Bernice Moore

Yes Jim, and some pointed out other differences, but I am having trouble posting them, will have another go...b

Cheers Robin.......yes release some Gary, hey never mind some how about all..with no charge... ...i know forget it...thanks robin... here are a couple of altgens copies that were printed in the newspapers..one from jack...one is a Copy of the one from CURRY'S BOOK....AND FROM THE ANTHONY MARSH COLLECTION, A COPY oF THE ORIGINAL ALTGENS FRAME.....fwtaw..a copy of the large altgens lightened......b.excuse caps thanks... sorry it would ony allow me to post two, i will try again..??

See Kellerman testimony............How many shots could there have been ? The SS called them a “flurry “ of shots..that came into the limo.. Roy H. Kellerman-'.''

I did not find Chaney's name but; James L Simmons RR man on the overpass ..Re his testimony at the Clay Shaw trial..Garrison. Upon being questioned by the defense that the President had fallen to the back as the limo lurched forward. But as seen in the Zappy film he is propelled to the rear by the force of the head shot...then.....the Asst D.A Alvin Osner asked : Did the car speed up ? Simmons : No, in fact the car stopped or almost stopped. Osner : Then did the car speed up ? Simmons: Yes, after they got the motorcycle policeman out of the way... It went right over the Asst.D.As.... head it went no further.... b.

Daniel; I think, not positive but it seems to me, that there is an article re his grandaughter where further information was released, there is something out there, you may have a search into Mary Farrells , it may exist within.....also keep in mind findings of Sprague. it's a possible he could have been onto this earlier than others......if i come across anything further i will post the info, for you..take care...b

Hi Ray; The SS in training, were to begin swerving in a zig zag motion in any motorcade at the first sign of trouble, as it made it more difficult for any potential assassin to take a direct aim, at the POTUS..according to his rule book, at the first sound he should have been swerving to divert such.....info is within the studies of Vince Palamara i believe within the hsca commission findings...thanks b.. Ray; you may be interested in the following information; b... Mr. Roberts was the SAIC of the follow-up car who attempted, along with Ready, to defend his strange actions and inactions by noting the speed of the limousine, which was actually decelerating from an already slow speed of 11.2 miles per hour, not the "15-20" or 20-25" mph noted in Ready & Robert's reports, as well as the distance between his car and the limousine, which was merely a scant five feet at the most when the shooting began, not the "20 - 25 " & "25-30" feet noted in their reports. (Even Inspector Thomas Kelley got into the act, later testifying: "The agents, of course, in the follow-up car were some distance away from the action.") If that wasn't enough, Ready's first report stated the follow-up car slowed. His next report stated it was JFK's limo that slowed instead (actually, both vehicles slowed down). Regarding Roberts' disturbing order not to move, agent Sam Kinney, the driver of the follow-up car, told me that this was "exactly right." SA Ready was the agent who was assigned to JFK's side of the limousine, as you were assigned to Jackie's side. Roberts came to Ready's rescue in yet another report: "SA Ready would have done the same thing [as Agent Hill did] if motorcycle was not at President's corner of car"(!) Strange, but this posed no problem at all for Agent Donald J. Lawton on November 18, 1963, in Tampa (but unfortunately, like Agent Henry Rybka, Lawton was left at Love Field and was not in the motorcade detail). Even Chief Rowley got in on the act---he told the Warren Commission: "Mr. Hill, who was on the left side, responded immediately--as he looked toward the Presidential car, being on the left side, he scanned from left to right, and when he saw there was something happening to the President following a noise, he immediately jumped from his position to get aboard from his side. Mr. Ready scanned to the right so he was looking away from the President, because he was looking around from the right side. As a consequence, he wasn't aware of what was happening in the front. The car was also going on a turn at that time [emphasis added]." The car was actually heading straight to the overpass at the time. If that weren't enough, as I discovered back in 1991 when viewing slow motion black and white video footage of the Love Field departure, one can see agent Henry J. Rybka jogging to the rear of the limousine on JFK's side only to be recalled by none other than Emory P. Roberts, who rises in his seat in the follow-up car and, using his voice and several hand-gestures, orders Rybka to cease and desist ! As the ARRB's Doug Horne wrote in a memo dated 4/16/96, based on viewing the aforementioned video shown during my presentation at a 1995 research conference (later to be shown during my brief appearance on the History Channel in 2003): "The bafflement of the agent who is twice waved off of the limousine is clearly evident. This unambiguous and clearly observed behavior would seem to be corroboration that the change in security procedure which was passed to SA Clint Hill earlier in the week by ASAIC Floyd Boring of the Secret Service White House Detail was very recent, ran contrary to standing procedure, and that not everyone on the White House Detail involved in Presidential protection had been informed of this change." (With regard to the Love Field video, former agent Larry Newman told me that he "never saw that before" and, when questioned on the matter, said he didn't know all the particulars and that Tim McIntyre would be a good source on this. To date, I have been unable to obtain commentary from McIntyre---or Ready, or Landis---on this matter.) All of this begs the question: were Rybka and Lawton the two agents who were supposed to have rode on the rear of the limousine in Dallas? It appears that Mr. Hill---thankfully, for Mrs. Kennedy's sake---disobeyed Mr. Roberts by running after the limousine during the shooting. Just as important, Mr. Hill disobeyed Mr. Boring's orders by mounting the rear of the limousine four times briefly prior to the shooting on 11/22/63. Interestingly, Agent Boring just happened to be in charge of planning the Texas trip for the Secret Service! For his part, #3 man Roy Kellerman indicated to the Warren Commission that on 11/17/63 he was given the assignment to be the nominal agent in charge of the Dallas trip. Finally, William R. Greer, the driver of the limousine---Ken O'Donnell stated: "Greer had been remorseful all day, feeling that he could have saved President Kennedy's life by swerving the car or speeding suddenly after the first shots." In addition, Greer told Jackie the following on 11/22/63 at Parkland Hospital, shortly after the murder: "Oh, Mrs. Kennedy, oh my God, oh my God. I didn't mean to do it, I didn't hear, I should have swerved the car, I couldn't help it. Oh, Mrs. Kennedy, as soon as I saw it I swerved. If only I'd seen it in time! Oh!" Finally, Dave Powers confirmed Greer's guilt to CBS newsman Charles Kuralt on 11/22/88, also adding that if Greer would have sped up before the fatal headshot, JFK might still be alive today. 60 witnesses (10 police officers, 7 Secret Service agents, 38 spectators, 2 Presidential aides, 1 Senator, Governor Connally, and Jackie Kennedy) and the Zapruder film document Secret Service agent William R. Greer's deceleration of the presidential limousine, as well as his two separate looks back at JFK during the assassination (Greer denied all of this to the Warren Commission). By decelerating from an already slow 11.2 mph, Greer greatly endangered the President's life, and, as even author Gerald Posner admitted, Greer contributed greatly to the success of the assassination. When we consider that Greer disobeyed a direct order from his superior, Roy Kellerman, to get out of line BEFORE the fatal shot struck the President's head, it is hard to give Agent Greer the benefit of the doubt. As ASAIC Roy H. Kellerman said: "Greer then looked in the back of the car. Maybe he didn't believe me." Clearly, Greer was responsible, at fault, and felt remorse. In short, Greer had survivor's guilt. A sampling of the sixty witnesses to Greer's gross negligence: Houston Chronicle Reporter Bo Byers (rode in White House Press Bus) - Twice stated that the Presidential Limousine "almost came to a stop, a dead stop"; in fact, he has had nightmares about this. Dallas Police Department (DPD) officer Earle Brown - "…The first I noticed the [JFK's] car was when it stopped...after it made the turn and when the shots were fired, it stopped." DPD motorcycle officer Bobby Hargis (one of the four Presidential motorcyclists)---"…At that time [immediately before the head shot] the Presidential car slowed down. I heard somebody say 'Get going.' I felt blood hit me in the face and the Presidential car stopped almost immediately after that." Secret Service Agent John Ready (follow-up car) - "…I heard what sounded like fire crackers going off from my post on the right front running board. The President's car slowed…" Texas Governor John Connally (rode in JFK's limo and was himself a victim of the shooting) - "…After the third shot, I heard Roy Kellerman tell the driver, 'Bill, get out of line.' And then I saw him move, and I assumed he was moving a button or something on the panel of the automobile, and he said 'Get us to a hospital quick'…at about this time, we began to pull out of the cavalcade, out of line." Dallas Morning News reporter Robert Baskin (rode in the National Press Pool Car) – stated: "…the motorcade ground to a halt." Dallas Morning News reporter Mary Woodward (Pillsworth) - "…Instead of speeding up the car, the car came to a halt." She saw the President's car come to a halt after the first shot. Then, after hearing two more shots, close together, the car sped up. She spoke forcefully about the car almost coming to a stop and the lack of proper reaction by the Secret Service in 1993. Alan Smith - "…the car was ten feet from me when a bullet hit the President in the forehead…the car went about five feet and stopped." Ochus V. Campbell - after hearing shots, "he then observed the car bearing President Kennedy to slow down, a near stop, and a motorcycle policeman rushed up. Immediately following this, he observed the car rush away from the scene." Peggy Joyce Hawkins - she was on the front steps of the TSBD and "…estimated that the President's car was less than 50 feet away from her when he was shot, that the car slowed down almost coming to a full stop." First Lady Jacqueline Kennedy (rode in the Presidential limousine) - "We could see a tunnel in front of us. Everything was really slow then…[immediately after shooting] And just being down in the car with his head in my lap. And it just seemed an eternity…And finally I remember a voice behind me, or something, and then I remember the people in the front seat, or somebody, finally knew something was wrong, and a voice yelling, which must have been Mr. Hill, "Get to the hospital," or maybe it was Mr. Kellerman, in the front seat…We were really slowing turning the corner [Houston & Elm]…I remember a sensation of enormous speed, which must have been when we took off…those poor men in the front…" Mary Gallagher reported in her book: "She mentioned one Secret Service man who had not acted during the crucial moment, and said bitterly to me, 'He might just as well have been Miss Shaw!'" Jackie also told Gallagher: "You should get yourself a good driver so that nothing ever happens to you." Manchester wrote: "[Mrs. Kennedy] had heard Kellerman on the radio and had wondered why it had taken the car so long to leave." Former agent Marty Venker and C. David Heymann, among others, confirm in their books that Jackie felt Greer was responsible. The sequence is crucial: 1.First shot (or shots) rings out - the car slows with brake lights on. 2.Greer turns around once. 3.Kellerman orders Greer to "get out of line; we've been hit! 4.Greer disobeys his superior's order and turns around to stare at JFK for the second time, until after the fatal headshot finds its mark! As stated before, Greer was responsible, at fault, and felt remorse. In short, Greer had survivor's guilt. But, then, stories and feelings changed. Agent Greer to the FBI 11/22/63: "Greer stated that he first heard what he thought was possibly a motorcycle backfire and glanced around and noticed that the President had evidently been hit [notice that, early on, Greer admits seeing JFK, which the Zapruder proves he did two times before the fatal head shot occurred]. He thereafter got on the radio and communicated with the other vehicles, stating that they desired to get the President to the hospital immediately [in reality, Greer did not talk on the radio, and Greer went on to deny ever saying this during his Warren Commission testimony]…Greer stated that they (the Secret Service) have always been instructed to keep the motorcade moving at a considerable speed inasmuch as a moving car offers a much more difficult target than a vehicle traveling at a very slow speed. He pointed out that on numerous occasions he has attempted to keep the car moving at a rather fast rate, but in view of the President's popularity and desire to maintain close liaison with the people, he has, on occasion, been instructed by the President to "slow down". Greer stated that he has been asking himself if there was any thing he could have done to avoid this incident, but stated that things happened so fast that he could not account for full developments in this matter (!) [The "JFK-as-scapegoat" theme…and so much for Greer's remorse from earlier the same day]." Agent Greer to the FBI 11/27/63: "…he heard a noise which sounded like a motorcycle backfire. On hearing this noise he glanced to his right toward Kellerman and out of the corner of his eye noticed that the Governor appeared to be falling toward his wife [notice that Greer now mentions nothing about seeing JFK hit---he does the same thing in his undated report in the Warren Commission volumes] He thereafter recalls hearing some type of outcry after which Kellerman said, "Let's get out of here." He further related that at the time of hearing the sound he was starting down an incline which passes beneath a railroad crossing and after passing under this viaduct, he closed in on the lead car and yelled to the occupants and a nearby police motorcyclist, "Hospital, Hospital! [Nothing about using the radio this time out]" Thereafter follows a complete physical description of Greer, as if the FBI agents considered him a suspect, including age, height, and color of eyes! -------------------------------------------- So, if ASAIC Boring didn't convey those "wishes" (no agents on the rear of limo, handicapping you to have to sprint forward from another moving vehicle), if ATSAIC Roberts wouldn't have recalled Rybka & Ready and behaved so lackadaisically, and if Greer would have obeyed Kellerman and stepped on the gas, history WOULD have been different. THEY bear the burden. You behaved very admirably, especially under the circumstances. I would appreciate any/ all comments you would like to make regarding this lengthy commentary. Sincerely, Vince Palamara Carnegie, PA 15106 Ray; Vince has made a correction re his Rybka info at Love Field, you may want to visit his site to read his latest on him..

Your correct David, i admit i scanned it quick and missed that, i cannot say who originally posted it, there was no name attached, i think it was one in the articles thread at Rich's but may not have been, i do not have a copy of the magazine, darn, perhaps someone out there does, i believe jack had them but he has donated all his, i may take a look through penns, and see what comes up...thanks for pointing out the error......and making the correction,a good eye...take care..best b

Whether you agree or not with Mr. Sprague's analysis of six shots or Perhaps think there were more, the information on the Zapruder film he relates, I found very interesting. The Zapruder Film Excerpt from Richard E. Sprague's article of ""MAY 1970"" in "Computers and Automation". Quote: "Of all the photographs taken in Dealey Plaza on November 22.1963, when President Kennedy was assassinated, the color movie sequence of some 480 frames taken by Abraham Zapruder is the most important. It shows from the right hand side of the motorcade the entire sequence of events, from President Kennedy ROUNDING THE CURVE FROM HOUSTON ST. ONTO ELM ST. through all the shooting , until the big presidential limousine left with it's dead president going under the triple overpass. This film almost by itself, with careful, scientific analysis, establishes the times of five of the shots. The Warren Commission received the original of the Zapruder film to look at, on loan from Life magazine which bought it from Zapruder. From that time on the film was not publicly shown, but remained in the locked files of Life. But a direct copy of the original was subpoenaed and shown NINE times by Asst. District Attorney Alvin Oser in New Orleans in February 1969, at the trial of Clay Shaw. The judge, the jury, the newspaper reporters, and the spectators in the court room all became convinced that Oser and Garrison had demonstrated a conspiracy to kill President Kennedy. When one sees and studies in detail the Zapruder film in its clear version and examines the other photographs showing the effects of the shots, one becomes convinced of two statements. 1: There were six shots, of which five hit persons in the Kennedy car: of these five the first went through the throat of President Kennedy: the second struck Kennedy in the back: the third struck Governor Connally in the right shoulder: the fourth and fifth hit President Kennedy almost simultaneously in the head and blew out his brains. The remaining shot missed and hit a curbstone on Main St. 2: The last of the five shots ( coming from the grassy knoll area) and one of the two fatal shots, struck Kennedy from the front and to the right, hurling his head to the left and backwards with great force, in accordance with the laws of physics. Either one of these statements renders impossible the Warren Commissions Report's conclusion, that only three shots were fired, the second one missing entirely and striking the curb of Main Street. Obviously, if there was a conspiracy, it becomes vitally necessary to prevent the American people from seeing the Zapruder film, clear and complete, and especially in motion. For over six years, except in New Orleans, this has been achieved...."" end of quote. Now as we know bootleg copies were made from the one in Jim Garrison's possession…many…..they were distributed among college students and also sold from 10.00 to 50.00 in the U.S Mr.Sprague goes on to say." Many of these bootleg copies, because of lack of clarity, do not demonstrate the first statement, but they do demonstrate the second, the backward thrust. Now Mr. Sprague mentions that The film shows the( CORRECTION LEFT (right) hand turn of the limo onto Houston from Elm St. in 1970 ,a matter of months after the showing in N.Os.…apparently within the copies of the Zapruder and what was seen back in 1969, the turn was there and included within the film. .Which has now completely disappeared from any copies that we see today.. Life magazine could have earned millions from showing the Zapruder film. Had they made it available, within three days, of showing widespread on Television, every person within the United States along with other Countries of the world, would have been able to have seen for themselves that more than three shots took place that dark afternoon in Dealey Plaza, which then would have shown the Warren Commission for what it was a cover-up.. So Life Magazine locked the film up, thereby creating for themselves the title of guilt by association in the interest of those involved within the coup d'etat. B.. ''correction made...b

Here is further information, re the motorcyclists and witness from a past post.........fwiw...b James L Simmons RR man on the overpass ..Re his testimony at the Clay Shaw trial..Garrison. Upon being questioned by the defense that the President had fallen to the back as the limo lurched forward. But as seen in the Zappy film he is propelled to the rear by the force of the head shot...then.....the Asst D.A Alvin Osner asked : Did the car speed up ? Simmons : No, in fact the car stopped or almost stopped. Osner : Then did the car speed up ? Simmons: Yes, after they got the motorcycle policeman out of the way... It went right over the Asst.D.As.... head it went no further.... There were a total of 8 motorcycles ..in front of the President....3 abreast were some distance ahead. a second line of five were a half a bock ahead..Some of these had orders to stop at the underpass and hold the traffic while the motorcade proceeded to the Stemmons Freeway..on to the Trade Mart.. The names of these officers and numbers are in the WC Vol. XX, page 489.. The three out front were Sgt.S.C Bellah---190, J.B.Garrick---132 G.C.McBride---133 ( The last I believe was Jean Hills boyfriend, that Mary Moorman took a photo of that day.?) The five only being a half a block ahead were , L.E.Gray---156 E.D.Brewer---137 W.G.Lumpkin---152 H.R.Freeman---135 The five of the eight were instructed to fall to the rear at the underpass, and cover the limo from the rear to the Trade Mart. Only 3 were spoken to...at the time and they all repeated the same information.. " We have been instructed not to talk about it at all". Simmons said he thought it was the motorcycle cop at the left front of the limo who got in the way, and made it appear he was trying to find out what was going on.... In Jean Hils book, her motorcycle policeman boyfriend, and I think it was J.B.Marshall, if so, he also kept telling her to let it go, and not get involved, and that he could not say anything,but that things at the station were very hushed. BTW: The info comes originally from Penn Jones " Forgive My Grief 111" http://jfkassassinat...y/simmons_j.htm For a comparison for anyone interested, read how the FBI Reported his information also at the site.... http://jfkassassinat...bits/ce1416.htm All witnesses: http://jfkassassinat...et/russ/wit.htm twisting in the wind...... B...

Jim attached below are two copies of pages of a report made during the Garrison investigation, they were looking for two of the motorcylists to interview them, one was Chaney, the other Jean Hill's cyclist boyfriend, they apparently did not get to interview them, there was nothing more on a further search......fwtaw.. also a copy of the threat of assassination and a copy of the nix frames missing, fom the study done by john dolva and FRANK AQBAT made here on the e.forum.....and a gif from the nix film head shot......thanks for your time b

Hi Daniel: Yes there is much more on Nix, including the fact, the last time i heard anything a few years back now, his grandaughter was still trying to obtain his original film, that had gone missing..?? for now, fwiw please excuse the extra figures etc within it is an old post from Rich's forum from 2006 but i believe holds some information you are looking for..take care b... Orville Nix : "Rush to Judgment "was the title of a book written by Mark Lane and = published not long after the JFK Assassination..(1966)..=20 The book takes issue with the conclusions of the Warren Commission and = suggests that there was a conspiracy to assassinate John F. Kennedy. (Video.also titled "Rush To Judgment.".Begins with the date.. Feb. 1964) = a 1966 film documentary about the John F Kennedy Assassination that was = directed by Emile de Antonio and hosted by Mark Lane. It is a black and = white film, 122 minutes long. It has also been shown on BBC TV since = 1967 as part of the much longer (300 minutes) film entitled "The Death = of Kennedy". Included are several video clips showing Dealey Plaza how it existed in = 1963 and 1966, clips of Lee Harvey Oswald .Dallas Chief of Police Jesse = Curry, Dallas District Attorney Henry Wade, Jack Ruby and his defense = attorney Melvin Belli.. Some of the assassination witnesses who present their observations = on-camera include Abraham Zapruder, James Tague, Charles Brehm, Mary = Moorman, Jean Hill, Lee Bowers,Sam Holland, James Simmons, Richard Dodd, = Jessie Price, Orville Nix, Patrick Dean, Napoleon Daniels, Nancy = Hamilton, Joseph Johnson, Roy Jones, and Cecil McWatters. http://en.wikipedia....ush_to_Judgment ************************* Orville Nix Verbatim from the Video.... Mark Lane: "Mr.Nix .Where were you on November 22nd ?.." Orville Nix: "I was standing on the corner of Main and Houston "..(Sts). Mark Lane: "And did you take any pictures of the Presidental Limousine = as it went through Dealey Plaza ?.." Orville Nix: "Yes, I had taken pictures before and after --before and = during the assassination ".. Mark Lane: "And you know of course that your pictures were used by the = Government to determine where the limousine was when some of the shots = were fired ?".. Orville Nix: "Yes ".. Mark Lane:"And did you deliver a copy of your film to the Federal = Government ?".. Orville Nix:"Yes, I delivered a copy of my film to the Federal = Government about December 1st ".. Mark Lane:"About a little over a week after the assassination ?".. Orville Nix:"Yes, my film got lost in the processing plant !".. Mark Lane: "Where is the original film ?".. Orville Nix: "The original film --uh--belonged to United Press = International .The Government has a duplicate copy ".. Mark Lane: " Where is that copy ?".. Orville Nix: " In the Archives".. Mark Lane:"And is that the duplicate copy which was used by the Warren = Commission determining along with other films, the Muchmore film and the = Zapruder film where the Presidential limousine was when some of the = shots were fired ?".. Orville Nix: "I would say so".. Mark Lane: "Well you now have a copy, of your film which you were kind = enough to show to us this afternoon .Is that copy the same as the = original that you gave to the FBI on December 1st ?".. Orville Nix: " I would say, No--- there is some films maybe = missing---some --uh--frames--uh--some of the frames were ruined ".. Mark Lane :"Does the film which you have at the present time ,have the = same number of frames as the film that you delivered to the FBI on = December 1st ?".. Orville Nix: "--uh--I would say No--but its' cause of loosing maybe a = --uh--frame --uh--here and there ".. Mark Lane :" At the time of the shots were fired ,did you look at the = Book Depository building ?".. Orville Nix :" No".. Mark Lane : " Did you think ,at that time ,that the shots came from the = Book Depository ?".. Orville Nix : "No, I thought it came from a fence --uh--between the Book = Depository and the Railroad Track".. Mark Lane:"--uh--Did anyone else ,who you know, that you've spoken with = ,also believe that the shots came from there ".. Orville Nix: " Most everyone thought it came from the fence behind the = Book Depository ".. Mark Lane :"Did you have the occasion to speak with Forrest Sorrels = ---who is of course a friend of yours ,and is the Secret Service agent = in charge of Dallas that day ?".. Orville Nix:" Yes, I did ".. Mark Lane : "Did he tell you where the thought the shots came from ?".. Orville Nix : " He thought they came from the same place".. Mark Lane : " Which is ?".. Orville Nix: "Behind the fence".. Mark Lane : " At the present time where do you believe the shots came = from ?".. Orville Nix : " Well they came from the Book Depository because there's = proof it did come from there ".. Mark Lane :" I see---and this you've read in Newspapers and you've read = the Report ?".. Orville Nix :" Yes,--er-- I believe the Warren Report".. *****************************************end of his interview on = tape**** Orville Nix: Conspiracy Beliefs (and Denials) In High Places..=20 By Vince Palamara=20 According to Orville Nix, a Dealey Plaza eyewitness who filmed the = assassination and who was a good friend of Sorrels (Nix was an = air-conditioning repairman for the General Service Administration in the = Dallas Secret Service Building), Sorrels told him that the shots came = from the grassy knoll. ["Rush To Judgment" film by Mark Lane; see also = Who's Who in the JFK Assassination by Michael Benson, 1993, p. 314] http://mcadams.posc.mu.edu/beliefs.htm *************************************** Orville Nix.. JFK: How the Media Assassinated the Real Story...=2 http://www.realhisto...f-stone-JKF.htm Although Salant asserts to this day that CBS was only after the truth, a = recently released documentary indicates otherwise. Danny Schechter's = "Beyond JFK: The Question of Conspiracy," features Walter Cronkite = conceding that CBS News in 1970 censored Lyndon Johnson's own doubts = about the lone-assassin theory. Cronkite tells Schechter that Johnson = invoked "national security" to get CBS to edit out his remarks long = after they had been captured on film. Cronkite and CBS, of course, = reflexively complied.=20 But perhaps nothing revealed CBS's prejudice in the series more = tellingly than the network's treatment of Orville Nix, a man who was = wielding a movie camera across from the grassy knoll on that fateful = day. Nix, who had worked for the General Service Administration as an = air conditioning repairman in the Dallas Secret Service building, sold = his footage to UPI for $5000 in 1963. But, according to his = granddaughter Gayle Nix Jackson, the film only brought him heartache.=20 "The FBI had issued a dictum to all of Dallas's film labs that any = assassination photos had to be turned over to the FBI immediately," = recalls Gayle Jackson. "The lab called my granddad first and, like the = good American he was, he rushed it to the FBI." Nix had to turn his = camera over to the FBI as well. "They took the camera for five months. = They said they needed to analyze it. They returned it in pieces," = recalls Jackson. In 1967 Nix dutifully turned out for the CBS = re-creation. Recalls his granddaughter: "His turn came to reenact what = he saw. They said, 'Mr.Nix. where did the shots come from?' He said, = `From over there on that grassy knoll behind the picket fence.' Then it = would be, `Cut!' We went through this six or seven times and each time = it was, `Cut!' And then a producer stepped forward and said, `Orville = where did the Warren Commission say the shots came from?' My granddad = said, `Well, the Texas Book Depository.' The producer said, `That's what = you need to say.'" CBS producer Bernard Birnbaum, who worked on the = documentary, denies the exchange. "We never tried to put any words in = anybody's mouth, absolutely not," he told the "Voice." Birnbaum says CBS = did give Warren Commission critics air time and cites a segment of the = documentary where another eyewitness contends shots came from the grassy = knoll. "We were looking to disprove everything," he insists.=20 According to Jackson, her grandfather also told CBS that there were four = shots fired during the assassination, an observation subsequently = endorsed by the House Select Committee on Assassinations in 1975, based = on controversial acoustical evidence. But what did the CBS viewing = audience hear from Nix? "Bang, bang, bang," as if to suggest that Nix = also subscribed to the three-bang theory.=20 After being browbeaten by CBS, Orville Nix, a normally mild-mannered = man, became furious. "He was hitting the steering wheel on the ride back = home saying, `Why are they trying to make me feel like I am insane?'" = Jackson recalls. She remembers that a year or so later, when District = Attorney Jim Garrison called for Nix to testify, her grandfather = wouldn't talk. He was afraid for his life.=20 How many other witnesses experienced the Orville = you-never-heard/saw-that phenomenon we will never know. But one other = was Kenny O'Donnell, a confidant and adviser to JFK who was in the = motorcade. In Tip O'Neill's book Man of The House, O'Neill describes a = conversation with O'Donnell, who told him he was sure that two shots had = come from the fence behind the grassy knoll. O'Neill said to O'Donnell, = "That's not what you told the Warren Commission." O'Donnell responded, = "You're right, I told the FBI what I had heard, but they said it = couldn't have happened that way and that I must have been imagining = things. So I testified the way they wanted me to. I just didn't want to = stir up any more pain and trouble for the family."=20 Since Orville Nix's death in 1988, his granddaughter, a former = loss-prevention executive, has been waging a one-woman war to get the = original film back from UPI. She wants it analyzed to reveal the details = that a copy does not provide. "You know my granddad believed in the = Texas handshake, and that is how he made his deal with UPI." According = to Jackson, the rights to the film were to revert to Nix's estate in = 1988. After initially getting a green light from UPI for the return of = the film, the then-media giant informed her that the attorney that = granted her request was "no longer with the company." She was told to = wait until 1991. Then on June 4, 1991, came a note from UPI's general = counsel, Frank Kane. "UPI agrees that, in accordance with the oral = agreement . . . UPI hereby releases all rights over the Nix Film to Mr. = Nix's heirs and assigns." There was only one problem. UPI no longer had = the film. Jackson received a letter saying the film had gone to the = Warren Commission and was supposedly housed in the National Archives. = With the Warren Commission out of business, she contacted the National = Archives only to learn that the original was not there either.=20 The last official place the film was said to have been was in the House = Select Committee on Assassinations files. That Committee was convened in = 1975 to investigate the assassinations of John Kennedy, Robert Kennedy, = and Martin Luther King. The chief counsel for the HSCA, G. Robert = Blakey, who has a penchant for gagging his staff via mandatory secrecy = oaths, came clean with Nix's granddaughter about the fate of the family = heirloom, says Jackson. "Blakey's the only one who takes full = responsibility for the loss of the film because it was his committee = that was supposed to assure that all evidence was returned to the = rightful owner," Jackson says. So much for posterity's view of the = grassy knoll on November 22, 1963. A former HSCA staff member, Gaeton = Fonzi, recalls that back at the time of the hearings the staff "heard = rumors that Blakey planned to classify all of the committee files, but = we didn't believe them because that would be too reminiscent of what the = Warren Commission had done." In fact many of the files were classified = and this same man, Blakey, is the one who has been recently assigned to = help draft legislation about what will be released from the original = Kennedy assassination files.=20 *************************************** Orville Nix: How Credible Is The Warren Commission..=20 From The John F.Kennedy Assassination=20 Homepage..=20 During the testimonies of the 395 witnesses, the examination went about = 300 times off the record, merely at crucial point and sometimes up to 7 = and 8 times per witness. The most interesting case is the testimony of = Patrick T. Dean. The counsel accused him of perjury and had threaten him = with the loss of his job. Later, Dean requested to be heard before the = Commission and told his story for the record, so we know about it today. = Among the 489 witnesses, only 395 appeared to testify, less than a = fourth (94) before the Commission itself. And during these testimonies, = the Commission was never present as a body or throughout the full = length. [5] Although the Chairman was present at least on all 94 = examinations, the estimated numbers of the other members were:=20 Representative Ford 70=20 Mr. Dulles 60=20 Senator Cooper 50=20 Mr. McCloy 35=20 Representative Boggs 20=20 Senator Russell 6=20 Nobody of the Commission heard one of the witnesses who appeared before = the Counsel (over 350), among them crucial witnesses such as Forrest V. = Sorrels, Billy Lovelady, Abraham Zapruder, Domingo Benavides, George = DeMohrenschildt, Jean L. Hill, James Tague (was wounded during the = assassination!!!) and Sylvia Odio. Some witnesses never appeared before = the Commission: James Chaney (saw JFK when he was shot at the head, saw = him struck in the face), Bill and Gayle Newman (stood on Grassy Knoll, = said shots came from behind), Charles Brehm (closest bystander when JFK = was hit), J.C. Price (told he saw a man with rifle running behind the = wooden fence on Grassy Knoll), Milton Jones (said the FBI sought for = Oswald after he left the bus although nobody knew him yet), James = Simmons (told the shots came from Grassy Knoll), Richard Dodd (told = about shot and smoke behind the fence), Ray Rushing (told he saw Ruby 2 = hours before Oswald shooting in the police headquarter although he was = claimed to be at home), Marvin Robinson (saw Oswald left with a Rambler = station wagon from the Texas School Book Depository), Ralph Yarborough = (was next to LBJ and said he smelled smoke when passing the Grassy = Knoll). [6]=20 Many witnesses told about alterations of her testimonies, such as Jean = Hill, Phil Willis, Orville Nix, James Tague, Sam Holland, Roger Craig, = Chester Breneman and Robert West (Reenactment figures), and Julia Ann = Mercer. Mercer even told about the faking of her signature by the FBI. = [7]=20 I hope this gives you a slight idea of the credibility of the Warren = Report. A complete destroying of the report in comparison to the = witnesses' testimonies can be found in Silvia Meagher's book = "Accessories after the fact". A few of the arguments I will cite here to = answer the other questions. http://www.jfk-assas...tion.de/faq.php ************************* In reply to a statement, in the previous thread (on the SF)..... that = Zapruder was standing with his back to the TSBD, at the time Zapruder = heard the shot behind him...and that behind him was not the corner fence = area..where some believe shots came from.......the corner to my = knowledge was not mentioned..? In the WC testimony: Mr.Zapruder says......"then I started yelling, = "They killed him, they killed him," and I just felt that somebody had = ganged up on him and I was still shooting the pictures until he got = under the underpass--I don't even know how I did it...... And then, I = didn't even remember how I got down from that abutment there,...... but = there I was, I guess, and I was walking toward--back toward my office = and screaming,........ "They killed him, they killed him," ..excerpt = continues below... "At 9:55 p.m. Dallas time on November 22..United States PRS Special = Agent Maxwell D. Phillips sent a hand-written memo (Warren Commission = Document, CD87) to U.S. Secret Service Chief James Rowley that = accompanied one of the first generation copies said of Zapruder's = origins of at least one shot, "According to Mr Zapruder the position of = the assassin was behind Mr Zapruder." Behind Mr. Zapruder was the Dealey = Plaza grassy knoll However, (by the time) in his testimony to the Warren = Commission Zapruder was less certain.." From the Warren Commission: Mr. LIEBELER - 313--you remember that one? Mr. ZAPRUDER - That was--that was the horrible one. Mr. ZAPRUDER - Well, as the car came in line almost--I believe it was = almost in line. I was standing up here and I was shooting through a = telephoto lens, which is a zoom lens and as it reached about--I imagine = it was around here--I heard the first shot and I saw the President lean = over and grab himself like this (holding his left chest area). Mr. LIEBELER - Grab himself on the front of his chest? Mr. ZAPRUDER - Right---something like that. In other words, he was = sitting like this and waving and then after the shot he just went like = that. Mr. LIEBELER - He was sitting upright in the car and you heard the shot = and you saw the President slump over? Mr. ZAPRUDER - Leaning--leaning toward the side of Jacqueline. For a = moment I thought it was, you know, like you say, "Oh, he got me," when = you hear a shot--you've heard these expressions and then I saw---I don't = believe the President is going to make jokes like this, but before I had = a chance to organize my mind, I heard a second shot and then I saw his = head opened up and the blood and everything came out and I started--I = can hardly talk about it [ the witness crying]. Mr. LIEBELER - That's all right, Mr. Zapruder, would you like a drink of = water? Why don't you step out and have a drink of water? Mr. ZAPRUDER - I'm sorry--I'm ashamed of myself really, but I couldn't = help it. Mr. LIEBELER - Nobody should ever be ashamed of feeling that way, Mr. = Zapruder. I feel the same way myself. It was a terrible thing. Let me go back now for just a moment and ask you how many shots you = heard altogether. Mr. ZAPRUDER - I thought I heard two, it could be three, because to my = estimation I thought he was hit on the second--I really don't know. The = whole thing that has been transpiring--it was very upsetting and as you = see I got a little better all the time and this came up again and it to = me looked like the second shot, but I don't know. I never even heard a = third shot. Mr. LIEBELER - You didn't hear any shot after you saw him hit? Mr. ZAPRUDER - I heard the second--after the first shot--I saw him = leaning over and after the second shot--it's possible after what I saw, = you know, then I started yelling, "They killed him, they killed him," = and I just felt that somebody had ganged up on him and I was still = shooting the pictures until he got under the underpass--I don't even = know how I did it...... And then, I didn't even remember how I got down = from that abutment there,...... but there I was, I guess, and I was = walking toward--back toward my office and screaming,........ "They = killed him, they killed him," and the people that I met on the way = didn't even know what happened and they kept yelling, "What happened, = what happened, what happened?" ....=20 http://jfkassassinat...ny/zapruder.htm When Mr.Zapruder took the "horrible one" see Frame 313...he was almost , = facing the limo, almost in line..is what he relates..""Well, as the car = came in line almost--I believe it was almost in line"". his back would = be towards the, pergola, the parking lot behind, and to his right, = behind him was the wooden fence behind the Pergola.....see the camera = alignment in frame 313 at the site below....it is not to the back of the = limo when the head shot was received, it is almost in line of the = Limo....as Mr.Zapruder stated..imo ""Mr. ZAPRUDER - Well, as the car came in line almost--I believe it was = almost in line."" At 9:55 p.m. Dallas time on November 22..United States PRS Special Agent = Maxwell D. Phillips sent a hand-written memo (Warren Commission = Document, CD87) to U.S. Secret Service Chief James Rowley that = accompanied one of the first generation copies said of Zapruder's = origins of at least one shot, "According to Mr Zapruder the position of = the assassin was behind Mr Zapruder." Behind Mr. Zapruder was the Dealey = Plaza grassy knoll However, (by the time) in his testimony to the Warren = Commission Zapruder was less certain.. Below the "awful "one..is Zapruder frame 313.......if you open this site = and have a look at the frames, please check.. Frame 317..in this one you will notice that the President has the top of = his head, hair and a forehead,....and a large wound which appears to the = side of his head...in the temple area..... Then check frame 326... and imo you will see that the President no = longer has ,a top to his head, nor forehead.. Then skip to frame 374 , and the side of his head is totally = gone......IMO...I have no idea why ?, but that is what I see..... http://www.assassina...arch.com/zfilm/? Thanks for your time.... B.. The message is ready to be sent with the following file or link = attachments: Shortcut to: = http://www.jfkresear...9&mode=3Dlinear=

thanks david interesting..b PATHOLOGY LABORATORY Autopsy Number: M63 =96 352 Name: Tippit, J.D. Age: 39 Race: White Sex: Male Admitted: 11/22/63 DOA Expired: Autopsy date: 11/22/63 3:15 P.M. Service: Autopsy by: Earl F. Rose, M.D. Coroner: Judge Joe B. Brown, Jr. Restrictions: None External Examination: External examination reveals a well developed white male measuring = 5 foot, ii inches in length and weighing an estimated 175 o 180 pounds. = The hair is black, slightly wavy, very slight frontal balding. The = irrides are blue, the pupils are equal at 5 mm. Rigor is not present. = Very slight posterior mottled lividity and body heat is present. Oral = hygiene is good. The neck is not remarkable. Hair distribution is = normal, the penis is circumcised. Identification bands on the left = wrist, right wrist, and left ankle. There are four entrance type wounds. No. 1 is 4 =BE inches from = the top of the head and 3 =BE inches to the right of the midline. This = measures 3/8 x =BC inches and is surrounded by a contusion ring. No = powder tattooing is noted at the margins. Wound No. 2 is 17 inches from the top of the head on the right = chest. It is 4 inches to the right of the midline, above and slightly = medial to the right nipple. It measures 3/8 x =BC of an inch, surrounded = by bruising. There is also some contusion. Wound No. 3 is 21 inches from the top of the head, along the = anterior lateral side of the right chest and is 6 inches to the right of = the midline. This measures 5/16 x =BC of an inch and is surrounded by a = contusion ring. Wound No. 4 on the left chest is 20 =BD inches from the top of the = head, 1 =BC inches to the left of the midline. The wound measures =BE x = 3/8 of an inch, is transverse and surrounding this is a =BC x =BE inch = abrasion. There is tanning of the arms. On the left arm there is a tattoo = being "Tippit". On the dorsum of the left hand there is a crusted = abraded area measuring =BC x =BC inch and a fresh abraded area on the = dorsum of the right hand which measures =BC x =BC inch. The nails are = quite well cared for although slightly dirty. Scar above the left knee, = runs in an oblique fashion, crosses to the medial aspect of the knee, = terminates on the leg measuring 7 inches. Poorly defined =BC inch = inoculation type of scar on the left deltoid region. 16 =BD inches from the top of the head, =BE of an inch to the = right of the midline of the back in the subcutaneous tissue a missile is = recovered from this region. This is associated with Wound No. 3. INCISIONS: The standard "Y" thoracoabdominal and intermastoid = incisions are utilized. Examination of the wound of the right temple is = made. T is found to enter in the right middle cranial fossa, pursues a = course which is slightly upward, backward, and to the left. There is = fracturing about the entrance and extensive fractures as it strikes the = left occipitoparietal bone. It is recovered on this region, 3 inches to = the left of the midline and approximately 1 inch from the top of the = head. Examination of the brain is made. The brain weighs 1350 gm. The = course of the missile through the brain is followed. It is found to = enter the right temporal lobe, coursed through the brain transecting the = brain stem, severing the cerebral peduncles surrounded by extensive = hemorrhage, and found to exit from the brain substance in the calcerine = gyrus to the left of the midline. There are penetrations of the meninges = in the regions deseribed. (sic) Examination of the brain is otherwise = unremarkable. The abdominal measures up to 7/8 of an inch. The organs are in the = normal position. Examination of the serous cavity is made. There is = found to be extensive peritoneal hemorrhage, approximately 300 cc. In = the right pleural space there is in excess of 1000 cc of blood. THE COURSES OF THE MISSILES ARE FOLLOWED: The wound described as = No. 2 is found to go between the second and third rib. The missile is = found to penetrate the anterior edge of the right upper lobe. The bullet = is found to go into the pericardial sac, there is extensive hemorrhage = in the pericardial sac, approximately 4 ounces. Passes through the = superior vena cava. It emits into the mediastinum, strikes the fourth = thoracic vertebra to the left of the midline, courses in the substance = of the vertebra and is recovered slightly to the left of the vertebra = approximately 16 inches from the top of the head, having pursued a = course very slightly upward, to the left, and backwards. Wound No. 3 is found to penetrate the chest wall as externally = described, is surrounded by hemorrhage, notching the dorsum of the sixth = rib slightly lateral to the costochondral junction. It penetrates the = anterior edge of the right lower lobe of the lung, the diaphragm, = penetrates the liver, the entrance wound to the liver and laceration = which is approximately 3 x 2.5 cm. It pursues a course backward, upward, = and to the left and is recovered from the soft tissue of the back, 16 = =BD inches from the top of the head and =BE of an inch to the right of = the midline. In its course it is also found to again penetrate the = diaphragm after going through the liver and penetrates the posterior = aspect of the right lower lobe. Wound No. 4 is examined. It is found to be superficial and = penetration of the rib cage is noted. There is hemorrhage beneath the = abraded and bruised area adjacent to the wound. No missiles are present = in this area. LUNGS: The lungs together weigh 1200 gm. The penetrations of the = lung have previously been described. There are areas of atelectasis and = along the course of the bullet through the lung there is extensive = hemorrhage. LIVER: The liver weighs 1670 gm. The penetrations of the liver = have previously been described. The cut surface of the liver is not = remarkable. GALL BLADDER & BILIARY TREE: Not remarkable. PORTACAVAL SYSTEM: Not remarkable. KIDNEYS: The kidneys together weigh 350 gm. The capsule strips = quite easily and they are pale. ADRENALS: Not remarkable. SPLEEN: The spleen weighs 100 gm. The capsule is smooth. The cut = surface is not remarkable. HEART: The heart weighs 320 gm. There is an epicardial ecchynosis, = anterior surface, left ventricle. This is at the apex. The coronary = arteries are opened in situ. They are found to be of good caliber, free = of occlusions. The valves are not remarkable. The myocardium grossly is = not remarkable. PANCREAS: Not remarkable. INTESTINAL TRACT: The stomach contains partially digested food, = approximately 5 oz. The duodenum is not remarkable. The small and large = bowel are not remarkable. The appendix is present. MUSCULO-SKELETAL SYSTEM: The musculo-skeletal system is not = remarkable except for the previously described bullet injuries. LYMPHATICS: Not remarkable. FINDINGS: Gunshot wound to the head. Brain parenchynal damage and hemorrhage. Gunshot wounds of the chest. Penetrations of the right lung, superior vena cava, and liver. Right hemothorax. Peritoneal hemorrhage. Pericardial hemorrhage with cardiac tamponade. CAUSE OF DEATH: Gunshot wounds of the head and chest. Earl F. Rose, M.D. JWM notes: There are accompanying anterior and posterior body = diagrams showing the location of the external wounds, including a = separate diagram for the head. Additionally, there are accompanying = negative toxicological and blood reports identifying the blood type as = "A" and no traces of alcohol.

Thanks Barry, as you can see your offering has been greatly appreciated...b

http://www.assassinationweb.com/cranrev.htm the wandering wounds; millicent cranor b.

General Concepts • The basic concept is that the assassination did not happen as set forth in The Warren Report—that basic facts were changed via the alteration of this film within hours of the shooting, its subsequent dissemination via Life magazine, and its use as key evidence in all subsequent investigations. It is highly probable that these alterations worked hand in hand with the alteration of the President’s wounds (which became the basis for a false autopsy) to create the appearance of one assassin, shooting from behind. Certainly, by the time the President’s body arrived at Bethesda, there was no evidence of a shot from the front. As far as the Zapruder imagery was concerned, key frames showed a large, white-ish, almost translucent blob (supposedly the Bethesda exit wound) on the forward right hand side of JFK’s head, a wound not observed five minutes later by observers at Parkland Hospital, who reported an exit wound at the rear (where key Zapruder frames show a largely blacked-out area). Moreover, at the street location where most witnesses saw the car momentarily stop, no stop occurs; but, at that juncture, the President’s head snaps violently backward (an artifact of film editing, I am convinced). • Those newly arrived to this case view tend to think of the backward snap as powerful evidence of a shot from the front. Perfectly understandable, but one can’t have it both ways: if the car stopped, then the backward snap is an artifact of an altered film. This doesn’t mean that the President was not shot in the head from the front—based on the Dallas doctors observations of an exit wound at the back of the head, he certainly was. But that conclusion must rest on the Dallas medical data, not on the “backward snap” on the Z film. • The strongest circumstantial evidence that the Zapruder film must have been edited is the great majority of witnesses at or near the car who say it stopped, momentarily, whereas the car does not stop on the film. True, it slows down— somewhat—but it does not stop. And then it takes off. Rapidly. Moreover, Clint Hill’s “race to catch the car” (readily visible on the Nix film) which he “overtakes” by Z frame 369 would be extremely difficult to accomplish in reality. When I was in Dallas in 1971, at age 32, I raced down the street at top speed, attempting to simulate “overtaking” an accelerating car. I advise anyone who thinks that what the films show Hill doing can be readily duplicated to just try it. • The car stop would imply that the assassination, from the standpoint of the Secret agents guarding the President, was not a six second “we wuz caught by surprise” affair, but rather an event lasting between 10 and 20 seconds (the elapsed time cited by Sheriff Decker), depending on the “length of the stop” in time, i.e., on the time expended in the deceleration and then the acceleration of the car. (time “lost” when the frames were deleted in the editing process, and a “cinematic reality” substituted for what actually occurred). [Pig on a Leash (2003); By David S. Lifton] 98 • The removal of the car stop—which in effect means that events were speeded up—would account for the rapid snap backward of the President’s head on the film. If the film was altered, that backward snap has little to do with a bullet impact, but everything to do with film editing. It is an artifact of an altered film. • The car stop implies the Secret Service was negligent, at least, and on two counts: actually stopping the car during the shooting, and then failing to react to protect the President. Notably, it was the same agency—the Secret Service—that had custody of JFK’s body that also quickly obtained control of the Zapruder film. So the potential exists here for the same officials who failed in their assigned duties then controlling the evidence which would have documented that malfeasance; and perhaps worse, exposed its personnel to the charge of involvement in the assassination. • The alteration of the film would explain why the head wound imagery shows wounds not visible at Parkland Hospital some five minutes later, and why the one wound that was seen at Parkland—by most of the doctors and nurses— appears on the film as a blacked out area at the back of the head. Whether the primary purpose of film alteration was the car-stop, or the alteration of wound imagery, is debata ble. Both seem to have occurred. • In its very first issue carrying some 30 film frames (Life, 11/29/63), the detailed caption copy failed to report any visible head impact at all. The caption text implies JFK suffered all his wound when he was behind the highway sign. This of course changed, in later issues, but raises the question of whether Life had been provided with some kind of “early edit” for that first issue. • The fact that the FBI Exhibit given to the Warren Commission stops at Zapruder frame 334 contributed to the Commission not being aware that certain film frames (i.e., Z-335 and Z-337) contained striking head wound imagery clearly at variance with the head wound description in the autopsy report. [(Chapter 20 of Best Evidence develops this matter in detail: that the autopsy report “head wound”, albeit large, encompasses the rear of the head; whereas the head wound depicted in the autopsy photographs—and, for that matter, on frames 335 and 337 of the Z film, which appear to serve to “showcase” the head wound—extends towards the front.)] • The Zapruder film was sold to Life magazine the day after the assassination under circumstances that were peculiar. When the bidding limit was reached, Zapruder went along with a price of $50,000 even though he wanted more. Stolley, the Life representative, does not seemed to be involved in this affair. He appears to have been the proverbial potted plant. Life publisher C.D. Jackson, whose name was on the contract, was a specialist in psychological warfare under Eisenhower, and a close friend of former CIA Director Allen Dulles. Jackson, as columnist Drew Pearson noted, was always pulling the CIA’s chestnuts out of the fire, and this may be another example of that behavior. Most peculiar of all is that the film—purchased for around $900,000 in 2003 money—was not exploited as a motion picture film so as to maximize the return on the investment. Media companies don’t normally operate that way. [Pig on a Leash (2003); By David S. Lifton] 99 • The importance of the film having been sold to someone so close to the CIA may mean that the time frame for alteration was more flexible; i.e., that events pertaining to alteration or last minute substitution possibly occurred after the arrival of the film at Life. That is by no means a certainty. If a technical team was working on the film by Friday night (and the source for such special effects expertise was probably Los Angeles, although conceivably the film was not brought there, but rather some persons were flown east) I see no reason why the job couldn’t have been substantially completed by Sunday night. The result, of course, would have to be printed on Kodachrome stock (but couldn’t be processed at Dallas, where the genuine original had already been processed) and that’s why the experience of the CIA’s Homer McMahon, as reported to the ARRB, is important. McMahon reports that it was Saturday or Sunday night when “Agent Smith” (of the Secret Service) showed up at the CIA’s NPIC color lab carrying a 16 mm Kodachrome positive. Smith said he had just come from Rochester, that the item he was carrying (a Kodachrome positive) had been processed at Hawkeyeworks, a top secret Government lab run by Kodak, that “the subject matter was to be treated as ‘above top secret’”, and he was requesting NPIC’s assistance in the creation of some 28 color blowups for briefing boards. (See Appendix C). • Mrs. Zapruder told me in November 1971 that Abe “gave them the film,” clearly implying he had parted with the original, and at an early hour. Local newspaper stories state that Abe Zapruder was closeted with “government agents” into the evening. Years later, Life representative Stolley said he couldn’t find Zapruder at home until midnight Friday, and that when he expressed his interest in viewing it as soon as possible, Zapruder begged off. He was tired, he had been driving around all night, he said; and would prefer seeing Stolley in the morning. Zapruder’s business partner Erwin Swartz said he took two film cans to the Dallas Naval Air Station on Friday night. All this raises the question of whether Zapruder possessed the original on Friday night. • On Saturday morning, with all other bidders excluded, Zapruder had a peculiar session with Stolley resulting in a sale—but only for print rights—for $50,000. At that point, Zapruder retained the “film rights”, i.e., the right to sell his property as a motion picture, as long as he waited until 29 November. But by Monday, 25 November, that was precluded when more money was pledged, and it became an “all rights” deal (with Zapruder retaining no film rights, indeed, no rights at all). The new sale price was $150,000 and the contract specified an annual payment schedule: $25,000 per annum, payable in early January 1964, through January, 1968. The entire deal—$150,000—would correspond, in today’s money, to about $900,000. (How and why the film was returned to the Zapruder family in 1975 for $1 has never been adequately explained). • The actual 8 mm film delivered to Life has two splices. The first—where frame 207 is spliced to frame 212—appears in the segment of the film published in Warren Commission Exhibit 885, in Volume 18 of the Commission’s 26 Volumes. That splice was discovered shortly after the 26 Volumes were published in November 1964. As previously noted, in October 1965 at our very first meeting, I brought that splice to the attention of former Warren [Pig on a Leash (2003); By David S. Lifton] 100 Commission counsel Wesley Liebeler. The next day he wrote fellow his former colleague, attorney Norman Redlich, suggesting an FBI investigation. (See Best Evidence.) In January, 1967, Life “explained” the splice, claiming a technician had an “oops” moment, and dropped the film. But Life never provided the name of the technician, and in nearly four decades since Dallas, no technician from Life has ever appeared to verify any of these assertions. Moreover, this January 1967 explanation failed to mention the existence of another splice, just as obvious, that existed in the unpublished portion of the film (around frame 155). This second splice was discovered in early 1969. Life never mentioned this second splice, nor did Josiah Thompson, who contracted to work with Life in 1966, and who made extensive use of these materials. • The two areas of splicing in the original should not be considered indicative of the way the film was edited and altered (see next section for those details). The kind of editing being discussed would not have been done mechanically, and in 8mm format. Almost certainly it was done optically (in 16 or 35 mm format), utilizing an optical printer. In short, the “editing” being considered here did not involve pasting 8mm film pieces together; but was, rather, “optical editing” done in 16 or 35 mm format and on an optical printer. • The most reasonable hypothesis to account for the two splices in the so called “original Zapruder film” that ended up at Life is that the final reduction print (i.e. to 8mm)—an item which had “material in the sprocket hole area” (just as a camera original should)—was created in 3 segments (i.e., A, B, and C) and that before sending it off to Life, A was pasted to B, and then B to C. Why this happened probably concerns the “left margin” problem and will be explained below. But, in my opinion, the two splices pertain to some such peripheral “manufacturing” issue and have nothing to do with the actual editing of the film’s content. • The “blowup” of the 8mm Zapruder film, back to 35mm—an event important to Life, and to the JFK research community—was the result of the ingenuity and craftsmanship of Moses Weitzman, at EFX, in 1967. That 1967 “reenlargement” is unrelated to its original (1963) alteration. But that “reenlargement” is valuable because it produced a copy of the “original” that was (after Weitzman’s handiwork) then back in a format (i.e., 35 mm) close to that in which the original alteration must have taken place. Consequently, all the anomalies on the 8mm (and which Life called its “original”) were magnified on those 35mm “Weitzman copies” and are more readily visible, easily measured, etc. But the general timeline must be kept firmly in mind here, and specifically one must distinguish between events taking place in 1963 (when any alteration was a criminal matter, and an obstruction of justice) from those taking place four (or more) years later, when Life’s 8mm film, its so-called “original”, was “re-captured” in—or “reenlarged to”—35 mm format. The 1967 re-enlargement probably occurred because someone on Life’s staff (e.g., Director of Photography Richard Pollard) contracted with Weitzman’s company, EFX, to do so. • Because Robert Groden went to work at EFX around 1969, he learned of the existence of this 35 mm material, sitting on a shelf or in a cabinet. Weitzman, rightly proud of his accomplishment in enlarging an 8 mm film to 35 mm, [Pig on a Leash (2003); By David S. Lifton] 101 retained several copies, what he called “technicians copies.” As Weitzman said, Groden then “pirated” a print off the premises, and that was how, in the early 1970s, Groden (a) obtained exclusive possession of material that was until that time only available in a vault at Life magazine and ( became an assassination buff. Groden showed this film to many audiences, who were astonished at its breathtaking quality. Groden took much of the credit for work originally done by Weitzman, and as a consequence of his access to an optical printer in New York City, Blakey permitted him to have access to other films then acquired under the auspices of the HSCA. Groden’s so called “film collection”—which indeed ranges far and wide—is undoubtedly related to his employment at the HSCA and his access to original materials, through this government position. The fact that key originals are missing in the aftermath of this affair is troubling, and may or may not be connected to the activities of this “collector.” • It is my personal opinion that no one should have been given access to these priceless and irreplaceable cinematic originals, without a very serious background investigation; moreover, if General Counsel Blakey had done so in the case of Groden, and in particular, if Blakey had simply read what was in Groden’s military file, he would not have been allowed unsupervised access to priceless photo materials. Groden’s coffee table book is essentially a scrapbook demonstrating his unparalleled access to original imagery that, in some cases, is no longer available at the National Archives. Method of Alteration As a practical matter, the Zapruder film could only have been altered optically, i.e., through the use of an Oxberry (or Acme) optical printer, the standard tool of the special effects profession. An optical printer re-photographs the original film, one frame at a time (but chugs along at full camera speed), and the result—if no editing is done—is a rather rapidly created duplicate. In connection with making that dupe, various alterations can be made. A film can be re-framed, to change the image size. Or sections can be omitted. Or frames can be periodically omitted (which would change velocity of the car, for example). Finally, in a particular frame, additional imagery can be added (i.e. a “matte artist” can draw in, or “paint on” additional information). This art would be crucial to understanding any changes in the head wound imagery. In effect, the “matte artist” can “draw on” the picture that is already there, much as a child draws lines on a poster. These are all the standard techniques in the tool box of the special effects person, circa 1963. Films are not altered or edited that way today, when everything is done digitally. But that’s how it was done then. The Basic Problem Although the Zapruder film—after processing—is an “8 mm film,” that is not its configuration when inside the Zapruder camera. At that point, in its original format, it is a 16 mm film, with a “side A” and a “side B,” akin to the red and black portions of an ordinary typewriter ribbon. One side is first exposed; then the film is “turned over” and the other side exposed. The result is processed as a 16 mm film, and then slit, after processing, with the two sides being pasted together—“end to end”—so that a 25 foot roll of this film produces a 50 foot film in 8 mm format. In order for the Z film to have been altered, it would be very [Pig on a Leash (2003); By David S. Lifton] 102 useful if it remained unslit after being processed at Kodak in Dallas. I first discovered that the film was not slit—i.e., that it was unslit—when I saw records connected with the Thompson law suit in the early 1970s. Later, I learned from documents made that weekend, that Dallas Secret Service Agent Forrest Sorrels ordered that the film, after processing, not be slit; i.e., remain unslit. The chronology and semantics of “alteration” “Alteration” does not mean that the film was altered at Kodak in Dallas, or anything of the kind (and certainly that was not the case). But the actual camera original was in fact processed at Kodak because Zapruder used Kodachrome film, Kodachrome requires a special processing plant, and Dallas was one of only a half dozen such plants in the nation where this was done. Once the Secret Service—or any top level officials of the U.S. Government became aware of what was on this film, and if a decision was made to alter the film (i.e., to create a “politically correct” version of the assassination, for whatever reason)—it was then necessary to obtain the camera original, do that just as soon as possible, and get it into the hands of a competent editor. That original—the unslit 16mm film, after processing by Kodak in Dallas (a film that contained, on “side B”, the actual film record of what had happened)— had to be brought to someone with visual effects expertise. His job: to optically edit the event (per the instructions of some “producer”), and create a substitute (Kodachrome) original, i.e., a substitute 16 mm film with “side A” containing the family sequence, and “side B” containing the altered (i.e., edited) Zapruder film. Is such “early access” possible? Apparently so—certainly as a possibility. The original records of the Kodak lab establish that although the Zapruder film went through as film number 0183, and that—after returning from Jamieson with three Kodachrome A duplicates (which went through the processor as 0185, 0186, and 0187)—there is a missing number in the sequence: 0184. That number is unaccounted for. That means something went through the processor the between the Zapruder original, and the three copies. The matter is not trivial because only four film cans—the genuine original, plus the three copies exposed at Jamieson (and then brought back to Kodak for processing)—are supposed to have existed. An additional copy raises the possibility of substitution—i.e., that early access was obtained to the original and a copy substituted, all this occurring at a rather early hour. Another matter. I have heard those unfamiliar with film processing wonder how it is that the film could be altered, since “there is more than one copy and the copies agree with the original.” This is a weak argument. Only three copies were made—and two were in the custody of the Secret Service. So substitution in the case of those two would be easy. As to Zapruder’s copy, that was given to Life along with the “original” when the initial sale was made on Saturday morning, November 23. Viewed more generally, it cannot be ruled out that, by early evening on Friday, Abe Zapruder knew he was dealing with the Government, immediately after his film had been processed at Kodak, and had been entreated to provide his film, being told it was needed for “national security.” What his wife, Lillian, told me comports with that general theme. In 1971, she said: “My husband gave—gave them the film. He actually gave—he gave it to them.” And: “They handled it beautifully. . .they acted like gentlemen about the whole matter.” [Pig on a Leash (2003); By David S. Lifton] 103 So this is not just about optics; it is also about psychology and appeals to patriotism; and the same applies to LIFE. Someone there—probably someone high on the corporate ladder—has to be “witting” (to use the CIA term) and knowledgeable, in order for any late arriving (and edited) film to be substituted for something purchased from Zapruder. LIFE’s caption text in its very first issue (29 November 63) is odd. Although supposedly possessing a film that clearly shows JFK being slammed to the ear, and publishing 31 frames from that film, it mentions nothing about any head impact being visible, and implies JFK sustained all his wounds when behind the Stemmons sign. Here’s the bottom line: however the “bookkeeping” was handled (or, retrospectively, is analyzed), once a new “original” was created, three corresponding “copies” would have been made from that master and substituted for those 3 “extant” prints made on November 22. I put “extant” in quotes because substitution would have been easy: of the three copies, two were already held by the Secret Service, and the third was at Life. A General Scheme For Fabrication of Original and Substitution of Copies For the Zapruder film Original Items: Forgeries: O (original) O' 3 copies, made from O 3 copies made from O' (duplicates made from O', or from same optical element which produced O') (C-1) (C-1’) (C-2) go to the Secret Service (C-2’) (C-3) retained by Zapruder (C-3’) Transferred to Life on Monday, 11/25/63 Let us now proceed to the next step. The Actual Alteration of the Zapruder film: A Hypothesis [Author’s note: A word about terminology: I use the word “hypothesis” in recognition of the fact that all elements of the Zapruder film alteration have not been proven “beyond a reasonable doubt.” However, in my opinion, enough evidence now exists to raise serious questions about the film being an original, and it is important to understand how alteration would have occurred in order to put that evidence in context.] For the Zapruder film to have been altered, it had to be brought to someone who had expertise in the area of special effects; someone who worked day to day with an optical printer, and who had access to the resources normally employed in special effects photography. Although I myself used to theorize that the film was “altered by the CIA,” I no longer believe that to be so. The CIA has wonderful expertise in the area of analysis—of looking at satellite photographs and interpreting them properly (e.g., in analyzing how many trucks or missiles are on a boat, or on a dock—but that is “analysis” and quite different from the fabrication of a movie film. The CIA doesn’t have a department to do that—it doesn’t have a “special effects” department. On the off chance such skills were called for—say, for example, that it was necessary fabricate a movie for [Pig on a Leash (2003); By David S. Lifton] 104 some covert operation (e.g., to make it appear that a political figure was with a woman other than his wife) —then such work would almost certainly be “subcontracted out” to the appropriate Hollywood facility. There is simply no reason to believe that the CIA maintained “in house facilities” for any such work. So if the Zapruder film was altered, the place to look is Los Angeles, not Langely. And what basically might have occurred is this: a politician (e.g., Johnson) would pick up the phone and entreat some friend in Hollywood— possibly a major studio head—with a talk that would be the equivalent (years later) of “Houston, we’ve got a problem.” The “problem”?: that there was a Castro plot to kill the President, that there had been a security failure (or some such thing) and that crucial facts had to be hidden to avoid a nuclear war. We know from documents and tapes available at the LBJ library that Johnson was talking this way in order to control things politically after Dallas. This “World War III” story would have been used to recruit the appropriate film executive to get the appropriate personnel involved on an emergency basis to edit the film. (And the film would not necessary have to go west; an editor might be flown east). Without meaning to cast aspersions on any particular person, I note that all administrations have close ties with Hollywood, so for someone like a Lyndon Johnson to call up a film mogul and solicit his assistance would not be implausible. However, I would be the first to concede that, as of this writing, we do not have direct evidence of that conversation. Not yet, anyway. What we do have is a deliberately edited record of the radio tapes from Air Force One, the basic record of communications from Johnson to others between the time he arrived at Love Field until the time the plane landed. It should be noted that within a year or two of Dallas, Johnson’s closest aide, Jack Valenti, was basically put in charge of lobbying for the film industry, and has been in that position now for almost four decades). It is highly implausible, if the Z film was altered, that Valenti’s Hollywood involvement is an accident. Would it be possible that Hollywood expertise was brought to bear in this situation, and Valenti knows nothing about it, and his prominence in such a position is purely accidental? Yes, anything is possible. And in pointing out what is obvious—that Valenti ended up in such a powerful position in the film industry—I am certainly not offering that as evidence that he is directly involved in the alteration of any film from Dealey Plaza. Saying that something is “possible” does not mean that it is probable. * * * The technical problem faced by the team doing the alteration would be the rapid speed with which they would be required to work (Life had deadlines), and most important, a rather critical (and yet to them, annoying) technical problem that would have occurred at the end of the process. In whatever format they worked—and for ease of alteration, I would argue it was 35 mm)—at the end of the process, when the final optical negative (or, alternatively, interpositive) was created, the problem would have been to “reduce back down” to the 8mm format, which would then have to be placed on “Side B” of a 16 mm Kodachrome film (which would then have to be processed). Moreover, to pass as a camera original, there would have to be some image between the sprocket holes (as normally there would be, in film shot in Zapruder’s camera). [Pig on a Leash (2003); By David S. Lifton] 105 This problem—that the film contain “material between the sprocket holes”— would only apply to the item (i.e., the putative “camera original”) retained at LIFE and not to either of the Secret Service copies, or the third copy made by Zapruder and retained at LIFE. Returning now to the putative original, which would have to be on Kodachrome, and should also contain “image between the sprocket holes”: This problem—essentially, a formatting issue—could not be ignored, because all the expertise in the world be for naught if this factor was not taken into account and handled properly. The result would not look like a valid original. In For this Kodachrome to appear not to be a dupe, there had to be image— some image—in the sprocket hole area. Because that’s what a “Kodachrome original” looks like. In As noted previously, a film printer normally “masks out” that area. So the problem faced by the special effects team (i.e., the optical forgers) would have been to create a duplicate—one which normally had the sprocket hole area masked out—but which would be made to look like an original by modifying the equipment so as to place some image in the sprocket hole area in this instance. Because of the general appearance of these frames (and particularly, the way the left margin looks, as if there was a piece of magic mending tape running down the edge), I suspect that this problem was solved by making two passes through an optical printer—one for the main part of the film (what we view as the main body of the ordinary “film frame”) and a second pass for the left hand margin (i.e. what would be called the sprocket hole area). This would be somewhat similar (conceptually) to going to Kinko’s and doing a copying job on a book where two passes were involved: first, positioning the page to get the main part of the text, and then pressing the “scan” button once; then repositioning the original, and pressing the scan button a second time; and then finally pressing the “print” button and getting the final product, which is in fact a composite of the two scans. Another possibility is that a contact printer was used in some fashion to solve the “sprocket hole” problem. The principle would be the same—compositing two images—even though the hardware would be different. I do not claim to know exactly how this was done—only that it was indeed accomplished, and that in doing so, in creating a 16 mm Kodachrome with “material between the sprocket holes,” someone overdid it, and “too much” image—much too much image—was put into this area, resulting in almost all the frames on the so-called “original” having image that (as shown on the DVD copy of the original film at the Archives) goes “beyond full flush left”; i.e., in producing a result not possible with Zapruder’s camera. A Word About Future Testing (I) As noted above, this has been presented here as a hypothesis, but the matter need not remain in the realm of abstraction and conjecture. Investigating this matter will not confront us with political considerations that, for all practical purposes, preclude (say) an exhumation of JFK’s body. The Zapruder camera exists. The original film exists. Nothing is buried in a cemetery. Title: Re: DAVID LIFTON'S ''PIG ON A LEASH''.. Pig On A Leash (2003) copy1.pdf

correct doug always referred to her within the research as Dr.Glanges that i ever saw..b

Nat; that was Dr.Glanges, it was not Doug's error, it was within said article i am thinking, i shall be corrected no doubt if in error, Dr.Evalea Glanges hole in the windshield........b try this link; http://www.youtube.c...feature=relatedThe Men Who Killed Kennedy "The Smoking Guns" Complete Episode 7Doug Weldon..beginning at 11.34

nat; re your first question, ?? for now...if i find anything i must reread this, i will post, on the limo not being cordoned off right away or some time passing before, that info was, is shown in the photos taken at Parkland, there also may be a ditty of info re some witness but not clear right now, it has been some time, here are a couple of the photos from Parkland, you can see no cordon and many witnesses being up close to the limo...thanks b

Could well be, here is the invertion and the Volkland fwiw...b

hi David; there is a very long, intricate research thread on this subject, sorry i have not been able to latch on to it , but here fwiw is a photo, showing the original insert and the after..........b

pages back i think it was David Joseph ? asking about Toni Fosters movements in films.here is Toni in the Nix film, from John Dolva, thank you.sorry Kathy I do not see Toni's head turn to the right so that she does not observe the limo that was mentioned....b

thanks Barb, i am sure also his work will be presented..take care b

Len Osinac has posted links to Doug's interviews 1 and 2 on his forum site, scroll way down...they are highlighted...thanks Len... http://www.blackopradio.com/forums/index.html#/discussion/426/doug-weldon

Yes, two days later, after feeling the best he had felt for a very long time, he developed cellulitis and ended up back in the hospital, and also developed what I recall as the first blood clot in his left arm. The photo was taken in late July 2011, he spent all of August in the hospital. The day he sent me the photo, August 26th, had been a particularly tough and disturbing one for him as one of the physicians from the palliative care section had come to his room and told him he would qualify for hospice if he wanted to consider that. He wanted me to call him, and I did. He was stunned by what the doctor had said and told me he hoped to prove them wrong. He sure tried, God bless him. If I am recalling correctly, he was never able to go home again. It was mid-September before he was moved to a nursing home, then was shortly back in the hospital, and so it went, back and forth. That photo, taken so recently, gave him hope and made him smile! And he did have some encouraging days and laughter too.It's a great photo for all to see and remember him by! His daughter expects to have the link to the online guest book/obituary sometime this weekend. I will post it as soon as I get it. Bests, Barb :-) Yes barb, that shook him up, that was the last thing he was expecting, he enjoyed that car, and his best friend onyx at that time, for such a short while, i would not worry too much about his research, i do know he had been in touch with an editor, i imagine he will be getting in touch with them,when all has quieted down, then we shall see, the point being what he had finished and new to be added, is to be presented the same as he believed agreeing with his postings and audio work he had already presented, as well as in emails and such..he had done much just never got the opportunity to finish, he used to get upset with himself that he had procrastinated many times, before his final illness, and had not pushed it to complete the book, a lesson learnt for all, who wish to do the same, issue a research book. but most of it is known through his postings etc, though there was always something new, he wanted it down in his book, for all, to share in, and see his proof, what exactly his witnesses had said in print......for all ..where nothing could be changed,......here is another of doug, this was after he had recovered from cancer,a few years back now, and was looking and feeling so well, and ready to go,along with another friend of his...b

He was a great gentleman, and a valued and trusted researcher, rest in peace my friend...b Here are a couple of links to some of his work, presented on this forum... http://educationforu...opic=15484&st=0 http://educationforum.ipbhost.com/index.php?showtopic=14532 http://www.youtube.c...feature=related his tmwkk presentation... The Men Who Killed Kennedy "The Smoking Guns" Complete Episode 7 Doug Weldon.. a photo below taken early last fall, with his fiance, and his favourite car...i believe it was two days later he was back in hospital.. b