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Shortly after that he called his wife at the Tomas Moro townhouse, and said that he would kill himself, and apparently did so right after. Mr. GUYER. She admitted that the gun was made in Cuba.

Mr. SULLIVAN. I handled that gun, and it was made in Brno, Czechoslovakia.

Mr. GUYER. How did it get there? By way of whom?

Mr. SULLIVAN. I documented quite a considerable amount of clandestine weapon smuggling. I have weapons in the film and I also have here some photographs from El Mercurio. Sufficient weapons were taken out of his two homes to completely arm for quite heavy combat, 10 battalions of men. Most of it was communist bloc, but some of it was manufactured in some of the factories that he had illegally taken over.

There was a Russian military group in Chile teaching Chileans to manufacture weapons in some of the factories, and they were quite skilled. When we get the machine working, I will show you homemade bazookas which were capable of knocking out a tank. I handled hundreds of them myself in these places, and the military made a demonstration for us showing how this simple, crude weapon could knock out a tank.

Mr. CRANDALL. Mr. Chairman, could we have the witness sworn? Mr. GUYER. Yes.

Mr. Sullivan, do you swear that the testimony you have given and are about to give is the truth, the whole truth, and nothing but the truth, so help you God?

Mr. SULLIVAN. I do.

Mr. CRANDALL. Do you want me to proceed?
Mr. GUYER. Yes.

TESTIMONY OF THOMAS SULLIVAN

Mr. CRANDALL. Would you please furnish your name and occupation?

Mr. SULLIVAN. My name is Thomas Sullivan, and I am, as you have said, a freelance film producer and staff writer for the HeraldNews in Passaic, N.J.

[Additional biographical material follows:]

THOMAS SULLIVAN

Mr. Tom Sullivan is a free-lance film producer and staff writer for the HeraldNews newspaper of Passaic, New Jersey. He began his newspaper career with the "New York Journal-American" and during the 1960's, had a weekly current affairs television show in New York City. He has produced a number of commercial films as well as documentaries including one entitled "Death of an American Citizen" which pertains to U.S. Public Safety Officer Dan Mitrione, who was kidnaped and murdered by the Tupamaros guerrillas in Uruguay. This particular film was produced in answer to the false impression and communist propaganda created by the film "State of Siege." Mr. Sullivan has been very active in community affairs and has been honored on various occasions for his outstanding work in this field.

Mr. CRANDALL. Now, would you briefly describe the nature of your work as a film producer?

Mr. SULLIVAN. I have made a variety of films, which range from television commercials to documentaries. I deal with medicine, clean water, and a variety of things.

31-253 O 74 pt. 5 - 5

I have been making films since I was twelve, and I have made every conceivable kind of film.

Mr. CRANDALL. You made reference to making a film in Chile. Would you explain the circumstances that led up to the production of that particular film?

Mr. SULLIVAN. The circumstances that led up to my going to Chile were quite interesting. I had a year or so before come into contact with a Chilean exchange student who was attending our local high school. After he returned to Chile, during the last year of Allende's regime, we exchanged letters. I would send him clippings from the New York Times, which is the only paper covering the Chilean situation.

His family would write back and say, "These stories are not quite the truth, and you should come and see for yourself."

Following the coup, I decided to go there. In the meantime, the Public Broadcasting System in New York had run a film on the Chilean coup, and it was a rather biased film. This led to the dismissal of the producer from the PBS and the commitment by PBS that they would put on a show that gave a balanced presentation.

So, I conferred briefly with the program director, and told him that I was going anyway. He said, "Well, okay, let us try to get together a film that will show just precisely what the situation is in Chile."

Mr. CRANDALL. When and where was this film actually produced? Mr. SULLIVAN. The film that we are going to see today is not the actual completed film, which is called "Santiago Spring." Unfortunately, it is not yet out of the laboratory in its finished form.

I was able to spend considerable-I was the only foreign correspondent there who was able to go inside the burned La Moneda, and inside the two presidential residences, and various of the locations around Santiago.

Mr. CRANDALL. Who actually did the filming?

Mr. SULLIVAN. I did.

Mr. CRANDALL. Who did the editing of the film?

Mr. SULLIVAN. I did the editing also.

Mr. CRANDALL. Over how long a period of time were you in Chile to produce the film?

Mr. SULLIVAN. I filmed in Chile for 15 days.

Mr. CRANDALL. Under whose sponsorship did you produce the film? Mr. SULLIVAN. All of the money came out of my own pocket.

Mr. CRANDALL. Now, based upon what you have said, you can certify that the film is an accurate account and portrayal of events, materials, and subjects which occurred in Chile?

Mr. SULLIVAN. Yes. The finished film-which, as I have said, you will not see today, not having received the finished print of it-goes to verify everything that went into it. I edited it without the use of theatrical sound effects that would tend to change its content in any way.

Mr. CRANDALL. Mr. Sullivan, I show you some documents marked as exhibits for the committee, and I ask you if you will look at them and please identify them for purposes of the record?

Mr. SULLIVAN. Exhibit No. 6 is a photograph of President Allende speaking on the telephone from his desk in La Moneda, and he is taking the call from the Junta telling him that a military transport

is available to take him, his family, and his followers anywhere they wish to go. This was on the morning of September 11.

Mr. CRANDALL. This is a photograph that you brought in from Chile?

Mr. SULLIVAN. No. This photograph was made by a member of Allende's staff, and it was obtained by me from the New York Times. The Times purchased it from a member of Allende's staff.

Exhibit No. 7 shows President Allende entering one of the courtyards of La Moneda, carrying his Soviet weapon and wearing his metal helmet.

Exhibit No. 8 is a photograph of President Allende, wearing a military helmet, and carrying his AK-47, which Castro had given him, and surrounded by other members of his irregular army. This was also made on September 11, 1973.

Exhibit No. 9 is the front page of El Mercurio of September 16, 1973, which contains photographs showing the weaponry, the arsenal of weaponry, which was taken from Tomas Moro and La Moneda, the presidential houses, on September 12, 1973.

Exhibit No. 10 is another section of the same newspaper of September 16, 1973, which shows some of the guerrilla schools and facilities at El Cañaveral, the presidential country house in the foothills of the Andes. This shows a bomb factory and a dormitory where the members of the clandestine army slept when they were being trained. Mr. CRANDALL. At this time, Mr. Chairman, I offer exhibits Nos. 610 for use in connection with this hearing.

Mr. GUYER. Without objection, they will be accepted.

[Exhibits Nos. 6-8 are reproduced in the appendix, pp. 2716-2718. Exhibits Nos. 9 and 10 are retained in committee files.]

Mr. CRANDALL. Mr. Sullivan, do you speak Spanish?

Mr. SULLIVAN. I speak very little Spanish, but I understand it a little better.

Mr. CRANDALL. During the time that you were in Chile making the film, did you have an interpreter with you?

Mr. SULLIVAN. Yes. I was fortunate to be able to use the same exchange student, who had visited with me here in the United States, and he was my interpreter and assistant.

Mr. CRANDALL. When you arrived in Chile, how did you proceed to gain permission to make the film?

Mr. SULLIVAN. The student that I had been corresponding with had a low level contact with the new military government, and they asked him in advance if I could be accredited. He said: "When the man comes, we will take him to see Gaston Acuna, who is the press spokesman for the Junta." This was done the day after I arrived, and I was issued credentials immediately.

Mr. CRANDALL. Was this accreditation received from the military Junta?

Mr. SULLIVAN. This is a credential right out of the office of the president of the military Junta.

Mr. CRANDALL. Were there any restrictions placed upon your filming while you were in Chile?

Mr. SULLIVAN. No. The word was given to me directly from Gaston Acuna that foreign journalists who asked, would have carte blanche to go anywhere they wished, and to speak to whomever they wanted,

and have the use of any facilities over and above what they had brought with them. There were to be no obstacles placed in our way at all.

Mr. CRANDALL. What was the extent of your travel in making the film?

Mr. SULLIVAN. Apart from the trip to El Cañaveral, I spent the entire time in Santiago. A military plane was placed at my disposal to go down to Dawson Island to interview the prisoners, but I kept it on standby since I was very busy filming.

I felt that Dawson Island was the least interesting to the audience I would be reaching here.

Mr. CRANDALL. Am I correct in stating that in the course of making this film that you had access to President Allende's quarters, and also that you visited his office in La Moneda, and then you went to El Cañaveral?

Mr. SULLIVAN. Yes. I was in the offices in La Moneda extensively, and I was given full access to all of the documents that remained, other than a safe which had been blown open and the secret documents taken. The correspondence was still in the office, and I was able to study this at great length in La Moneda.

I also visited the town house of Tomas Moro, and I was able to spend a considerable amount of time delving into the psyche of Allende, by sifting through his personal effects. For example, going through his medicine cabinet, looking through his art collection, through his book collection, through many of his personal artifacts, and so forth, just generally to see how he lived, and to gain familiarity from these objects.

At El Cañaveral, I spent considerable time also, and I was able to see this incredible guerrilla facility that he had established there. Mr. CRANDALL. Now, is most of what you have just discussed shown in the film?

Mr. SULLIVAN. It is in the finished film, and some of what I have discussed is in the footage you will see today. The finished film is not here today, but all of that is in the finished film, which will be out of the laboratory by Monday.

You will see the paramilitary facility in great detail in the film that I have brought you today.

Mr. CRANDALL. Do you want to make a further comment on the military material?

Mr. SULLIVAN. Yes. It was quite an eye opener to me to find the extent to which Allende, who made regular daily commitments to the Chilean people, and to the Chamber of Deputies, that he was sponsoring no irregular army, and condoned no civil war, had, in fact, a fait accompli, amassed a considerable army with considerable armament, and a well trained army, actually supervised by skilled instructors from Cuba, including his son-in-law who was at one time Castro's chief of secret police in Havana. He was married to an Allende daughter, and he came up and served as chief instructor at El Cañaveral for quite a period.

Mr. CRANDALL. It has been reported that there was a plan Z in operation. Would you please comment on what plan Z is, and if you came in contact with it in connection with making that film?

Mr. SULLIVAN. Yes. One would wonder, as one inspected these incredible military facilities, what the ultimate use of them would be. The military in Chile had always, since 1932, been completely aloof from politics and took no part in it until the Allende regime.

Allende regarded them, I would think, based on all the things I could see, as the enemy. So he had built up this well equipped and extremely well trained military-paramilitary force, and one would wonder what the goal would be.

It was presented to me by members of the military government-
Mr. GUYER. What is the running time of your film?

Mr. SULLIVAN. It is just a few minutes.

Mr. CRANDALL. I think that perhaps at this time we will proceed with the film, as it is ready, and I will continue afterward with the questions. Mr. GUYER. We can tell our visitors there in the audience that they can turn around, if they would, and face the screen.

This is a continuing series of hearings on the theory and practice of communism.

Mr. SULLIVAN. We will need the lights out, because the film provided by the military is not of very good quality.

This first section of the film you will see is a colored film that was made in an arsenal where much of this stuff was found on September 12, 1973.

Systematically arming the irregular army, President Allende had used—I was able to research and learned that some of the arms were made in Chile, some were obtained by his personal guards from regular army arsenals, and others were old pieces that people had in their homes. Some of them were antique pieces which would fetch a few thousand dollars on the American market.

I will tell you one interesting thing that I discovered. Some of the weaponry that was in use by the irregular army, some of the homemade bazookas, and some of the rocket heads that they were using, seemed to be familiar. I researched it, and they were similar to items produced by the Tupamaros in Uruguay.

This is an antitank weapon, and it is of communist bloc manufacture. These are rolling shots of automatic weapons taken from the arsenal, and there are American items in there. Some of the arsenals had been broken into on occasion, and in one case, a member of Allende's personal guard was arrested for a raid on an arsenal.

Each one of these weapons is tagged with the location of its seizure, and whether they were seized in the possession of someone, and the date. I was able to examine thousands and thousands of pieces.

As I mentioned before, there was sufficient hardware and ammunition to arm possibly 10 battalions according to the estimates of the military regime. There was a tremendous amount of material.

In one instance, a clandestine shipment came through on a Cuban airliner, weighing a ton, and containing a staggering amount of communist bloc weaponry, which was even dangerous to carry on a passenger plane.

These are some of the bombs that were manufactured in the bomb factory at El Cañaveral, the presidential country estate. I was able to inspect the bomb factory, which was left pretty much intact, and see how they used simple items that could be found around the home and turn them into highly illegal weapons.

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