What if the most important film in American history… isn’t what it seems?

The Zapruder film has long been regarded as the most critical visual record of President John F. Kennedy’s assassination. But what if the version we’ve all seen—the one endlessly replayed in documentaries—is not the original footage captured by Abraham Zapruder on November 22, 1963?

This explosive investigation reveals that the widely circulated version of the Zapruder film shows signs of tampering—and that the original was likely altered under government supervision. Drawing on declassified records, expert visual analysis, and first-hand accounts from CIA insiders, SCAM uncovers the disturbing truth behind one of the most iconic reels of film in American history.

✔ Government Custody, Not the Press: Contrary to the official story, the original Zapruder film was not sent to Life magazine immediately. It was handled by the CIA, which ran two top-secret operations with separate versions of the film at its National Photographic Interpretation Center (NPIC) in Washington, D.C., on the nights following the assassination.

✔ A Missing Original: One of those versions—used to create CIA “briefing boards” and believed by insiders to be the true camera original—has since vanished. Its creator, NPIC’s head imagery analyst Dino Brugioni, confirmed it bore critical differences from the version we see today.

✔ State-of-the-Art Analysis: In the most advanced study ever conducted on the film, post-production experts Sydney Wilkinson and Thom Whitehead identified frame-by-frame evidence of alteration—including a black patch added to obscure the violent backward motion of Kennedy’s head, which would suggest a shot from the front.

✔ Institutional Obstruction: The Sixth Floor Museum in Dallas, once trusted as a steward of JFK assassination history, has actively suppressed public access to the Zapruder film. Through aggressive copyright enforcement, it has stifled documentaries, replaced archival materials, and blocked Freedom of Information Act requests—actions more aligned with secrecy than preservation.

✔ Eyewitness Contradictions: Early viewers of the film—Secret Service agents, journalists, and Life editors—described scenes and motions now missing entirely from the surviving version.

✔ Visual Red Flags: Frame-by-frame analysis reveals splices, missing footage, and bizarre optical anomalies inconsistent with a continuous, unaltered home movie.

This is not speculation—it’s fact-based, sourced, and urgent. SCAM makes the case that the Zapruder film has become a cornerstone not of truth, but of cover-up. And now, more than sixty years later, copyright is being wielded not to protect history—but to keep it hidden.

Written by the attorney litigating the Forum's copyright challenge against the Sixth Floor Museum, this is a must-read for anyone who believes the public deserves the full story.