Over thirty years since its release, Snuff (Findlay/Nuchtern, 1976) receives very little critical attention outside of historical analyses of film violence and the antipornography movement, or paracinematic critiques that more often than not mock the undeveloped gore-literacy of those who fell for the hoax at the time of the film’s release. But considering that snuff film has remained such a consistently viable source of terror (despite shifts in both camera technologies and modes of distribution), an exhumation of the Snuff coda raises a startlingly overlooked feature. While the unnamed ‘director’ figure and his blonde victim remain two of the most notorious onscreen figures in paracinematic history, the presence of a third figure, ‘June’ (the only named person in the entire sequence) has gone almost completely unacknowledged. It is in light of this omission that this article revisits the Snuff coda.