at the base of the tree (in the 4:09 image) is there before he comes walking by the tree at about 4:20-30. It's not at all clear whether he has the orange bag in the 4:43 (timeclock-takedown) image. If he wasn't pasted, it's possible that he dropped off (i.e. planted) his bag at the tree, then walked (bagless) away. Then, after we see him at 4:43, he went to get the white cart with orange stretcher. But why? That stretcher ends up near the forbidden door (it can be seen in the forbidden-door image) late in this "movie", as men peer into the door, but we never see what it was used for.

The best way for the insiders to pull off hoaxes like this is to release all images with imbedded abilities for modifications at will, even after the images are downloaded into our personal computers. In other words, at the click of a mouse button, they can send everyone online a revision of an image, even if the person is not online when the button is clicked. As soon as people go online, the revision goes into their computer automatically. Therefore, if I say something like so-and-so is not in such-and-such image, they can send out an altered image showing that person appearing in that image. But, of course, it would be best if that person appeared in such a way as not to be too obvious. It makes us say something like, "I could swear she wasn't there before." The best thing to do against this method of doctoring images is for us to save images on a drive that is not in contact with the Internet. I just did it again.

You've probably noticed that there are often images from opposite / different directions taken at nearly the same second. Is that coincidental, or have the insiders arranged things that way, when possible, to minimize the situations / movements that we are able to see? Look at the image below taken from the far side of the patio, and ask why it too has the police officer standing beside the man at the wall. You can see that the man's leg is suspended off the sidewalk as though the leg is in a cast. It's a mystery for a solution if you care to take a jab at it.

Perhaps this image (above) can help us to time the low-resolution images better, but, no, it's not to be.

One way to time the patio image above is to gauge the movements of the two military men who appear toward the man at the wall. They are close to their positions in the timeclock-takedown image. In the low-resolution images, they can be seen near the building wall (not the two in dark clothes further from the wall), walking toward the injury zone, not yet having reached the man at the wall. Therefore, the low resolution images are several seconds BEFORE the patio image.

Close inspection is telling me that this is yet another case of two images taken from the opposite direction at just about the very same second. I cannot make out anything different in the positions of people between the patio and timeclock-takedown images. Is this truly coincidental between two different cameramen who are not supposed to know, or work with, one another? Or are the insiders concerned about how much information they release?

In the timeclock-takedown image, we can even see the cameraman who's taking the patio image (it looks like the long-haired cameraman suspect with the Boston Globe). Beside the cameraman there is a woman in a red cap, with black bag on her back (called the "woman with black bag" from here on), walking toward the forbidden-door; in this image, at the far right, we see M&M evidence that this could be to the "candy store."

[However, it's not. In the fifth update of this month, I wrote the following: "In the third update of October, I said that [the woman with black bag] was walking toward the forbidden door, but at the time I wasn't sure whether that door was into Marathon Place or into the candy store. Since then, I realized the forbidden door was not into the candy store, which is where the woman with black bag appears to be walking to. However, she may be circling around the back of the cameraman, out of common politeness, on her way to the forbidden door (the cameraman is in the process of taking a picture)."]

The woman with black bag has a pony-tail matching the woman walking toward the patio in the wheelchair-under-cowboy image (where the heavy set-woman is looking toward the forbidden door). She is far-more visible a couple of seconds earlier in the 4:09 image, where she's standing behind the heavy-set woman as she herself walks toward the forbidden door. The woman with black bag already has blue latex gloves on, indicating that she's not a mere pedestrian. The heavy-set woman has disappeared from the scene in the timeclock-takedown image, and may therefore be inside the door, meaning that this other woman may be going in to get her. It's not necessary that someone called her (on her cell phone) to the scene to look after this problem, for she was beside the heavy-set woman, facing her even, in the fireman-without-stretcher image, which is timed immediately after the heavy-set woman was pushed away from the forbidden door. Therefore, this woman with black bag saw her being pushed out from the door.

When the heavy-set woman is seen again (for the only time that I know of after this scene, and for the last time that I know of), in the forbidden-door image, she's again outside the forbidden door. Does it look like she has a bewildered face, as expected if she had been in the candy store, perhaps harassed in there?

As the woman in taupe is not in the timeclock-takedown image, but because she was seen walking toward the door in the low-resolution image some 10-20 seconds before, it can be assumed that she entered the door just before the woman with black bag did so. The heavy-set woman can be the first of the three women to enter the door, therefore, while the woman in taupe was down by the street. We could assume that the woman in taupe started to walk toward the building, in the second low-resolution image, because she saw the heavy-set woman get too close to the door. By the time she arrived to the door, the heavy-set woman was inside, and all the "guards" whose job it was to guard against such a thing would have gone into action too, suggesting that the woman with black bag was one of the guards.

Why did the woman in taupe leave the door area if she was so concerned about this heavy-set woman? It should, first of all, be said that, when she pushed her away as far as the Lenscrafters store front, she was at that time near the woman with black bag, and may therefore have asked her to watch the heavy-set woman. Perhaps the woman in taupe rushed toward the street to notify some high-level operatives that the heavy-set woman had possibly seen something inside the door. She cautiously didn't want to make "a scene" (like an altercation) outside that door, or the heavy-set woman could reveal out loud what she had seen. It is logical, if she's going to the street to deal with it in some other way, that she's going to notify a high-level insider. There are two police vehicles at the street where she's going.

The low-resolution images then shows her at the street while the medic is arriving...who ends up at the forbidden-door area. Coincidence? Perhaps. In the earlier low-resolution image, this medic looks like he could be coming from the police van, or even from the Escalade (shown)...that is, at this time, parked closely to the police van (I didn't know until seeing the low-resolution image that the Escalade was not yet, as of about 4:20-30 minutes, beside the hole at the bleacher wall). The Escalade is in that position on the street in the 412-timeclock image (at 3:07 minutes), but this medic is not in that image.

A few minutes later, as per the wheel-away scene, neither the woman with black bag nor the heavy-set woman are visible, even though we can see the sidewalk far up beyond the injury zone. We can assume that both women are inside the Marathon Place / candy store. Meanwhile, a man who looks like Obama is standing outside Marathon Place in this scene. He is walking away from the forbidden door. As pure speculation only, the heavy-set woman inside the store may have been taken to a spot where she could not see Obama slip out that door. He was directed to slip out, or chose to slip out, only because she had entered with suspicion. Again, I have my doubts that Obama is in the wheel-away image, but the theory is intriguing. Obama was in Boston three days after the bomb went off...i.e. but maybe he was also there on the day it went off.

In the same wheel-away image, the woman in taupe is at the street again, only this time without either police vehicle parked there. She's not speaking with anyone, but is looking (or even running) toward the Negro medic as he returns. He has just been approached by a woman in white who seems alarmed, for she is pointing toward the injury zone. However, she may not be pointing to injury victims, because she is also pointing directly at the woman in taupe. She may therefore be telling the Negro medic the affair going on with the heavy-set woman. In the wheel-away video, the woman in white can be seen coming from the Escalade. Was the Escalade, therefore, the detail of the Obama security team?

Not only is the man at the Escalade looking on, but the man in green cap and blue coat, between the street and the forbidden door, is standing with his front facing the direction of this pointing-finger scene. Then, after the wheel-away scene, in the first (and second) image of the string in which we see the progression of the woman in taupe running back to the forbidden door, the man in green cap is no longer visible, yet, in the third image, seconds later, he's walking away from the forbidden door, as though he had been inside the store seconds earlier.

There seems to be much emphasis on that door, therefore. As I no longer think that Jeff Bauman was in there, who of concern was in there? Who was in there that could expose his hoax for what it is?

Having just noticed that the Escalade is beside the police van in the low-resolution image, and because the Escalade is parked (i.e. not in the process of moving / changing positions) at the bleacher wall in the timeclock-takedown image, it is now certified that the low-resolution image is a substantial number of seconds before 4:43. I'm going to take the position that, because the street was crawling with people, the Escalade had to change positions rather that I'm looking at 20 seconds, in the least, between images, thus timing the low-resolution images at 4:23 at the latest. It doesn't give the woman in taupe much time to speak to someone at the street, for she was still on her way to the street at 4:13. The only person she may have spoken to, therefore, is the woman with blue bag.

The problem is, the woman with blue bag is standing at the street at the 4:09 image, and, in the is-that-Jeff? image (4:10) can be seen taking her first step toward the building. By 4:12, her (red) wheelchair is seen "under" the cowboy, walking in the opposite direction of the woman in taupe. That's the problem: how could the woman in taupe be going down to speak with this woman if she's walking the other way? But I had, from before this update, thought that the woman with blue bag was pasted with her chair "under" the cowboy, and this situation could prove it. We are now to believe, if there was no pasting involved, that the woman with blue bag returned to the street curb by 4:23 at the latest, 10 seconds after the second wheelchair-under-cowboy scene. It seems unlikely that she would just abandon her chair a second or two after wheeling past the cowboy, then return quickly to the street curb, but, for now, the possibility is still there...especially if the woman in taupe called her to the street with alarm in her voice.

When we see her taking her first step toward the building in the is-that-Jeff? image, guess who is directly beside her? It's the man with green cap and blue coat. There is even a police officer standing there, looking toward the patio. This is a half-minute since the heavy-set woman was pushed away from the door. Correct me if I'm wrong, but the police officer looks like a Negro to me, in the 4:09 image. Might he have been Obama-in-the-store important? In any case, the fact that the man in green cap appears beside the woman with blue bag explains why he should be inside the forbidden door during the first two string images, albeit they were three or more minutes later.

There is yet another suspicious thing suggesting that someone came out of the Marathon Place at about the time we see a man who looks a little like Obama. First, in the fireman-without-stretcher image (about 4:00 minutes), we see another woman, in black coat and white bag, with blue latex gloves on, walking toward the forbidden door. She has a cell phone in one hand, suggesting the possibility that she was called to this scene. She's not visible at this spot, or anywhere else, in the 4:09 image; perhaps she's obscured by the bay window that's in the camera's path, or, perhaps, she's inside the door. Then, at about 4:12, she's seen again (perhaps with aggressive body language) just outside the door, and she's facing the heavy-set woman as the latter faces / walks toward the forbidden door. Unfortunate for reading her body language better, her face is cut off.

The same woman appears in the wheel-away image, and she happens to be walking toward the Obama suspect. Just look at the direction of this Obama-suspect, toward the scaffolding = junk. Why is his back to the forbidden door, and why is he walking with a woman at his side, who appears to be his mate, toward the junk? Who would want to walk toward the junk in this situation? No one else looks interested in the junk. "Come, my darling, to this junk heap."

He could be waiting to hear back from the woman in taupe, who at the time of his appearance near the junk, is on the street. He's walking toward this woman. But when we see her running back to the building, he and his mate are gone. This is the importance of rightly timing the string of images showing her running back to the building. How much time was there between the wheel-away image and the first image of the string? Could the Obama suspect have had time to slip around the corner, on the street, out of view? Or did he walk back into Marathon Place?

While the woman in black coat and white bag is walking toward the forbidden door (in the fireman-without-stretcher image), the woman with black bag is in the same image taking off her white marathon jacket. Why is she taking it off? To help an injury victim? It explains why her black bag is not on her back at the time, but at her right side. One could assume that the woman with black bag is looking at her partner going for the door, for she too will go for that door.

The Two White Items

I find it peculiar that, a few seconds later (in the 4:09 / wheelchair-under-cowboy-1 image), in a long-enough span to have her black bag on her back again, we not only fail to see her white jacket dangling from her left hand, but there is a white object on the sidewalk, a few feet to the left of her left hand, that looks like it could be a jacket. What else could it be? This object is directly behind the heavy-set woman as she walks away from her, wherefore: did the woman with black bag throw or swing her white jacket (in anger) at the heavy-set woman? Or, did the heavy-set woman grab her jacket, and yank it from her in protest, leaving it to fall on the sidewalk?

If so, why would the owner of the jacket leave it on the ground? Yes, that's what I think she did. I think she went inside Marathon Place without the jacket, in spite of the jacket shown in her hand as she's about to go in.

In the wheelchair-under-cowboy-2 image, a couple of seconds after we see the white object on the ground, it is no longer visible on the ground, and, furthermore, we see a white jacket dangling from her left hand. But, the problem for the paste-loving insiders is: she has not walked as far as the white object had been on the ground. She flung / lost it way ahead of herself, and the insiders put the jacket in her hand before she got to it.

In the image where the white object is no longer on the sidewalk, she is not obscuring it because, where it is visible (a couple of seconds earlier), it is close enough to the shoe of the man in burgundy coat to be visible also in this latter image. So why isn't it there? [At first, I hastily assumed they erased it, for, when they pasted the jacket to her hand, they would, naturally, erase the jacket on the ground. But then I learned that someone picked it up.]

Furthermore, this white object is not on the ground when she is shown taking her jacket off. That's how we know that it's her jacket on the ground. In the image below, she has walked further on in the path of the heavy-set woman, but we see no white item on the sidewalk. That's also how we know that she tossed / lost her jacket on the ground.

Can we come up with a reason as to why she would fail to pick up her jacket? Yes, for the heavy-set woman was on her way to the door again, and this woman with black bag was commissioned to disallow her entry there, wherefore she rushed after the woman, leaving here jacket behind.

In the image where the white object is on the sidewalk, a woman in blue shirt stands looking on. She has nothing white in her hand. But in the wheel-away image, she has a large white item in her hands that could be the jacket. The woman in blue shirt is now directly beside the woman with white bag who was walking toward the forbidden door when the woman with black bag was taking off her white jacket. This, and what's yet to be explained, makes the woman in blue shirt suspect in the mystery surrounding Marathon Place.

If the woman in blue shirt picked up the white jacket just after 4:09, and if she still holds it in the wheel-away scene (after 7:00 minutes), then it should be in her hand(s) in the timeclock-takedown image (4:43). Yes, but her hands are obscured in that image...suggesting either that the person who obscures her was pasted in, or that they chose this image because he happened to be obscuring the jacket in her hand(s).

By what coincidence do we see this woman in blue walking toward the spot where the white object appeared on the sidewalk? Yes, a couple of seconds after it shows, as per the image where it no longer shows, she is right there, in a position where she can pick it up (but they deleted the object, quite apparently).

I mean, at 4:09, she is standing looking at the owner of the white coat, with the white object seen on the sidewalk, and a couple of seconds later, she's walking toward it. Then, in the image where it doesn't show, she has walked past the spot (in the middle of the red patio stones) where it was seen. She is shown with a pop bottle in one of her hands, but that's not good enough to prove she doesn't have the jacket in the other hand, which happens to be obscured by a person. As we have just witnessed her walking right across the path of that white jacket on the sidewalk, it's like a smoking gun in her hands.

Plus, it wasn't until writing far below that I found this woman in blue attending the same injury victim as the owner of the white jacket, in the two-minute-exactly image. Here (or here) she is working the injury victim (red cap, top-tight) a few seconds later, perhaps a second before the injury victim is abandoned.

It appears that the woman with black bag took off her jacket with the intent of walking into Marathon Place but not being identified by on-lookers as a Boston-Marathon worker. I cannot conceive of any other reason for taking off the coat, or of insiders trying to hide the fact with doctored images. If the woman in blue shirt still has it in her hands in the wheel-away image, we could speculate that the owner of the coat is still inside Marathon Place...when the Obama suspect goes out for a stroll with his lovey to the junk heap.

I cannot locate the woman with blue shirt in the string of images shortly after the wheel-away image. Was she inside Marathon Place too? Logical.

Contradicting the idea that the woman with black bag was inside Marathon Place until after the wheel-away time slot (later than seven minutes), we see her, with a rolled-up white jacket in her hand, in the orange-surfboard image, timed about 5:20 (very rough estimate). She's back where she started, where she lost the jacket in the first place, but her appearance in this image could have no other reason than to shorten her stay at the forbidden-door area (she arrived there at 4:43). There is nothing obscuring her in this image, suggesting that she is an intentional focal point. If she is not pasted in the image, then she ought to show about 30 seconds later in the six-minute image, but I don't see her. Images subsequent to the orange-surfboard image, in the order of ten seconds later, has her bending over the man in red jacket, with her own jacket still in her hand in the shape of a roll:

The jacket in her hand is an obvious impediment to her ability for acting helpful toward injury victims. But she was never there to be helpful. Both she and the woman in blue shirt will abandon the injury victim they are "helping" in the two-minute-exactly scene. Here she is (white jacket on), less than 10 seconds after the two-minute-exactly scene, leaving her injury victim behind:

We are not surprised, therefore, if, seconds after stooping to the man in red jacket, she also abandons him. However, the importance of her not appearing in the six-minute image is, not merely that she abandons the man in red jacket, or that she's at a certain distance from him, but that her red cap, together with her black shirt, is nowhere to be seen, anywhere in the image. It suggests the possibility that she was pasted into the red-jacket scene because she was pasted seconds earlier into the orange-surfboard image. The insiders tried to make her appear in a progression of time slots, and thought it was good as to leave her out of the six-minute image. I don't think it's good enough. She should be there.

The Fireman Holds a Blue Item, or Does He?

In the last update, I thought that a man with grey sweater was carrying the orange stretcher the way one carries a surfboard beside/above the head, but I wasn't studying the image closely. I now see that what was then thought to be his chest and left arm are in fact grey patio stones. I now see that the man with grey hair is the one carrying it. I get sloppy at times when not looking closely, but, as a valid excuse, I have a lot of things in mind at most times, to be transformed into writing, so that, as I go from one image to the other in the meantime, I haven't always got plenty of time to look closely. I'll try to be more careful, but, remember, I'm writing while investigating, not after investigating, meaning that you should expect some mistakes. See the man who carries the orange stretcher a few seconds later in what I'll call the stretcher-in-the-patio image:

I now recall a white piece of clothing held by a Negro fireman at about the very time of this orange-surfboard scene. In the image above, this fireman is dangling a blue piece of clothing. This was a difficult subject in the past (last April/May, I think), with ample room for incorrect speculation. I recall suggesting that the short-sleeve medic, when he was stooping to the ground at a spot without an injury victim, had received the blue clothing from the woman in blue shirt not far to his front. I now find myself writing -- without any thought of what I had written back then -- that the same woman took a white jacket. The question coming to mind is whether the Negro fireman was holding that white jacket when I saw him holding a white piece of clothing in his hand. Did he receive it from the woman in blue shirt? The problem is, I cannot recall where the image is to be found where he held a white item.

The orange-surfboard and related image above are very near in time to this image below showing the SS medic crouching down where there is no injury victim:

I showed, using images from the opposite direction, that he was stooping where there was no injury victim. I was wondering what he was doing, therefore. I then came across images showing that the woman in blue shirt would be near him seconds after his stooping/crouching image. You can see her close to the SS medic in the orange-surfboard image, with the cowboy between them. She may get closer in the coming seconds as Jeff's wheelchair (supposedly) comes in to park beside Jeff.

The image below shows the Jeff chair coming in to his spot, but cuts out how close the woman in blue is to the SS medic. The SS medic is walking away at this time, as the Negro fireman's left hand is obscured. When the medic has walked by him, suddenly he holds a blue piece of cloth in his left hand. I assumed, months ago, that the medic had passed him this blue item. Now it's time for another look, with the white jacket in consideration that was removed by the woman with black bag.

It's expected that the woman in blue shirt is the origin of this blue piece of clothing...i.e. that may in reality have been white (the photo monkeys just colored it blue). The Negro fireman happens to be right beside the owner of the jacket as she walks by (in the orange-surfboard image), but then I entertain the idea that she's pasted into that image. If the blue item was the white jacket, then she with the white jacket in her hand (in the same image) should prove to be a paste job, perhaps lifted from a later scene. If we compare the blue clothing (I just did it under a magnifying glass) to the white jacket in her hand (do not confuse her white tag with part of her jacket), the shapes are very much the same! Wow. Plus, I can make out a diamond-like shape in both objects at the same, central location. Wow.

So, it looks like the woman in blue shirt said to the man in blue t-shirt, "Here give this to the fireman." The issue to be solved is the great extent of doctoring that seems to have taken place to disguise this jacket. Why was it such a concern that the woman in blue picked up the jacket, and then carried it with her for some time, afterwhich she had it returned to her? The answer is as obvious as the answer to the question: why didn't the owner of the jacket pick it up herself? Or, why was it on the ground in the first place? Or, why did she walk past the jacket on the ground to Marathon Place? The insiders simply don't want us to know that there had been an altercation between the owner of this jacket and the heavy-set woman, all of which was related to something inside to forbidden door.

Let's look at this closely. There are three images related, two of them showing the orange stretcher, and one leaving it out of the picture. I'll call them stretcher images 1, 2 and 3, all in chronological order. In stretcher-1 (the orange-surfboard image), the man in blue shirt (has a runner's tag i.e. was supposedly a marathon runner, but let's not be too naive) is apparently receiving the blue item from an unidentified person, and the crouching SS medic is coming to an upright position. The fireman holds a white piece of cloth(ing) in his right hand at this time, making the task of deciphering this mystery somewhat complicated if indeed the blue item was really the white jacket.

In stretcher-2, the SS medic is walking, about to pass the man in blue t-shirt and the Negro fireman; the latter no longer has the white piece of cloth in his right hand, and his left hand is obscured. The situation is such that the man in blue t-shirt CANNOT hand the piece of clothing to the fireman until after the SS medic has walked by, and until the oriental woman with wheelchair has walked by. It will take a couple of seconds or more, after they pass, for the man in blue to take a step toward the fireman, hand it to the fireman, and then withdraw his hand completely, as we see him.

Yes, in stretcher-3 (= the stretcher-in-patio image), the fireman holds the piece of clothing, but the hand of the man who supposedly gave it to him is completely withdrawn. We don't really know that the item was passed between these two individuals, therefore. In two of the images, the blue item looks pasted, complicating things further.

The immediate problem is, the SS medic has not walked far enough past the two men for stretcher-3 situation to be real. He's only one step, maybe one and a half steps, past the two men. I don't think there was time for the man in blue to pass the item to the firemen, and withdraw his hand. In any case, there is a white something in the left hand of the fireman, the same hand with which he supposedly holds the blue piece of clothing. We gather that it's the white item that was in his right hand seconds earlier, but then wouldn't the firemen grab the blue item with his (empty) right hand, rather than trying to grab it with a hand that already holds a white item? Yes, and that's another reason for suspecting a pasted blue item. It looks like the blue piece is pasted on his hand because it doesn't look like he's holding it. None of his blue glove is visible that could be holding the blue clothing. That glove is instead expected to be holding the white cloth(ing).

Can we say that the insiders are trying to obscure (deliberately hide) he white cloth(ing) in his hand, and are meanwhile replacing it with the blue one? I don't think so, because the white item was just seen in his possession seconds earlier, and it's even seen where he holds the blue item. So, what's going on? Possibly, he's holding the blue item with a single finger (acting as a hook), explaining why he's not holding it with the bulk of a latex glove. In that case, we've got to entertain the idea that the blue item is not pasted.

Don't ask me why the fireman is looking at his belly button, because I really don't know. He's that way in two images seconds apart. Don't you wish I knew what was going on rather than bringing you to a mystery but leaving you hanging? If the blue item was really the white jacket, why does the fireman hold a white piece of clothing that could itself be the jacket? If you compare the shape of the white item when it is fully visible, hanging in his right hand, to the shape of the jacket in the hand of the woman beside him, they have the same basic look. When it's in her hand, the jacket is folded in half with the fold above her hand. The same can be said of the item in the hand of the fireman. Therefore, we may assume that one of the white items/jackets (or even both) was pasted in.

By what coincidence was this fireman at the forbidden door (in action-scene video) when the heavy-set woman was pushed out of it at about 3:45 minutes? He's not seen walking away from that area of the patio railing until the timeclock-takedown image a minute later. Therefore, it appears that the owner of the jacket, who is seen walking by him in the timeclock-takedown image, asked him to go get her jacket from the woman in blue shirt. But the insiders wanted to hide this.

My inclination is to suggest that the SS medic stooped down, at the request of the fireman, and indicated to a person(s) in front of him to pass the jacket from the woman in blue shirt. It was then passed toward him through the legs. But what exactly happens to the jacket as it's coming to the fireman gets convoluted. Perhaps the SS medic, or the man in white cap beside him, passed it to the fireman, but from that point the blue piece of clothing was pure fabrication pasted into the scenes. It's not a bad theory because the man in white cap is almost looking at the fireman (i.e. he may have been looking right at him a second earlier while passing him the jacket), and the fireman is looking at him.

But as we don't see the progression of the jacket from the woman in blue to the man in white cap to the fireman, why would the insiders have need for pasting a blue item going to the fireman? Why not just leave the image as is, with the white item in the fireman's hand, but without a blue item at all? Who would guess that the white one in his hand is the jacket of the woman in black bag, especially as she stands there, in this string of images, holding her own jacket?

The Flickr numbers may tell the story. The three Tang photos showing the blue item in transition from the man in blue to the fireman have the following numbers: 8654021280 for stretcher-1; 8654023934 for stretcher-2; 8654026300 for stretcher-3. If these numbers indicate the relative time that they were released with Flickr, they were released in the order that they are listed (because 4021 comes before 4023, and 4023 comes before 4026). In other words, we can assume that the image showing the jacket in the hand of its owner was released first. Having thus committed themselves to that release, they could not show the white object in the left hand of the fireman because it looks too much like the jacket in the hand of its owner. Just compare that roundish bunch of white protruding above the left hand of the fireman (in stretcher-3), with the same protruding above the hand of the woman (in stretcher-1). It looks like they "lifted" (i.e. copied) the jacket from the fireman's hand within seconds of stretcher-3, and pasted it into her hand.

If that's correct, then I say they devised a plot to have the blue item in the hand of the man in blue shirt (in stretcher- 2) look like it found its way to the left hand of the fireman, for the mere purpose of obscuring the white jacket in his hand.

In the stretcher-3 image, we see the man in green cap and blue jacket walking toward the patio. He's not anywhere to be seen seconds earlier in the wider, stretcher-1 image, wherefore we could assume that he walked in from the street. While the positions of people between stretcher-2 and stretcher-3 are a couple of seconds apart, their positions between stretcher-2 and stretcher-3 can be 10 seconds or more, thus allowing this man to walk in from the street. In that case, he definitely appears to be walking to the patio, but as such, he may be on his way into the forbidden door.

In stretcher-2, at roughly the same spot where he appears in stretcher-3, the woman in taupe appears with her lower body only. Her back is toward the forbidden door, as though she has just come out of it. Apparently, the man in green cap and blue coat is approaching her at that very time. She does not appear in stretcher-3, and may therefore have continued forward (so as to become out of camera view), but her absence in stretcher-1 makes me suspect that she was pasted into stretcher-2. What motive could there be for pasting her into this scene? Well, it doesn't allow us to argue that she was unaccounted for, for a very long time, between the low-resolution images (4:25ish) and the wheel-away scene (after 7:00 minutes).

Or, assuming that she was not pasted in stretcher-2, we could imagine that she walked fast out the forbidden door between stretcher-1 and stretcher-2, thus explaining why she's not in stretcher-1. She motions toward the man in green cap as she walks out fast, perhaps explaining why we don't get to see her upper body. That causes him to come toward her, as we see him in stretcher-3. But he has passed her, suggesting he's going straight for the door. It's about 5:15 minutes when she walks out here. It's been about a minute since the heavy-set woman went into the door, and about 30 seconds since the owner of the white jacket went in. The woman in taupe is not seen some 30 seconds earlier in the 4:43 image, even though that image shows most of the street. Therefore, if she was not pasted into the stretcher-2 scene, she came out of the Marathon Place in all likeliness. There could have resulted an argument (inside) that required additional help, i.e. the man in green cap now being called in.

There are some familiar people in the 4:11-timeclock scene, near the forbidden door, including the runner in blue t-shirt associated with the piece of blue clothing, and the man in grey-green shirt and beige shorts who was beside him at the blue-item transition event. The man in green cap under discussion is also there, as is the woman in taupe.

In the wheel-away image, there are two people near the Obama-suspect who appear also in the 411-timeclock image, near the forbidden door. One of the two (in navy blue, no cap) can be seen in various images, standing a long time at a metal table/rack that will be positioned where he's standing in the 4:11-timeclock image. He's suspicious because he just stands there in a nook, like a watchman of some sort. He's finally gone in the orange-stretcher image.

The long-haired cameraman also appears at the forbidden door in the 4:11-timeclock scene. In the stretcher-1 image, he is on his way to underneath the press box. I know today for the first time that he was the one who caught the timeclock-takedown scene from another direction, from beyond the patio railing...i.e. where the forbidden door is. I cannot think of any other big-time cameraman who was at that side of the patio railing, suggesting they were not allowed there. Aside from the action-scene video, I don't recall anyone taking pictures from that spot, which is unbelievable (for a real event), unless they were all insiders who were directed ahead of time not to take pictures.

I cannot think of any cameraman who was allowed on the opposite side of the patio railing, except this same long-haired cameraman, indicating that the others were not allowed there. I cannot recall anyone taking pictures, with anything, including a cell phone, from the sidewalk on the Lenscrafters side of things. This is too unbelievable for a real event where pedestrians were walking through. Therefore, any pedestrian who was there, was, in the main, an actor-pedestrian.

When previously on the topic of the SS medic crouching at the blue-item spot, it was discovered (witnessed in an image) that the long-haired cameraman took the medic-stooping image. Therefore, the latter image comes before the three stretcher images. But not by much. Hopefully, it can add to our understanding of the blue-item mystery.

We now have a problem if the woman in blue shirt had the white jacket in her hands in the wheel-away image, which, being seven or more minutes after the explosion, was AFTER the Negro fireman got the jacket in his hands. How could the woman in blue shirt have the jacket after she had it passed to the Negro? Well, one way is for her to have the jacket AGAIN, after she had it transferred to the fireman. For example, what if the fireman failed to get the jacket to its owner due to her prolonged stay inside Marathon Place? The fireman might simply have given it back to the woman in blue shirt.

Did the fireman try to give the jacket back to the owner? Let's take a look. He is not visible in the six-minute image, not long after getting the jacket. As this image does not show the area in front of the forbidden door, he could be there, waiting for her. I should say this more strongly: if the fireman is nowhere to be seen in the six-minute image, he must be out of view at the forbidden door. Where else could he be out of view?

In the six-minute image, the SS medic is walking toward the forbidden-door area. I've not seen him walking in this direction prior to this time period. I can't make out any logic as to where he could be going, but, in the wheel-away image, he's still out that way, doing I-don't-know-what to I-don't-know-who.

For the first time ever, the Negro fireman appears to be bending the knee to help someone in the wheel-away image. But this is suspicious. Look at how low he is, and look at where he is. He's at the blue-item spot where he was prior to the six-minute image. It looks like he hasn't moved spots. Therefore, he appears pasted. The insiders have a great motive for pasting him here in a very low position, to explain why we can't see him in the six-minute image.

in the wheel-away image, the woman in blue shirt to now several feet to his left, and holding a white piece of clothing in her hands. Wow, someone could get the impression that he gave the white jacket back to her. In the next four images according to chronological order, which are the four string images, the woman in blue shirt cannot be found, wherefore she could have gone into Marathon Place to give the jacket back to its owner. Besides, the woman in blue must really have wanted to know what was going on in there.

The next image in chronological order is the orange-stretcher image (the woman in blue shirt still cannot be seen), where the man in green cap and blue coat appears at the forbidden door. The injury victim in front of him is not in the forbidden-door image (i.e. the latter comes later)...where the heavy-set woman re-appears after a long absence. Therefore, the man in green cap is at the door not long before she apparently comes out that door, wherein she may have received a scolding / directive to go away and not talk, or something to that effect.

However, the heavy-set woman may have caused those men to peer into the forbidden door (or through the store's window, I can't tell for sure). This image may not have belonged to the insiders because it comes from an odd place, from up high and at a slight angle. To the best of my ability to guess its origin, it's from the very end of the press-box set-up seen in the wheel-away image, where no cameras were supposed to be.

The Other Blue-Shirt Man and His White Thing

In the 4:11-timeclock image, we see a strange scene, a woman with large white bag, with inexplicable white cloth on her upper legs. She's the one who came into the injury zone (i.e. she was not there when the bomb went off) looking like an injury victim. She may have been late. Maybe her bus was late, I dunno, and maybe the insider bosses were fuming that she walked onto the set like that from outside the injury zone. After she walks through the injury zone once, policemen try to shoo her away (i.e. perhaps due to her walking on the set late, hee-hee), but she refuses to go quietly. This is her big chance to be a movie star. It can be seen late in the Silva video.

The white cloth on her legs, looking like it was supposed to be bandages for some pretty mean injuries, is falling off, hee-hee, and she's grabbing it to keep it from falling to the ground, har-har. As she's passing the man in burgundy coat, she's asking, "Hey, Tom, where do you want me to lie down?"

However, I have a problem with this scenario of her being late on the set. If that was true, why are we getting a full-scale view of her in this Tang image? There is no one who appears more central and fully in this image than she. She's like the star of the scene. Plus, Tang images include her coming down the sidewalk, some 50 feet before reaching the injury zone, several seconds after the explosion. To see her, look closely under the two white umbrellas at the upper-left area of the images with numbers, 3150 and 3151 (put your mouse on the page), at the Tang page here:

So how do we explain this strange person? One of her pant legs is shorter than the other, as with several injury victims. Yet Tang, an insider-suspect, allows us to see her even before she gets to the "set." Perhaps she is so small in the 3150 image that they released it without realizing she was in it. Or maybe they just plumb forgot that she was in it. I could go for that theory, especially as I don't have another explanation. Silva not only ends our view of his video when she starts ignoring the policeman, but he takes the camera fully away, and the bums never show us the rest of the video.

After she is pushed away from the injury zone by a policeman at the 2:32 point of the Silva video, she appears between two men in the 3:11 image. It's hard to say whether they are man-handling her because she's still being unruly, but in any case, her location, so close to the green lawnchair, is not to be ignored, for in later images, a mystery piece of white cloth appears beside the green lawnchair, a topic of the last update. If the intension of the insiders was to identify that mystery piece of clothing with the cloth on the woman's leg, we need a motive.

Again, why would the insiders try to make her leg cloth appear fallen near the green lawnchair? We don't see this woman again after the 3:11 image, meaning we can't prove that the white item on the ground wasn't from her. I can only think of one reason for their attempt to associate this shirt-like object with her leg cloth. She must have lost some, or all, of the cloth in the injury zone, but they didn't want us to know what happened to it. They wanted us to think it was lost outside the injury zone, at the lawnchair, and that nothing came of it.

Well, then, what possibly could have happened to the leg cloth, after it dropped onto the injury-zone set, that we must not know about? To answer that, we need to find the white cloth that fell off.

It just so happens that the woman with white bag, in the 4:11-timeclock image, is being spied by the woman in blue shirt. This is not surprising, as I'm sure the entire crew was wondering why she was late, and what she was going to do about it. The man in burgundy coat told her, "Lie down anywhere you want, just not close to me. How about Bangor, Maine?"

The man in blue shirt [the one involved with the blue piece of clothing, I presumed wrongly while writing here] has his front facing this woman as she comes through holding her white cloth. If it falls off, into the dumps goes her chances at stardom. It just so happens that the man in blue shirt is attending to the red-sleeved blonde (still in the 4:11-timeclock image), who is later seen with two white clothes, one around each of her upper legs!

That exclamation mark is due to my not realizing this connection to the man in blue when asking where her white cloth may have ended up as it fell in the injury zone. I mean, she is right in front of this man in blue when the image was taken. The white cloth on the legs of the woman coming through definitely appears capable of forming two separate bandages for fulfilling the ones on the red-sleeved blonde!

Question: why did Tang include this image that shows this woman in her glory, all alone in the middle of the injury zone? Not because everyone was running away from her. I reckon that Tang had a choice to make; either don't show this woman as she's coming through, and therefore don't show anything of the injury zone as she's coming through, or chose a few images where she appears but where she doesn't do much damage to the "movie." I assume that the image chosen, the one under discussion, was a "good" one because it was before she lost her cloth. They wouldn't want for us to know where she lost her cloth, and the reason becomes obvious below.

Look at how the woman is clutching the cloth at its central point, as though ready to yank it off right in front of the man in blue shirt. She's even facing him. This is pointed out because, it may not be true at all that she "lost" the cloth against her will. She may have yanked it off, in frustration. Who knows how long she had been walking like that to the set? It couldn't have been easy. The insiders didn't want for us to know how, when, or where it came off.

I had always wondered where the white cloth had come from that was used on the blonde. It was large cloth, capable of wrapping entirely around her thighs, both thighs. I didn't see that on other injury victims. Plus, as was pointed out, she had no injuries on her upper legs, wherefore it would not have been part of the script to wrap those parts. In multiple images, she clearly had no injuries to her upper legs. But if the other woman dropped her cloth, and the actors beside the cloth were at a loss with what to do with it, I can see them using it on her after some deliberation.

I did not know while writing here why the man in blue shirt could not simply leave the cloth on the ground, and simply not use it at all. But it becomes understood why he had to use it. I'm not there yet, be patient.

Here is another picture of the blonde on her stretcher, now with a white bandage around her upper left leg, with the runner in blue shirt not far behind her:

My biggest problem is to explain why the woman who supposedly dropped the cloth is shown with it still on in the 3:11 image and the Silva video. I realize how shallow it seems for me to claim a paste job at every difficulty encountered by my theories. But at least it's not me who's doing the mega-pasting in attempts to save their lives.

Aha! I had forgotten which image showed the fireman with a white cloth in his hand, which is also the image exposing the particular cameraman who is about to take the crouching-medic image. This image was found only because I just went looking for one I knew I had, the one showing the first instance of the red-sleeved woman wearing the white cloth. I can tell that the timing of this image is about two seconds before the crouching-medic image, and at least a dozen seconds before the blue-clothing event, and is therefore between 5:00 and 6:00 minutes):

Let's look at this image. Between the two tree trunks, there is a man with a left foot on a yellow jacket (the red-sleeved blonde had a yellow jacket around her upper right leg at least up until the three-minute point). Between his legs, one can see white cloth wrapped around the upper right leg of the red-sleeved blonde (don't mistaken the roll of white paper with white cloth). The man in blue shirt is on his feet going to the spot of the crouching medic. He already has a piece of blue cloth in his hand! But wait. Look, there is a second man in blue shirt crouched down beside the red-sleeved woman! What???

Both men have black shorts; both men have black caps with white markings; both men have the same shade of blue t-shirt; both men have a marathon-runner number tag!!! The only difference is that the one attending the blonde has long-sleeves. I'll call this one the two-men-in-blue image to remind us that something could be amiss.

If we assume that the short-sleeved one was pasted in, an insider motive is required. Why would they want us to think that a blue piece of clothing originated near the red-sleeved blonde? Why would they want us to think that this blue clothing made its way from that spot to the Jeff-spot? Where did this man get this blue item? No one is handing it to him. Is it his own jacket?

This really throws a curve into the idea that the blue item was a white jacket. The blue item could now suddenly be some of the white cloth fallen from the white-bag woman. The insiders just painted in blue. But it makes no sense. Why would they hand that blue item to the Negro fireman? I'm going to come back to this later. I don't want to be sidetracked from the white-bag woman and her leg cloth as pertains the red-sleeved blonde.

If we'd like to check whether the white cloth was indeed dropped by the white-bag woman, we could check the 2:23 image just 26 seconds after we see her in the 411-timeclock image. But this Tang photo cuts the picture off at exactly where that white cloth should be on the sidewalk. It's faster and easier, and safer, to just cut out a scene than to disguise something in it.

[After this update was put online, the image below was re-found showing that the cloth on the white-bag woman is around her right leg only, though I could not make this out in the 3:11 image. A closer look does seem to find it. The cloth around her leg appears non-sensical. It appears to be doing nothing to an injured leg. This is the image that informs us that this woman (supposedly) returned toward the injury scene after the policeman chased her away near the end of the Silva video. The scene is therefore approximately at 2:30-40 minutes.]

In the image above with Negro woman on her stretcher, the image showing the yellow jacket around the leg of the red-sleeved blonde (we know she, said to be Nicole Gross, is a liar because she said her husband was injured slightly, with cuts / burns, at the marathon with her, but her husband, reported as Michael Gross, never shows beside her in any of the images), we see a small piece of the long-sleeved man in blue who attends to her. We see no large piece of white cloth beside the blonde or this man, but beside them is a man (a Negro, I think) in red cap and white coat. He has always seemed suspicious to me for the length of time he spends at the face area of the blonde. What good does it do, for her, to have his face in her face for upwards of two minutes??? How do we explain this curiosity?

It appears curious that he should show in the same position over her in several images. It could be that he was kneeling over (i.e. covering, hiding) the white cloth dropped by the woman with white bag. Here is one image (8652874901) where he himself almost looks like a dropped piece of white cloth, he's so low to the ground:

The blonde head of the white-bag woman happens to be "upon" his white coat. That is, she is not far past him as she walks through the injury zone. And she's looking back to the path she has taken, perhaps wondering why the man in white coat is covering the cloth that dropped from her leg. This image may have been chosen for release because none of the leg cloth around the white-bag woman (or the cloth that is no longer there) shows; only her head shows in this image. But in the image below (8652877581), two or three seconds later, we see her one leg, and only a small bit of cloth upon it (which could, of course, have been pasted). It's in this image that we discover the Negro face of the man who appears to be doing nothing but holding the head/neck of the red-sleeved blonde. Why else do we think he's faking that, unless he's squatting on the white cloth that will later be used on her legs?

If this is all correct, then the man in white coat had committed to hiding the white cloth. Once he committed to hiding it for 15 seconds, he committed to hiding it for 30 seconds before he knew it, and once that threshold was passed, he and the man in blue shirt, and perhaps the blonde herself too, had to discuss what to do about this cloth. By this time, someone had tied a yellow jacket around her upper leg as plan A, but this white cloth "that fell from heaven" was cause for plan B. So, they took the yellow jacket off, and replaced it with the white cloth. They did such a nice job that they decided to do the other leg too. Besides, the woman was sexy, and they got carried away.

I had once complained that the yellow jacket around her leg was itself a mystery. Someone must have heard the complaint because one image above, with only the head of the white-bag woman showing, has a man handing a yellow jacket to the man in blue shirt who attends the red-sleeved blonde. What are the chances that an image would come out showing this transfer in the very act? I mean, both men have their hands on it, which event could only have been a fraction of a second long. As the man handing the jacket has a coat of his own, it begs the question of where he got the jacket. Thus, the insiders may have fabricated this part of the scene to explain the origin of the yellow jacket. The time is about 2:05 minutes after the blast, meaning that plan A took place between then and 3:00 minutes, before they decided to do plan B.

The man in white coat is still in that position after the 4:09 image, now more than two minutes after the two-minute-exactly image. Don't you find that strange? He is still in the same position in the timeclock-takedown = 4:43 image. What sweet nothings is he telling her, now approaching three minutes long?

In the action-scene video (3:10 to 3:57), the man in white coat remains in the same position over the blonde's face from first to last of the video, as though he's giving her a long kiss. It's simply ridiculous how long he spent in that position when it was her legs that were injured. From :43 onward, there are some views of the legs of the red-sleeved blonde, but no white cloth around her right leg can be made out. Nor is the yellow jacket seen around that leg. The yellow jacket appears to be on the sidewalk already. What appears to be her left knee is, I think, the knee of the man in blue shirt. At :19, the man in white coat is up high from the ground, on his knees, anyway, and a white item in a roundish shape can be seen on the ground below him. It's in front of his left hand, and I do not think it is his right arm sleeve. The roundish object (it doesn't look like an arm sleeve) can also be seen at :21. The blonde is telling him, "Get out of my face, I know your type."

The roundish object can be seen until :24. It doesn't move. We lose sight of it at that point, but it's there again at :32, at which time it looks like it could be his left arm sleeve. At :40, we finally see that it's her face. His head is nearly over her breasts, therefore, a very unexpected position indeed. I mean, his eyes are well past her Adam's apple and onto her upper chest. Unless the blonde tolerated this as part of his sexual appetite, we've got to come to a better theory. I say he was hiding something important, and she tolerated this position on that basis.

In the two-minute-exactly image, he is just falling down to her for the first time. Three seconds earlier, in the 411-timeclock image, he's the Negro walking behind the white-bag woman, in a perfect position to see her cloth fall to the sidewalk. The first image where the Negro is seen covering the ground beneath him is one that's timed about 2:08 at the latest, for this woman can be seen passing the man in red coat and thus leaving the injury zone at the 2:18 point (2:12 after the bomb) of the Silva video. (If the image above disappears, see a smaller version from my files.)

[I goofed again. She's not walking past the man in red coat, but past the man in red shirt. I should have been more careful, but the state of the Silva video is so erratic at this point. But as per other considerations, for example this image being time-able to exactly (or almost exactly) 2:13, it turns out that the image above is yet at about 2:08.]

Finally, this Negro is way up on his knees, no longer covering the ground beneath himself, in the two-men-in-blue image (about 5:15), the one where the blonde has white cloth around at least one leg. Coincidence? I don't think so. I think he remained on the white cloth until it was in use on her. The man in blue shirt must have been the one who took the cloth from underneath him.

In the two-men-in-blue image, there is no shortage of men lined up for to want to get the cloth on her thighs. Which lucky one of them got the job? All the men standing around watching are wishing, but no cigar. I'm joking, but, seriously, where was her husband, liar?

Right beside the man in blue shirt is another man in blue shirt -- almost a perfect double -- holding a blue bunch of cloth. It could be that he was initially the one who attended the red-sleeved blonde, but to disguise the fact, they did two things: 1) gave him short sleeves, and, 2) pasted in the man with long blue sleeves still kneeling beside the blonde. In this picture, the white cloth that was not used up on the blonde's leg was painted blue, and brought over to the Jeff spot, where the three stretcher images were fulfilled showing the transition of the blue item from the hand of the man under discussion to the Negro fireman. Let's revisit those three images knowing what we do now, that the blue cloth originated at the area of the blonde, and that it was carried over.

[Why did the Negro fireman get it in the end? We need to ask the cowboy, for in fact, he had it first.]

Look again (stretcher-1) at the position of the blue clothing, and the arm (of the man in blue) that seems to possess it. If he carried it over to this spot, it NOW appears as though he's GIVING it to someone rather than receiving it. In fact, that explains why there is no one seen giving it to him. Moreover, to explain why it's not in his hand but off his arm looking like a pasted object, it can be argued that it's in the air...because he's just tossed it to the cowboy. However, if that was the insider intension, why do they have it in the hand of the man in blue (stretcher-2 image), and in the hand of the firemen (stretcher-3), some seconds later...which gives the impression that the man in blue shirt is receiving the blue clothing from the Jeff-spot, not giving it to the Jeff-spot?

In fact, now that I'm saying this, it's been noticed for the first time that there is a little blue color between the cowboy's thumb and his index finger! It can indicate that this blue item is now in the cowboy's possession. A small piece of the blue item can be seen past his forearm, though it's not conclusive that he actually holds it. If he does, one conclusion is that the insiders, after the day of the bombing, had decided, then decided against it (my head is starting to fry on overload), to make this piece of blue clothing, when it was still white, before they painted it blue, act as the white one on Jeff's leg; here's Jeff's leg shown with white cloth around it:

How else can we explain that the blue item goes from the man in blue to the cowboy, then doesn't anymore when it goes from the man in blue to the fireman? It looks like the insiders changed their minds. Certainly, it makes no sense that the man in blue carried it to the Jeff-spot, only to fling it outward like a yo-yo toward the cowboy, and pull it back in to his own hand. Yet that's what the four images, starting with the two-men-in-blue image, are telling us.

Perhaps I was correct to begin with, that the blue item was the white jacket of the woman with black bag, but to hide it, they concocted a man in blue shirt who was the apparent owner of this blue jacket. Perhaps the insiders were so full of tricks that nothing can, in the end, make sense when trying to figure out what really happened.

Look to the left of the fireman (stretcher-1), and spot the man with his palm on his head. That's how I feel right now. The man has his hand on is head, in the same way, in the two-men-in-blue image, and yet we are to believe that these images are a dozen or more seconds apart. I suppose that, if he's posing for cameras, his hand could be on his head for that long. Otherwise, I don't think it's reality. He's the one in the foreground in the crouching-medic image. The latter image looks to be about two seconds after the two-men-in-blue image.

If one really wants a good headache, just try to make sense of the inconsistencies where we know fake jobs are happening. The cameraman in the two-men-in-blue image is departing the injury zone in the stretcher-1 image, which, among other things, tells you categorically that the two-men-in-blue image comes first. But if you study the positions of the oriental woman who's coming in to wheel Jeff away, the stretcher-1 image comes first. We can't have it both ways.

If she's not pasted in, then we have no choice but to think that she's wheeling right into (toward) the Jeff-spot in the two-men-in-blue image, but is then wheeling away from that spot seconds later. What??? No one's willing to move out of her way to get a man with two legs missing on her chair? They're making her go around??? Jeff hasn't been there long enough yet?

In the other iconic image of Jeff, the cowboy looks like he's saving Jeff's life by holding his main arteries in his fingers. But we never see him eager to do this in these injury-zone images. In the iconic image, he tries to make it look like he came out of a war zone, but in the injury-zone images, he just stands around doing squat. What you're looking at is a sham, a criminal hoax conducted by governments. It doesn't make it non-criminal just because governments are winking.

If you didn't notice, Aaron Tang (or whoever owns the images) cuts out the Jeff-spot scene in both stretcher-2 and stretcher-3. Why? What are we not supposed to see? In both images, the oriental woman appears, having gone around in a circle since stretcher-1, but is now going toward the Jeff-spot again. She passes by the red-sleeved blonde (not visible) on the ground, as she does her circle around the group, but, of course, her script was not to offer the blonde the chair. The Negro fireman is so ashamed of what's in front of him that he's looking down to the ground in both latter images.

At least the little child, and the man with him, behind the cowboy, is having a good time. This man can be seen with a happy face in front of the SS medic in the crouching-medic image.

The orange stretcher is going into the patio at this time, to a person having both legs visible, but is not going to Jeff with two legs missing. It's your wake-up call if you haven't heard it already. The devil has spread his blanket over the United States, and wants Americans to go to sleep. We need to wake up and understand what is taking shape.

The insiders could spare me this long-guessing game if only they would release the several videos that must exist.

The Woman in Yellow and Orange

The two-men-in-blue image shows a very good shot of the man at the wall in the green lawnchair, but the white shirt-like cloth on the sidewalk that's supposed to be in front of him is not visible. Yes, there could be a person blocking it's view. In any case, one can make out that the right leg of the man at the wall is NOT on the knee of his other leg, as one having legs crossed. How, then, is his leg suspended in the air? The mystery of why his leg, in other images, looks to be FULLY outstretched while suspended in the air is not answered by this image under discussion. The leg does not now look FULLY extended. Unfortunately, I can't tell what's going on with his leg in this image. But he looks fine, not a priority case whatsoever.

And what do you know, the person in yellow and orange (red cap along the street), who escorted the man at the wall on his wheelchair ride, can be seen in both the two-men-in-blue and the crouching-medic images. It's a woman, I'm sure. And look who's behind her: the woman who pushed the man at the wall in a wheelchair. I did not have this knowledge when writing on this topic in the last update.

This view of the two women is very interesting for its suspicious nature. They are walking along the street, and have passed the injury zone. What's obviously wrong with that picture? They walked past the red-sleeved blonde, and the woman attended to by the man in burgundy coat, and the shredded-pants man, and the woman in blue coat beside the shredded-pants man, and a legless Jeff, and a legless checkered-shirt character, and some others too, and are about to go get a low-priority "victim", to expend much time for to wheel him to an ambulance hundreds of yards away.

The two women seem to be a team because they are walking together to the same general place. Had they been walking from the other direction, there would have been less wrong with picking up the man at the wall as they passed by him, but here we find them walking past all the serious injury victims without even looking at them, apparently. It looks like they, as with other actors, were fulfilling their assigned scripts.

Having discovered this pair in this image timed at about 5:20 minutes after the explosion, I looked for them up the street in images prior. I found them both in the timeclock-takedown image (4:43 minutes). More than that, the woman in yellow and orange is leading what looks like a crew of three white coats pushing wheelchairs, which can explain why one end of the injury zone, where she appears in the six-minute image, has three white coats and wheelchairs. If it's correct that all three followed her past the injury zone, then indeed it looks like a script.

If you are having trouble locating the woman in yellow and orange in the timeclock-takedown image, she is seen on the street partially "behind" / "beside" the upper part of the lamp post. Half her face and head are visible, as well as her upper body.

I have only part of the timeclock-takedown image in my files, but it's of higher resolution. The woman in yellow and orange is just off of the camera view, but two of the white coats can be seen. In an earlier update, I commented that the elderly one with sunglasses is not seen in the injury zone in images timed after the timeclock-takedown image, but now there is reason to assume that she is one of the three at the far end of the injury zone.

In the last update, a theory was created wherein the white coat (called the "woman at the wall"), who pushed the chair of the man at the wall, was really the woman who pushed Jeff Bauman. I argued that the pants of the woman at the wall are not seen in two images (when she's at the wall) because the insiders wanted to have us believe she had beige pants, as she's seen (under the press box) in the wheel-away image. I also thought that the woman under the press box was too chubby as compared to the apparent chubbiness of the woman at the wall, suggesting that she was exchanged for this person in beige pants. I contested that she was really in dark pants because the woman who pushed Bauman had dark pants. I now find that, in the medic-stooping image, she does wear beige pants.

I was wrong in the last update to say that the shirt-like object near the green lawnchair was not there in the six-minute image. I had the wrong location for this chair, mistaking it for another pile of objects further down the street. It cannot be made out whether the white shirt-like object is in the six-minute image due to people blocking the view.

In the crouching-medic image, the woman in yellow and orange faces straight down the street, but in the two-men-in-blue image, she has turned toward the building somewhat. How long would it take for she and the wheelchair behind her to reach the man at the wall, load him, then return as far as she is in the six-minute image? If we start by allowing 45 seconds, it times the two-men-in-blue and crouching-medic images at about 5:15. This is sufficient to expose the Jeff hoax, for we are to believe that he lay there for over five minutes without anyone screaming for a wheelchair or stretcher to come get him. Having become familiar with many aspects of the images, it is obvious that the woman who supposedly wheeled him away was not called in to get him. No one moved out of the way for her when she first arrived. No one was relieved that she arrived.

She spent a minute doing nothing, starting at the corner of the patio railing at about 4:00 minutes. When she arrived to the Jeff-spot, she seems to have bumped into it with an "excuse me, is there anyone here that needs help?" No one called her over. No one escorted her over. No one went to grab hold of her. But if the Jeff part of this event was a hoax, then the entire event was a hoax. There was no terrorist bomber. The American government planted the "bomb," and the American government perpetuated the hoax using the wealthiest media people in the universe. And that's just for starters. Anyone who understands the ramifications of the machinery behind this hoax also understands that the deceptive wickedness predicted in Biblical prophecy is a globalist, over-reaching reality. How much time have we got before it self-destructs? Who cares, as long as it's sooner rather than later. I don't think a reformed machine will do. We need Someone altogether different.

It's up to you. You decide whether you want a place in the wilderness where you can live apart from depending on the national network. I've decided to have a place like that. I've been learning which vegetable varieties grow well in my soil, and which don't. I've been working my dirt to maximize its performance, and hopefully, I won't screw it up.

Recently, I commented on the mystery injury victim that fell, or was dragged, into the path taken by the woman in yellow and orange. I looked closely at him again during this update and spotted his yellow jacket on his lower arm, which made him recognizable as the injury victim in yellow jacket lying beside the injury victim in red jacket. I then found him on his feet, almost, anyway, in the upper-left of the crouching-medic image. The police officer's hand is on that man's shoulder. This man lay in the same spot like a faker (though he got up into a sitting position, twice, I think) for five minutes. He did not seem to suffer any wounds, and now that he's up off the spot -- for example in the stretcher-1 image at the link above -- we can see no blood where he lay. How could anyone, if this were a real situation, just lie there stupid and useless, even to himself, for that long? Yet, he changed position, and laid there for a few minutes more.

When we saw the long-haired cameraman on the side of the patio railing nearest the injury zone, taking the crouching-medic image, it was an unusual sight. How can it be that not all cameramen came in to get close-ups of the injury victims? Steve Silva failed to come in close to get a shot of the injury zone over the wood fence. Why? Because it was arranged that way before the hoax started. If there had been no script, reporters would do their natural thing: get the best images possible before the competition did so. There's money for good media images. Large corporations the world over purchase media images. But clearly, photographers were instructed to keep distance from the injury zone. The release of images was tightly controlled. Aaron Tang did not fail to get Jeff Bauman lifted to his wheelchair by an accident of his office circumstances. I can't think of one image where the Tang photos show Jeff Bauman at his spot on the sidewalk, wherefore it must be deliberate that we see none.

In the two-men-in-blue image, the oriental woman is arrived to the Jeff spot: "Yoo-hoo, I'm here. Hey guys, look. I've got a wheelchair." But the cowboy is looking into the air. "Yoo-hoo, Mr. Cowboy, look what I've got. Could your friend use one?" No one let her in, so she went around the people and tried from a different angle. "Hey gang, here I am again. Look it, I've got a virgin chair." So, they let her in, but Tang fails to show us what happened. All we get is the wheelchair crew from a backside view as it's nearly under the press box. Tang, the fake orange juice.

In the next update, I'll show why this other iconic image of Jeff has at least two pasted passers-by. Basically, what I do is check with the wheel-away video to find the exact point matching this image, and then follow the two passers-by to where they end up in the injury zone. I then try to find them in the wheel-away image, but am unable, because they are not there.


Especially for new or confused readers
shows where I'm coming from.

For serious investigators:
How to Work with Bloodline Topics

Here's what I did when I had spare time on my hands:
Ladon Gog and the Hebrew Rose

On this page, you will find evidence enough that NASA did not put men on the moon.
Starting at this paragraph, there is a single piece of evidence -- the almost-invisible dot that no one on the outside was supposed to find -- that is enough in itself to prove the hoax.
End-times false signs and wonders may have to do with staged productions like the lunar landing.

The rest of the Gog-in-Iraq story is in PART 2 of the
Table of Contents

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