Oswald in the doorway: the blog of the Oswald Innocence Campaign, by Ralph Cinque

 I am showing you now the different ways they coped with the presence of Oswald in the doorway. And I want you to start with the image in the lower left, which is from Wiegman. Start there because it was a straight-on shot with no parallax. You can see that Doorman (who was Oswald) is standing in the center of the doorway, and the black man, Carl Jones, is standing at the bottom, at the extreme west side of the doorway, right next to the column. There was no side handrail there at the time. There is today, but there wasn't then. I put a white line between them to show that they weren't close together.

Now look above that at Altgens. In Altgens, there was a lot of parallax because Altgens shot it at an extreme angle. He was way down on Elm Street. And the effect of the parallax was to cut out of view most of the west side of the doorway. Even Doorman's right shoulder was cut off, even though he was standing in the center of the doorway, just as in Wiegman. They were taken at the same time. There is no basis to assume that Doorman moved.

And, there is no basis to assume that Carl Jones moved or changed his position. In Altgens, he appears to be looking east, while in Wiegman, he's looking where you expect him to look, which is west. That's because the limo went that way. Then, there were sounds, and the limo stopped, and apparently, people were concerned that something was wrong; something had happened. So, why would he be looking east at a time like that?

He wasn't looking east. That is a phony image of Carl Jones in the Altgens photo, taken by Congressman Phil Willis at 3 pm. I inserted the image from Willis, and you can see that it's the same image. That is the exact same face. And there's no way that Altgens and Willis caught Jones the exact same way because they were shooting from opposite poles of Dealey Plaza. The reason the two images of the black man look exactly the same is because they are the same image. They moved Willis' image into the Altgens photo.

Why? It's because the bottom of Oswald's shirt was tattered and torn, and if they had let that show, it would have given away that it was him.

And notice that there is Jones' face in profile, then the cuff of Oswald's shirt beneath it, and then this white shamrock below that. So, what the hell is that shamrock? Well, that is supposed to be Jones' body. How could a shamrock pass for a body? It could because in the context of the whole photo, it's so small that nobody is going to notice. Carl Jones may have been completely out of view to Altgens.

Then, there is Towner, which is upper right. There, they just blackened out the doorway but added a few unrecognizable contrasts. I don't know what those weird streaks are supposed to be, but for all practical purposes, they are nothing. Don't even try to decipher it because it's just art.

Finally, there is Hughes in the lower right, and that is a whole can of worms in itself. At the beginning, I said that Doorman (Oswald) was standing in the center of the doorway. And again, this is the same time. It is all the same time. So, why in Hughes is Doorman hovering right above the black guy? It's because they put him there, and if you watch the Hughes film, you'll see that he's a very unstable image. He fades in and out. Sometimes he has a head, and sometimes he doesn't. The technology then was very crude.

And then, there is Toni Glover and her mother standing on the pedestal. Do you know what they're doing there? They are covering up Oswald. Because remember: Doorman was in the center, just as we see him in Wiegman, and he didn't move. So besides using a phony Doorman to put over Jones, they put a phony Toni Glover and her mother on the pedestal to cover up Oswald.

In the Dorman film, it shows Toni and her mother as the limo is approaching the intersection, and they are not on the pedestal. They're just standing on the grass in front of the reflection pool. I have stood on the pedestal, and it is elevated. It's unnerving to stand on it. As you're standing on it, you're looking down to make sure you're far rom the edge, and you're thinking about your balance. And you're not moving around. All that hoopla that you see Toni and her mother doing in Dorman, that was done from the ground. And you notice that they don't look like they're any taller than anyone else. But, on the left, in the Hughes film, look how high they are. They are towering. They may have had less oxygen way up there.

So, do you really think that frumpy, middle-aged woman climbed on top of that pedestal? And look at the order. The mother, who was taller was in front, and 13 year old Toni was behind her. What could she possibly see? She couldn't see through her mother. If they were going to do that, don't you think the mother would have had Toni stand in front, and gotten behind her, so that they both could see? It's fake. It's a shield to cover up Oswald in the doorway.

And finally, upper right, it's the Bell film, where I believe they did some foliage enhancement to hide the doorway. On the left of it, you see the tree as it appears in Hughes, and on the right, there is the effusion of green in Bell, right in front of the doorway.

These were different solutions for the same problem, which was how to cover up Oswald in the doorway, and it is staggering.