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Home , Charles Brehm, Marie Muchmore, Phillip Willis, Zapruder film

Dear Honorable John B. Tunheim, Chairman of ARRB 3/22/97

One of the greatest frauds constituted against the United States of America will be the sale of the Abraham to our government for 16 million dollars. The reason why it is a forged film? In fact, our government will pay 17 million for the film based on the claim it is authentic. Based, in part, on the chain of Custody it is too embarrassed to admit it will purchase a forgery holding the status of being a "out of camera original". In that way the purchasers of the film (our government) could retain its reputation, and not deal with the many government documents that suggest otherwise stored in the National Archives. Because the film was used by the as the ultimate time piece to link a 6.5mm Mannlicher-Carcano to the President's assassination it would prove highly embarrassing to our government if the film were proven to be altered.

In the following text the proof of the Zapruder film being altered will be made clear. Please, be the judge, and if you feel by the supporting evidence contained in this letter contact the President of the United States, Bill Clinton, to help expose the Zapruder film as being a forgery to deceive the American public.

In 1982, l first became interested in the film, and little by little learned tidbits about the film possibly being a first class forgery. Today l am convince of it have enough proofs of it to prove that my theory of film alteration is correct. Contained in this excerpt from my book, "The Slaying of Camelot". Contained in it is enough evidence to support my findings that the Abraham Zapruder film was completely altered and sold shortly afterwards to LIFE magazine the weekend of President John F. Kennedy's assassination. Because much of the proofs are currently at the National Archives please take the time to study this brief synopsis of material taken from my book proving the Abraham Zapruder film was altered while in the hands of the FBI. Because of the seriousness of this charge, overwhelming proof is needed. l feel its long past time for the American public to know this fact before the Kennedy assassination slips in oblivion.

On Friday, November 29, 1963 LIFE Magazine published thirty one frames of the Zapruder film (unnumbered) exactly one week after President Kennedy was assassinated. While working at the Dayton Daily News l personally handled six photoengravings of the Abraham Zapruder film that had just finished being made in the Photoengraving Department at the newspaper by Sonny Delater, a photoengraver. The six engravings appeared as artwork on the Dayton Daily News Camera page, a weekly page on Friday, November 29,1963. The page is used to display photographs taken each week capturing recent news worthy photographs.

Frame Z157 (155)

It was not until by chance I noticed one black and white frame Z-157 that appeared in a book JFK, "The Case For Conspiracy“, by Peter Model and Robert Groden (1976). I purchased the paperback book from a local book store in 1978. Upon reading the book l became aware of the possibility of the Abraham Zapruder film being a forgery. This was because noticed the front passenger side wheel of a 1964 Mercury being off the pavement. At first, l thought that the frame Z157 appeared odd in appearance because of a single frame reflex camera mounting not returning into its exact focal plane alignment when someone copied the Abraham Zapruder frame using an optical printer. No mention of the front wheel being off the ground was ever mentioned in the photo caption in the book, “JFK: The Case for Conspiracy."

In 1985 I wrote about trying to obtain a copy of the Zapruder film, and in 1989 at my request he mailed me a copy of the standard 8mm Zapruder film used at the Clay ,Shaw trial. The copy he sent me was made off the so-original film shown during the Shaw trial in the sixties. Upon painstakingly examining the 8mm film I noticed that my 8mm copy was exactly the same as the original, and contained the same defect as seen in frame Z-157 found in ‘The Case For Conspiracy.‘ Because of this I began to number the the six individual frames that appeared in the Dayton Daily News Camera page on November 29, 1963. In comparing each of the six frames with my copy, the frames were Z-232, 269, 321,343, 361, and Z-371. In comparing these frame against my copy I found that they were identical in all aspects. I also checked the frames the thirty-one frames that appeared in LIFE on November 29, 1 963. For my artwork, out of the thirty one frames I chose fifteen frames: They were Z-123, Z-144, Z- 166, Z-232, Z-258, Z-261, Z-325, Z-328, Z-337, Z-340, Z-343, Z-349, Z-357, Z-359, Z-368. All thirty-one frames matched my 8mm copy. At that time I also noticed four guillotine splices contained in the film, two at Z-155-158 and two at Z-208-212, and that frame Z-155, 156, and Z-209-211 had been removed from my copy, where the splices occurred. FBI Agent Lyndal Shaneyfelt determined that the Zapruder film contained 486 frames when the Zapruder film was sold to LIFE on Saturday morning, November 23, 1963.

By using this information I was able to number each frame in my copy of the film. In doing this, I discovered by using the LIFE November 29 edition that between Z-349-357 Malcolm Summers is seen falling on his right knee and then gaining his balance moved into a squatting position in eight frames in ONE HALF SECOND. A truly impossible feat.

Also, on my copy, I noticed that three separate scenes appeared. The first was a park bench scene (14 1/2 frames not counted in the original) the second, a Police motorcycle scene containing 132 frames, the third the Presidential limousine scene containing 353 frames.

In running the film on my 8mm projector I noticed that the Presidential limousine magically popped into view at Z-133 giving the effect that the scene was continuous. Upon checking the testimony of Abraham Zapruder before the Warren Commission he said "he first picked up the as it made the tum onto Elm Street from Houston Street". Mr. Wesley J. Liebeler of the Warren Commission never followed up on the question of why the Presidential limousine was not seen when the Presidential limousine turned onto Elm Street from Houston Street . Through research, I found that a car driven by Chief was in front of Presidential limousine and following Curry's car were the three motorcyclist seen in frames Z- 001-132. The first question I asked myself why were these frames removed from the beginning of the Presidential limousine scene. By watching other film taken of the motorcade passing along the motorcade route from Love Field to the Dallas Trade Mart the emergency blinking lights contained in the front fender grill of the Presidential limousine appeared to blinking back and forth, however in the Zapruder film the blink rate pattern can not be discerned. Because of that feature I decided to plot the blinking red lights on the front grill of the Presidential limousine and Chief Curry's car. The blinking lights in front of Curry's car when plotted shows three frames on four off in the . This film shows the Presidential limousine turning from Main Street t H ' g on 0 Houston. So if Curry's car was seen on Elm Street in front of the Presidential the blink rate could be easily discerned.

In the Zapruder film both emergency lights when l plotted are seen alternating in the film from Z-133 to Z-238. The two emergency lights when plotted basically had a blink rate pattern of ten frames on (passenger side) and nine frames on (driver's side) in the Zapruder film. Th ' ' m e exception to this pattern is between Z-219-238. The red lights on driver's side were ON from Z-219 to Z-225, and on the passenger side were ON from Z-226-238 This clearly proved an uneven pattern and explained why the: blinking lights aren‘t seen in the film, and explains why the Chief Curry's car was edited from the film. All the film containing the red emergency lights attached to Curry front grill had a shorter distinctive blink rate pattern that would have been easily detected if Curry's car remained in the Zapruder film which would automatically drawn ones attention to the Presidential blink rate pattern being askew and not observed because of its uneven pattern. I also discovered in other films after comparing them to the Zapruder film that the basic film speed of Zapruder's camera was 23 frames per second, or for one complete blink cycle of 18 frames in .82 seconds. (NOT ONE SECOND) In a Federal Bureau of Investigation document signed by Robert M. Barrett on 12-4-63.Zapruder stated that his camera ran at a speed of 24 fps. The problem with this statement Zapruders camera a model 414PD Zoomatic Director Series spring wound, 8mm movie camera Serial No AS13486 only had three settings, one AUTOMATIC (48 fps), RUN (16 fps), and single frame feature. By using the blink rate chart I proved that the only setting Zapruder could have filmed the Presidential assassination was at the 48 fps setting because at the 16 fps setting the film speed of Zapruder's camera would be only 18.3 fps.

FBI documentation shows that the Zapruder film was immediately taken to the Eastman laboratory at 3131 Manor Way in Dallas next to Love Field for processing.

The film used in Zapruder's camera was ll film. Kodachrome film was invented using a bathtub by two musicians Mannes and Godowshy in 1935, and in 1961 Kodachrome ll came into being. Kodakchrome ll film is far superior to its predecessor. The Kodachrome ll film Zapruder's used was a standard 8mm film made in 1963, the film was 16mm wide, and after the first 25' feet of the 8mm film is shot the film is turned over in the camera in order for the second 8mm can be shot. While developing the film the film remains uncut, or remains in a 16mm format. It should be made clear that it is impossible for Koadachrome ll film to be altered before its development, because exposure to any dark room light would destroy the image contained in all of ts frames. Just as important when the film was made at Rochester, NY the film contains dye marking along the edge of the film. In Zapruder's film the dye marking are Kodachrome ll Safety film and the year. THIS MARKING CANNOT BE SEEN IN THE FILM UNTIL THE FILM IS DEVELOPED, so no one could alter the original film without first skipping or removing these dye markings contained in the original, or Master. This knowledge will prove extremely important in demonstrating the original Zapruder film was altered.

Before demonstrating additional signs of alteration in the film it will be useful at this point to explain how the Kodachrome ll film development process creates photographic images. Kodakchrome ll uses a reversal technique to produce a positive three color transparency film. The film process is a complicated process but for brevity sake, the film is first developed in a black-and-white developer, which produces a negative silver image in each of the three separate emulsion layers. Once this is accomplished the film is re-exposed by a fogging process in order for the remaining silver halide to be rendered ready for development. The silver halide is used to form three positive dye images, yellow, magenta, and cyan. The 16mm 25 foot roll of film is next treated with a bleach, which, without affecting the dyes converts the silver to salts which are soluble in a hypo solution. Fixing, washing, and drying complete the development process. After the drying process is complete the film is usually cut into two 8mm film stripes and placed on one 8mm spool This process once started takes approximately one hour and forty five minutes to complete.

The method of producing dye images in color film is supplied by a chemical reaction know as coupler development. As the developer reduces the exposed silver halide to form metallic silver, the developer itself is oxidized by a chemical reaction, the chemicals then combine with another chemical substance known as a colored compound, that is, colored dyes, which form or combine into a three in one color transparency. The dye forming reaction produces dye in the transparency portion to the amount of silver developed, and since the dye is insoluble, it remains where it is produced on the photographic film. In the Kodakchrome II process K-12 the coupler component of the dyes are added into the film while processing. Because of this it is necessary to use three separate color developers, one for each dye. To confine color development to one emulsion layer at a time, selective re-exposure of the layers is necessary. Each of the eight or more solutions must be carefully controlled for the concentration of ingredients, temperature, and agitation. Make no mistake about it Kodachrome ll is a very complex system requiring elaborate equipment, and very accurate chemical control. Because of this process the Zapruder film could not have altered until developed during its initial development, and If altered, alteration would have to occur after the film development.

It should be noted that the Kodak laboratory in Dallas had the necessary equipment to make the Kodachome process a simple flawless process procedure because of the Presidential visit to Dallas the laboratory was prepared in advance to handle the huge volume of film that would arrive there that day for film development.

From the FBI document dated December 4, 1963 Zapruder took his exposed (developed) film to Jamieson Film Company on Byran Street not far from to have three contact copies made from the original. THE FILM WAS STILL 16MM WIDE (Not 8 mm format). After three optical copies of the Zapruder film were made but not developed, the three copies were sent back to the Kodak lab located at 3131 Manor Way in Dallas for development. FBI documentation suggests that the FBI had custody of the original film from the time it arrived at the Kodak laboratory during its original development. After the film arrived at Jamieson lab the film was uncut. The so-called original and three copies were then sent back to Kodak to have the three contact copies developed. According to the official story Abraham Zapruder sold the four films to Richard Stolley, bureau Chief of LIFE magazine, Los Angeles, at Zapruder's dress shop, Jennifer Junior‘s at about 9:00AM CST, Saturday morning, November 23. From research I found out the chain of custody of the Zapruder film was broken for most of the eighteen hours Zapruder reportedly had possession of the film. The proof of this was found in a Memorandum sent by C. D. De Loach to Mr. Mohr on November 23, 1963. In the first paragraph of the memo it said that Zapruder said; "The FBI has (MY) this film and won‘t give it back to me", thus proving Zapruder lost possession of the film immediately after the assassination to the FBI.

If the original film was altered, it had to be altered before it was sold and transferred to LIFE Magazine? On January 24, 1964 Lyndal Shaneyfelt of the FBI determined that the Zapruder film consisted of 486 frames. By examining Volume 18 of the Warren Commission Report only one set of dye marking are seen in the sprocket hole area of the Zapruder film frames Z170- Z334, so if the film was altered, the dye marking contained in the original film would have to be removed in order for only the dye marking contained in the altered film to appear as they do in Volume 18 of the Warren Commission Report.

In closely examining the current so called original film where the original dye markings would have been seen in the sprocket hole area a speed glitch is seen in the individual movements of individuals seen in the Zapruder film approximately every 28 frames. From Volume 18 of the WCR,we can determine from the dye marking contained in the Warren Commission volume that the Kodachrome ll and Safety film markings occur about every 56 (About eight inches), (7 frames per inch). In examining the original Zapruder film, I discovered a register mark in frame #28 in the bottom left-portion of the frame. This was helpful in discovering where the original dye marking occurred in the original film and after their removal caused a speed glitch to occur where frames were removed in the film.

To prove this theory we can start by examining the first scene of the Zapruder film prior to frame labeling. The scene consists of 14 1/2 frames on my 8mm copy of the Zapruder film. The brief film clip shows Beatrice Hester sitting on a park bench along with her husband Charles sitting on some concrete steps immediately to the right of the park bench. Marilyn Sitzman, their friend, is standing facing them about equal distance apart with her back turned towards the viewer. The park bench was only a few yards from the pedestal where the Zapruder assassination footage was taken. Beatrice is looking toward her husband. She is holding her purse in her lap with her right hand, her left hand is motionless near her chin. Charles is dressed in a suit and is looking toward Marilyn with both his hands grasping a lunch bag between his two legs as he is leaning slightly forward. Marilyn is wearing a head scarf and dress, she is facing the Hesters and appears to be talking to them.

In this brief footage, there are basically two movements occurring in .9 seconds, one visible to the naked eye on close scrutiny, and one not. The visible movement is of Marilyn's right forearm swinging upward rapidly to her waist to complete the folding of her two arms at her waist within six frames, about 1/4 of a second, an impossible feat. The second movement, invisible to the naked eye, is Charles head turning 60 degrees in one frame to look at Beatrice. This movement can only be seen by comparing consecutive individual frames. All the movement done by the three persons seen in this .9 seconds film clip in real time is beyond human capacity.

The second scene, the motorcycle scene proves that film deletion is contained through out frames Z001-Z132. The scene begins by showing the movement of three police motorcyclists reaching the intersection of Houston and Elm Streets. One of the cyclists is seen going up Houston Street while the two remaining cyclists tum onto Elm Street. At first glance, the spectators standing along Elm Street watching the motorcyclists appear to be almost motionless. However if one slows the film down to almost a halt, the scene reveals something entirely different. In frame Z-028, if one looks close and counts the persons standing to the left of the Stemmons road sign closest to Houston Street there are two women wearing white scarves. They are the 11th and 12th from the Stemmons road sign. The two women have extremely fast head movements from Z024-Z030. The same fast movement holds true for the same women at Z053-Z054. There is also considerable movement among the three women nearest the Stemmons road sign. The three appear to be carrying on a conversation as the Presidential limousine approaches them. Because of the increasing crowd noise the woman third from the sign moves her head in front of the middle woman's body to hear what at the woman in a blue scarf nearest the road sign is saying. This movement occurs between Z057- Z060. On Houston Street a woman's purse is seen in frame Z059, disappears in Z060, and re-appears in frame Z061. (The purse disappearing and re-appearing clearly proves film deletion.) At Z-095 to Z-105 a woman fifth from the sign in a yellow dress holding her purse in her left hand tums her head 90 degrees to her right from Z-100-102. A man in a yellow sweater is also seen jumping off the reflecting pool concrete wall in the background. From Z- 130-132 the woman third from the Stemmons road sign leans in front of the woman with reddish-brown hair. Proof of film alteration is proven in the motorcycle scene because the movements described by certain individuals cannot be seen when the film is running at its normal speed.

The next scene, the Presidential limousine scene is the most important because it shows the Presidential limousine at it proceeds down Elm Street, when the President is assassinated. This scene begins at Z133 when the Presidential limousine magically pops into view shortly before the limousine passes by the R. L. Thornton road sign and ends as the Presidential limousine passes under the Triple Underpass bridge. Beginning at Z133 to Z182, if one looks at the Zapruder film, one can see the same line of persons standing along the curb on Elm Street as in the motorcycle scene. These persons on the same side of the street nearest the Stemmons road sign are waiting for the Presidential limousine to pass them by. If one directs their attention to the two nearest persons to the left of the sign, one will notice two women clapping, one with a blue scarf and the other woman to her left. As the Presidential limousine approaches them both women begin to clap. The woman in the blue scarf claps four times between Z-133-154= (21 frames + 92 seconds at 23 fps) The woman to her left has clapped 6 times from Z-154-199= (43 frames=1.86 seconds). To keep this simple, each woman is clapping faster than human capacity. (Frames Z-155-56 are deleted from the film.) This means that these frames were removed and deleted at Life Magazine.

At Z-133, Mr. and his wife are standing in the street. At Z-139 Willis takes his #4th photo as he and his wife step back on the grass as Dallas motorcyclists Billy Joe Martin and Robert W. Hargis approach them on the driver's side of the Presidential limousine between Z-133-154. A man in a suit is also seen tipping his hat off his head to his side in respect (honor?) for the President. All this movement, especially Willis‘s and his wife's movements are impossible to accomplish in real time.

In the background, Hugh Betzner is seen running from Z-143 to Z-154 from Houston onto Elm Street (about 15 feet) in about a half of second along with Robert Croft. From Z-168 to Z-191 Mrs. Willis mother is waving her handkerchief seven times at the President in 1.3 seconds behind Mr. Stubblefield, her father in-law. Behind her on Houston Street is a man walking toward Elm Street. From Z-202-Z-206, the man tums his head toward the Presidential limousine and back to his front as he proceeds walking toward Elm Street. The next obvious speed glitch is seen by observing one of two black men standing together near Elm Street. The one man who is wearing a work apron swings both his arms downward in reaction to hearing a shot as he stops clapping, (Z-224-234) In frame Z-255 Dallas motorcyclists James Chaney is not seen in the film. Chaney is clearly seen in the James Altgens photo. At Z-277- 287 ‘s son, Joe, magically appears from behind his dad right side.

Another impossible movement Between Z-300-305 , "The Woman in Red" looks toward her right and back to the front in four frames. Again, an impossible movement.

In frame Z-304, a Texas flag (Ghost image) is seen in the sprocket hole area next to the bottom of Hill's red coat. The flag appears directly above the bottom sprocket hole between frame Z-304-Z309. This secondary exposure is created by the aperture lens of Zapruder‘s camera being slightly larger than the frame opening. The woman holding the Texas flag is seen in Mary Muchmore film and other photographs near the comer of Houston and Main Streets. The flag is seen in the sprocket hole because the area above the viewing area of frame Z-304 is transposed from a previous exposure of the sprocket hole in Z-303. This finding made by myself is extremely important because it proves the film was taken on the pedestal where Zapruder stood and the film was reduced slightly in size. Because ghost images appears between the sprocket holes doesn't disprove the Zapruder film is not altered. It does indicate, however, that Zapruder's camera was used to take the assassination footage. Almost directly behind her and is Toni Foster who walks three steps and then steps to her right in a very rapid time. (Z297-Z317) Another strong proof is seen by observing Malcolm Summers diving to the ground and landing on his right knee and then re- positioning himself into a squatting position from Z334 to Z358 in a little over a second. Truly a impossibility in real time if one numbers the two frames that appeared in November 29, 1963 of LIFE. Then from Z365 to Z369, Mr. and Mrs. Jack Franzen and son Jeff are standing next to a man holding a beverage as the Presidential limousine is seen speeding past them. (It should be pointed out that none of the persons seen standing along Elm Street after the limousine passed by Mary Moorman appear to be looking at commotion going on in the Presidential limousine. All appear to be not reacting to anything unusual and appear to be looking straight ahead). (Not looking at President) At Z376-Z378, the limousine speeds toward the underpass as it passes another couple. In less than half a second the Presidential limousine had advanced about 20 feet further down Elm Street, another impossibility. Additional examples of film deletion are seen at about every 28 frames from Z-378. (Z-405, 415, 427, 442, and Z-470). If one looks at two persons in the background at about Z-400 their jerky movements are strange long with their appearance. In frame 405, Norman Similas is seen filming the assassination. Similas is partially hidden by a light pole on Elm Street, but can be seen by Z-408 fumed around running toward Main Street. (A impossible movement) Also at Z-415, , who was struck on the face by some material (Bullet fragment or concrete fragment) is reacting to something while looking at the Presidential limousine as he is standing behind this front driver side car door. Between Z415 to Z417, he completely tums away from watching the motorcade to facing in the opposite direction in 1/8th a second. Tague's car is parked on Commerce Street near the triple Overpass.

Between Z-417-27 Secret Service Agent Clint Hill mounts the built in Continental wheel cover on the trunk of the limousine as the limousine approaches the Triple Underpass. Also only in frame Z-427, only one pole is seen holding up the Fort Worth sign at the end of the grassy knoll. Very strange. Although there are many rapid movements of the occupants riding in the Presidential limousine, Governor John B. Connally and his wife Nellie, and President Kennedy and his wife, and Secret Sen/ice Agent Roy H. Kellerman riding in the passenger side of the front seat while the President is being assassinated. I only want to mention two key movements of the Presidential driver Secret Service Agent William R. Greer. Agent Greer tums to the rear the first time from Z243 to Z288, and back to the front from Z289-Z293, and b from Z-300-315, and back to the front from Z-317-321. The movement of Greer is very important in understanding the assassination especially from Z-289 to Z335. If one looks closely at Greer, he is seen turned around completely looking in the direction of President Kennedy in the James Altgens photo taken at about Z 255. Hugh Betzner believed he saw Greer draw his revolver. Greer, when testifying before the Warren Commission said he only turned around once after turning to the front to flee the scene. Why did Greer lie? ls it possible that Greer responding to a gunshot drew his weapon in response to hearing a shot coming from the front steps of the TSBD or did Greer draw his revolver and shoot the President as Fred Newcomb, William Copper and myself believe? (Because of film deletion, this theory of Agent Greer shooting the President cannot be proven.)

By using FBI documentation one can fill in some of the broken chain of custody of the Zapruder film By tracking Zapruder‘s movements after Zapruder said he took his film to Jamieson Film Company on Bryan Street to have three copies made from his original. No FBI report ever mentioned Zapruder taking his original film to Kodak laboratory at 3131 Manor Way to be developed. The only mention of him being there was with Secret Service Agent Forrest Sorrells when the developed film was delivered to Jamieson laboratory to have three contact prints made off the original. From about 5:00 pm. to 11:00 pm. Zapruder‘s whereabouts are unknown. Zapruder, when questioned about his whereabouts by Richard Stolley of LIFE during that time period said he was so upset over seeing the President being assassinated he just drove around Dallas to calm his nerves. In truth, Zapruder was talking to his lawyer, Sam Passman about him no longer having custody of his original film. Returning to his house at about 11:00 pm. Stolley of LIFE magazine finally got a hold of Zapruder by telephone at his home to arrange the purchase of his film by LIFE.

In 1975, Paul Hoch, PhD, discovered an FBI document stating that a copy of Zapruder‘s film was received the night of the assassination at 9:55PM EST at the National Photographic Interpretation Center (NPIC) in Washington, DC. by Max D. Phillips. The memo stated, Zapruder had custody of the Master, two copies were given to Secret Service Agent Forrest Sorrels in Dallas, and one to the NPIC. The word “custody” is misleading because in the FBI memo Zapruder said: "The FBI has my film and won't give it back to me "and Secret Service Dallas Agent Sorrells stating in the memo that the film would be treated as evidence and possibly not given back to Zapruder. This suggests that the FBI in Dallas had control and possession of the original and three copies, even though a copy was given to Max D. Phillips in Dallas. Phillips worked for the Protective Research division of the FBI in Washington, DC.

THIS MEANS THAT IF THE ZAPRUDER FILM WAS ALTERED IT HAD TO BE ALTERED BY THE FBI BECAUSE THEY HAD POSSESSION OF THE FILM. From my research the original film was altered at a CIA film Laboratory altered the original and made three optical copies of the altered film prior to the sale of the film to LIFE.

At 7:00AM, Saturday morning, Sorrels returned the so-called original and the three altered copies to Zapruder at his dress shot Jeniffer Juniors. At 8:00AM, the altered films were sold to LIFE. On November 29,1963 a very limited amount of frames appeared in that edition of LIFE. By only observing Malcolm Summers movements and knowing the frame numbers of the LIFE edition of November 29 it clearly proves the Zapruder film was immediately altered and is a fabricated film.

In 1993, I copyrighted an article, (Part contained in letter) that was to run in ‘The Third Decade". The editor was Dr. Jerry Rose of Fredonia, the article was not up to par for publication. By 1996, the article was rewritten and was to be published in a book called, "Assassination Science". The book would only contain a small amount of proofs but in my opinion contained enough evidence to prove the Zapruder film was an extremely good forgery. Because the Thirty-fifth anniversary of the death of President John F. Kennedy is quickly approaching l am trying to publish the film alteration part of my book, ‘The Slaying of Camelot". I am sure that after reading and digesting this small amount of material taken from "The Slaying of Camelot” you will come to the conclusion that the Abraham Zapruder film is a first class forgery and will help in stopping payment to Henry Zapruder for its purchase of 16 million dollars.