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31


Hi James, excellent work as always. Here’s a crop from a very clear photo by William Allen taken on 11/22/63 during the three tramps walk through Dealey Plaza. Royell claims the car in question didn’t move at all before the Allen photo was taken. I have drawn yellow arrows pointing at the rear bumper and taillight. You can line that up with the opening for the large gates and the pole for the highway numbers sign. I believe that Allen’s position was a few feet ENE of Tina Towner’s filming position on the SW corner of Elm & Houston streets. I hope this might help clarify the position of the car.



  Perfect! Look at the photo above. It CLEARLY displays there is a difference between the appearance of the "ground" on the Island vs the Elm St Extension surface street. The surface street on the above photo, matches perfectly with what we see behind Fedora Man on the Wiegman Film. The Wiegman Film shows no car parked alongside the Island. The Wiegman Film shows wide open surface street.
32
Tom,
The car was placed consistent with the Robert Hughes film of the TSBD doorway at about 12:40. I could be a few inches off, but not feet.

The “light-colored car,” if real, would be parked lengthwise in front of the Huge Gates. A car was not parked  there, but further east in the Martin film of the Euins/Harkness scene. There is no car parked there in the Wiegman film. No red tail light or car is there.  We are only seeing the Bonneville in Wiegman. Some of the “features” on the car in the gap are due to shadows from the Live Oak Tree.

James






Hi James, excellent work as always. Here’s a crop from a very clear photo by William Allen taken on 11/22/63 during the three tramps walk through Dealey Plaza. Royell claims the car in question didn’t move at all before the Allen photo was taken. I have drawn yellow arrows pointing at the rear bumper and taillight. You can line that up with the opening for the large gates and the pole for the highway numbers sign. I believe that Allen’s position was a few feet ENE of Tina Towner’s filming position on the SW corner of Elm & Houston streets. I hope this might help clarify the position of the car.



33
  Fedora Man was NOT standing in the street. And the "getaway" car is 17+ feet long and 5 feet high. If it was there, it would stand out like nobody's business.
  You can see the surface street behind Fedora Man. There is nothing behind him. And the surface street we are seeing behind Fedora Man is identical to the surface street we see behind the ladies to the (R) of the Island.
Royell,
The spec height of the Bonneville is 55”. Parked on the Elm Extension against a 9” curb puts the apparent height to Wiegman as 46”, not 5 feet.

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James,

I may be wrong, but I think Royell's "Getaway Car" is too far to the left in your lower montage.

I say this for two reasons:

1) In Wiegman, the "rocket ship exhaust" design on the side of the car by "Fedora Man's" crossed arm looks wide and therefore nearer the end of the car, and

2) We can see the somewhat rounded end of the "Getaway Car" where it is darker colored than the light-colored car across Elm Street Extension and with which it visually merges to a certain degree.

Regardless, keep up the good work!

-- Tom
Tom,
The car was placed consistent with the Robert Hughes film of the TSBD doorway at about 12:40. I could be a few inches off, but not feet.

The “light-colored car,” if real, would be parked lengthwise in front of the Huge Gates. A car was not parked  there, but further east in the Martin film of the Euins/Harkness scene. There is no car parked there in the Wiegman film. No red tail light or car is there.  We are only seeing the Bonneville in Wiegman. Some of the “features” on the car in the gap are due to shadows from the Live Oak Tree.

James



35
I haven’t seen the footage that shows one glove missing from Michael Jackson

 :D :D



     At this point in time above: (1) Officer Harkness had already loaded Amos Euins into Inspector Sawyer's car. (Inspector Sawyer arrived at the TSBD at 12:35), and, (2) Officer Haygood had already made his 12:35 radio transmission from his motorcycle parked at the Elm St curb near the Triple Underpass. This means: (1) the image above was filmed at 12:38, and (2) That Ain't Officer Haygood.   
36
The car was always there but the ladies in front are blocking most of it.
The first image below is from the above photo gallery and you can see some of the car next to the lady with the folded arms and you can see the roof a little bit to her right.
I believe the car to our left is directly in front of this car and as can be seen the perspective angle relatively shortens the length and when approximately sized, fits well within the block of obscuring ladies.



Royell's Car on the extreme left and a car directly behind, shows that the car in the above image was behind Royell's car.



In this Couch frame, the end of the car is a good match compared to the folded arm lady and the roof section as compared to the ladies in Wiegman is a similar height.



JohnM

   The "getaway" car is estimated to be 17.5 FEET LONG. Yet, the baseless claim is being made that this 17.5 FOOT LONG Car is actually parked behind Fedora Man. We just can not see it.  The largest Civil War Canon was 12 Feet Long. So, if there had been a 12 FOOT LONG CANON sitting behind Fedora Man, it too would have been missing from the Wiegman Film? This is how unbelievable this claim is. The images filmed by Wiegman as his camera car turned the corner and he panned the camera speak for themselves. Those images are reality. They have been for 62+ years.     
37
TG--

McDonald used the term "contract source" rather than "contract agent."

Big deal.

You (and FL) are shooting in the dark on a foggy night with a pop-gun, and upon not hitting anything, you declare, "There ain't nothing out there."

Shaw worked for the CIA, and was highly paid. Get over it. Shaw was a source of information, but likely not an agent, involved in any type of operations.

So it goes. IMHO, does not change the complexion of the JFKA much.
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https://www.c-span.org/program/public-affairs-event/cia-in-the-early-postwar-period/57851

McDonald sure seems to know his stuff.

Some say McDonald made an inexplicable, incredible blunder, when he defined Clay Shaw as a "highly paid contract source."

Well, maybe so.

Maybe Billy Barty played center for the Harlem Globetrotters. Maybe Jackie Gleason gave up acting to become a jockey at the race track. Maybe Donald Trump spends his evening reading Shakespeare.

Give it up, dude.

David Robarge, CIA's official historian, is hot you-know-what, too.

Except for the fact that he thinks Yuri Nosenko was a true defector-in-place in Geneva in June 1962 and a true physical defector to the U.S. in February 1964.

Please find one example where someone in the CIA (other than bonehead J. Kenneth or his bonehead staff in the document at issue) used the expression "contract source."

GROK searched 10 to 12 million pages and drew a blank, but I'm sure you'll come up with several.

(LOL)
39
https://www.c-span.org/program/public-affairs-event/cia-in-the-early-postwar-period/57851

McDonald sure seems to know his stuff.

Some say McDonald made an inexplicable, incredible blunder, when he defined Clay Shaw as a "highly paid contract source."

Well, maybe so.

Maybe Billy Barty played center for the Harlem Globetrotters. Maybe Jackie Gleason gave up acting to become a jockey at the race track. Maybe Donald Trump spends his evening reading Shakespeare.

40
Yes, McDonald used the expression "contract source" instead of "contract agent."

Explain why that matters.

Dear "BC",

What's the magic word?

-- "TG"
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