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The Software Used For Viewing This Book
╓────────────────────────────────╖
║ WHATBOOK was brought to you by:║
║ ~~~~~~~~ ║
║ WHAT Software ║
║ 1207 Grayland Street ║
║ Greensboro, NC 27408 ║
║ 919-274-7773 ║
╙────────────────────────────────╜
..........................................................................
Introduction to the book "The Taking of America, 1-2-3," by
Richard E. Sprague
This book is not about assassinations, at least not solely about
assassinations. It is not just another book about who murdered
President Kennedy or how or why. It is a book about power, about who
really controls the United States policies, especially foreign policies.
It is a book about the process of control through the manipulation of
the American presidency and the presidential election process. The
objective of the book is to expose the clandestine, secret, tricky
methods and weapons used for this manipulation, and to reveal the degree
to which these have been hidden from the American public.
Assassinations are only one of many techniques used in this control
process. They have been important only in the sense that they are the
ultimate method used in the control of the election process. Viewed in
this way, an understanding of what happened to John or Robert Kennedy
becomes more important because it leads to a total understanding of what
has happened to our country, and to us, since 1960. But the important
thing to understand is the control and the power and all of the
clandestine methods put together.
Two men named Richard Sprague have been involved in examining the
assassination of John F. Kennedy and its ensuing cover-up through the
years. Richard A. Sprague, the former district attorney from
Philadelphia, and the fearless prosecutor of the Yablonski murderers,
was named on October 4, 1976, by Congressperson Thomas Downing, to be
chief counsel of the just-then forming House Select Committee on
Assassinations. Richard E. Sprague was a pioneer in the field of
computers starting in the 1940s. His involvement studying the
photographic evidence in the assassination of President Kennedy goes
back to 1966:
From the day it happened I was skeptical about what was being said on
the TV and radio with regard to how the president was killed. But
when the "Warren Report" was issued I became non-skeptical and
accepted it pretty much as it was. However, when the 26 volumes
became available in late 1964 and I started reading through them, I
became skeptical again because I could not find confirmation of most
of the so-called facts presented by the "Warren Report" and purported
to be backed up by the evidence in the 26 volumes, or any other
evidence.
So I started work again, which caused me to need an index to the 26
volumes. This in turn lead to my contacting Sylvia Meagher and asking
where I could get her index having discovered that she had created and
published one that the Warren Commission hadn't seen fit to provide.
She told me where I could get it and suggested we have lunch. This
was in early November, 1966. She asked, "Why don't you do some real
research?" and I said, "like what?" and she responded "how about the
photographic evidence? A couple of people have started work on it but
haven't finished." I asked her who and she said "Harold Weisberg and
Ray Marcus." I contacted both men and that's more or less how I stuck
my foot in the quicksand.
At the time the 26 volumes became available there were only 8,000
copies printed for the whole country. The time I managed to get hold
of one of these sets of all 26 volumes was when I had moved to the
University Club in New York City and they had a complete set donated
to the University Club by non other than John J. McCloy. So I was
using John J. McCloy's personal copies for the beginnings of my
research.
Now, the most important thing initially that happened in finding the
photos was discovering a number of photographs--films and still
photos--that showed the sixth floor window empty with nobody in it.
This is what originally convinced me that we had a different sort of
conspiracy going than one involving Lee Harvey Oswald, because if he
wasn't in the window--and nobody was in the window--then what
happened? Who fired the shots? And where from?
Confirming that the films and photographs I was looking at were taken
at the critical time the shots were fired, or immediately before or
after that, involved a lot of work: work with plat maps, other photos,
and other materials. I got hold of a map made by the surveyor for
Dealey Plaza (I believe his name was Clarence West) which was drawn to
scale, and Bob Cutler helped me draw onto it all of the various things
that happened including all the vehicles that were moving through.
And I managed to lay a set of films end-to-end starting with one
rounding the turn onto Houston Street all the way through Dealey Plaza
so I could track any vehicle that was in view eighteenth-of-a-second
by eighteenth-of-a-second (Zapruder film speed) all the way through
Dealey Plaza. This enabled me to determine where Kennedy was at all
times and where anybody else was that showed up in any of the photos--
particularly moving pictures--at times Kennedy was at spot so-and-so
or spot such-and-such.
By doing this, with some triangulation, I was able to pin down the
exact timing of two particular sets of photos: a film--the Hughes
film--the last frame of which shows the sixth floor window empty and
ends 5.7 seconds ahead of the first shot--the first shot being
fired/tied down at frame 189 of the Zapruder film; and two photos
taken after the shots were fired by Dillard and, believe it or not, an
intelligence man from Navy intelligence named Powell. Powell's and
Dillard's photos were taken almost at the same time, 3.5 seconds after
the fatal and last shot (Z-313).
So that total time span is less than 17 seconds--if you add up the 5.7
seconds after the end of the Hughes film, plus the 6-plus seconds
while the shots were being fired, plus the 3.5 seconds before Dillard
and Powell's photos were taken--of blank, non-coverage of that window
and there's no way Oswald could have gotten into the window, aimed,
fired three shots, and gotten out of the window so you that couldn't
see him in 17 seconds.
But anyway there was another film taken by Beverly Oliver otherwise
known as the Babushka lady that was confiscated by News Orleans FBI
agent Regis Kennedy, and a still photograph taken by Norman Similas,
confiscated by the Royal Canadian Mounted Police from "Liberty"
magazine (which was going to publish the photo), who then turned the
photo and its negative over to the FBI. I interviewed Similas and the
"Liberty" magazine editor both of whom told me they had carefully
examined the photograph and had seen no one in the photograph
appearing in the eastern-most sixth floor window, which I calculated
had been taken about half-way into the 17-second interval.
I made two attempts soon after the Freedom of Information Act "viewing
room" in the FBI office in Washington, D.C. was created, to request to
see the Similas photograph and Beverly Oliver film, but each time the
FBI person assigned to me was not able to find these photograhs. But
the testimony of the people involved was good enough for me to
conclude that there was nobody in that window ever.
Once I got to that point I started looking for other evidence that
would show where the shots did come from and I started finding all
kinds of evidence of shots from the grassy knoll, and from the Dal Tex
building, and from the roof or the seventh floor of the western end of
the depository building--both photographs as well as witness
testimony--and that lead me to decide that this was a powerful
conspiracy which had involved at least four gunmen firing shots. This
then lead me to decide that I should pursue the whole pattern of
conspiracy including, eventually, the Martin Luther King
assassination, the Bobby Kennedy assassination and the George Wallace
attempt. And that led to the book.
Through all of this, I just know I never would have concluded that it
was a powerful and well-planned conspiracy if I had not determined
that Oswald wasn't in that window--nobody was in that window. That
was the first key.
There's one other thing I'd like to point out. The title of the book
has more than just simple significance and it shows up in all the
chapters that link all these assassinations and their cover-ups.
Namely, our country has been taken from us. Us being the citizens of
the United States as of 1963, and any time after that, by robbing us
of our capability of electing a president we wanted for at least
three, and more likely four, elections. One way of taking the country
away, is to control the elections and that's really, at least part of
the essence of the book. It's close to what Henry Gonzalez proposed
in his original bill. He wanted the Congress to look into all four of
the major assassinations--the fourth being the attempted assassination
of George Wallace--and find the links between and among them, and the
cover-ups, and particularly the links between the intelligence
agencies and the cover-ups that he was sure were involved in all of
them. And if we had had a committee which had done that, well then,
we'd have been a lot further along than we are 13 years later.
-- phone interview with the author, June 3, 1992
The assassination of President John F. Kennedy was the most photographed
murder in history. Approximately 75 photographers took a total of
approximately 510 photographs, either before or during or within an hour
after the events in Dealey Plaza, and either there or nearby or related
to those events. The word "photograph" in this context includes both
still photos and movie sequences. The number of frames in a movie
sequence ranges from about 10 to about 500; and in the count of 510
photographs, given above, the 10 to 500 frames of a single movie
sequence are counted just as *one* photograph. The total number of
frames is over 25,000.
The Warren Commission examined 26 photographs, about 5 percent of the
510. The FBI examined about 50 photographs, or about 10 percent. The
most famous of all the photographs is the Zapruder film, which had over
480 frames.
Many of the photographs were taken by professional photographers. About
30 of the photographers were professionals who worked for newspapers,
television networks, and photographic agencies.
The Warren Commission did not interview a single one of the professional
photographers, nor did the Warren Commission see any complete, uncropped
copies of their photographs.
Fifteen of these professionals were actually in the Kennedy motorcade,
no further than 6 car lengths behind the Kennedy car. Five of these
photographers were television network cameramen. The Warren Commission
looked at none of their photographs.
[.....]
Because the professionals used movie cameras of professional quality,
their films are exceedingly revealing and valuable as primary evidence.
The Warren Commission looked at none of these films.
During the past several years, I have collected copies of over 200 of
these photographs, and I have looked at and taken notes of another 200
of these photographs, without obtaining copies of them. Some of the
remaining 100 have either not been found or have been locked up or
destroyed by the owners, who are fearful of the information they show.
Or they have been locked up by the FBI, who have either placed them in
files inaccessible to the public or possibly have destroyed them.
from, "The Assassination of President John F. Kennedy:
The Application of Computers to the Photographic
Evidence" Richard E. Sprague, "Computers and
Automation," May, 1970, p. 34.