By Jim Fetzer
Online Journal Guest Writer
Apr 7, 2010
MADISON, Wisconsin -- Douglas Horne, who served as the Senior Analyst for Military Affairs of the Assassination Records Review Board (ARRB), has now published INSIDE THE ARRB (2009), a five-volume study of the efforts of the board to declassify documents and records held by the CIA, the FBI, the Secret Service, and other government organizations related to the assassination of JFK.
As a former government official, historian, and author, he is speaking out to disabuse the public of any lingering belief that THE WARREN REPORT (1964), THE HSCA FINAL REPORT (1979), Gerald Posner’s CASE CLOSED (1963), or Vincent Bugliosi’s RECLAIMING HISTORY (2007) represent the truth about what is known about the assassination of our 35th president, even remotely! Indeed, in relation to a new article,
“Birds of a Feather: Subverting the Constitution at Harvard Law”, Horne has made a forceful declaration to set the record straight:
"I know, from my former role as a government official on the staff of the ARRB (from 1995-1998), that there is overwhelming evidence of a government-directed medical cover-up in the death of JFK, and of wholesale destruction of autopsy photographs, autopsy x-rays, early versions of the autopsy report, and biological materials associated with the autopsy. Furthermore, dishonest autopsy photographs were created; skull x-rays were altered; the contents of the autopsy report changed over time as different versions were produced; and the brain photographs in the National Archives cannot be photographs of President Kennedy’s brain -- they are fraudulent, substitute images of someone else’s brain."
Over and beyond the medical evidence, however, Horne -- in Vol. IV of INSIDE THE ARRB (2009), has also demonstrated that
the home movie of the assassination known as “the Zapruder film” -- and others that correspond to it, such as the Nix and Muchmore films -- have been massively edited to remove indications of Secret Service complicity in the crime and to add other events to these films in order to sow confusion and conceal evidence of the true causes of death of John F. Kennedy.
There are many proofs that the film has been fabricated—including that the driver brought the limo to a halt to make sure he would be killed; that his brains were blown out to the left-rear; and that a motorcycle patrolman accompanying the limo rode forward at the time of the stop to inform Dallas Chief of Police Jessie Curry that the president had been hit. But none of these events appears in the extant version of the film, which has been massively edited. That these events occurred has been established by more than 60 witness reports of the limo stop, where the wound to the back of his head was confirmed by 40 witnesses, including virtually all the physicians at Parkland Hospital, who described cerebellum as well as cerebral tissue extruding from the wound.
The blow-out to the right-front, as seen in the film, therefore, is not authentic.
Indeed, in an appendix to Vol. IV, Horne explains that
a copy of the film has now been studied by Hollywood exerts, who found that the blow-out to the back of his head had been painted over in black in an amateurish effort to obfuscate the blow out, which can actually be seen in a few later frames, including 372 and 374. (Editor's bold Emphasis) Those who have persisted in defense of the authenticity of the film have offered three major arguments -- (1) that the features of the extant film correspond to those of the original processed in Dallas, (2) that there was an unbroken chain of custody, which precluded the film be changed; and (3) that the Dealey Plaza films are not only consistent with themselves but with one another, where the Zapruder could only have been faked if the others had been as well.
The following extracts from INSIDE THE ARRB (2009), Vol. IV, demonstrate that all three arguments are fallacious: (1) there are five features of the extant film that differ from those of the original and (2) that different films were brought to the NPIC on consecutive days, which vitiates the chain-of-custody argument. The consistency of the films with one another (3) turns out to be an interesting question, since they all seem to have been edited to remove the turn of the presidential limousine from Houston onto Elm. More significantly, there are subtle inconsistencies between the films and, most importantly, the Zapruder film is not even consistent with itself, which proves that it cannot possibly be authentic! Horne’s new studies thus confirm the previous research that has previously been reported in THE GREAT ZAPRUDER FILM HOAX (2003), “New Proof of JFK Film Fakery” (2007), and “Zapruder JFK Film impeached by Moorman JFK Polaroid” (2008), where these two articles are on-line.
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