I'm in contact with the production team, obviously, but I don't think they'll be prepared to enter into a discussion of why they chose to present the material the way they did. It was all very hush-hush and quite fraught until more or less the last minute.
The film was supposed to be shown on 15th December, but this was repeatedly postponed - first to include the material relating to Khreesat's present whereabouts which they had only just obtained, and then because the Iranian government was kicking up rough about it. (The film accused Iran in pretty much exactly the same terms as a number of previous films have done, starting with The Maltese Double Cross in 1994 and most recently Todesflug Pan Am 103 which was shown a couple of weeks ago, so it's hard to see why they were so aerated about this one in particular.)
Sadly the producer, Chris Jeans, who filmed by piece with me, died on 22nd December of liver cancer. I think the film may have been re-worked by others since his death, so I'm not sure how true it was to his original vision. Nevertheless much of the narrative was still driven by personal hearsay evidence from his wife Jessica de Grazia, so it's probably still close to what he envisaged.
As I said, I understood from Chris that he had evidence placing Abu Talb in London on 21st December 1988, and that was why he was so keen to have me do a piece for the film. If he had that, it wasn't shown. The passing remark that Khreesat's associate said that Heathrow was the scene of the crime wasn't that strong.
Of course the thrust of the film was all about Mesbahi and the whole PFLP-GC thing. That was the story they wanted to tell. To a Lockerbie anorak, none of that is new, and predictably the Crown Office have simply stated that none of it is new nothing to see here move along folks. To the general public though, it was a very interesting and quite compelling narrative, and I'm not criticising them for concentrating on that.
There could have been a different thrust, though. The thrust that Heathrow was the point of insertion of the device, not Malta. That isn't a new allegation either of course, but up to now it has always just been a part of some general handwaving around, look the bomb could have started in Frankfurt itself, look at that suspicious character Khaled Jaafar, or it could have started at Heathrow, look at what Bedford said he saw, come on, you can't say the Malta introduction has been proved.
95% of the film was hearsay, presented by Jessica de Grazia and Robert Baer. They could very well be right, but simply relating a bunch of allegations you found in a report or that were made to you by various shady characters does not constitute proof. Actually, the bit I contributed was the one bit where there was solid proof, in the photos of the damaged luggage. This was brand new, and also absolutely compelling (if they'd edited in the whole of the explanation of the suitcase jigsaw).
They could have framed the film as "look, here is the forensic evidence that the bomb went on at Heathrow, it's clear as day, is it not a scandal that the original investigation completely missed that?" Then they could have pointed out that the reason for giving up on the pursuit of the PFLP-GC was at least partly that no evidence of their involvement could be found at Luqa airport. However, if we realise the scene of the crime was actually Heathrow, what do we find there?
I think that would be a much more powerful demonstration that the original investigation was completely wrong and Megrahi was innocent. However, the narrative that the change of tack from Iran to Libya was politically motivated is more dramatic, and it's where Al Jazeera were coming from in the first place, so it's not surprising that they wanted to frame the narrative that way.
In the end we're all more or less singing from the same hymn sheet, and it's more that a lot of detail is still missng than that there are serious doubts about the essential nature of the crime. We'll get there in the end but I wouldn't be at all surprised if it takes another five years.
Rolfe.