We have uncovered credible documentation confirming that the
Zapruder film was altered, thus forcing a revision of sorts to our original
conclusion that it had not been modified.
Our opinion was a bit more nuanced. We argued that if the
film had been altered, it was not in a semantically meaningful way – meaning that
the film clearly demonstrated a head shot from the front – a scenario which the
assassins would be loathe to add to the movie if they were claiming a shot from
the rear by a lone nut. But this is not to say that significant information was not suppressed.
We can now accept without caveat that the Zapruder movie was
altered and done so by the Central Intelligence Agency attempting to maintain
the fantasy of a 3 round murder for the Warren Commission which was yet to be
announced.
More specifically, the CIA and Secret Service collaborated
in developing 2 sets of film – one which was developed in Dallas the afternoon
or evening of 11/22/1963, and a separate film which was developed at Kodak’s
CIA Hawkeyeworks in Rochester, NY, the home of Kodak’s corporate headquarters.
Doug Horne, Chief Analyst for Military Record for the ARRB
from 1996-1999, produced the smoking gun proving beyond doubt that the Zapruder
film was altered. Based upon a series of interviews with the film processors at
the CIA’s National Photographic Interpretation Center during the ARRB era as
well as in 2009 and 2011, Horne acquired the evidence supporting the charge
that the CIA altered the film.
Horne discovered that two teams processed film for briefing
boards during the weekend following the CIA’s murder of Kennedy. Dino Brugioni,
Chief Information Officer of NPIC, led a team Saturday night to create a set,
using the camera-original movie, for the Secret Service and John McCone, CIA
director. Brugioni described his work product and noted emphatically that it
did not match what Horne’s photos showed.
When Brugioni’s team was finished with the film, the Secret Service took
it to Hawkeyeworks early Sunday morning to be altered as it was the only
facility in the Eastern United States with the capacity to do the type of
modifications required by the CIA.
Unbeknownst to Brugioni, another team led by Homer McMahon,
chief of the NPIC Color Lab, also created briefing boards the following night
using the newly altered film. McMahon identified his work product from the
photos Horne showed him.
Members of both teams were threatened by the Secret Service
to not talk to anyone, including supervisors, about their work if they were
questioned.
During the interviews, each man described a different
sequence of events seen on the film. Indeed, Brugioni was shocked when Horne
showed him the official National Archive version of the Zapruder film. He noted
that the explosions around Kennedy’s head were much more pronounced and vivid,
expressing disbelief at the forged film. Brugioni had viewed the original film
several times during the night of 11/23/1963 in preparation for creating the photographic
prints used on the briefing boards.
The solution to the problem lies in the chain of custody, a
subject which Horne addresses in detail. The film shot by Zapruder was sent to
the Dallas Kodak lab for development, at which time 3 copies were made. One
copy went to the Secret Service in Dallas, and another to the Secret Service in
Washington, DC. The third copy stayed with Zapruder and the original briefly
went to Life magazine – or to be more precise to Chicago.
The Secret Service intercepted the film in Chicago in order
to get it to Brugioni in Washington where briefing boards were made from the
camera-original film. Once he was finished with the film, it was sent to the Hawkeyeworks facility in Rochester to be sanitized after which it was flown back to NPIC to create the second set of briefing boards.
So why was the movie altered? The CIA did so in order to
reduce the movie action to support a 3 shot scenario as the original film showed 6-8
shots hitting the president from 360 degrees in the Dealey Plaza kill zone.
The alterations also concealed the halting of the presidential limousine by the Secret Service in order to allow the CIA's assassins to have a perfect shot at the president. This means that we must retract our support for Sherry Fiester's time dilation theory which denied that the vehicle stopped.
The implications of this operation are staggering. It shows
that Arthur Lundahl, Navy Captain Pierre Sands, and CIA Director John McCone
were murderers or accessories after the fact, all of whom were heavily engaged
in the cover-up of the crime of century. Lundahl was the director of the NPIC
and Sands was one of his lieutenants, both of whom knew of the activities
occurring in their own facility. McCone of course was the gatekeeper who
coordinated a vast array of criminal activity by the photographic teams as well
as many others.
Regarding the Zapruder - Life nexus, our opinion is that Zapruder was being paid off for his work in filming the CIA's operation in Dealey Plaza. The Life negotiations were a cover designed to deceive the public about the nature of the film. The actual photos which Life published were from a set of black and white "dirty duplicates" which were created at Hawkeyeworks.
Indeed, Horne reports that Life publisher C D Jackson had a long working relationship with the CIA and was one of the agency's favorite newsfakers. We also note that Zapruder was part of the same Dallas White Russian element which so enthusiastically supported the CIA's murder operations. As such we believe that he filmed the event for the CIA. In any event he was at the very least paid a hefty amount of hush money through the Life cover operation.
Yet here is the most important fact about the Zapruder film which nearly every commentator has overlooked. The CIA could have easily destroyed the Zapruder film. It could have commandeered the movie as it did with so many other evidences belonging to other people. The agency could have conveniently lost it, yet it did not!
Everything associated with the Zapruder incident, from filming to distribution, was completely scripted by the CIA. Zapruder was no innocent bystander. The contract which Life magazine offered him had absolutely no purpose than to create the illusion of a bystander with an accidental historical treasure in his hands.
The CIA designed the Zapruder film - or rather its forgery - to be widely distributed and available, not only for the Warren Commission to justify its preconceived bails of lies, but to deceive Americans on a grand scale and to rub the murder in their faces.
No other conclusion is permissable - the CIA did not destroy the film to stamp out damning evidence. We repeat that it could have easily done so right from the very beginning but refused to do so in order to propagate a monstrous lie and to force Americans to come face to face with the raw evil of its true plutocratic rulers.
So yes, we erred in our original conclusion about the
virginity of the Zapruder film, but we were correct that even the altered film
showed a frontal shot. The witness of Dino Brugioni, who saw the original film,
confirms in spades that our conclusion of a frontal headshot was right on
target. Vengeance is mine, thus saith
the Lord.
Reference
The Two NPIC Zapruder Film Events: Analysis and Implications, Douglas Horne, Jim Fetzer, Veterans Today, May 29, 2012
Copyright 2013 Tony Bonn. All rights reserved.
