A WOMAN I KNOW
A DEEPER DIVE
The Clavicle Scar
June Cobb's CIA file describes her as a trim blond with a scar over her left clavicle
June Cobb never appears to be a blond in her photos. Click to enlarge and see her healed clavicle scar.
June Cobb's clavicle scar, left • Jerrie Cobb's clavicle scar, right
June Cobb's CIA file describes her as a trim blond with a scar over her left clavicle
A WOMAN I KNOW presents evidence that Jerrie Cobb is the same woman who is described in the CIA's files as the government agent " June Cobb."
While this hypothesis is supported by a myriad of evidence, an important visual correlation is presented in the book showing that the female CIA agent using the name "June Cobb" had an identifying scar on her left clavicle from a jungle disease called Leichmaniasis.
The book presents these images in black and white, here we can inspect the photo of Jerrie's clavicle scar in color. The medical images of June can also be scrutinized in higher resolution revealing indications of darkroom alterations.
(Click each image to enlarge)
The Forearm Scar
A WOMAN I KNOW presents evidence that Catherine Taaffe was a name used in the FBI files for the clandestine work of Jerrie Cobb.
On February 12 1960, the undercover American spy using the name "Catherine Taaffe" was attacked in a Miami hotel by two thugs sent by Fidel Castro's government. According to numerous FBI reports and a news source, the thugs used a knife to carve the number 26 into Catherine Taaffe's left forearm.
After Mary Haverstick saw the scar on Jerrie Cobb's left forearm for the first time, she drew a photoshop illustration of what she had seen. A few years later, after Jerrie became more comfortable wearing short sleeves, Mary took a picture of Jerrie's left forearm.
(Click each image to enlarge)
One of many FBI reports that discuss two Cuban thugs attacking Catherine Taaffe, culminating in the men carving the number 26 into her left forearm.
After Mary Haverstick saw Jerrie Cobb's left forearm scar for the first time she drew this photoshop illustration on a picture of her own left forearm.
While Jerrie often shielded her left forearm from view, Mary snapped this image of Jerrie's arm during a dinner in Mexico.
One of many FBI reports that discuss two Cuban thugs attacking Catherine Taaffe, culminating in the men carving the number 26 into her left forearm.
Babushka's Aim
Was the Babushka Lady completely overlooked for sixty years because she was a woman? She was 33 feet away from the President aiming her camera at him when he was shot in the head, yet, unlike Abraham Zapruder, no mad dash ensued to locate her or her precious footage.
Mary Haverstick takes a much closer and less forgiving look at the Babushka's movements on Dealey Plaza, including a thorough exploration of the possibility that the Babushka may have been central to the crime.
This footage, originally filmed by Marie Muchmore and stabilized by Mary Haverstick, gives us the best view of Babushka's movements during the fatal strike. Notice how she prematurely swiveled her view away from Kennedy and Jackie's faces in order to set up a shot of the back of Kennedy's head as he moved away from her.
Zapruder's View of Babushka
Abraham Zapruder panned quickly by the Babushka Lady as he followed the President's limousine with his camera. In this modified Zapruder clip, the section capturing the Babushka is stabilized and slowed down to better scrutinize her movements.
Babushka's appearance in the Zapruder film is brief, but he did manage to capture her pivot as she re-positioned her aim for a shot of the President as he drifted away from her.
Haverstick's Dealey Plaza Multicam
In an effort to understand how events on Dealey Plaza unfolded, Haverstick created a Multicam video composite from all the primary angles filmed of the Kennedy assassination. Of particular interest were the movements of the Babushka Lady before and after the fatal shot.
Notice how quickly the scene evolved, and how the Babushka first stood motionless after the fatal shot was fired, then was among the first onlookers to exit the scene to the parking area beyond the grassy knoll.
This Multicam view of the assassination is presented first at regular speed and then in slow motion.