Edward Fahey

Web Link: https://docs.google.com/document/d/e/2PACX-1vTe06LHNTpnl6qBryhL3DEpaJbpZa3QSx39nmL4OdV468oLjTL4NOXRI7DxHyybrA/pub

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This letter is much talked about, but seldom seen in its entirety. I offer the complete, scanned, letter for your research purposes. Sick Eagle.docx

Jamey Flanagan This is a reply to your May 15, 2021 post. 1. Your photo #1 is known, and has been analysed. It has been called "The Black Dog Man." The same image was captured by Phil Willis in Dealey Plaza that day. Refer to Willis #5. See below. What is not explained is how, in Phil Willis' next photo of nearly the same exact scene, the "Black Dog Man" has vanished from view. In your image, and in Willis #5, the "Black Dog Man"is not exactly "on the steps." He is situated in a grassy area behind the retaining wall, and just feet East of the steps. Go to Dealey Plaza and you can see for real what I'm talking about. 2. Your second photo shows what possibly are two [or three] men, situated just behind the wooden picket fence, next to the pergola. One of the men has previously been referred to as "The Badgeman," who was dressed like a Dallas Police Officer. This image of "The Badgeman" has been analyzed by many researchers. So, you can look it up. 3. Your third image is thought by researchers to be an army private in uniform. The private told authorities [or somebody] that he was in that exact place when shots were fired. There is a YouTube video of this man telling his story. Many don't believe it. So what? Anyhow the private said that 1.) his camera was confiscated at the scene by someone looking "official;"and 2.) the next day, he was transferred to a post in Alaska, against his prevailing wishes. Conclusion: You have a very good eye. You have been able to pick out what many believe are real human beings, caught in the Moorman photo. What you point out are not ghosts or phantoms.

I am replying to John Butler's post, of May 16, 2020, in which he shows the Moorman photo and a close-up of the Moorman photo. Both photos show a red circle. Butler describes the phenomenon of "seeing things in vague distorted photos." I, too, have "seen things" in enlargements of this particular photo. I first noticed "figures" in an enlargement of the trees in the upper part of the picture. One figure was Oswald. For a long time, I just told myself that I was crazy, and forgot about it. But Butler has pulled me back in. He points out the lady with a large straw hat, in the back tire of the limo. I see it. To me it is Rose Kennedy. Call me crazy, I don't care. Here are more [for reference, divide Butler's close-up frame into thirds, vertically]: 1. In the RIGHT third, I "see" an image of Kennedy with his right eye closed, and mouth open. 2. At the edge of the CENTER and RIGHT thirds, at the top, bordering the red line, on the inside of the red line, I "see" Fidel Castro. 3. Next to Castro, on the RIGHT, top, I "see" three spook-like figures, which I can't associate with anyone. This Moorman photo is filled with spooks, which I call "chamucos," Spanish for "devils." 4. In the LEFT third of the frame, I "see" a real big chamuco. It looks like a demi-human skull with two bright eyeballs. Now, considering the "vague and distorted" nature of grainy, close-up, enlargements, a person could "see" almost anything he wanted. In that sense, the images turn out to be nothing more than a set of ghoulish Rorschach tests. And if the images are such tests, then what I see [and what you see] should be shared only with our respective psychiatrists. But, there is another angle. And that angle is deeply meta-physical. Moorman was present, and took action [exposing her film] at an instant in time [co-incidence]. The resulting image captures a moment which reflects an explosive release of energy, first. Second, it captures the moment of a human death. An moment that the soul leaves [or, rather, in this case, is forcefully ejected from] the body. [I don't care what your religion is, whatever it is, it does not matter, here]. At an explosive transformation, a liminal instant like this one, good and evil are likely to make a quick appearance, vying for control of the other-worldly direction of the soul of the departed. Cameras have picked-up all sorts of "things" that were not supposed to be there. Things that living humans completely missed, e.g, Kirlian photography. I don't need to go into this. Suffice it to say, that Moorman's emulsion may have captured a much broader perspective of Kennedy's death [the physical and meta-physical] than that which we limited humans normally consider as trees, walls, automobiles, other humans, tires, motorcycles, cops helmets, et. cetera. So, blow-up the top portion of Moorman's photo, where the trees are, and tell me what you find. Good Hunting.

Where in the chain of command was Adlai Stevenson? He was the US Ambassador to the UN at the time. What power did Stevenson have to direct McGeorge Bundy to call Gen. Cabbell and cancel the pre-dawn, B-26 airstrikes? Where is the Commander-in-Chief in this (short) succession of events?