Peak Prosperity - The Stewart Film Blows The Official Narrative Out Of The Water

Episode Date: July 29, 2024

The official story is collapsing and the data is piling up! The “Stewart Film” is even more damning to the current official story than the Zapruder film was to the JFK fiction. Audio analysis re-confirms that the shots 1-3 are distinctly different sounding and quantitatively unlike shots 4-8. This best maps to the Two Shooters hypothesis.

This is absolutely explosive, folks. We have new film to analyzeinson here with another episode of A Citizen's Investigation into the attempted assassination of Donald Trump. And we have some really big news today because we have a whole new film to analyze, and it is a treasure trove of information. I'm talking about the David J. stewart film i'm going to call it the stewart film from here on out and it might as well be the zapruder film of our time on the left over there you see the zapruder film down here that is a shot of crooks taken by taken from a frame from this david j stewart film by the way i spent a full hour talking with david just the other night i got the

whole backstory there's a lot there i can't wait to tell you about all of that but first we're going to have to go through some of this film because this is really really important we get this out now on time again so that we can begin to get data and evidence into the conversation as a reminder i work with evidence first then witnesses might say stuff, and then there's like strange things you might see on film that are artifacts. But first, we start with the evidence. So let's go there because this is really powerful today. For today, we're going to be orienting all of us to the Stewart film pretty much frame by frame so we can analyze the audio of the first nine shots because this is hard data. And wait till you see what we've got.

This is, this, I've been up all weekend. Analyzing the audio of shots one through three versus four through eight versus nine. We're going to analyze this. We'll do a full analysis. I'll take you where, what I know, where we still have some uncertainties. As well, we're going to be able to show crooks on the roof,

double red exclamation points after the regular black one. And then finally, a schematic analysis drawn for us by a professional architect so that we can actually get a bead on the position advantage that Sniper Team 2 had. They're sitting on Building 14 as they overlooked what's called Building 6 in the AGR complex.

The Stewart film, it does support the hypothesis that there were two shooters beyond the official shooters, which we know was an ESU agent taking a shot. They haven't told us exactly when or where that happened yet. We still don't know. But also a secret service sniper has admitted secret services admitted so far to taking one shot. And of course, the security lapses that are completely inexcusable that just jumps right out on this tape. That's for tomorrow. But first, here is the film. And this is just a chunk right around the shooting itself.

Let's listen in together. Make yourself small, bro. I don't know what's going on. That's David Stewart. that last shot you just heard was the inbound round allegedly from secret service i believe that's true i think that's the case and here we can see a variety of things in the immediate aftermath of all those shots first we saw that there were police everywhere walking around, some of them with guns drawn right before the shooting. Second, we can see all sorts of people lined up. We're going to be analyzing all of that. But for today, our job is to try and figure out what exactly happened during those shots, because this is the hardest evidence we have.

And what we're seeing and hearing in this audio now is confirming what we heard from our other sources in particular the sources on the west side of building six of the agr complex that would be what we called sources two and four we're going to be comparing this to source four i think this makes things get really really clear but let me know what you decide i don't want to lead the witness too much here. So with my laser pointer out now, this is three and four we analyzed. We've analyzed all of these audio sources so far. One is Trump's mic. Two is a very, very important recording. This is in between where the shots came from and Trump's mic gives us a lot of information. And then five was out here,

a little bit murky, but gives us important information again and then but this is the new one right here this is the orientation this gentleman david stewart is sitting right here at the time and he shots one through three he's here and then he runs and he actually trips uh and then he gets back up and re-points his camera shots four five six seven eight and then nine he's pointing this way. The orientation is really important. This is such a great recording. This is absolutely the Zapruder film of our time. And in his film as well, you are going to see this fence line appear quite a bit, mostly

in the stuff that we're presenting tomorrow, but you might get a peek of it here today. So this is a fence line that a lot of people were up against. And then there's another fence line way back in here, which is where number two source was up against this fence line. So there's a fence here that comes in and goes across, and then there's another fence here that separates the Butler Fairgrounds here from the AGR complex. So David is on this other far side of the fence, the north side up here, basically right at the action. So here is the precise location.

I put this, I took his download of his video. I put it into a video editor and I went through it frame by frame. So when you see 4, 56, 11, don't worry about the timings. That's the timing that I got because I had a nine minute, 26 second video to work from.

It doesn't mean anything else except that four minutes, 56 seconds and 11 frames into that particular video that I had is when the shot happened. But this allows me to very, very accurately time the shots, see that everything lines up with everything else we have. But this is the exact precise orientation of his camera for shot one. So if you heard that, um, Hey bro hey bro make yourself small something's going on and then you heard he's got a gun in the background three seconds later the shots ring out first shot rings out and this is his camera at that exact moment for shot two he's starting to move a little his camera's off a bit but this camera is also facing northwest. So shot one, north would be facing the building directly.

It's a little west, so it's facing northwest a little bit. And then here, we're still northwest. We're a little tilted, but camera's almost in identical position. Shot three is the only one that's really off-axis in this whole series, so an incredible job filming, really. So he's ducking and covering. This one, you can see the corner of the building right here and this so this it's that it's um let me see it would be this corner right here

that is you're seeing right here so he's a little off axis facing the sky northeast so shot three is this way but by shot four five six seven eight's four. Here's five happens just a quarter second later so that police chairman does not move too far. And you can see he's got his gun drawn and didn't draw it after the shot started. There are police running all over the place with guns drawn well before the shots happen. So, of course, you have questions like I do, which is like, really? By the time guns are drawn, by the time police are so alarmed that they have weapons out you would think somebody would have gotten trump off the stage and of course you wouldn't be the only one everybody in this audience and i was asking dave about it he was actively openly questioning at the time at the

moment why is trump on the stage why is he there still like the people are talking about it was the most mysterious thing because everybody it was people are talking about it was the most mysterious thing because everybody, it was like the most common, it was the most obvious thing ever. Trump should not have been on the stage. So obviously secret service has a lot to answer for in this particular story. And we'll get to more of that tomorrow too. So here's shot five, again, four, five, six, seven, eight, very fast. Here's four. Here's five. Here's six. Here's seven. His camera's just come off of that police officer a little bit. And here's eight facing kind of north, northwest. It's almost exactly in the same position. His camera is for shot one, except he's clearly over a few feet and he's down a few feet, but not that many because we can still see here that is this is the

two-story building back here here are the vent stacks here are all of these windows and by the way frame by frame analysis i can't see any open windows here because i see reflections off of all of them we could do a frame by frame if we wanted to together but i don't see any of these windows actually being open. And then shot number nine, he's come back a little bit, facing more north now. I would have north, northwest,

or is this north? It's just tiny bit northwest. So I could almost call this one due north at this point in time. So again, one, two, three, four, five, six, seven, eight, only three is the camera kind of up this way, but for all the rest of them, it's basically on action so that's incredible now this is what we see pulling the audio from that particular video here we're going to listen to what oh get my get my thingy back so now we get

to listen all i've done here in this the only thing thing I've done is I have reduced a little bit of the noise in between these shots because this is where he falls. It's like makes a kind of distracting noise. So I've just reduced that by 15 decibels. But now we're going to listen to 1, 2, 3, and then 4, 5, 6, 7, 8, and then 9. That's what we're seeing here. These top, excuse me, one, two, three, four, five, six, seven, eight, and then nine. So the first job is just listen, see what you hear. I won't, I want no more leading the witness. What do you hear? 1.1 okay so what i hear in that is a very very different aspect and we're going to compare

a couple of these directly against each other uh just so you can hear it too but the first thing is there's a pew pew pew on the first three and then it's like on those five and then shot nine is just totally different totally different weapon um as well, let me just break this down a little bit. So let's go to this. This is, let me get my, tell you what, maybe I can get my pen out and see if we can do some drawing. So first thing before I do that laser pointer, shot nine, let's just dispense with this right away.

It has this very odd characteristic. It has two, two signatures coming in hot and it sounds like one thing but this is a it's kind of a very weird signature we're going to analyze this more for what it means but you can clearly see it's got this double peak like cute very different thing i don't know if that's a shot in an echo or if this is an inbound round supersonic round snicking in i don't know what this is yet so this is a complete mystery it does not line up with the other audio i have out by trump's mic where we might say oh if there was a sniper out beyond trump we should hear that because they might have shot and this could be

actually a really really good shot somebody starts shooting and within seconds an inbound round came in and took crooks out which means that that last shot which we know was taken by secret service snipers well then that's a fiction that that was the one that that killed him but as well uh when did the esu person take their shot so mystery still we should know all of this there should have been plenty of press conferences but before we get too much further you can see here in these three right here there is a very clear difference in these three shots across here than these five just looking at the audio signature. So what we're looking at here is this is a frequency analysis, and it starts from really low down, you know, zero hertz, meaning, you know, anything sub 200 hertz is very bassy. Right. And then as we go up, we're going higher and higher. These are very, very high pitch things. Anything sub 200 hertz is very bassy, right? And then as we go up, we're going higher and higher and higher.

These are very, very high-pitched things. This is 16,000 up here, which is, you know, if you've got really good young, fresh ears, you can make it all the way up to 20,000-ish to really hear stuff. So that's this whole range here. So all of these things are lower tones down here, and these are higher tones. So starting at the higher tones, we see a very consistent pattern across the top here these look pretty much the same they've got a hot spot here and a hot spot there here a hot spot there a hot spot everywhere a hot spot right um this looks a little different but the real clear difference is down here you see all of this lower register down here how consistent these five shots are that's why it sounds more like compared to this

which is like this is all high register stuff up here it's completely totally missing um a lot of stuff from down here you can see it very clearly across here so um we're going to do full analysis all that but you could you could hear the. Now here's why this is really important. This is the frames I took from shot one, shot eight. These are almost identical, um, as close as we could ever hope for mic orientation. So thank you for everybody who pointed out, Hey, you know, we want to try and poke holes in this. Here's the thing about a hypothesis.

You set it up. And then the first thing you do is you look for data that ruins it because the sooner you can get to know not that the better you are i'm not trying to prove something and fit things to it i'm doing the exact opposite i want a reason to take my hypothesis and put a hole in the water line and watch it sink in the ocean okay so the first thing we're going to do here is is always be challenging ourselves and trying to figure out how do we have this wrong and one thing we can exclude right away is that it's the mic orientation that somehow can account for the difference between what we're hearing between shots one and eight now we're just going to focus on that difference between shots one and eight what i've done here is i've totally just pulled shot one and eight i've come up here and i've minimized i

haven't made it i haven't uh i haven't zeroed it out but i've just taken the volume and i've reduced it really heavily right before and then also right in here so we're not confused by any sort of other sounds now we're just going to hear shot one and eight now why shot eight because all of these shots are stacked up so close we can't hear the the length of it and why shot one because we have shot one is exactly aligned camera wise just a little further away and maybe that can account for something here you can actually see the drain pipe over here that crooks is off of. He would be right about here if we were able to see him at this point in time.

He'd be right in this zone, because this drain pipe over window two in building six allows us to very accurately place where he's going to be on the roof. And so these two shots are about as close as we could hope for, okay? And interesting. We're going to,

we're going to also pay special attention to these two guys tomorrow. Very interesting story going on there. So why shot one then? Because it's oriented the right way. So we take shot one in its entirety and it's very well separated. It doesn't bleed over. It's not cut off by shot two. It isn't stepped on by shot three.

And then we take shot eight because it's the only one that we can pull from this series that isn't sort of stepped on it's this last one here this is eight this is number eight right here this is nine this is eight so we can just take this grab this little piece right from here and we get almost we get the full shot before shot nine comes in and starts to step on it so we're going to be comparing this with this shot one to shot eight and we're just going to listen to this over and over again together and we're going to see i think this makes it a lot clearer when we put shot one shot eight and they just repeat they just repeat so just listen up see what you hear i believe well let me tell you what i believe after you've had a chance to just listen to it in this isolated way. you hear that you know what i hear those don't even sound remotely the same to me and so now we're going to have to the official story is going to have to account for why those two shots sound so darned different they just do crunch crunch right and again you can see here in the

actual frame there's there's a lot of low register stuff here crunch right that's kind of missing from over here you can see the bulk of this if you put a weight through this really bright stuff over here it's lower than this stuff which is just a little higher but high enough that it makes a lot of difference and as well this has a lot of of weird stuff way out here that's completely missing from this one when you hear that pikiu this is what you're hearing in here right here all this stuff and it's like almost completely gone from this one now as well there's other analysis we can do. You can see here, there's the shot, there's these lines. These are probably echo lines in here.

So we're going to see if those echo lines are the exact same as these echo lines. Spoiler alert, not so far, but I'm going to get some professionals on that as soon as possible. So one more time, let's just listen to shots one through eight again listening very carefully for the almost sounds like something you know almost almost like a ricochet or something so it got a very weird sound to me compared to shot eight which is just a sort of crunch so so there it is so if those sound completely different to you they do to me as well they are qualitatively different but they are also quantitatively different when we could start comparing the spectral uh the spectrograms of these things they just don't they have very clear differences so

now we have to begin to account for those differences and the there's a number of things we could say maybe it's possible that crooks was firing in a low shooting position that he's like oh no uh shots one through three and then he got raised way up and shot if he did raise way up and shoot we have a couple of images in there where we can't where where david stewart is now down on the ground for shots, two, three, four, five. So he's a little lower. So he can't see Crooks anymore. If he was there and Crooks raised up, we'd expect to see him, but maybe the geometry isn't quite right there. We don't know.

That could account for it, but I don't think so because we don't have any other videos of Crooks being in the air for those shots and more videos are starting to pour in. So anybody who has extra video, particularly from the west side of the building, there were a lot of people there.

I can show you at least 30 people, cameras out for most of them, a lot of them. And there's a lot of film of this event that we haven't yet seen. So to me, this is like Dealey Plaza, 1963, only this time with 200 cell phones running. We still need about 100 of those cell phones. So please, if you know anybody, if you're from Butler or the surrounding areas, you know somebody, maybe they're sitting, there's something on a camera somewhere that can continue to build this case. But even if we only had this, only had this, I think we have the Zubruder film. I think we have everything we need to go on at this point in time, but more would always be better. We want to make this case

ultra tight if possible. Okay. So we do see that the audio analysis here is supporting a clear difference between shots one, two, and three, and four, five, six, seven, eight, and of course, nine. Totally. I don't know what nine is with this thing out here. Wait. Oh, laser pointer. Yeah. So nine is totally different.

I don't know what's going on with that double tap thingy there. I don't get that. But here I've just drawn just some lines so you can sort of visually look across and you can see here the center mass of sort of these tones is here and it's less than the center mass of these tones, which is up here.

They have very different fingerprints. So you can start to just look here to one, two and three. Look at this lower end here, sub-1000 Hz. Just look at these regions right here. You see how very consistent they are. And you see that this stuff here is actually more, has these other five also very consistent. It's just that their center mass happens to be a lot lower

than these center mass, which I would draw up here, somewhere around, oh, I don't know, the 650 maybe, 650 hertz range. These I would center mass at about, just by eyeball at about 400. So we'll get some analysis on that, get some histograms, it'd be all fancy, a lot of fun. But as well, we also see that at least for up number eight, we see this big missing spot up in the middle here.

And these are rich in this middle spot up in here so not clear about that um and again we'll have to you know do more of that and by the way shot 10 on this is is 10 seconds later like the action's really over and somebody's like i better get in on this game sends a round in hot um after everything is over so we can account for those rounds later now again this is the the fence line david stewart was under this tree up here shooting all of that stuff that tree features prominently in his videos and now we've got one two three four five we've got six but i want to go back to four again very quickly and as we do i'm going to listen to we're going to listen to audio from four again to see if we can hear the difference.

Shots one, two, three, and then four, five, six, seven, eight, also nine. Now, people said, oh, the camera was oriented funkadoo, right? Well, for shots one through three, this is an actual still taken from source four at the time shot three went off. It's shooting right across this tree at this face of this building. That's what you see right there and then this person takes a few steps and when shots four five six seven eight happen their camera is oriented this way roughly because you can see the corner of this building right here so their camera was facing this way and then it's facing this way i don't know if

that's enough to really it's not a huge, but it is some. Is that sufficient to account for the differences we hear between these shots? Well, I would suggest that this is not very much of a gap. And by the way, the red line shows that they would have had a fairly clear line of sound travel from Crooks being right about exactly here, off of this drain pipe and up and back just just to the west side of this walkway he would have been right there where my where my red thing is right now um so sorry i didn't put those lines exactly right i was sort of indicating uh the difference which is that then david stewart's film is shot from down here so he's got a little bit of a roof line in his way uh he can see crooks obviously during

parts of that and i'll show you that in just a second how i can say obviously and so if you can see the shooter and you can see the shooter's head presumably you've got a pretty clear line of sight as well to that gun barrel making its noise um and so the only thing we could say is that for shots four, five, six, seven, eight at position six, David Stewart's camera's down a little lower. It's just hidden from the ridge line. So you wouldn't be able to directly see if, assuming Crooks didn't switch positions and assuming he's the fire of all eight shots, if those three and the five are coming from the same position, there's really not a lot of auditory difference to be above a roofline and then just slightly below.

Maybe a little, but I don't think enough to account for this. But these guys, they would have been completely unobstructed or similarly obstructed the entire time to this particular auditory experience. So that's just to orient us. Now, let's go back here now and look very quickly at this so this is this is the actual just just the waveform that we looked at before that's just the the soundtrack here you can see shot one is right here and here's shot two this little peak right here comes down and there's its prime signature down there. Shot 3 is buried in a lot of noise, but there it is right there, just showing up real obvious. Wait a few seconds

and then here's shots 4 and 5, 6, 7, 8. Nice echoes off of these though. We can see the echoes here. Here's a shot and an echo. So we're going to be analyzing all of these echoes to see if there's anything different about the echoes we see in shots 4, 5 seven eight and the shots we see over here in one two three spoiler alert there is um and then as well we're going to be looking at this thing now you can clearly see the double tap nature of this shot nine whatever this is i can't account for it yet um i i don't understand what we're hearing here yet because it's clearly got this double signature. Here we see these two lines, this first one, the second one. It's going to take more analysis. But let's listen in very quickly to shots one, two, and three here.

And we're going to listen to it compared to. So this is just a straight audio recording from this segment you're looking at right here. So we're going to hear one, two, three, four, five, six, seven, eight, nine. Okay, here we go. Let me turn my speaker on so we can follow along together. Again. I don't know about that number nine. So I trust you hear what I'm hearing.

It sounds very muffled. Tunk, tunk, tunk. Then tuk, tuk, tuk, tuk, tuk. And then snick or crack. I don't know how to interpret that. But if we look at these, get my laser pointer back so now let's just look at these waveforms down here interestingly these five you can see way up top here these first three shots have very little upper waveform look how hot these are up here they've got a lot of upper signature up here and these first three shots have almost none very very light this first

one you can see a little the second one is kind of almost entirely missing this one's almost entirely missing maybe it's buried in all the noise this all this stuff you see up here this is screaming all these big big signatures that look like that but what i really want to compare is look at the bottom register down here again here we're seeing something very different it's opposite this time the first three in this case are throwing much lower signatures. You see how heavily weighted they are? In fact, let's switch to the top.

One, two, three. All I did was cut and paste and slide and push them together. I didn't move anything, just horizontally. I just smushed them all together so we could see. Here's one, two, three, compared to four, five, six, seven, eight, okay? And by by the way this is five right here this is an echo and this is six and that is seven and that is eight they're just a little off

i should have snitched that five over just a tiny bit so that's five this is an echo but look at this to this to this to this to thisally factor out that echo if you can, just visually. And you can see these are all clustered way up here, almost at the top end of these earlier ones. So that's why it sounds different to you, because it is different. Qualitatively, muted, and also tuk, tuk, tuk sounds lower and muted compared to these other ones, which are crack, crack, crack, crack, crack, right? They look different.

They are different. So qualitatively, quantitatively, we now have two separate sources that sound different. Now, how would we begin to account for this? Well, let me go back here. The way I'm beginning to account for this is that if you are anywhere in front of this building, so we had six, we also had source four right about down here. Those that were in front of this building so we had six we also had source four right about down here those that were in front you hear both sets of explosions from the guns as as very loud now we're starting to resolve because of the incredible audio we're getting off of source six that there's a distinct difference between shots one and three and four five six seven eight so we have to begin to account for that even though it's straight front, we can clearly hear a difference between them. Now, once you're over on the side though,

both sources two and four from over there, they are very muted. Both of them, one through three, very muted compared to the other shots. So how do we begin to account for that? Well, one way is if there is a shooter inside of a building and they're shooting out of a window those sounds are going to progress forward relatively easily but it's going to have those first three shots are going to have a devil of a time going

sideways whereas these shots if these are taken on the roof then these would progress more easily so my working hypothesis right now is shots one through three are coming out of a window or a room somewhere in this, somewhere back here. Those shots are being blocked or occluded from getting over here. It could be, let's consider all the options. It could be somebody standing on the side of this building here. We know there was an open window on this side. So it's possible that they could be there. It could be somebody else that was on the roof here that we just didn't see because we don't have that information.

It could be somebody, I don't think it's anybody in these windows because they all look closed, but we do know that this window, this window, and one other on this side were all open. I think it was this one. These windows were all open. Secret service, I talked with some windows were all open secret service i talked with some people who are in secret service and the answer is no you never have open windows anywhere a president or or a secret service protectee who's of importance is is talking never not even your own guys are hanging out behind open windows because of course somebody could come in with

a silenced weapon take them out and now they have an open window shot. And open windows are a no-no. They like their snipers up on roofs because now we can see who's who, right? And it's much easier and be much harder to take one of the roof teams out and then, you know, take a shot. It just, it would be a much more difficult operation. So there were, for whatever reason, windows all open on this building complex here. And as well on the side, I don't know when that side one opened. So we can begin to resolve all of that. So that's what we see here.

These shots are from the west side of the building, quantitatively and qualitatively different. Shots one through three, through four, five, six, seven, eight. Same thing is true when we're on the north side, sorry, the south side of the building with the Davidid stewart video so um yeah that's that's uh very difficult to begin to explain so what do you have to do here as you know i work on green yellow red uh the green is stuff that we

know about yellow is is stuff that well you know we have to work on these items next and then and then red is stuff that we'll save it for later um you know things like things like what eyewitnesses telling us that shots came from the water tower so we start there that's not where we would start eyewitness eyewitness testimony is not good by the way for anybody who thinks that an eyewitness pointing saying shots came from over there should come out into the woods with me hunting sometime and if you hear a shot all you can tell is it was over there and it's like it's like with a it's like with a 90 degree cone you're like somewhere over there there was a shot there you know shots uh that are spread out the shots spread out very rapidly the cone the cone spreads out like this so it becomes much more difficult to sound

isolate where that came from the further away you get uh it's just very difficult your ears aren't spaced far enough apart and you know they're not owl ears so for us after 100 yards shots are from over there right so that's why we don't spend a lot of time with that we won't completely discount witness testimony ever when it comes to that but when when it comes to locating shots, it gets iffy the further away you are, very iffy. So now, remember what we do is we start with the green data. So that's audio, that's video, that's pictures, things like that. We start our analysis. What's solid? Our null hypothesis in this case is that Crooks is the only shooter. And so what we're going to try and do is prove the null hypothesis, right, with data. I have to shove that all the way into red at this point in time.

It's going to take some work to drag it back out of red into yellow and make it green. The operative hypothesis that has the strongest weight of evidence right now is that there were two shooters. Yellow is, I don't know, was one through three taken by Crooks and four through eight somebody else, or was it vice versa? Or was it even possible a second alternative hypothesis? Crooks took zero shots. We don't know at this point in time, but we do have enough data to say you're going to have to work now to disprove H1 rather than having to continue to work to prove or disprove the null hypothesis all right now second part of this let's turn to it crooks is clearly seen on the roof and in the expected position that we would expect him to be in bait on this stewart twitter and here uh at on my frame count of 451 20 and 26 frames

5.5 seconds before the first shot david stewart's panning across grab this one still and if you follow up this train pipe again come over one two into this lane and follow this lane back that's right where we would expect to see him, is right in this lane, which progresses, of course, slanty up the roof because of, you know, aspect rate perspectives. That's exactly where I would expect to see Crooks. Okay, then as the camera's swiveling over,

this is 5.3 seconds before that first shot. This is two seconds before you hear somebody yell, he's got a gun, he's got a gun. So Crooks is suddenly up above, way above the skyline because we're seeing him now from just 30 feet away from that building-ish estimate, 40, 30, 40 feet. If you can see him from there, oh boy, this raises a lot of questions

because this guy is way above the ridgeline. There he is. Big shiny white forehead, some glinty glasses. This guy is completely, completely exposed in that position. And we have, this raises a lot of questions, of course. It appears here at 1.26 seconds before shot number one. I've got my particular time here on my video analysis thing where I'm stepping through frame by frame. You can see an officer here. If you can't see it in his other hand, gun drawn. And it looks to me like we have Crooks in shooting position. Here's a blow up of that. Sure looks like it. That looks like a guy hunkered down. And that's 1.26 seconds before the first shot.

Doesn't guarantee that Crooks made that shot, just says he was in shooting position. Now, here's where the problems come in, and we get a lot more questions. So, Phase 5, a member at Peak Prosperity, where we're having incredible analysis being done, a lot of experts. Turns out Phase 5 is a professional architect, was able to take a standard photo there, de-skewed it, it's called, rotates it, his software will rotate it, and scale the door so it's a normal commercial door. If you take all of those things into account, then it turns out, you know, the normal door here would be 6'11 1⁄8", and here we have the standard width of the door. And here to this roof line right here would be 12 feet, 3 and 3 eighths inches. Another 3 feet, 2 inches to get to the roof peak right here.

And so all of this is done. Calculated slope is 1.13 plus or minus. Hey, I'm happy. I calculated a 1.15 using my thumb calculator on the first day. So got remarkably close on that. So phase five did all of this analysis, took into account the slope that you've seen. The building six was down in a little depression.

It looks like they graded the site and they must've removed some material. Because here you can see, this is the retaining wall the Crooks was on. It's from this corner of this building up here. And you can get an estimate of how deep that is and so if you can see what phase five did was take into account the slope of the slope change because this building is set down a little that changes the overall geometry entirely

and so here you can see this is the agr this is building six this is called building 16 here that's where sniper team one. Everybody's focused on them. Two guys in the baseball caps, of course, we've established now. The tree was in their way. And who puts a sniper team in a place where a tree is in their way? Hmm? Again, Special Agent in Charge Timothy Burke has got some big explaining to do here. Nobody should be asking anything of anybody else except for the agent in charge who made

the decisions which assets were going to go where and do what. Of course, that's the person you would start with. But then building 14 back here, this is the one that Sniper Team 2 was on. So now we continue our analysis. And it turns out that if you take the best guess that building 14, there is a grade change. It is a little bit higher than this one, building six, AGR building six. The building 14, which is the second red barn

that sniper team two is on. Well, here are all the best guess estimates. It turns out that this building's just a little bit higher than building six. It turns out that building 14 is about 10 feet, seven inches higher than the crest of the ridge line of building six it turns out that building 14 is about 10 feet 7 inches higher than the crest of the ridge line of building six it turns out that if you said well we'll put another three feet up that because these snipers were up they had tripod stands that their weapons were sitting on facing this direction and so we're going to say they are about 13.7 feet above Building 6 ridgeline.

If you put all of that together, he took this one photo we have of allegedly of Crooks, who's having a good hair day there compared to the earlier photo. I don't know how to resolve that. I think there's been some image upgrading of this photo. I'm suspicious of this photo now, but we'll save that for later. This is what it would have looked like uh with the standard doing his best to mock up the rifle it just shows that this red line bisecting his head was what you would have seen if you were in this position and this is your sight line coming down

to that spot this red line up here is what exactly would have been in line this would have been the site position for sniper team two they would have been able to see him clearly so let's take this at face value for a second let's imagine that crooks magically stayed way down below the ridge line he somehow instinctively knew when or where or how the sniper team two he would be exposed so he knew he only had a matter of time so we're just trying to get the null hypothesis to work again that that he's the guy, he did all the shooting. So that means he would have had to stay down there. This is for two minutes and 33 seconds. So if he only popped his head up five seconds

before shooting, which is the first time we actually see him on the Stewart video, so it could have been, it probably was earlier than that, but let's just give every benefit of the doubt we can to the null hypothesis here that crooks is the only shooter five seconds before shooting he's down out of sight from sniper team two as you can see here he has to be really low because this is what they can see so this is the lowest sight line is here he would have to be way back here to be completely out of sight but we know he was back down there for two minutes and 33 seconds at least while people were yelling and screaming

there's a guy on the roof there's a guy on the roof and as we'll see tomorrow it's really troubling to understand how many law enforcement personnel were there and on the ever they were everywhere except where all the people were like dude he, he's right there. He's in positions two and four. There's all these people like, he's right there. And all the police, for some reason, run around the other side of the building. I can't figure out why. I'll show you all the video tomorrow. It's like, why are they all going to the wrong side of the building?

All of them. Like, is this herd instinct? I don't get it. Or did somebody fill their earpieces? Was there a command given? We need to know. We have a lot of questions. But the point is, let's back to the point.

What's my point? My point is that crooks would have had to stay completely out of sight until just five seconds before and then somehow get up five seconds, 1,001, 1,002, 1,003, 1,004, pow. Okay, that's possible, but it's a little bit of a rush job. If you've ever tried to get into a shooting position, you've got a minimum of two and a half, three seconds just to sort of get your body. You got to crawl up.

You got to pop that gun over, right? And as we've seen, as we saw here at the earlier one like he's way out of position here 5.3 seconds before the shot that's out of position now you gotta that's he's up he's upright that's how i interpret that i don't think that's just raising a head it looks like he's he's pretty high up he must be up on his elbows um but he's not, he's not like in a shooting position. He's not ready. So somewhere between 5.3 seconds and 1.6 seconds, he's got a pop up, pop down. And if you've ever used a red dot reticle, those things are like, oh, they're all over the place. That first shot is the best, most carefully aimed one. So pretty good shooting for this guy to have

stayed completely out of out of sight right to stayed completely down here in this in this no c zone to have shinnied up popped his head up to see where is everybody oh there's trump right there because you know you have to reorient to the situation popped back down into shooting position and then taken one, two, three, a space of about 2.6 seconds, and then one, two, three, four, five. So all of that had to happen without anybody taking a single counter shot. As well, we have to question the whole story

that there was a municipal cop or hearing stories that maybe it was Sheriff Sloop. Somebody was hoisted up and saw him and dropped down. And then seconds later, you know, that Crooks saw him, swiveled around, pointed his gun at him. This guy drops down and seconds later, the firing happens. Like, well, if Crooks was swiveled all the way around,

I can't imagine any scenario where he could sit up and swivel here without being completely exposed to the snipers who may have missed him. They might have been looking completely the wrong direction. But I mean, everybody is keyed on this building. As you will see tomorrow in particular. I mean, everybody's keyed on it.

Everybody knows about this and you can see the snipers are back there glassing. And by the time the shooting starts, they are all not just with their binoculars. They are on their scopes. They are, they are like they're in their scope down. If the story, and there's so many stories here that don't make sense. If the story is true that a muni cop, maybe sheriff Sloop, hoisted themselves up, went face to face with Crooks. Crooks swung his gun around and pointed it at him.

And then seconds later, firing rung out. Well, then Crooks would have to have swiveled from a sitting position or at least was out of position, rolled over and then rolled back into position, shinied up the rest of the way, popped his head up, gotten oriented on on Trump, laid that gun down and and had the composure to get that shaky red dot. If you haven't done red dot at 140 yards, I will tell you that son of a bitch is like is like this, particularly if you're breathing hard or it's a hot roof or you're this is your first time trying to shoot a president uh you know you're about to die in a few seconds whatever there would be a variety of stressors we could imagine in a 20 year old body that says well this is kind of weird that this guy is going to do all

of that remain out of view point his weapon at a law enforcement officer this has got to be a little bit of a adrenaline moment for anybody lay back down get that site acquired and make that first shot the best shot out of the series it's kind of a lot to accept on top of all the other stuff we have to accept so tomorrow we're going to be talking about this what were the secret service and police doing and oh my goodness incredible stories emerge again from the David J. Stewart film. It's an extraordinary film. That's what we have to talk about tomorrow. And it's going to be really big. Thanks for listening to this.

Again, if you have any other videos, particularly around that Building 6, if you are one of the many people we can see filming that, and somehow you're hearing this, or you know somebody, you're listening to this, you know somebody who may have one of those videos we need them we really need them but for now i can conclusively say that the official story is going to have to account for why shots one through three are quantitatively and qualitatively different from four five six seven eight in multiple camera locations. The case is getting strong, folks.

There were two shooters, and this was an inside job.