“The tools of conquest do not necessarily come with bombs and explosions and fallout. There are weapons that are simply thoughts, attitudes, prejudices – to be found only in the minds of men. For the record, prejudices can kill and suspicion can destroy and a thoughtless, frightened search for a scapegoat has a fallout all of its own for the children and the children yet unborn. And the pity of it is that these things cannot be confined to . . . The Twilight Zone.” — Rod Serling, 1960
by Richard Hooke (with Jim Fetzer)
As we approach the 49th observance of the assassination of JFK, I have been invited to speak at The Roxie Theatre in San Francisco on 22 November 2012 and explain what Oliver Stone got right and got wrong in his monumental film, “JFK”. Most of the film is right, where Oliver Stone has given us the most accurate, complete and comprehensive presentation of what actually happened in Dealey Plaza on 22 November 1963 that has ever been provided to the American public though the mass media.
But Oliver Stone had three rather important points wrong, which were that he believed (1) the home movies of the assassination, especially the Zapruder film, were authentic, when they were actually revisions of original films; (2) that there were only three teams of shooters, when there were actually six, surrounding the “kill zone”; and, perhaps most importantly, (3) he did not know that the alleged assassin was “out with Bill Shelley in front”, as Lee explained to Homicide Detective Will Fritz during his interrogation, which means there is direct proof of his innocence beyond the circumstantial. The third may be the most important, since it demonstrates the utter corruption of the official account of the death of our 35th president.
That the film is a fabrication has been proven on multiple grounds. Those who study the eyewitness reports will find that more than 60 of them reported observing the limousine either slow dramatically or come to a complete halt, where it had to slow dramatically as it came to a complete halt. The limo stop was such an obvious indication of Secret Service complicity that it had to be removed, which left no time for Clint Hill to rush forward, climb over the trunk, push Jackie down and lie across their bodies, while peering down into the fist-sized hole in the back of JFK’s head, which led him to give a “thumbs down” to his colleagues–all before the limo reached the Triple Underpass! We know from John P. Costella’s brilliant studies of the extant version that it was recreated using original film, but where mistakes were made in the process. And we know from Douglas Horne where it was done and how the substitution of the fabrication was made for the original.
About these matters there can be no doubt. But even serious students of the assassination still balk at the suggestion that Lee Oswald was out in front of the Book Depository with Bill Shelly and others, straining to catch a glimpse of JFK and Jackie–just like almost everyone else who worked there. We know from testimony by co-workers that he was in and around the lunchroom on the 2nd floor at 11:50, Noon, 12:15 and as late as 12:25, where the assassination took place at 12:30. He was then confronted by a motorcycle patrolman named “Marrion Baker” within 90 seconds of the shooting, where Baker held him in his sights until Roy Truly, his supervisor, came over to assure him that the man was an employee who belonged there. This should by now be well-known to every serious student of the death of JFK. Yet some persist in denial that Lee cannot have been a shooter, no matter how strong the evidence. And the evidence, once it has been noticed, is extraordinarily strong. Consider this close-up of the crucial area of the most famous photos taken in Dealey Plaza at the time:
Taken by James “Ike” Altgens and technically known as “Altgens6″ as the sixth of a series of seven photographs purportedly taken by him on that occasion, this close-up shows the man in the doorway at the center left, where his left shoulder is anomalously missing. The man beside him, wearing a black tie, is simultaneously both in front of him and behind him, which is physically impossible. His torso and shirt are……