The last trick shows how Myers made a mountain out of a molehill. For his next trick, he makes a molehill out of a mountain.

On the Zapruder film, the very first time something happens to suggest Connally has been hit is a matter of interpretation. Small, commonplace events might be explained by the passage of a bullet, but not necessarily. What is NOT a matter of interpretation --- at least in the clearer frames --- is the action itself, irrespective of cause. How accurately does Dale Myers show this action?

Between Z-232 and Z-234, Connally makes a sudden move that becomes more pronounced by Z-236. (See below.) Although his head does not move very much at this time, his torso twists sharply to his right, his right shoulder drops, his left shoulder rises dramatically, and his jacket rides up over the shirt collar on his left. Only a small "V" of white shirt shows on his right side. This happens in just two-ninths of a second. Afterward, Connally continues to twist to his right, his left shoulder continues to rise and, as Josiah Thompson described in his book, Six Seconds in Dallas, his left cheek balloons out. And it is no doubt what Warren Commissioner Allen Dulles had in mind when he said, "You would think if Connally had been hit at the same time [as Kennedy, he] would have reacted in the same way, and not reacted much later as these pictures show." (5 WCH 155)

This is a big bump on the film. Whether it is the first indication Connally is shot is controversial, but it is the most impressive sudden first move by Connally. In its memorial issue, published November 29, 1963, before it promoted the single bullet theory, Life Magazine described this separate reaction, and it was obvious even in the small black and white stills the magazine reproduced.

How does Myers portray this action? He would have you believe this is nothing compared with the way Connally moves earlier (see Trick 2). Of that moment -- also lasting two-ninths of a second (between Z-224 and Z-228) -- during which time Connally seems to settle back and face the front, Myers wrote, "this is the only time in the shooting sequence that such a dramatic shift in the torso position occurs." (Secrets of a Homicide website) By falsifying the film, Myers makes this statement come true. He smoothes and flattens out this big bump so that it no longer competes with the little movements that occur earlier.

Rounded

Because Connally had broad shoulders squared off by the padding in his suit jacket, even small changes in the level of one shoulder compared with the other would be obvious. But Myers made Connally so round-shouldered that, when he rolls to the side, it is about like the rolling of a ball in that the outline barely changes. Myers has, in effect, filed down Connally's rising shoulder.

Smoothed

In just four frames, Z-232-Z-236, Connally's chest twists dramatically to his right, but Myers does not show him twisted to this degree until after Z-240. In Myers-236, the orientation of the shoulders and the white "V" of his shirt show just a turn to the right FRONT, whereas in the actual Z-236, the turn is at least 90 degrees, all the way to the right. By slowing down the twist so that it takes twice as long, Myers smoothes out the big bump even more.

Blended

The dark outline of Connally's chest shows up well against Jackie's pink suit but, in Myers's version of the film, there is no Jackie. In her absence, Connally's chest blends in with the dark interior of the car. Myers did nothing to compensate for this loss of visibility.

Upstaged

Just as Connally's rounded, barely visible chest rolls to the right, Myers covers up half his chest with his big white Stetson. In the Zapruder film, between Z-237 and Z-240, only a sliver of the hat shows above the car door. In Myers's version, the white hat shows prominently against the dark suit-covered shoulders, which, in turn, barely show against the dark interior of the car. At this critical time, the hat completely upstages whatever action can be seen of the chest.