As a new member of ATS, I wanted my first post to be special. As some of you may be aware, I organized a research group in 1992 of the most
highly-qualified experts to ever study the case, including a world authority on the human brain, who was also an expert on wound ballistics; a Ph.D.
in physics who was also an M.D. and board qualified in radiation oncology; another M.D. who was present in Trauma Room #1 when JFK was brought in for
care and, two days later, was responsible for the treatment of his alleged assassin, Lee Harvey Oswald, in Trauma Room #2; a legendary photo-analyst,
who testified before the House Select Committee on Assassinations (HSCA) and later advised Oliver Stone on the production of "JFK": and another Ph.D.
in physics, this time with a specialization in electromagnetism, which includes the properties of light and of optics and of the images of moving
We discovered that the autopsy X-rays had been altered to conceal a massive blow-out at the back of the head; that another person's brain shown in
diagrams and photographs at the National Archives had been substituted for that of JFK; and that the most famous footage in history, the Zapruder
film, had been recreated by the removal of some frames and by the introduction of others, using the sophisticated techniques of optical printing and
special effects applied to original footage to create a new film. I organized and moderated the first symposium on the authenticity of the film in
Dallas in 1996 and would subsequently organize and moderate a conference on this subject in Duluth in 2003. Then, later that year I would publish my
third collection of studies by experts on different aspects of the case, THE GREAT ZAPRUDER FILM HOAX (2003), one of the greatest scams in history.
The study of the film has been inhibited by the control that has been exercised over it by a private company and now by The 6th Floor Museum. A brief
I commissioned by Mike Pincher, J.D., an attorney from California, was published in assassinationresearch.com...
as "The Zapruder Film:
“No” to Copyright Protection". He contends--with complete justification, in my opinion--that the film was never entitled to copyright from the
start. It appears obvious to me that this abuse of copyright has been deliberate to inhibit the serious study of the film, which has become an
expensive proposition. More importantly, in that respect, therefore, is a new version of the film not covered by copright protection has been
produced by John P. Costella, Ph.D., and made available to the public at no charge on assassinationscience.com...
. This new version has been
enhanced by replacement of missing frames and by the removal of pin-cushion and of aspect ratio distortion.
The individual frames are archived at www.assassinationresearch.com...
and a stabilized version of the film at
from which they may both be downloaded. You may notice a feature you have probably not seen in
earlier versions, which are the "ghost panels" that surround the sprocket holes These are double-exposures due to the design of the camera that was
used by Zapruder to film the original, which link one frame to another and cannot be duplicated. When those who were recreating the film had made the
content changes they desired, then had to reshoot the film to recreate the ghost panels, in the absence of which the deception involved in its
re-editing would have been immediately apparent. It is for this reason that the film as a whole had to be recreated, which makes the film as a whole
a "fabrication". That does not mean that none of it is real, but only that it takes a great deal of investigation and study to separate the authentic
from the fake parts.
The reason the article I am offering as my first new thread is so important, therefore, is that we now have new proof of its alteration from an
unexpected source. Clint Hill, a Secret Service agent on the Kennedy detail, is, along with Jack and Jackie, the most conspicuous figure in the
Zapruder film, where he is the only agent who responded in an attempt to protect Jackie. What Clint tells us about his actions at the time--which he
has maintained for 47 years!--contradicts what we see in the film. Another agent on the opposite side of the limousine, John Ready, also started to
respond when the first shots were fired, but was called back by Emory Roberts, who was the assistant to Roy Kellerman, who was in charged of the
presidential protection detail. This makes Roberts one of the principal suspects in setting JFK up for the hit, where we have discovered more than 15
indications that that was the case. The other key player in the plaza, of course, was the driver, William Greer, who, unbelievable as it may sound,
actually pulled the limo the left and to a complete halt to make sure that JFK would be killed.
Among those in the JFK research community who have been the most outspoken in opposition to Zapruder film fakery are Robert Groden and Josiah
Thompson. Robert Groden has a vast collection of JFK memorabilia, including what appears to be an early copy of the film. Josiah Thompson published
his book SIX SECONDS IN DALLAS (1967), based upon the study of the film to which he had access through a special arrangement with LIFE magazine. In
my opinion, they both have serious conflicts of interest in being objective about the proof we have adduced, since the value of Groden's collection
and the significance of Thompson's book would be seriously compromised were the fabrication of the film to be come widely accepted by the public. The
arguments that they have given for its authenticity, moreover, have not withstood critical scrutiny. Josiah, for example, has argued that it would
have been impossible to fake the film because of an unbroken chain of custody from Dallas to LIFE magazine and beyond, a claim that was recently
demolished by the work of the Assassination Records Review Board.
Its former senior analyst for military affairs, Douglas Horne, has now published INSIDE THE ARRB (2009), in which he traces the discoveries that
occurred during its years of operation in declassifying more than six million documents and records that had been withheld from the public by the CIA,
the FBI, the Secret Service and other government agencies. Among those discoveries was that one version of the Zapruder film was brought to the
National Photographic Interpretation Center (NPIC) in Washington, D.C., on Saturday, 23 November 1963, and another on Sunday, 24 November 1963. The
first was an 8mm film that had been developed in Dallas. The second was a 16mm film that had been developed in Rochester. There were five physical
properties of the strips of celluloid which distinguished them, as I have explained in "US Government Official: JFK Cover-Up, Film Fabrication", at
So the chain of custody argument has no merit.
In addition, we have discovered a great many changes in the content of the extant version of the film from what it should have shown, based upon
studies of the medical evidence, the physical evidence, and the reports of a large number of eyewitnesses in Dealey Plaza, none of whom,
interestingly, reported observing the dramatic, back-and-to-the-left motion of JFK's body that is so striking in the film. Clint also describes
peering into a hole in the back of JFK's head, a gaping, fist-sized blow-out, which by itself contradicts the official X-rays, some of the autopsy
photographs and diagrams, and early frames of the Zapruder film, where, as a new group of Hollywood experts has found, it was (crudely) painted over
in black. Some years ago, on the hunch that the conspirators who were redoing the film might have spent so much time concentrating on those early
frames, especially 313-316, that they could have overlooked the wound in later frames, I made a search and found that it is clearly visible in frame
374, as I emphasized in HOAX. So the simplest proof that the film has been altered is that the wound is visible in some frames but has been concealed
Here is how you can prove for yourself that what I am telling you is true. Go to the article here:
(1) Scroll down to frame 374, where you can see the blow out in his head;
(2) Compare that with the HSCA photo and diagram, the next image in line;
(3) Do you see that the blow out is not present in the HSCA photo/diagram?
(4) Scroll down to the witnesses reporting the location of the blow-out;
(5) Do you see that it corresponds with the blow out seen in frame 374?
(6) Scroll down to the X-ray on the left and "Area P" defined on the right.
(7) Do you see where "Area P" closely resembles the blow-out in frame 374?
(8) Do you see that "Area P" is not distinctive in the X-ray on the right?
(9) Scroll down to the diagrams of the head wound by Charles Crenshaw, M.D.
(10) Do you see how his diagram agrees with frame 374 and X-ray "Area P"?
Since the blow out is visible in frame 374 but not in earlier frames, such as 313-316, what does that tell you? Hollywood experts have determined it
(the blow out) was painted over in black in those early frames, which means that the film has been altered. The limo stop was also taken out, where we
have around 60 witnesses who reported seeing it dramatically slow or come to a complete stop. But it had to dramatically slow AS IT CAME TO A COMPLETE
STOP. Notice in the section entitled, "The Limo Stop", I quote witnesses--Toni Foster, Billy Lovelady, Roy Truly, and Mrs. Earle Cabell--who report
seeing the limo stop with their own eyes. Is there anything you question about what they are reporting? But if the limo came to a stop--and all four
of the motorcycle patrolmen said the same thing--since the stop is not in the film, what happened to it? Did it simply disappear? Or did it have to be
removed when the film was reworked, because it was an obvious indication of Secret Service complicity in setting JFK up for the hit? Which, of course,
is why the Zapruder film had to be faked.
Who's telling the truth: Clint Hill or the Zapruder film?
Agent’s reports contradict JFK film, autopsy X-rays and other crucial photographs
“In the midst of the mayhem the agents were calm, but ready to react in a
millisecond if anything got out of hand.”—Jerry Blaine, THE KENNEDY DETAIL
According to Jerry Blaine, the author of THE KENNEDY DETAIL (2010), his purpose in writing this book was “to set history straight, to leave a book
for [his] grandchildren that they could read and know the truth beyond any measure of doubt.” What Blaine has actually done, however, moves us
further toward the truth by revealing that the words of Clint Hill, the only agent to respond during the assassination, contradict his actions as
shown in the Zapruder film, in which his efforts to protect Jackie Kennedy are among its most indelible features. They also impeach autopsy X-rays and
other photographs. We therefore have in Clint Hill’s own words stunning new proof that the extant film has been faked. The book—and presentations
to promote it—thus contributes to “setting history straight”, but not in the sense its author intended.
Clint Hill was not the only agent to attempt to respond after shots rang out. Secret Service agent John Ready, who was on the right running board
whereas Clint was on the left, began to respond but was called back by Emory Roberts, Agent in Charge of the Presidential Protection Detail. This is
stunning in itself, but is only one of more than fifteen indications that the Secret Service set up JFK for the hit, which include that two agents
were left behind at Love Field, that the vehicles were in the wrong order, that the 112th Military Intelligence Unit was ordered to “stand down”
rather than provide protection throughout the city, and that the motorcycle escort was reduced to four, who were instructed not to ride forward the
rear wheels. Open windows were not covered and the crowd was allowed to spill out into the street.
When I discovered that Jerry and Clint had made presentations at book signings, I sent out a notice to several of my closest collaborators, all of
whom contributed to the three JFK books I edited, ASSASSINATION SCIENCE (1998), MURDER IN DEALEY PLAZA (2000), and THE GREAT ZAPRUDER FILM HOAX
(2003). I had reported there that we had found multiple indications the film had been reconstructed, where rather important events, such as the
driver, William Greer, bringing the limo to a halt, had been removed and the film redone. An expert on special effects, Roderick Ryan, had told Noel
Twyman, BLOODY TREASON (1997), that the “blob” of brains exploding to the right/front had been painted in, while, as Doug Horne, INSIDE THE ARRB
(2009), has explained, a new group of Hollywood experts has found that a massive defect to the back of JFK’s head had been concealed by being
(crudely) painted over in black.
edit on 30-1-2011 by
JimFetzer because: Removing and from the title.
edit on 30-1-2011 by JimFetzer because: correcting a few typos