Steven Kossor

Neil Postman's Entertaining Ourselves to Death is another good read about the effects of the entertainment media that came into existence in the 1950s and 1960s. Devotees of early television were called "vidiots" by those who disdained Uncle Miltie and all of his descendants. Another great survey on the subject of money and power in America is Noam Chomsky's Requiem for the American Dream that appears as a 2015 video here https://www.youtube.com/watch?v=hZnuc-Fv_Tc Greg Poulgrain's books on the connection between Indonesia's President Sukarno and JFK are illuminating as to the incredibly enormous amounts of money at stake for the Rockefellers and their minions (Allen Dulles, for example) if only JFK could be moved out of power before he screwed it all up for them. Sukarno himself was killed in a coup in 1965 that drew the circle closed as Poulgrain explains. Oliver Stone wrote an introduction to the latest Poulgrain book JFK vs Allen Dulles (2020) and Jim DiEugenio gave a thorough and favorable review of it recently as well.

John Taylor Gatto and I shared the stage a couple of times in the 1990s talking about the history and probable future of the American education system, and you're 100% correct about its pernicious influence on children and adults. We could not have had the election results in 2016, or the wholesale abandonment of rationality and reverence for the truth, that we have seen in America since then, without a strong foundation supplied by the American education system (replacing the study of history with "social studies" and reporting on scientific discovery and the "scientific method" with the "Earth Science Curriculum Project" in the 1960s). Gatto's An Underground History of American Education is a must-read summary of where our education system came from in the 1800s and what it intentionally and deliberately does to people (turns them into "consumers" and obedient participants in an exploitative capitalistic oligarchy that yields a tremendous and perpetually growing economy for the oligarchs). We have entered a time of contempt for intelligence, a new "dark age" of superstition and reverence for fantasy in lieu of science, culminating in the election and persistence of a puerile reality show personality impersonating a national leader, and I'm not sure the plunge toward the bottom is something we can recover from.

The stellate fracture pattern shown on the Bethesda X-Rays is indicative of a blow to the had that struck from the top, not a bullet of any sort, according to the medical doctors' reviews I've read, although some attribute the "exploded" appearance of the bones to an "exploding" bullet inside the head. The separation of so many bones, and all of the missing bone could not have supported the skin/scalp of a head that looked (from the front) as if it was "intact" as Jackie Kennedy described it. That's why I think the shot from the Knoll opened up a "pressure relief valve" in JFK's head almost instantly after the exploding bullet hit his head, so that the explosion erupted from the back of his head, rather than tearing it open completely. If JFK's head looked, upon arrival at Parkland, like it looked at Bethesda, they would have lifted the jacket covering it and dropped the jacket back in place and called the priests. Several doctors believed JFK was actually still alive when he arrived at Parkland - they claimed he was breathing (not likely, but that's what they said), intubated him, connected the throat tube to a respirator device, and then performed a tracheotomy incision over the wound in his throat. None of that activity is compatible with receiving an obviously dead body looking like the horror depicted at Bethesda. The tracheotomy incision was turned from a small incision made to admit a round one-inch tube, into a ragged gaping gash with irregular edges three times larger (that exposed the esophagus which lies behind the trachea). The desecration of JFK's body started when the stellate fracture pattern was created and his throat was torn open, and was finished in Bethesda when Humes, et al sutured the throat wound so it could pass for a "tracheotomy incision" until it was needed as an exit wound. There is much more to this fact set that David Lifton introduced to the world in Best Evidence and will complete as soon as possible in the sequel, Final Charade.

This thread has really sparked a debate among experts, hasn't it. Kind of like the field of psychology - for every expert, there is an equal and opposite expert.... The problem is that experts choose their "underlying undeniable facts" and proceed with their analyses. In the case of the film creation experts, it was the nature of the film itself (Zavada's experience and analyses are exhaustive in that realm). But the "laws of physics and geometry" are the "underlying undeniable facts" for other scientists, and those facts undeniably lead to the conclusion that the Zfilm is a fabrication. For example, frame 313 is the only one with a show of bloody tissue exploding from the vicinity of the head, meaning that the material erupted and then disappeared in just 1/18 of a second -- it didn't slow down or linger in the air as it certainly must have, to be captured on frames 314, 315, etc (if it was real material and not a painted-in special effect for that one frame for the purpose of blaming Lee Oswald for shooting JFK "from above and behind"). To determine if Zavada is correct, or incorrect, about the authenticity of the Zfilm, you have to compare his findings with the real world of physics and geometry, and his conclusion as to authenticity fails on several points. The head isn't ever turned in the direction it had to face to exhaust material onto the driver's side taillight/officer Hargis, for example. I don't want to dispute a film expert in his realm of expertise, and he doesn't want to dispute the laws of physics/geometry so the two paths to truth never converge and you ultimately have to choose the path that requires the least amount of reality compromise, and for me, that's the path that honors physics and geometry: the Zfilm is a composite, a fiction. In the Moorman photo, the holes found through MRI analysis are located too far toward the top of the head to have exposed cerebellar tissue that was observed at Parkland, so there must have been another hole created farther down at the back and right side of JFK's head in order for the observations of the Parkland doctors to be based on a real body they examined. Moorman's photo doesn't show it, so it wasn't yet created at the time her photo was taken, and that's a rock solid foundation upon which you can place Moorman's photo on a time line (thereby revealing exactly what happened before and after it was taken). Or so it seems to me.

I think Abe got an initial payment from Life magazine of $25,000 for the print rights and then a renegotiated payment from Life of an additional $50,000 for all rights (including motion picture rights), on Saturday 11/23/63. Long before the payout approved by Congress relatively recently ($16,000,000.00) Abe gave a portion to the widow of JD Tippitt; I don't recall any payment from Abe to Marina. And then the family donated the film to the 6th Floor Museum which administers the copyright and asks gets an enormous amount for permission to reproduce each of the 486 individual frames. That's why most people use drawings or "re-enactments" to depict what the Zfilm contains in publications or films. David Lifton's Pig on a Leash is a good source on the background of the Zfilm, I believe.

Please remember that it is not necessary to create an Academy Award winning suite of movies with spectacular, undetectable special effects, to create one (1) film that can be pointed to as "the clock" of the assassination, to the exclusion of all others that show the same content, as long as the critical material is removed from all of the films - the car stop sequence especially. There were just three films to fix, and all of the others besides the Zfilm simply needed a splice to cut out the frames showing the car stop (and whatever else was happening during that time which could not find its way into the history books). From the perspective of officials who could control access to the movie films for decades, and dodge questions about splices and missing film as if none of it mattered, the Zfilm has done it's job magnificently. Look at how hard it is still today, with all of the modern analyses and technologies being used to study it, to convince people that the Zfilm is a work of fiction and can't be relied upon except to document the extent to which people prefer comfort over conscience.

I stood on that pedestal myself a few years ago and videotaped cars coming down Elm Street, so it was absolutely clear what the camera had to do in order to track the cars, and keep them in the middle of the frame, from the corner at Houston St to the Overpass. Not at all difficult, but having walked all around DP, there is no doubt that the view from that pedestal is singularly perfect to take a movie of the limousine traveling down Elm Street. Through the use of an optical printer and other hardware that was certainly available at a high-end movie production company like Jamison's in 1963 Dallas, I believe that it would be possible for a skilled film editor to use the "missing" 4th copy that they printed on 11/22/63 to create the floating mat needed to separate the limo image from the background image, remove the necessary frames and add some painted-in effects (black out the back of the head, add a moving blob to the area of the right side of the head, etc) within a few hours. And the rest is "history." The fact that Abe profited immensely ("obscenely" would be a better word) for his work on 11/22/63 doesn't necessarily implicate him in the planned use for his work.

The Zfilm we have today shows the condition of JFK's head at the Bethesda autopsy, not the condition of JFK's head at Parkland Hospital. When Abe Zapruder was on camera on 11/22/63 describing the movie he shot, he uses a gesture to indicate the opening-up of the right side of JFK's head (exactly what appears on the Zfilm we have today, but not what JFK looked like at Parkland). Maybe Abe was foreseeing the future and describing what his movie would eventually look like, during that filmed TV interview. Maybe he found his way onto that pedestal and the plotters took full advantage of his high-quality camera and modern film, and had their way with it. The way the images are captured on the existing Zfilm, it looks like the camera panned left-to-right but did not also pan downward as the limo traveled down Elm Street, so the image of the limo almost went off the screen (Abe was much too skilled cameraman to have done such a poor job of framing his subject in the film that the US citizens eventually paid him $16,000,000.00 for). For these reasons and more, I believe that an "official" movie film had an intentional role in JFK's killing - to create memories of "what happened" and to suppress dissenting opinions - and that Abe's movie was a better foundation for the "official" version than any amateur could probably have delivered.

I'm a psychologist after all, right? Thanks for your encouragement!!!

It looks like Jeremy is quoting me saying "This can't be true, because..." but those are actually his words, not mine. My words were: The idea is that confusion, all resolved to the Zfilm as the “official record,” results in the confirmation of the lone nut solution to all mysteries, and that’s the value of the Zfilm to the plotters (and why I believe an official movie of the killing was a planned part of the operation). Even with all of its flaws, the Zfilm has been used to "show" what happened in Dallas, even to this day. At first the authorities only used frames from the movie (and even presented them out of order to have the intended effect), but even with the release of the motion picture, they apply it to the same purpose (knowing that the vast majority of people will seek comfort untroubled by conscience), ignoring the flaws as if they didn't exist, or were irrelevant.

The idea is that confusion, all resolved to the Zfilm as the “official record,” results in the confirmation of the lone nut solution to all mysteries, and that’s the value of the Zfilm to the plotters (and why I believe an official movie of the killing was a planned part of the operation).

Thanks to David, we know more about what actually happened on 11/22/63 than through any other source, by far, and I am indebted to him for having shared so much of his work with me over the past 10 years or so. Jamey is positively correct in saying that it isn't necessary to make every film alteration an academy award winning special effects triumph in order for the Zfilm to be held out as the definitive truth about "what happened" -- even the Zfilm has its obvious flaws, but the authorities have conscientiously and successfully ignored or dismissed all of them because the vast majority of people at any time in history are content to be comfortable. It is left to the scientists to study things to make sense of them, especially when the laws of physics and the necessity for continuity in a sequence of time slices are violated, and that's the antithesis of being comfortable. I haven't dedicated nearly as much time to the study of the JFK assassination as many of the contributors to this forum (especially Mr. Lifton!) but I am thankful for the opportunity to lay out things as I understand them and receive a substantial amount of support for my understanding. I'll keep trying to get it all right, and "the truth will out" because the scientists among us will keep looking for it.

Lots of people reported that the limo stopped, yet none of the movies show it. Either all of the car stop witnesses are wrong, or all of the films were cut and frames showing the stop were removed from all of them before the film was given to its owners. Both options are improbable but they are mutually exclusive, so only one can be correct. Given the existence of the technology in close proximity of both time and space, the film altering option is not any more improbable than all of the car stop witnesses being mistaken. A photo captures a split second in time so Moorman’s photo cannot possibly be fixed to any time that includes the pivot of JFK’s head, that’s all. The pivot of his head is necessary geometrically to allow Hargis and the driver’s side taillight to be struck with substantial amounts of gore, so the Moorman photo has to have been taken before the head pivoted— milliseconds before, possibly. The Zfilm was used to show Connelly “what happened” in a private screening in his hospital room before he made any public comments. It has terrific value as an indoctrination tool, even with its flaws and obvious deficiencies, because it has been featured prominently as the “time clock” of the killing, by which all other accounts (including other movies) are to be compared. It wasn’t necessary to create a flawless false memory on film, just enough to support the fiction that the shots all came from above and behind, which really doesn’t require much time or Academy Award winning expertise with the right equipment that was close at hand. Once the decision was made to cut frames from the Zfilm, other films showing the same content had to be cut too, as improbable as it might be for that to have happened. At least that’s how I’ve stacked up the odds for the various options so far.

I'll check my sources asap.

We cannot be sure of whatever else may have happened to JFK's head in that last second in Dallas, except that it was struck by at least two bullets, that the 2nd strike happened while he was facing toward the Knoll, and that it caused a blow-out of the right rear of his skull that exhausted material back and to the left of his position in the limo. Brain tissue went elsewhere too, of course, but much more went out toward the left rear than went forward or toward the right rear. Don't forget, Mr. Kellerman was referred to as "Mr. Killerman" by JFK's secretary, suggesting that some people close to JFK thought he was complicit in JFK's murder. I wouldn't put much stock in anything he says. Either Kellerman or another SS man testified that JFK exclaimed "I'm hit" (even though his throat wound made verbalization impossible), right? Kellerman was described as "pushing buttons" in the front seat during the killing (the control panel to raise JFK's seat up as much as 10 inches to make him a better target was on the dashboard in front of him) and some witnesses said JFK "jumped up" during the killing. Maybe the throat shot was intended to be a head shot before JFK's seat lurched upward. There is definitely more to the JFK killing than meets the eye, given the provenance of the visual images that have come down to us.

Interesting thought but any testing would necessarily require altering the garment so I'm guessing it wouldn't be of interest to the family. Maybe someone on the Forum will have a way to approach the family that would not seem perverse.

With the well documented history of film and movie alteration, I don't think it's productive to base conclusions on those media. Witness testimony is notoriously unreliable, whether intentional or otherwise, so it can't be used in place of the principles of physics, including fluid dynamics, to understand what happened. The existing film/movie record is incomplete, so it makes more sense to me to use the physical evidence that has existed in the record as the basis for concluding what probably happened in DP. Hargis said he was struck with such force that he thought he himself had been wounded; it would not have appeared this way to him if the material had been falling from overhead under its own weight. The spray of brain tissue "out of the back seat" of the limo was described as a "wave" as it sparkled in the mid-day sun. The tiny pieces of Mercury (the means for the "exploding" round to disintegrate inside the skull) inside the wave undoubtedly enhanced its reflective features as it went backward. The gold bezel on JFK's missing watch would have Mercury particles on it, which is the explanation given for its disappearance from the evidence collection. Dino Brugioni describes a "halo" of reflective white mist rising above and around JFK's head in the version of the Zfilm he used to create CIA briefing boards on 11/22/63, but he doesn't report seeing the "wave" coming out from the back of the head that others described, so I suspect he viewed a film that had already been altered (probably at the Jamison plant in Dallas). The "Harper fragment" was purportedly found far in front of the limo's position at the time of the head shot, but it didn't fit in well with the other pieces of skull that were brought to Bethesda (including some reportedly recovered from the limo itself), and it accordingly vanished from the "historical" record as it was being constructed. There is a news camera footage of someone covering the driver's side taillight of the limo with a jacket as it sits in the ambulance bay at Parkland. That evidence supports the existence of "something that needed to be hidden" on that part of the limo and, given Hargis' proximity to that area when he reports being struck by material, it's most probably brain tissue from JFK's head that was localized in that area, since the jacket is placed squarely over the driver's side taillight area. My approach to understanding what happened in DP involves slicing time into thin slices, observing each slice separately and seeing how the picture evolves through the course of examining the slices. There should be a continuous, noncontradictory flow of information from beginning to end of the time period under study, so it becomes relatively easy to spot "missing slices" and/or misreported events through this process. It was called "Critical Incident Debriefing" when I was taught how to do it a few decades ago as part of a 3 day training program I participated in to learn how to approach the forensic analysis of child abuse incidents. I've found the process to be really helpful in lots of ways over the years.

I believe I've explained my understanding of the sequence of events in that "last second in Dallas" by now so I won't repeat myself; it's spelled out in previous posts on this thread and doesn't have anything to do with witnesses or reports. Witness accounts and reports can be wrong for nefarious or innocent reasons, but physics and fluid dynamics don't mislead. If there was a bullet lodged behind JFK's right ear, that part of his skull was pretty well mutilated before his official autopsy at Bethesda began at 8:00 pm on 11/22/63. The exploded appearance of JFK's head in the leaked autopsy photos suggests that some pretty frantic "smashing and bashing" of his head (and tearing open his trachea/esophagus as well) occurred between 1:30 pm CST in Dallas and 8:00 pm EST at Bethesda, and that any bullet, or substantial fragments of a bullet, that might have been lodged behind his right ear (or anywhere else in his head, or at the apex of his bruised right lung) had been manually removed by the time the leaked autopsy photos were taken. I'm not sure who deserves credit for taking and hiding the head or chest bullet evidence; it may be the same people who did the smashing and bashing, or the military doctors who "finished the job" of preparing JFK's body for autopsy between 6:30 pm and 8:00 pm, and then created the autopsy report and other necessary historical records and testimony about Kennedy's death.

We’ll see how well it stands up to scrutiny. Thanks for your encouragement!

Hickey appears to be reporting a "near miss" that only made the hair on the right side fly forward. I guess it's one more bullet sent flying toward Kennedy's head within that "last second in Dallas" in addition to the two (or three) that hit their target. Thompson appears to believe that there was a "late shot" into the back of the skull but there isn't a corresponding exit wound on JFK's face. I believe the evidence is strong to support two head wounds (one from the front that disintegrated inside JFK's head and didn't exit and one that allowed the super-pressurization of JFK's skull to be relieved before the scalp tore apart by knocking out a hole in the right rear through which the pressure exhausted). With the official call for citizens to turn in their photo and movie film immediately after the killing, and the limited number of cameras operating in DP that weren't confiscated on-site immediately (and film destroyed on-site), the amount of film tampering necessary to create the "official photographic/movie record" of the event was well within the capability of the Jamison company which was advertising itself as "The Hollywood of the Midwest" because they had all of the sophisticated film editing equipment necessary on-site at the time that they produced copies of the Z film in their Dallas office. Abe's gesture on camera in the Dallas TV station that night depicted JFK's head injury more like it looked in Bethesda than it looked at Parkland. His occupying that pedestal and taking that movie couldn't have been more fortuitous (especially after he got a $16M payout from the citizens of the USA before donating it to the 6th floor museum that has efficiently blocked access to it ever since).

If I recall the sequence correctly, there were two shots in rapid succession around Zfilm frame 313. I believe that the first shot came from the front and was an exploding round that entered JFK's skull in the hairline above the right eye. Mary snapped her picture right after that impact. Almost immediately after she took her picture, JFK's head had to have been spun (by the impact of the frontal shot above the right eye) to face toward the Knoll as a bullet fired from that area entered JFK's skull near his right ear and (with the back of his head now "pointing" toward the driver's side taillight), exited the right rear portion of his skull, exhausting blood and gore onto the driver's side taillight and onto Officer Hargis who was riding near the driver's side taillight at the time of the 2nd shot around Zfilm frame 313. Some frames of the Zfilm have undoubtedly been removed because the film does not show the pivoting of JFK's head that is necessary for the hole in the right rear to exhaust brainmatter in the direction it traveled around the time Zfilm frame 313 was exposed. If I recall correctly, it has been established that the limo was about 4 feet farther down Elm St. at the time of the 2nd headshot, so the removal of Zfilm frames (certainly those that captured the head pivot) can also be documented through that analysis. There is no other way to reconcile the exhausting of material from the right rear of JFK's head toward the driver's side taillight with the existing movie/photographic record.

Good news. I just watched David Mantik's presentation from a few weeks ago at the FoFF and his analysis of three head shots clearly comports with the analyses that have been published here by several others. The head shot sequence of forehead-temple-occiput matches the sequence several of us have discussed, and can accommodate the "head turn" evidence I focused on some time ago (the hole at the back of JFK's head must have been "pointing" toward the driver's side taillight in order for gore to have exited the hold and landed onto the driver's side taillight area and Officer Hargis). The timing of the temple shot had to have occurred after Moorman's photo was snapped (because JFK's head isn't turned toward the Knoll) so Moorman's photo must have occurred after the forehead shot. It appears that the skull bones in JFK's head may have been violently separated by a mercury containing forehead shot which also rapidly pivoted JFK's head to face toward the Knoll, that the enormous pressure inside his head was rapidly relieved almost immediately by the temple shot that blew out a hole in the back of the head (and prevented the rending of JFK's scalp that would certainly have occurred if the pressure inside his head hadn't been relieved so quickly), and that the final occiput shot happened a short time after the first two shots. The final shot (into the occiput) seems to have entered a relatively inert head (doing relatively little additional damage); notice about this third head shot was featured prominently in Thompson's book and Mantik's analysis appears to support at least that part of Thompson's work. I haven't been able to reconcile the appearance of a piece of scalp/hair apparently caught in motion above JFK's right shoulder in the Moorman photo unless JFK's scalp had been torn by the frontal shot, but it seems that such tearing would have been noted at Parkland. It's sobering to realize that a group of thoughtful, intelligent and conscientious thinkers/researchers could put these events together so many years later, and that government commissions and others could have labored so earnestly to prevent that work from progressing toward an honest understanding of what we lost, how we lost it, and who is responsible for it. Perhaps the hardest hit to take in all of this will be finally understanding why it was all taken from us. If the past is the best predictor of the future (it is), then more important revelations and better understanding are on the way, with certainty. Best wishes always!

Thanks so much John. I haven't written a book about the JFK assassination, but I've been studying it for 40 years and have read just about everyone else's books, and have had wonderful opportunities to converse with Doug Horne (I gave him the concept of "dissociation" and explained how it may account for Humes' "oral utterance" about the "surgery of the head area" during the autopsy and he credited me for this in his published presentation for the Future of Freedom Foundation in 2014, so that was appreciated). I digitized the audio cassettes that Doug retained from the ARRB testimony sessions (cleaned up the audio and made .mp3 recordings from them) and uploaded them to the JFK Lancer site. I created some slides for him to use in his presentations about the "Clifton tapes" from AF1 that documented mechanical editing artifacts to show that the recording was edited (as every other recording -- both audio and audio-visual -- in the JFK case has been, to a greater or lesser extent). Up until about 2015, Doug and I corresponded regularly about his observations and thoughts regarding the case. Doug was introduced to the case by David Lifton's writing and they corresponded regularly throughout the term of Doug's involvement with the ARRB and thereafter. Not sure why Doug has significantly curtailed his correspondence since 2015 but he expressed to me and others at that time, that there are things that will never be known about the JFK assassination, so he shifted his formidable research skills onto Pearl Harbor and the Space Race. His most recent presentation at the FoFF is based on his 2014 presentation, but the credit he gave then for my giving him the "dissociation" concept to explain Humes "oral utterance" was omitted for reasons that remain obscure. I've been talking regularly with David Lifton for the past 11 years to help him complete his sequel to Best Evidence. With 35 years of accumulated notes and documentation of evidence that has been "laying around in plain sight," he has acquired an exquisitely detailed understanding of "what was planned" for JFK in Dallas that I believe will help to clarify much of the water that has been muddied by partial investigative practices and deliberately deceptive practices that have been perpetrated for the past 50 years. If Lifton had disclosed his discoveries about body alteration between 1966 and 1981 to any of the "early researchers" the probability of his receiving all of the commendations from national publications for his scholarship in ferreting out the facts and presenting them in Best Evidence would drop to zero, so he kept his cards close to his chest until Best Evidence was published, and that certainly soured his relationship with the early research community. As both Doug and David have been fond of saying "the truth will out" and I add "as long as you don't stop looking for it." David has never stopped and I am hopeful that he finishes his work on the sequel to Best Evidence very soon. He's over 80 now, after all, and has acquired many potent detractors over the years, but many admirers too. The way I look at it, Lifton exposed some critical incontrovertible facts in Best Evidence (1981) about "what happened" on 11/22/63 and "did the best he could with what he had at the time" to connect the many dots that he uncovered in a conscientiously scientific way. Now, after 35 years spent continuing to uncover dots, I've been impressed by his willingness to amend his original understanding so that the new dots can be incorporated into a more thorough understanding of "what happened" that is probably closer to the truth, but more importantly, so he can summarize his evidence-backed understanding and describe "what was supposed to have happened, but didn't" in his sequel to Best Evidence, called Final Charade. To his credit, he hasn't "rushed into publication" with his updated information (which includes remarkable discoveries about "who Lee Oswald was, and what he was trying to do with his life" before it was hijacked by Allen Dulles and his friends). David has sought corroboration and confirmation of his findings and analysis to the extent he has been able to, and has conscientiously averted the "confirmation bias" that Gary Aguilar and others have identified as a potent barrier to understanding in this, or any other, scientific endeavor.

The JFK assassination wasn't "an accident of history" as it's been portrayed so conscientiously by the MSM to have been. It was a planned "regime change" that advanced the financial and political interests of those who followed in its wake. I think we can all agree on that much. It follows then, that the plan for JFK's assassination would be meticulously created. That it went off the rails and came within a hair's breadth of exposure is well documented in the seemingly incongruous details of the historical record, but the plan itself was certainly not so chaotic and disorganized. It would undoubtedly have included the most modern means of falsifying history that were available at the time, so the levers of power could be operated as efficiently as possible, and that would certainly include a movie marketed as an indisputable "time clock" that would persuade any personal memory to conform to the official story about "what happened." During the autopsy, the doctors were straining to create a public statement about "what happened" and defended it until they died. They served their purpose in putting the plan for JFK's murder back on the rails so the levers of regime change could continue moving. If you haven't read about "the Indonesia connection" via Poulgrain's books, go there soon for important insights. There was far too much at stake for the Rockefeller, Dulles and other interests to let JFK continue to interfere with their plans (not just in Viet Nam), and the ready accessibility of sophisticated movie editing equipment within a couple miles of the killing site made Dallas the best possible place to turn the Kennedy switch off and manufacture a false history of how it was done. At least that's how I've been putting the pieces together, thanks in large part to the insights that have been published in this forum over the past 10 years or so.

I stood on the pedestal a few years ago and shot video myself. It was plainly obvious that, as a skilled cameraman, Zapruder was capable of tracking the limo in the center of the frame (panning down while panning to the right) and that the motion captured in the Z film shows no such panning (it actually looks alot like the camera was mounted on a tripod and just panned left-to-right without any downward motion), but that's an artifact of film editing. Don't forget, the Jamison installation in Dallas where the Zfilm was printed was advertising itself as "The Hollywood of the Midwest" or something along those lines in 1963, so all of the necessary equipment for professional film "special effects" editing was readily accessible to the plotters right there in Dallas. I don't doubt that there was some chicanery going on at NPIC as well, but the film didn't need to go to Hawkeye Works in Rochester to achieve all of the special effects needed to manufacture the official history of what happened in DP on 11/22/63.