Nothing seems to have changed

[Charles Collins]

    This is why I recommended the elevated view of the poles. The poles are NOT directly in line with each other. Plus, that is a wrap-around corner. It is Not a right angle corner. And the big kicker is that other photos show a car did directly pull up to the "getaway" car. Front bumper- to- front bumper. I am not sure if this was intentionally done to pin the "getaway" in, or if there was nowhere else for this probable cop car to park.   

The poles are NOT directly in line with each other.

However they ARE directly in line with each other (and Weigman’s camera) in this image:

[Royell Storing]

The poles are NOT directly in line with each other.

However they ARE directly in line with each other (and Weigman’s camera) in this image:

    Wiegman was turning the corner when filming this portion of the Island. He captured these images from many different angles. And again, this "getaway" car was 17+ feet long. It is simply Not on the Wiegman Film from any angle. The "getaway" car is not there. Not yet.

[Gerry Down]

The poles are NOT directly in line with each other.

However they ARE directly in line with each other (and Weigman’s camera) in this image:

Look at the centre of the photograph Collins has posted here. There is a man in a black suit with his hands folded. To his right is a woman with a large handbag and she is looking towards the triple underpass. In-between this man and woman can be seen two cars overlapping.

The rear passenger quarter panel of the mystery car is visible.

The car was there all along 😎

[Tom Graves]

Look at the centre of the photograph Collins has posted here. There is a man in a black suit with his hands folded. To his right is a woman with a large handbag and she is looking towards the triple underpass. In-between this man and woman can be seen two cars overlapping.

The rear passenger quarter panel of the mystery car is visible.

The car was there all along 😎

Nice catch by Charles and you.

I'm surprised I didn't notice that overlap in Wiegman, myself, during the hours I spent "debating" Sonderführer Storing on the issue. But then again, I didn't have the "Husky 'Cop' Watches Charles V. Harrelson, E. Howard Hunt, and Charles Rogers Walk Past Him Dressed Like Three Tramps" photo to help me realize that those two light-colored cars "morphed" into one car from a certain perspective.

[Charles Collins]

[/quote]

Look at the centre of the photograph Collins has posted here. There is a man in a black suit with his hands folded. To his right is a woman with a large handbag and she is looking towards the triple underpass. In-between this man and woman can be seen two cars overlapping.

The rear passenger quarter panel of the mystery car is visible.

The car was there all along 😎

Nice catch by Charles and you.

I'm surprised I didn't notice that overlap in Wiegman, myself, during the hours I spent "debating" Comrade Storing on the issue. But then again, I didn't have the "Husky 'Cop' Watches Charles V. Harrelson, E. Howard Hunt, and Charles Rogers Walk Past Him Dressed Like Three Tramps" photo to help me realize that those two light-colored cars "morphed" into one car from a certain perspective.

Yes, it’s there. The crystal clear photo by William Allen of the tramps helped in this regard. After viewing Allen’s photo then looking again at the Wiegman film frame it becomes more apparent.

[Charles Collins]

    Wiegman was turning the corner when filming this portion of the Island. He captured these images from many different angles. And again, this "getaway" car was 17+ feet long. It is simply Not on the Wiegman Film from any angle. The "getaway" car is not there. Not yet.

In this image I have drawn a yellow arrow pointing at the right rear taillight area. That RR quarter panel appears to have shadows from the tree above; while the other car (beyond) appears to be in full sunlight. I drew a green arrow pointing at a wheel. And I drew a red arrow pointing at the top of the windshield. The windshield becomes more obvious in another frame where the light refraction bending the edge of the brick column is more visible (already posted earlier in this thread).

[Tom Graves]

In this image I have drawn a yellow arrow pointing at the right rear taillight area. That RR quarter panel appears to have shadows from the tree above; while the other car (beyond) appears to be in full sunlight. I drew a green arrow pointing at a wheel. And I drew a red arrow pointing at the top of the windshield. The windshield becomes more obvious in another frame where the light refraction bending the edge of the brick column is more visible (already posted earlier in this thread).

Excellent work, Charles!

Note the distinctive horizontal line which is a little above the yellow arrow and is a continuation of "Fedora Man's" crossed forearm in this frame from the Wiegman clip. There's another horizontal line below it which is harder to make out because it's in the shade from an overhanging tree branch.

These two horizontal lines, which are about a foot-and-a-half apart, delineate the light-colored recessed area from the darker color of the main body.

Google "1958 Pontiac Bonneville" to see more examples of this design feature.