Then went outside to watch P. parade ( Parts 1 & 2 )

[Alan Ford]

So!

Let us proceed by talking not of 'Prayer Man' as the figure common to Wiegman and Darnell, but instead draw a distinction:
-------------Prayer MAN = the figure in Wiegman
-------------Prayer WOMAN = the figure in Darnell

 

[Alan Ford]

Friends, look again at these four scenes (Hughes---Bell---WiegmanA---WiegmanB), which come in chronological order:



The angles are different, but they are all showing basically the same configuration of key persons on the west side of the doorway.

Hughes shows
-----------Mr. Lewis (2nd step up)
-----------Mr. Oswald (4th step up)
-----------Ms. Reese (1st step up)
But Mr. Lovelady (back on the 5th step up, more west than Messrs. Lewis & Oswald) is hidden from view by the girl in blue on the pedestal

Bell shows
-----------Mr. Lovelady (5th step up)
-----------Ms. Reese (1st step up)
But Messrs. Lewis & Oswald are hidden from view by the foliage

WiegmanA shows
-----------Mr. Lewis (2nd step up)
-----------Mr. Oswald/PrayerMAN (4th step up)
-----------Ms. Reese (1st step up)
-----------Mr. Lovelady (now 5th step up: he's trying to get a better view down Elm)

WiegmanB shows
-----------Mr. Lewis (2nd step up)
-----------Mr. Oswald/PrayerMAN (4th step up; right forearm no longer raised to face)
-----------Ms. Reese (1st step up)
-----------Mr. Lovelady (now back down to 4th step up)

Only Mr. Lovelady moves position (up and then back down a step) during the time frame covered by these four clips.

Here is Mr. Andrej Stancak's model for the doorway @12:30. Please disregard the human figures here: Mr. Stancak is representing the Darnell scene---------all I'm interested in for present purposes is
---STEPS
---SHADOW LINE CAST BY WEST COLUMN

The circles I've added represent how I place the figures in Hughes-Bell-WiegmanA-WiegmanB.

GREEN: Ms. Maddie Reese
BLUE: Mr. Roy Lewis
WHITE: Mr. Lee Oswald/PrayerMAN
YELLOW: PrayerWOMAN (not visible in any of the four clips)
PURPLE: Mr. Lovelady in Bell & WiegmanB
RED: Mr. Lovelady in WiegmanA



 

[Alan Ford]

'But!' I hear you cry, 'LHO is catching plenty of sunlight in the Hughes clip, whereas Prayer Person is in shadow.'

To which you hear me reply: 'Well, quite..................................................'

 

The working assumption has always been that Prayer Man is in natural shadow:



All attention went (my fault!) to the obvious impossibility/fakeness of the 'shadow' down Mr. Lovelady, while it was taken as read that Prayer Man is in natural shadow. The belief that Prayer Man in Wiegman must be Prayer Man in Darnell seemed to back up this assumption.

This error led to a misperception of where he is actually standing: we thought he had to be far enough back, and close enough to the west wall, to catch all that shadow. This poor assumption led us to fall prey to what is effectively an optical illusion.

But no. The 'shadow' down PrayerMAN is every bit as fake as the 'shadow' down Mr. Lovelady. PrayerMAN (Mr. Oswald) is in reality in the same spot as we see him in Hughes, catching plenty of direct sunlight.

Here's what I think happened.

They looked at Wiegman and saw that the west side of the doorway was a disaster (for it showed Mr. Oswald there). We need to get rid of as much of that side of the doorway as we can.

They looked at Altgens, and decided to take the point where the west column cuts off Mr. Lovelady as their starting point for their fake shadow. This was the very maximum they could 'take' from visibility. Any more eastwards encroachment into Mr. Lovelady's shirt, and folks will spot the discrepancy with Altgens.

But why not just leave Mr. Lovelady alone, and start the shadow only at PrayerMAN?

They reckoned that only having PrayerMAN catching shadow might alert folks to what they'd done in obscuring him. Much better to give Mr. Lovelady a bit of the shadow action----------------folks (without access to 21st-century digital technology) would have no clue that Mr. Lovelady was standing in full sunlight. They'd just get the impression that a good quarter of the doorway happens to be not catching the sun at that time of day.

What we get a glimpse of in Bell is precisely what we are NOT allowed to see in Wiegman: the fact that Mr. Lovelady is standing in full sunlight................



The original, pre-doctored version of Wiegman showed the same thing as Bell: Mr. Lovelady standing there, without any shadow whatsoever falling down his right side.

 

[Alan Ford]

So!

If you want to get a good idea of what Mr. Lovelady's right side must have looked like in the original, un-doctored Wiegman frames, all you have to do is take a look at Bell:



And if you want to get a good idea of what Mr. Oswald/PrayerMAN must have looked like in the original, un-doctored Wiegman frames, all you have to do is take a look at Hughes:



Two color films exposing the true scandalous story of what was done to one black-and-white film...........................

 

[Alan Ford]

And if you want to get a good idea of what Mr. Oswald/PrayerMAN must have looked like the original, un-doctored Wiegman frames, all you have to do is take a look at Hughes:

The only difference, of course, being that Mr. Oswald in Hughes has his left hand down at his side, whereas in Wiegman his left hand is raised to chest height.

We'll likely never know for sure what's made him bring up that left hand in Wiegman, but I suspect he's holding an apple (or cheese sandwich) in it and has just before this taken a bite which he is now washing down with more Coca Cola..................



This raising of the left hand is what caused the understandable confusion that reigned for so long as to PrayerMAN and PrayerWOMAN being the same person:



 

[Alan Ford]

This head seems to be going too high for PrayerMAN--------------------



Probable explanation: this is not just PrayerMAN's head, but some of PrayerWOMAN's head in the background too

 

[Alan Ford]

.......................just as we already got a glimpse of PrayerWOMAN's head behind Mr. Oswald in Hughes:



 

[Alan Ford]

So!

We can now-----------for the first time ever------------track chronologically, across the visual record of the assassination, Mr. Lee Harvey Oswald's stationary presence on the far west side (four steps up) of the Depository front entrance:





It took a minute, but we're there!